Korg PA700 61 Key Professional Arranger with Touchscreen User Manual

ENGLISH | OS Version 1.5 | MAN0010124

10E

User Manual

Pa700

ORIENTAL

Important safety instructions

Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install

in accordance with the manufacturer’s in-

structions.

8. Do not install near any heat sources such as

radiators, heat registers, stoves, or other ap-

paratus (including ampliﬁers) that produce

heat.

9. Do not defeat the safety purpose of the po-

larized or grounding-type plug. A polarized

plug has two blades with one wider than the

other. A grounding type plug has two blades

and a third grounding prong. The wide blade

or the third prong are provided for your safe-

ty. If the provided plug does not ﬁt into your

outlet, consult an electrician for replacement

of the obsolete outlet.

10. Protect the power cord from being walked on

or pinched particularly at plugs, convenience

receptacles, and the point where they exit

from the apparatus.

11. Only use attachments/accessories speciﬁed

by the manufacturer.

12. Use only with the cart, stand, tripod, bracket,

or table speciﬁed by the manufacturer, or

sold with the apparatus. When a cart is used,

use caution when moving the cart/apparatus

combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning

storms or when unused for long periods of

time.

14. Refer all servicing to qualiﬁed service per-

sonnel. Servicing is required when the appa-

ratus has been damaged in any way, such as

power-supply cord or plug is damaged, liquid

has been spilled or objects have fallen into

the apparatus, the apparatus has been ex-

posed to rain or moisture, does not operate

normally, or has been dropped.

▪ The ventilation should not be impeded by

covering the ventilation openings with items,

such as newspapers, table-cloths, curtains,

etc.

▪ No naked ﬂame sources, such as lighted can-

dles, should be placed on the apparatus.

▪ Do not install this equipment in a conﬁned

space such as a box for the conveyance or

similar unit.

▪ WARNING – This apparatus shall be connect-

ed to a mains socket outlet with a protective

earthing connection.

▪ Turning off the standby switch does not com-

pletely isolate this product from the power

line, so remove the plug from the socket if

not using it for extended periods of time,

or before cleaning. Please ensure that the

mains plug or appliance couple remains read-

ily accessible.

▪ Mains powered apparatus shall not be ex-

posed to dripping or splashing and that no

objects ﬁlled with liquids, such as vases, shall

be placed on the apparatus.

▪ Install this product near the wall socket and

keep the power plug easily accessible.

▪ The marking plate is located at the bottom

of the instrument. The model number, serial

number, power requirements, etc., are locat-

ed on this plate.

Serial number

Please record the model number, serial num-

ber, and date of purchase below. Keep this

manual, as use these information as a record

of your purchase.

Model ________________________________

Serial No. _____________________________

Purchase Date ________________________

WARNING – Do not ingest bat-

tery, chemical burn hazard. This

product contains a coin/button

cell battery.

If the coin/button cell battery is swallowed

it can cause severe internal burns in just 2

hours and can lead to death.

Keep new and used batteries away from chil-

dren. If the battery compartment does not

close securely, stop using the product and

keep it away from children.

If you think the battery may have been swal-

lowed or placed inside any part of the body

seek immediate medical attention.

▪ WARNING – Date/time Lithium button cell

battery inside. Danger of explosion if the

battery is incorrectly replaced. Replace only

with the same or equivalent type. The inter-

nal date/time Lithium button cell battery is

user replaceable.

▪ Do not expose batteries to excessive heat,

such as direct sunshine, ﬁre or the like.

▪ Dispose of used batteries according to the

battery manufacturer’s instructions.

The lightning ﬂash with arrowhead symbol

within an equilateral triangle, is intended

to alert the user to the presence of uninsu-

lated “dangerous voltage” within the prod-

uct’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 main-

tenance (servicing) instructions in the lit-

erature accompanying the product.

This symbol is intended to identify Class II

equipment with functional earthing (ground-

ing).

Other notices

Automatic power-off

To avoid wasting power, Pa700 will by default

automatically enter standby mode after two

hours of non-active use (playing, pressing but-

tons or using the touch-screen). Please save any

edited data (Keyboard Sets, Styles, Songs, and

so on) before taking a prolonged pause.

Data handling

Data in memory may sometimes be lost due to

incorrect user action. Be sure to save important

data to the internal drive or to an external USB

device. KORG will not be responsible for dam-

ages caused by data loss.

Display handling

Be very careful not to apply too much pressure

on the display while carrying the instrument, or

it might break.

Cleaning

If the exterior becomes dirty, wipe it with a

clean, dry cloth. Do not use liquid cleaners such

as benzene or thinner, or cleaning compounds

or ﬂammable polishes.

Use a soft cotton cloth to clean the display.

Some materials, such as paper towels, could

cause scratches and damage it. Computer wipes

are also suggested, provided they are speciﬁ-

cally designed for LCD screens.

Do not spray any liquid on the LCD screen direct-

ly. Always apply the solution to your cloth ﬁrst,

then clean the screen.

Example screens

Some pages of the manuals show snapshots of

the screen along with an explanation of func-

tions and operations. All sound, style, song or

parameter names, as well as shown values, are

merely examples and may not always match the

actual display you are working on.

Trademarks

Acrobat and PDF are registered trademarks of

Adobe Systems Incorporated. Mac and iOS are

registered trademarks of Apple, Inc.

Android is a

trademark of Google Inc.

MS-DOS and Windows are

registered trademarks of Microsoft Corporation.

All other trademarks or registered trademarks

are the property of their respective holders.

Open source notice

Portions of this product’s software are copy-

www.

Disclaimer

The information contained in this manual have

been carefully revised and checked through.

Due to our constant efforts to improve our prod-

ucts, the speciﬁcations might differ to those

in the manual. KORG is not responsible for any

differences found between the speciﬁcations

and the contents of the instruction manual – all

speciﬁcations being subject to change without

prior notice.

Liability

KORG products are manufactured under strict

speciﬁcations and voltages required by each

country. These products are warranted by the

KORG distributor only in each country. Any

KORG product not sold with a warranty card or

carrying a serial number disqualiﬁes the prod-

uct sold from the manufacturer’s/distributor’s

warranty and liability. This requirement is for

your own protection and safety.

Service and user’s assistance

For service, please contact your nearest

Authorized KORG Service Center. For more in-

formation on KORG products, and to ﬁnd soft-

ware and accessories for your keyboard, please

contact your local Authorized KORG distributor.

For up-to-date information, please point your

web browser to our

web site.

Keep your keyboard up-to-date

Your instrument can be constantly updated as

new versions of the operating system are re-

leased by KORG. You can download the operat-

ing system from our

web site. Please, read the

instructions supplied with the operating system.

Contents

Part I 1 Let’s start!

3 Introduction

3 Welcome to Pa700!

7 Before starting to play…

9 Overview of the instrument

Setting up the pedals, audio connections, music stand

15 Connecting the pedals

16 Turning the integrated speakers on and off

16 Connecting the headphones

17 Connecting the audio outputs

18 Installing the music stand

Powering up

19 Turning the instrument on

20 Calibrating the touch screen

21 Adjusting the display brightness

22 Listening to the Demo Songs

Interface basics

23 The main page

24 The user interface in detail

31 Navigating through the pages

34 Selecting the musical resources

Part II 35 Playing and singing

37 Playing the Sounds

38 Choosing your preferred set of Sounds

39 Choosing the Keyboard Sets

45 Playing and controlling the Sounds

Tempo and Metronome

47 Tempo

49 Metronome

Playing the Styles

51 Choosing the Styles

56 Playing a manual accompaniment (Bass & Lower Backing)

57 Playing the automatic accompaniment

64 Adjusting the accompaniment volume

66 Manually playing the Bass line

Playing the Pads

67 Choosing the Pad sets

68 Playing the Pads

ii|

69 Playing the Songs

69 Choosing the Songs

74 Playing a Song

76 Playing along with the Song

78 Adjusting the volume levels

79 Playing all the Songs in a folder

81 Playing a Jukebox list

Lyrics, chords, markers and score

84 Reading the lyrics and chords contained in a Song

87 Reading the lyrics and chords loaded as a text ﬁle

89 Reading the lyrics and chords loaded as a CDG ﬁle

90 Moving through a Song with the markers

93 Reading the music score

Searching for ﬁles and other items

96 Using the Search function

Part III 101 SongBook

103 Using the SongBook

103 Choosing the SongBook Entries

113 Using the Set Lists

117 Editing the SongBook

117 Creating and editing the SongBook Entries

127 Creating and editing the Set Lists

131 Deleting all the SongBook Entries and Set Lists

132 Using the SongBook with a personal computer

Part IV 133 Customizing and editing the Sound sets

135 Customizing the Keyboard Sets

135 Playing different Sounds with the left and right hand

139 Playing two or three Sounds at the same time

140 Choosing different Sounds

142 Mixing the Keyboard Sounds

145 Transposing the Upper Sounds to a different octave

146 Using the Ensemble to add harmony

149

Advanced editing of the Sound sets

149 The editing procedure

152 Mixing the Sounds

154 Adding effects

165 Equalizing the Sounds

168 Octave transpose and ﬁne tuning

169 Programming the sound routing and polyphony

172 Quick editing of Drum Kits

175 Quick editing of Sounds

177 Programming the key and velocity range

|iii

179 Editing the Digital Drawbars

183

Writing the Sound sets

183 Writing the Keyboard Sets to the library

185 Writing Keyboard Sets into a Style

187 Writing Keyboard Sets into a SongBook Entry

190 Writing Style Settings, Song Settings and MIDI Song Sounds

Part V 191 Customizing, recording and editing the Styles and Pads

193 Customizing the Styles

193 Setting the Chord Recognition

197 Automatically holding chords and Lower notes (Memory)

199 Recognizing the root note (Bass Inversion)

200 Setting how velocity controls the accompaniment

201 Mixing the grouped Accompaniment Sounds

203 Editing the Style Settings

203 Mixing the individual Accompaniment Sounds

207 Changing the Sounds of the accompaniment parts

210 Setting the Style controls

213 Choosing and mixing the Pads

216

Writing the Style Settings

216 Writing the Style Settings

218

The Chord Sequencer

218 Recording Chord Sequences

221 Playing back Chord Sequences

222 Managing the Chord Sequences

225

Recording the Styles and Pads

225 How are Styles and Pads made?

231 Programming the Style Settings, then recording the musical sequences

232 Accessing the Style/Pad Record mode

234 Listening to the recorded Style

235 Setting the recording parameters

240 Assigning Sounds to the Style Element and Pads

243 Choosing the original key/chord and the note transposition table

246 Recording a Style or Pad in Realtime Record mode

250 Recording a Style or Pad in Step Record

255 Recording a Guitar track

268

Editing the Styles and Pads

268 Editing the track parameters

274 Editing the Chord Table

275 Checking the available Chord Variations

276 Editing the track type, trigger, tension

278 Editing the Style/Pad sequences

290 Editing the MIDI events

294 Copying the Style track settings

iv|

295 Importing and exporting the Styles and Pads

295 Importing a Standard MIDI File to a Chord Variation

298 Importing a Standard MIDI File to a Style

301 Importing a MIDI Groove to a Style or Pad

302 Exporting a Chord Variation

304

Converting a MIDI Song to a Style

304 The Style Creator Bot

306

Writing the new/edited Style or Pad

306 Writing the Styles

308 Writing the Pads

Part VI 309 Customizing, recording and editing the Songs

311 Customizing the Songs

311 How to play a Song – Song Play vs. Sequencer mode

312 Special tracks (Melody, Drum & Bass), Fast Play

314 Mixing the Song Sounds

318 Changing the Sounds of the MIDI Song tracks

319

Writing the Song Play Settings

319 Writing the default Player settings

320

Listening the MIDI Songs in Sequencer mode

320 Loading and listening a MIDI Song

323

Recording MIDI Songs

323 Multitrack Song Recording

330 Step Recording a Song

335 Quick Recording a Backing Sequence Song

343 Step Recording a Backing Sequence Song

348

Editing the MIDI Songs

348 Editing the Song tracks

360 Editing the MIDI events

364 Saving MIDI Songs

364 Saving the MIDI Song

366

Recording MP3 Songs

366 Recording and saving an MP3 Song

370

Creating text ﬁles (lyrics)

370 Creating text ﬁles on a personal computer

Part VII 375 Customizing and editing the Sounds

377 Listening and customizing the Sounds

377 Accessing the Sound mode

378 Listening to individual Sounds

379 Customizing the Sound

382 Editing the Sounds

384 Setting the Sound’s basic parameters

390 Setting the oscillator’s basic parameters

397 Programming the Damper pedal

401 Equalizing the Sound

402 Setting the Drum Kit’s basic parameters

406 Equalizing the Drum Kit

408 Mixing the Drum Kit layers

409 Mixing and retriggering the drum samples

411 Modulating pitch

416 Programming the pitch envelope (Pitch EG)

420 Programming the ﬁlters

423 Modulating the ﬁlters

428 Programming the ﬁlter envelope (Filter EG)

432 Programming amplitude and pan

434 Modulating amplitude

437 Programming the amplitude envelope (Amp EG)

441 Programming the LFO

446 Adding effects to the Sound

449 Sound Edit utilities

451 AMS (Alternate Modulation Sources)

454

Writing the Sounds

454 Writing the edited Sound

456

Making new sounds with Sampling

458 Loading samples and multisamples

462 Editing the samples

466 Editing the loop

469 Getting information on the Sampling memory

471 Writing, exporting or deleting the samples

475 Creating multisamples

479 Writing, exporting or deleting the multisamples

482 Creating new Sounds from multisamples

483 Creating new Drum Kits from percussive samples

484 Assigning the new Sound or Drum Kit to a part/track

485 Creating Audio Groove Slices with Time Slicing

491 Writing the Audio Groove Slices

492 Using the Audio Groove Slices in a Style or Pad

494 Using the Audio Groove Slices in other Sounds

Part VIII 495 Audio and video connections

497 Connecting an external display

500 Connecting the audio outputs and setting the ﬁnal effects

500 Connecting the audio outputs

501 Programming the master effects

vi|

505 Connecting the audio inputs

505 Connecting a line audio device, a microphone, a guitar

507 Setting the routing and mixing the effects

511 Shaping the sound of the lead voice

514 Talking with your audience

516 Using the voice/guitar effects

516 Choosing a Voice/Guitar Preset

521 Using the effects

524 Controlling the Voice/Guitar Processor via MIDI

527

Editing the Voice/Guitar Presets

528 Choosing, enabling and mixing the effects

529 Creating new presets by assembling FX blocks

531 Editing the effects

532 Writing a Voice/Guitar Preset

Part IX 535 Effects for the Sounds, Voice, Guitar

537 The effects

537 Editing the effects

544 Adapting the reverb to the room size

545 Effects list

547

Effect parameters

547 REV (Reverbs)

558 DEL (Delay)

593 MOD (Modulation)

642 DYN (Dynamics)

654 AMP (Ampliﬁer)

694 FILT (EQ and Filters)

722 FREQ (Frequency)

735 MISC (Miscellaneous)

Part X 781 KAOSS Effects

783 Using the KAOSS effects

783 The KAOSS page

785 Choosing the KAOSS Presets

787 KAOSS Preset list

790 Using the KAOSS effects

Part XI 793 Controllers

795 Hand controllers

795 Programming the joystick

797 Programming the keyboard’s velocity and aftertouch

798 Programming the assignable knobs

800 Programming the assignable switches

|vii

803 Foot controllers

803 Programming the damper pedal

804 Programming the assignable pedal/footswitch

812 Calibrating the pedals and setting their polarity

Part XII 813 Global settings and preferences

815 Customizing the user interface

815 Display and control panel preferences

817 Program Change and activity indicators

819 Automatic selection and locking

819 Automatically choosing Styles and Keyboard Sets

821 Locking parameters to prevent changes

825 System preferences

825 Setting the date and time for ﬁle saving

826 Automatic power off

827

Master Transpose and Tuning

827 Master Tuning

828 Master Transpose

833

Scale

833 Main Scale

835 Sub-Scale

839 Quarter Tone Sub-Scale (Scale Presets)

844 Retuning the Style while playing

Part XIII 847 MIDI

849 Connecting MIDI devices

849 Introduction to MIDI

854 Connecting to another device: an overview

855 Connecting Pa700 to a personal computer or tablet

857 Installing the KORG USB-MIDI Driver

859 Connecting Pa700 to an external controller

862 Quick settings using MIDI Presets

869 Synchronizing Tempo with other instruments

871 MIDI data routing, processing and transposing

877 Programming the MIDI channels

881 Control Change messages

884 Controlling the Arranger and Player via MIDI

Part XIV 887 File management

889 Managing ﬁles in the internal memory

889 Copying, renaming and deleting

892 The Local data

893 The Direct data

897 Renaming the User/Direct banks

viii|

898 Managing ﬁles on disk

898 Overview on ﬁle management

903 Loading musical resources and settings

910 Saving musical resources and settings

914 Copying ﬁles and folders

917 Deleting ﬁles and folders

918 Selecting more items at once

920 Exporting playlists

923

Managing media

923 Formatting storage devices

925 Backing up and restoring musical resources

929 Connecting the internal drive to a personal computer

931 Storage device organization

934 Changing the media display preferences

935 Protecting storage devices and ﬁles

937 Care of storage devices

938 If you can’t write, save or copy…

Part XV 939 Appendix

941 Musical Resources

942 Styles

948 Keyboard Set Library

953 Sounds

980 DNC Sounds and controls

983 Drum Kits

985 Multisamples

994 Drum Samples

1011 Pads

1016 Recognized chords

1018 Installing the options

1018 Replacing the clock backup battery

1022 Installing a microSD card

1025 Shortcuts

1028 Troubleshooting

1030 Specs

PART I: LET’S

START!

2| Let’s start!

Introduction |3

01 Introduction

Welcome to Pa700!

Many thanks and congratulations on purchasing the KORG Pa700 Professional

Arranger! We’re sure it’ll give you countless hours of great tones that will

feel as good as they sound.

Slim, powerful and easy to use

With its elegant cabinet, Pa700 provides a professional and stylish look, that

will be much appreciated on stage or at home. The main panel’s logical lay-

out ensures easy access to buttons, knobs and all controls.

Using your Pa700 is easy, thanks to the touch screen and the clean, clearly

laid-out, modern user interface, based on icons reproducing real objects in

the real world.

The real solo and band experience

Pa700 has been designed to assist you equally well during live performance

and songwriting. The detailed natural sounds and ﬁnely crafted styles have

been created by some of the ﬁnest musicians in the music industry. You will

feel you are playing in a real band – no matter what your musical tastes are.

The naturally responsive 61-note keyboard is designed for musicians of all

levels, from beginners to demanding keyboard players, and gives you a com-

pletely authentic feel and full control of expression.

More than just recorded sounds

The huge, realistic collection of classic and contemporary keyboard, band

and orchestral sounds, includes a multi-layer stereo grand piano (with damp-

er and body resonance) and electric pianos; wind instruments, basses and

stunning acoustic and electric guitars; plus a digital drawbars organ with

leakage and key on/off noises.

Sounds have been recorded with the most up-to-date technologies, and

KORG’s own proprietary EDS-X (Enhanced Deﬁnition Synthesis-eXpanded)

sound engine allows for ﬁne detail to be accurately reproduced. The inte-

4| Let’s start!

grated sample and sound editor allow to ﬁll the vast user memory with newly

created or imported sounds.

All these authentic sounds become alive with KORG’s DNC (Deﬁned Nuance

Control) system, allowing the performer to accurately and expressively in-

troduce the most subtle nuances and sound articulation. For example, the

joystick and assignable switches can introduce the growl of a saxophone,

breath elements found in trumpet, clarinet and harmonica, and add authen-

ticity to the pizzicato and bowed sounds of a string section. You will even

hear keys opening when saxophone notes are going up, and closing when

going down!

Listen the natural way

Each Pa700 sound goes through separate EQs and studio-quality effect pro-

cessors, which further reﬁne your sound before coming through high-qual-

ity stereo audio outputs. Effects run from the standard reverbs and delays

through to the more unusual effects (like a Vocoder), realistic amp simu-

lators and carefully recreated vintage effects. The ﬁnal mastering effects

make the sound louder, clearer, fuller, and more polished.

The sound of the super high-ﬁdelity integrated speakers is clear and detailed

even at the lowest volume level, for the pleasure of the late-night rehearsing

musician.

A band always ready to play with you

Ultra-realistic sounds in the Pa700 are always ready to play along with you,

in the style best ﬁtting your music. The high number of included Styles will

satisfy any music genre, but can also be expanded by adding new Styles. You

may also create your Styles, customize the existing ones, or easily convert

MIDI Songs to Styles.

There are eight accompaniment parts which will follow your chords. The

Auto Fill function will automatically choose a Fill for you. You can play in the

simplest way or with the rich harmonization of a competent jazz player. We

have programmed them to sound natural, and give you the feeling of a real

band, ready to play with you at any time.

The convenient Chord Sequencer function records your chord progressions

on-the-ﬂy allowing the users to immediately play along with their own chord

sequence, which is useful not only for practice, but for freeing up a hand

while performing live. Chord Sequences can also be saved in Styles and

SongBook Entries for easy recall.

Introduction |5

Play and write songs

You can play Songs in MID and MP3 formats. With both Songs and Styles,

you can show lyrics for the singer and chords for your fellow guitarist. Any

MIDI Song track can be converted into a readable score. Markers allow for

jumping back to a passage you wish to repeat, for example in a piece you are

studying or rehearsing.

Use the video output to display lyrics or score on an external monitor, mak-

ing it perfect for karaoke or band leading.

You can record a MIDI Song using a full-featured Sequencer, or by using the

Styles to record your live performance. Even easier, just record what you

sing and play (including MP3 Songs) as an MP3 ﬁle, and listen to it anywhere

you like.

Your music book

What is a huge collection of Styles and Songs, without an effective form of

organization? Pa700 has the one best known to musicians: the SongBook,

a music database allowing for fast song retrieving based on name, artist,

genre or tempo. Styles and Songs are easily recalled by the SongBook.

Particularly useful for live use, the SongBook can assign songs from any cus-

tom Set List to dedicated buttons on the control panel. Your entire show will

be under your ﬁngers, with immediate access to any Style, Song and Sounds

needed for your performance.

The SongBook can even be edited from a personal computer through our

free editor. It can also be synchronized with most modern tablets to become

your handy external digital music sheet reader (third-party software need-

ed).

Sing naturally

Connect a dynamic microphone, and adjust parameters such as the EQ,

Compressor, Gate, Reverb and Delay to make the vocals sound smooth and

studio-produced. The Vocal Remover will even let you remove the voice from

MP3 Songs, and let you sing along with them.

Reﬁne your guitar’s pure sound

Guitar FXs let you add pedal and studio effects to a guitar connected to the

dedicated Guitar input on the back of the instrument. We selected some of

the best guitar effects from the KORG collection, to add the sound of all-

tube ampliﬁers, realistic distortion, chorus or delay pedals, and the highest-

quality studio reverbs.

6| Let’s start!

Creative control with the KAOSS effects

KAOSS effects give you creative control on your performance. From subtle

morphing between Variations and Drum Kit types, ﬁne mixing between ac-

companiment Sounds, live reshaping of ongoing rhythms, to the most radi-

cal note-crunching effects of DJ heritage, to tape delay and arpeggios, you

can add ‘liquid mixing’ to any Style or MIDI Song with the aid of easy-to-use

computer-assisted composition features. Break the boundaries of preset

music!

Open to the world, ready to the future

The use of standard ﬁle formats, like MID or MP3 for songs, or WAV and AIFF

for samples, opens up a world of possibilities when exchanging ﬁles. The USB

ports allow for connecting Pa700 to any external storage device, personal

computer, smartphone, tablet or external controller without the need for a

dedicated MIDI interface. However, you can connect Pa700 to any existing

MIDI musical instrument, thanks to its complete set of programmable MIDI

ports.

Oriental edition

The Pa700 ORIENTAL version contains all the functionality of the standard

Pa700, and adds a mini-keyboard on the left side, which can be used to cus-

tomize quarter tone scales and quickly access scale presets. In addition to

the standard content, Pa700 ORIENTAL also contains Sounds and Styles that

are speciﬁc to Middle Eastern music genres. Ouds, bouzuks, kanouns, vari-

ous percussion instruments, and many more sounds are joined by dozens of

extra Styles that are suitable for traditional and modern music.

Introduction |7

Before starting to play…

What’s in the box

After you get your Pa700, please check that all the following items are in-

cluded in the package. If any of the following items is missing, please contact

your KORG dealer immediately.

▪ Pa700

▪ Music stand

▪ AC power cable

▪ Quick Guide

What you can download

Point your web browser to our web site (www.korg.com), to download video

manuals, a MIDI driver, up-to-date software and manuals.

What you can add

After having purchased Pa700, you might want to add one of the sturdy ped-

als and footswitches from the KORG catalogue.

Contacts

Your KORG dealers not only deliver this instrument, but also carry hardware

and software accessories, as well as useful information on how to use these

products. Ask them for any help you should eventually need.

Our international web site is

www.korg.com. A list of all KORG Distributors

can be found in our dedicated web page (www.korg.com/us/corporate/dis-

tributors/).

8| Let’s start!

Making a safety copy of your data

In case you like to customize your musical resources, we suggest you use the

Media > Utility > Full Resource Backup command to make frequent backup

copies into compact and easy-to-store archives.

Also, you can use the

Media > Save All command to save individual ﬁles that

you can separately reload one by one.

Restoring a safety copy

To restore a backup, use the Media > Utility > Resource Restore command.

If you saved your data with the

Media > Save All command, use the Media >

Load operations to reload them.

Restoring the original factory data

In case you want to restore the original factory data, use the Media > Utility

> Factory Restore command.

Warning: This operation will overwrite all the Factory, Local and User data!

Loading the Operating System

Your Pa700 can be constantly updated as new versions of the operating sys-

tem are released by KORG. You can download the most up-to-date operating

system from our web site. Please, read the instructions supplied with the

operating system on the site.

You can see which version of the operating systems is installed in your

Pa700 by going to the

Media > Utility page.

Warning: Do not install an OS other than the ofﬁcial OS supplied by KORG for the

Pa700. Trying to install an OS created for different models or downloaded from unof-

ﬁcial web sites may cause data loss and permanent damage to the instrument. KORG

is not responsible for any damage caused by improper installation of the OS.

Introduction |9

Overview of the instrument

The following pages show the functional areas of the front and real panels.

Front panel

The front panel is where you can ﬁnd the instrument’s controls and the loud-

speakers.

Keyboard

Headphones

Left speaker Right speaker

Scale keypad

(Pa700 ORIENTAL only)

Speakers

Control the output volume of the integrated speakers with the MASTER

VOLUME knob.

The speakers are automatically deactivated when connecting the head-

phones. You can also manually deactivate them by deselecting the

Speakers

checkbox in the Global > Audio & Video > MP3/Speakers page.

Headphones connector

Connect a pair of headphones to this output. You can use headphones with

an impedance of 16-200 Ohms (50 Ohms suggested).

Keyboard

Use the keyboard to play notes and chords. Depending on the status of the

SPLIT indicator, the keyboard may be joint or split between different sounds.

10| Let’s start!

Control panel

The control panel is the part of the front panel where you can ﬁnd the instru-

ment’s controls.

DisplayKnobs

Styles area

Player area

Sounds/Set List area

Navigation area

Metronome and Tempo area

Display

Use this touchscreen display to interact with the instrument. There are con-

trols around the display, to help you select the various elements.

Introduction |11

Navigation area

Use these controls to go through the menus, pages and parameters, and

search for the various musical resources (see page 23).

Sounds (and Set Lists) area

Sounds are what you can play on the keyboard (see page 3). Here you

can choose Sound sets saved as Keyboard Sets in a dedicated library. Or you

can choose Set Lists from the SongBook, that are collections of Sound sets

with an associated Style or Song.

Styles (and Pads) area

Styles supply the automatic accompaniment with a virtual band (see page

51). You can play Sounds (selected via the Keyboard Sets) and Pads along

with the automatic accompaniment.

12| Let’s start!

Player area

Songs can be played back by the onboard Player (see page 68). You can

play Sounds (selected via the Keyboard Sets) and Pads along with the Songs.

Metronome and Tempo area

Use these controls to practice with the metronome and control the Tempo of

the metronome, the Styles and the Songs (see page 47).

Scale keypad (Pa700 ORIENTAL only)

Use the mini-keyboard to modify the Quarter Tone Scale, and the four Scale

Preset buttons to select one of the preset scales.

Introduction |13

Rear panel

The rear panel is where you can ﬁnd the various connections (see page

15).

Holes for the music stand

Connectors Power connector

Music stand

A music stand is included with your Pa700. Insert its legs into the two dedi-

cated holes on the rear panel.

Power connector

Use this socket to plug in the supplied IEC power cable.

Audio

inputs

Audio

outputs

PedalsUSB

ports

HDMI

Video out

Battery and

microSD slot

MIDI

ports

RCA Video out

(models up to SN# 39999)

Battery and microSD slot

This opening contains the clock battery and the microSD card slot.

14| Let’s start!

HDMI/RCA Video out

Connect Pa700 to a TV or video monitor, to read lyrics and chords, or mir- ror

the internal display, on a bigger monitor. Models up to SN# 39999 include

an RCA Video connector, while models starting from SN# 40000 include an

HDMI connector.

USB ports

Use these connectors to connect your Pa700 to a personal computer or a

tablet (DEVICE) or to connect an USB memory device, like an USB pendrive,

or another musical instrument to be used as a controller (HOST).

Pedal connectors

Use the DAMPER connector to connect a damper pedal, and the ASSIGNABLE

connector to connect either a continuous pedal or footswitch.

MIDI ports

Use these ports to connect Pa700 to external controllers (master keyboard,

MIDI guitar, wind controller, MIDI accordion, MIDI pedalboard…), to a series of

expanders, or to a computer with a MIDI interface.

Audio outputs

Use these connectors to send the audio signal (sound) to a mixer, a PA sys-

tem, a set of powered monitors, or your hi-ﬁ system.

Audio inputs

Use these connectors to connect a microphone, a guitar or another musi-

cal instrument. You can also connect the audio output of a media player, a

smartphone or a tablet.

Setting up the pedals, audio connections, music stand |15

02 Setting up the pedals,

audio connections, music

stand

Connecting the pedals

Connecting the damper pedal

Use the PEDAL > DAMPER connector to connect a damper pedal, like the

(optional) KORG PS1, PS3 or DS1H. The DS1H pedal supports all the nuances

of half-pedaling on some acoustic piano sounds. You can experiment how it

works by gradually pressing it down, and gradually releasing it, while playing

the Concert Grand Sound.

If you need to change the pedal’s polarity and calibrate it, go to the

Global >

Controllers > Foot page.

Connecting a pedal or footswitch

Use the PEDAL > ASSIGNABLE connector to connect a footswitch pedal like

the (optional) KORG PS1, PS3 or DS1H, or a continuous pedal like the (op-

tional) KORG XVP-10 Volume pedal, EXP-2 Expression pedal, or a VOX V860

Volume pedal.

By default, this connector will work as an Expression pedal. If you want to

change the assigned function, or you need to change the pedal’s polarity

and calibrate it, go to the

Global > Controllers > Foot page.

What if the pedals do not behave correctly?

If needed, you might want to recalibrate the pedals. Or you might need to

reverse the pedal’s polarity. See how to do in Calibrating the pedal and set-

ting its polarity on page 799.

16| Let’s start!

Turning the integrated speakers on and off

The integrated speakers are automatically deactivated when inserting a jack

into the PHONES connector. They can also be deactivated from the display.

Turn the speakers off (or back on)

1 Go to the Global > Audio & Video > MP3/Speakers page.

2 Use the Speakers On/Off checkbox to turn the integrated speakers on or off.

3 Press the EXIT button to return to the previous page.

Connecting the headphones

Connect a pair of headphones to the PHONES connector. You can use head-

phones with an impedance of 16-200 Ohms (50 Ohms suggested). When con-

necting the headphones, the integrated speakers are automatically deacti-

vated.

Adjust the output level with the

MASTER VOLUME knob.

Setting up the pedals, audio connections, music stand |17

Connecting the audio outputs

Use the AUDIO OUT connectors to send the audio output to a mixer, a set of

powered monitors, or an audio ampliﬁcation system. These are unbalanced

(TS) 6.35 mm, or 1/4”, jack connectors. (Please note that unbalanced con-

nectors and cables are also called mono).

Pa700’s AUDIO OUT

(2 x 6.35 mm / 1/4” mono jacks)

Mixer’s/Ampliﬁcation’s LINE IN

(2 x 6.35 mm / 1/4” mono jacks)

When using a home audio ampliﬁer, connect the other end of the cable to the

CD, LINE IN or TAPE/AUX input of your audio system. Don’t use the PHONO

inputs of your audio system! You will need a pair of jack-to-RCA cables to

connect to this type of ampliﬁer.

Pa700’s AUDIO OUT

(2 x 6.35 mm / 1/4” mono jacks)

Home ampliﬁcation systems’s LINE/AUX IN

(2 x RCA connectors)

Use either the

LEFT or RIGHT connector to output a mono signal.

Adjust the output level with the

MASTER VOLUME knob.

If they are not deactivated, the integrated speakers will work in parallel with

the main audio outputs.

18| Let’s start!

Installing the music stand

A music stand comes with your Pa700. Insert its legs into the two dedicated

holes on the rear panel, as shown in the following illustration. Please note

that the latest 0,5 cm (0.2”) require more strength to ﬁt. Push harder, until

you feel a ‘click’ and the legs are completely inserted.

Powering up |19

03 Powering up

Turning the instrument on

Connecting the power cable

Plug the supplied power cable into the AC IN socket on the back of the in-

strument, and the cable plug into a wall power socket.

When the cable is connected, the instrument is in standby.

Warning: When the instrument is in standby, it is still connected to the power line.

Accessing the inside of the instrument can be dangerous. To completely disconnect

the instrument from the power, unplug the power plug from the power socket on the

wall.

Turning the power on or off

Turn the instrument on

▪ Press the POWER (

) button to turn the instrument on (that is, ‘exit from

standby’). After you turn the instrument on, wait for the welcome screen to

disappear, then the main page of the Style Play mode will be shown in the

display.

Turn the instrument off (standby)

▪ Keep the POWER (

) button pressed for about one second, then release

it when the screen appears dimmed. The shutdown procedure will begin and

last for a few seconds. Please do not disconnect the power cable during this

procedure.

20| Let’s start!

Calibrating the touch screen

It may happen (for example, after loading a new operating system) that the

Color TouchView™ display has to be recalibrated, to make pointing more ac-

curate.

Warning: Do not use sharp objects, or you will damage your screen!

Keep the GLOBAL button pressed, until the Touch Panel Calibration page

appears.

2 First touch exactly inside the set of arrows in the upper left corner of the

display.

3 The arrows will subsequently move to the other corners of the display. Touch

exactly inside them.

4 Finally, touch Save to conﬁrm the new calibration.

▪ In case you want to exit and cancel the calibration, press the EXIT button

before completing the procedure.

Powering up |21

Adjusting the display brightness

Brightness can be adjusted to match the ambient’s light.

▪ Keep the MENU button pressed, and use the VALUE control to adjust the

display brightness.

22| Let’s start!

Listening to the Demo Songs

You can listen to some songs we prepared, to let you understand what this

instrument can do.

Access the Demo mode

▪ Press the DEMO buttons together.

Listen to all the Demo Songs

▪ After accessing the Demo mode, do not press any button. All the Demo

Songs will be played back.

Choose a single Demo Song

▪ Touch one of the options on the display (Songs, Sounds, Styles), then choose

one of the Demo Songs.

Exit from the Demo mode

▪ Press any of the MODE buttons.

Interface basics |23

04 Interface basics

The main page

The Main page of the Style Play mode appears when turning the instrument

on. You can return to this page by pressing the EXIT button while in Style

Play mode, or the ST YLE PLAY button when in a different mode.

Title bar Page menu

Selected Style

Selected Song

Selected

Keyboard Set

Right-hand/

Upper Sounds

Left-hand/

Lower Sound

Keyboard Set pane

Tabs recalling

other panes

24| Let’s start!

The user interface in detail

Display and user interface elements

Color TouchView graphical user interface

Pa700 features our exclusive easy-to-use TouchView™ graphic interface,

based on a touch panel LCD screen. By touching items on the LCD screen,

you can select pages, tabs, and parameters, and set parameter values via

onscreen menus and buttons.

Operative modes

The pages of Pa700 are grouped in various operating modes. Each mode is

accessed by pressing the corresponding button in the MODE section on the

control panel.

Each operating mode is marked with a different color code, that helps you

understand where you are at ﬁrst sight.

Two special modes (Global and Media) overlap the current operating mode,

that remains active in the background.

The Record mode can be accessed from the Style Play, Sequencer and Sound

modes, and allows for creating new Styles, Pads, Songs or Samples.

Edit menus and sections

Pages are grouped into sections, to be selected by touching the correspond-

ing buttons in the edit menu that opens up when you press the MENU button.

Interface basics |25

Pages and tabs

Parameters are grouped into separate pages, to be selected by touching the

corresponding tabs on the lower area of the display.

Overlapping windows

Several windows, like the Style Select or Sound Select, the Global, the Media,

or the Lyrics, overlap the current window. After you select an item in the win-

dow, or press the EXIT button, the window closes, and the underlying page

is shown again. (The following example is the Keyboard Set Select window).

Dialogs

Similar to selecting windows, dialogs overlap the underlaying page. Touch

one of the button on the display to give Pa700 an answer, and the dialog will

close.

26| Let’s start!

Page menus

Touch the down-pointing arrow icon in the upper right corner of each page,

and a menu with commands relevant to the current page will appear.

Touch one of the available commands to select it. (Or, touch anywhere else

on the screen to make it disappear, with no command selected).

Pop-up menus

When a down-pointing arrow appears next to a parameter name, touch the

arrow to open the pop-up menu and choose an option from there (by touch-

ing the option, or scrolling the list with the VALUE control). As an alternative,

touch the parameter name and use the VALUE control to scroll the list of

options.

If you want to make the menu disappear without selecting anything, touch

anywhere else on the display.

Interface basics |27

Lists and scrollbars

Files on storage media, as well as other kinds of data, are shown as lists. Use

the scrollbar to scroll the list content. Also, you can use the VALUE control

to scroll.

When the

Name label is selected on top of a list, keep the SHIFT button

pressed while touching one of the arrows on the scrollbar, to jump to the

next or previous alphabetic section.

Scrollbar

List

Selected

item

Selected

label

28| Let’s start!

Parameters

Checkboxes

This kind of parameters are on/off switches. Touch them to change their

status.

On Off

Editable names

When the Text Edit (

) button appears next to a name, touch it to open the

Text Edit window and edit the name.

The virtual keyboard works exactly as a personal computer’s keyboard.

Some of the symbols are context-sensitive, and only appear when they can

actually be used.

Numeric ﬁelds

When a numeric value can be edited, touch it a second time to open the

Numeric Keypad.

The virtual numeric keypad works exactly as the numeric keypad of a per-

sonal computer.

Interface basics |29

As an alternative, touch a numeric ﬁeld and keep it held. Then move your

ﬁngers up (or right) to increase the value, or move it down (or left) to de-

crease it.

This also includes the Tempo numeric ﬁeld in various pages.

Icons

Various icons help identifying the type of a ﬁle, a folder, a Song. For example:

Icon Meaning

Folder

File of Style bank

MID ﬁle

Selected, highlighted items

Any operation on parameters, data or list entries, is executed on highlighted

items. First touch the parameter or item to select it, then execute the opera-

tion. Most parameters can be edited with the VALUE control.

Non-available, dimmed parameters

When a parameter or command is not currently available, it is shown dimmed

on the display. This means it cannot be selected, but may become available

when a different option is selected.

30| Let’s start!

Virtual controllers

Virtual sliders

To change a virtual slider’s position, touch it and keep it held, then slide up or

down to change its position. As an alternative, touch it, then use the VALUE

control to change its position.

Virtual knobs

To change a virtual knob’s position, touch it and keep it held, then slide your

ﬁnger up (or right) to rotate it clockwise, or slide it down (or left) to rotate

the knob counter-clockwise. As an alternative, touch it, then use the VALUE

control to change its position.

Virtual drawbars

To change a virtual drawbar’s position, touch it and keep it held, then slide

it up or down to change its position. As an alternative, touch it, then use the

VALUE control to change its position.

Shortcuts

Some commands or pages can be recalled by keeping the SHIFT but-

ton pressed, and pressing other buttons or elements in the display. See

Shortcuts on page 1025 for a list of the available shortcuts.

Interface basics |31

Navigating through the pages

Going to a page

Through this manual, page addresses are shown as in the following example:

Style Play > Mixer/Tuning > EQ Gain

Mode Edit section Page

Here is how the above works:

1 Press the STYLE PL AY button to go to the Style Play mode. When the in-

strument turns on, it is already in this mode (this the Main page of the Style

Play mode).

2 Press the MENU button on the control panel to see the edit menu of the

Style Play mode.

32| Let’s start!

3 Touch the Mixer/Tuning button in the edit menu to choose the Mixer/Tuning

section.

The selected edit section is always shown in the title bar:

Mode Edit section

4 If the page is not yet shown in the display, touch the EQ Gain tab to choose

the EQ Gain page.

5 Edit the parameters.

Interface basics |33

6 Try a different page in the same edit section. Touch the Volume/Pan tab to

go to the Volume/Pan page, and edit the parameters.

7 Press the EXIT button to return to the main page of the Style Play mode.

If you were in Song Play mode, pressing EXIT would have returned to the

main page of the Song Play mode.

34| Let’s start!

Selecting the musical resources

Opening a Select window

When you press one of the KEYBOARD SET LIBRARY buttons, or touch the

name of a Keyboard Set, Style, Sound, Pad or Voice/Guitar Preset in the

display, the corresponding Select window appears. For example, this is the

Sound Select window:

Pages Previous/Next

Pages

Type

Groups

Sounds

You can always exit from this window by pressing the EXIT button.

In Pa700,

Select windows stay always open until you press the EXIT button.

If you prefer they automatically close after a few seconds, or after you select

something, turn the Display Hold parameter off (see Display Hold on page

44).

|35

PART II:

PLAYING AND

SINGING

36| Playing and singing

Playing the Sounds |37

05 Playing the Sounds

Sounds and Keyboard Sets

Sounds are the basic element of what you hear from your instrument.

Pa700 contains Sounds from any instrumental family (pianos, strings,

synthesizers…). A set of Sounds playing together on the keyboard can be

memorized as a Keyboard Set.

To automatically recall Sounds and settings, you usually select a Keyboard

Set. A Keyboard Set is a single memory location that can remember the

Keyboard Sounds and all their transposition, effects, etc…

Keyboard Set

Upper 1 Sound

Upper 2 Sound

Upper 3 Sound

Lower Sound

Upper

Lower

Keyboard Sets are individually contained in the Keyboard Set Library

(KEYBOARD SET LIBRARY buttons). They are also associated to a Style

or SongBook Entry; a group of four Keyboard Sets is recalled each time

you select a Style or SongBook Entry (KEYBOARD SET buttons under the

display).

Keyboard Set

Style SongBook Entry Keyboard Set Library

When choosing a Style, the Keyboard Set automatically recalled depends

on the status of the STYLE TO KBD SET button (see page 55). When

choosing a SongBook Entry, Keyboard Set #1 is always recalled.

38| Playing and singing

Choosing your preferred set of Sounds

Choosing the ‘My Setting’ Keyboard Set

▪

Press the MY SETTING button to choose your preferred Sounds.

This is a special Keyboard Set, that is automatically selected when the instru-

ment is turned on.

The My Setting Keyboard Set

My Setting is a special Keyboard Set, where you can save your preferred

settings for things like Keyboard Sounds, Effects, Assignable Switches, a

Style to be selected on startup. This Keyboard Set is automatically chosen

when the instrument is turned on, and will automatically conﬁgure the in-

strument for you.

Writing the My Setting Keyboard Set

Keep the MY SETTING button pressed for about one second, until the Write

dialog appears, then touch the OK button to conﬁrm saving to memory.

Playing the Sounds |39

Choosing the Keyboard Sets

Choosing a Keyboard Set from the library

Keyboard Sets are contained in a dedicated library, that you can access from

the control panel or from the display.

Open the Keyboard Set Select window from the control panel

1 Be sure the SET LIST indicator is turned off.

2 Press one of the buttons of the KEYBOARD SET LIBRARY section. You will

notice that each of them has an

instrument family name printed over it.

Open the Keyboard Set Select window from the display

▪ While in the Main page, touch the name of the selected Keyboard Set.

40| Playing and singing

As soon as you press the button or touch the display, the Keyboard Set

Select window appears.

Select a Keyboard Set

1 To choose one of the available types of Keyboard Sets, touch the buttons

at the top of the window.

Type of Kbd Set Meaning

Factor y Keyboard Sets included at the factory, that cannot be modiﬁed.

Local Some models could include Local-type Keyboard Sets, that are Factory

data customized for a particular country.

User Locations where you can load new Keyboard Sets from an external de-

vice, or save new or edited Keyboard Sets.

Direct User Keyboard Sets accessed directly from a storage device, without

ﬁrst having to load them.

The type of Keyboard Set will appear under its name.

Label Meaning

Keyboard Set’s container

Kbd Set Library Keyboard Set from the Library (Factory/Local/User/Direct)

Style Kbd1…4 Keyboard Set from the selected Style

SBook [song name] Kbd1…4 Keyboard Set from the selected SongBook Entry

Bank type

Fty Factor y

Usr Internal User

Dir Direct User

Playing the Sounds |41

2 In case you want to choose a different group of Keyboard Sets, either press

a different button in the KEYBOARD SET LIBRARY section, or touch one of

the tabs on the sides of the Keyboard Set Library Select window.

3 To choose one of the available pages in the selected Keyboard Set group, ei-

ther touch one of the P1…P6 tabs at the bottom of the window, or repeatedly

press the button of the selected group of Keyboard Sets in the KEYBOARD

SET LIBRARY section of the control panel.

42| Playing and singing

4 Touch the name of the Keyboard Set you want to choose.

5 If you want to close the Keyboard Set Library Select window (and it does

not close by itself), press the EXIT button. (When a window does not close

by itself, it means the Display Hold is turned on. See Display Hold on page

44).

In the end, you will see the name of the selected Keyboard Set in the dedi-

cated area of the Main page. The Sounds assigned to the keyboard (shown in

the right half of the display) will change.

Playing the Sounds |43

Choosing a Keyboard Set from a Style or a SongBook Entry

There are four matched Keyboard Sets in each Style or SongBook Entry,

ﬁne-tuned for the containing Style or SongBook Entry. You can choose them

from the control panel or from the display.

Choose a Keyboard Set from the control panel

▪ Press one of the buttons in the KEYBOARD SET section under the display.

Select a Keyboard Set from the display

1 While in the Main page, be sure the Kbd Set pane is selected. If it isn’t, touch

the Kbd Set tab to select it.

2 Touch one of the Keyboard Set names in the display to select it.

You will see the

name of the selected Keyboard Set highlighted in the dedi-

cated area of the Main page. The Sounds assigned to the keyboard (shown in

the right half of the display) will change.

Digital Drawbars

You will notice that some Keyboard Sets in the Organ group of the library

contain the ‘DWB’ abbreviation in their name. These Keyboard Sets con-

tain Digital Drawbars Sounds, that are simulations of electro-mechanical

organs of the past.

44| Playing and singing

Display Hold

You may prefer to leave a Select window open after you have chosen a

Sound, Keyboard Set or Style, to continue trying other elements in that

window. Or, you may prefer it automatically closes after you have com-

pleted your choice. This is determined by the Display Hold parameter.

Turn the Display Hold parameter on or off

1 Go to the Global > General Controls > Interface page.

2 Turn the Display Hold parameter on or off:

▪ Select the Display Hold On checkbox to turn it on. Sound, Keyboard

Set, Style, Pad or Voice/Guitar Preset Select windows will remain open

on the display, until you press the EXIT button.

▪ Deselect the Display Hold On checkbox to turn it off. Sound, Keyboard

Set, Style, Pad or Voice/Guitar Preset Select windows will automati-

cally close after you choose an element.

3 Press the EXIT button to return to the previous page.

Factory, User, Direct

Across the pages, you will ﬁnd words like Factory, User, Direct. These

terms refer to the type of protection from writing, or how much you can

customize them.

▪ Factory (and Local) (Keyboard Sets, Sounds, Styles, Pads, Voice

and Guitar Presets) are elements that you cannot normally over-

write or modify. They are meant to warrant that musical resources

(like SongBook Entries) will always ﬁnd linked musical resources (like

Styles).

▪ User (Keyboard Sets, Sounds, Styles, Pads, Voice and Guitar Presets)

are elements that you can write, modify or overwrite. User Style banks

(the side tabs) can be freely renamed to create your own categories.

▪ Direct (Keyboard Sets, Styles, Pads, SongBook Entries, Voice and

Guitar Presets) are User elements that you can directly access from

a storage device.

Playing the Sounds |45

Playing and controlling the Sounds

Playing the keyboard

The instrument’s keyboard is like a piano keyboard. Just play it!

Using the pedals

Pedals do different things depending on how they are programmed. The

Damper pedal is just that – a damper pedal, sustaining notes until you re-

lease the pedal. The Assignable pedal (or footswitch) may change depending

on how it is programmed in the Global > Controllers > Foot page.

Using the assignable knobs

The assignable knobs can control different things, like volume levels of the

different Sounds, the organ drawbars or some assignable functions. They

can be programmed in the Global > Controllers > Knobs page.

Using the assignable switches

Depending on the chosen Keyboard Set and the assigned DNC functions,

these controllers can do different things. The switches can either ‘book’

a function, that will be triggered while playing, or enable (or disable) it by

pressing the button to ‘toggle’ it.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return

steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

46| Playing and singing

Using the joystick

Moving the joystick left of right usually changes the Sound’s pitch. Moving

it forward usually trigger modulation, but this depends on the selected

Sounds. With the electro-mechanical organs, pushing the joystick forward

changes the rotary speaker’s speed. What it does when pulled back depends

on the selected Sounds. Just experiment!

Tempo and Metronome |47

06 Tempo and Metronome

Tempo

Setting the Tempo value

While an optimal Tempo value is saved with each Style or Song, you can

freely adjust it at your will. This will also set the Tempo for the Metronome.

Adjust the Tempo value from the control panel

▪ Use the TEMPO controls to adjust the Tempo value (or the speed of the MP3

Song).

As an alternative, for bigger Tempo changes, keep the

SHIFT button pressed

and use the VALUE control.

Adjust the Tempo value from the display

1 If it is not highlighted, touch the Tempo value in the display.

2 Use the VALUE control to adjust the Tempo value.

As an alternative, touch the

Tempo ﬁeld again to open the numeric keypad,

and enter the Tempo value as a number.

Reset the Tempo value

▪ Press both TEMPO buttons at the same time.

The Tempo value memorized in the Style or the MIDI Song will be recalled.

With MP3 Songs, the original speed of the Song will be restored.

48| Playing and singing

Visual Tempo count while the Style is not playing

While the accompaniment is not playing, the current Tempo is still beaten by

the indicator of the START/STOP button.

Tapping the Tempo value

In Style Play mode, you can ‘tap’ (beat) the Tempo value.

▪ While the accompaniment is not playing, beat the Tempo on the TAP TEMPO

button. Beat as many times as indicated by the Meter numerator (for ex-

ample, three times in 3/4).

At the end, the accompaniment will start playing with the ‘tapped’ Tempo.

Locking the Tempo value

You can prevent the Tempo value from automatically changing when choos-

ing a different Style or MIDI Song. MP3 Songs are not affected by this ‘lock’,

and will always play at the recorded Tempo.

You are free to continue setting the Tempo manually, including beating the

Style’s Tempo with the Tap Tempo function. Please note that there is a sepa-

rate Tempo for the Style Play and Song Play modes.

Prevent the Tempo value from changing

▪ Press the TEMPO > LOCK ( ) button to light up its indicator. The Tempo

value will not change when choosing a different Style or Song. You can still

manually change the Tempo value (as seen above).

Let the Style or Song change the Tempo value

▪ Press the TEMPO > LOCK (

) button again to turn its indicator off. When

choosing a different Style or Song, the memorized Tempo value will be re-

called.

Tempo Change events found in the Style pattern or the MIDI Song may still

change the Tempo.

Tempo and Metronome |49

Metronome

Turning the metronome on and off

Turn the metronome on

▪ Press the METRONOME (

) button to turn its indicator on. The Metronome

window will open, and the metronome will start playing, beating the current

Tempo.

Turn the metronome off

▪ Press the METRONOME (

) button to turn its indicator off. The metronome

will stop.

Setting the meter, accent and volume

You can mark the beginning of the measure, by setting the meter and accent.

Open the Metronome window

▪ Press the METRONOME (

) button.

Set the meter (time signature)

▪ Choose the meter (time signature) by using the Meter parameter.

50| Playing and singing

Turn the accent on or off

▪ Choose the accent by using the Accent parameter.

Accent Meaning

Off No accent.

On The ﬁrst beat of each measure is accented.

Bell A bell sound is heard at the ﬁrst beat of each measure.

Adjust the metronome volume

▪ Adjust the metronome volume by using the Volume parameter.

Exit the Metronome window

▪ Press the METRONOME (

) button to exit the window and stop the metro-

nome.

▪ Press the EXIT button to exit the window without stopping the metronome.

Then, press the

METRONOME (

) button to stop the metronome.

Playing the Styles |51

07 Playing the Styles

Choosing the Styles

Choosing a Style

You can choose a Style from the control panel or from the display.

Go to the Style Play mode

▪ When turning the instrument on, you are already in Style Play mode. If you

are not, press the STYLE PLAY button in the control panel.

▪ If you are not in the Main page of the Style Play mode, press the EXIT button

to return there.

Open the Style Select window from the control panel

▪ Press the STYLE SELECT button.

Open the Style Select window from the display

▪ Touch the name of the Style in the display.

52| Playing and singing

Choose a Style

1 Browse through the Styles in the Style Select window.

▪ To choose one of the available types of Styles, touch the buttons at the top

of the window.

Type of Styles Meaning

Factor y Styles included at the factory, that cannot be modiﬁed.

Local Some models could include Local-type Styles, that are Factory data

customized for a particular country.

User Locations where you can load new Styles from an external device, or

save new or edited Styles. The name of these banks can be edited in

order to create custom banks.

Direct Styles accessed directly from a storage device, without ﬁrst having to

load them.

The type of Style will appear under its name.

Label Meaning

Fty Factor y

Usr Internal User

Dir Direct User

Playing the Styles |53

▪ To choose a different group of Styles, touch one of the tabs on the sides of

the window.

▪ To choose one of the available pages in the selected Style group, touch one

of the P1…P6 tabs at the bottom of the window.

As an alternative, press again the same

STYLE button.

2 Touch the name of the Style you want to choose.

3 If you want to close the Style Select window (and it does not close by itself),

press the EXIT button. (When a window does not close by itself, it means the

Display Hold is turned on. See Display Hold on page 44).

In the end, you will see the name of the selected Style in the dedicated area

of the main screen.

54| Playing and singing

What is a Style?

Styles are collections of musical patterns in a particular music genre – or

‘musical style’ – offering an eight-parts automatic accompaniment, sim-

ilar to an eight-member band playing with you. Chords you play on the

keyboard will be recognized and will adapt the patterns to suit the music.

Different sections can be selected to let you create a complete song in

realtime.

Accompaniment parts

Accompaniment parts are like the members of a band. With Pa700 you get

ﬁve pitched instrument players (for example: guitar, piano, strings, synthe-

sizers), a bass player, a percussion player, and a drum player.

Chords and patterns

Accompaniment patterns are repeating musical sequences (like a bass

groove, a guitar riff or a piano chord progression) that are dynamically

adapted to match the recognized chords. They may vary depending on the

type of chord (like C Major, C minor, or 7th).

Sections

Songs are made of different sections (Intro, Verse 1, Bridge, Chorus 1 and

so on). There are different patterns for each song section, and they are

collected under the Style Element buttons (INTRO, VARIATION, AUTO FILL,

BREAK, ENDING). While the name of the Intro, Fill, Break and Ending are

the same as the name of the corresponding song section, Variations can

be used either for Verse, Bridge, Chorus or Special sections. The arrange-

ment becomes denser the higher the element numbers go.

Intro

Verse Fill Chorus Break / Verse Fill Chorus Ending

Intro 1 Fill 1 Fill 2

Ending 3

Break

Variation 1 Variation 2 Variation 3 Variation 4

Auto Fill

Pa700 can automatically play a matching ﬁll before each Variation. When

the AUTO FILL indicator is on, when going from a Variation to a different

one a Fill is automatically selected.

Playing the Styles |55

Letting Styles choose the Keyboard Sounds

Choosing a Style might automatically choose Keyboard Sounds. This de-

pends on the STYLE TO KBD SET indicator (KBD SET = Keyboard Set).

STYLE TO KBD

SET indicator

Meaning

Off Styles do not select a Keyboard Set.

On When choosing a Style, Keyboard Set 1 is automatically selected.

Blinking Choosing a Variation automatically recalls the corresponding Keyboard

Set (1 – 4) inside the Style. For example, choose Variation 2, and Keyboard

Set 2 will be automatically recalled; choose Variation 3, and Keyboard

Set 3 will be automatically recalled.

Programming the Style to Keyboard Set function

You can program how the STYLE TO KBD SET button works.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style 1 page.

2 Use the Style to Kbd Set Mode menu to choose how the button works.

Style to Kbd Set

Mode

Meaning

Next Measure When you choose a Style, the new Keyboard Set will not be automati-

cally selected until the ﬁrst beat of the next measure is reached.

Immediate When you choose a Style, the new Keyboard Set will be immediately

selected.

3 Press the EXIT button to return to the previous page.

56| Playing and singing

Playing a manual accompaniment (Bass &

Lower Backing)

You can play a simple manual accompaniment, where the chord you play

with your left hand is split between the Bass (chord root) and Lower (the

remaining notes) Sounds.

Playing the manual accompaniment

Be sure the Bass & Lower Backing function is active. When it is, the Backing

icon appears in the Lower Sound’s area.

If the icon does not appear, see below how to activate it.

2 Be sure the SPLIT indicator is turned on, and the automatic accompaniment

is not running.

3 Play a chord sequence with your left hand.

Notice how the chord root is played by the Bass Sound, while the remaining

chord notes are played by the Lower Sound (even if it is muted).

Turning the Bass & Lower Backing function on or off

1 Go to the Global > Mode Preferences > Style 2 page.

2 Select or deselect the Bass & Lower Backing checkbox to activate or deac-

tivate the function.

Playing the Styles |57

Playing the automatic accompaniment

Starting and stopping the accompaniment

You can manually start and stop the accompaniment.

Start the accompaniment

1 Press the START/STOP button.

2 Play some chords with your left hand, while playing a melody with your right

hand.

On the

START/STOP button, a red indicator will mark the ﬁrst beat, while a

green indicator will mark the other beats of the measure.

While the accompaniment is playing, please note the various indicators in

the display.

Recognized chord

Beat indicator

Tempo value

Pattern length in measures (‘L’)

or remaining measures (‘M’)

Stop the accompaniment

▪ Press again the START/STOP button.

Automatic start and stop

You can let the accompaniment automatically start or stop by just playing on

the keyboard, without having to press the START/STOP button. This leaves

your hands free for playing.

Make the accompaniment start automatically (Synchro Start)

1 Press the SYNCHRO > START button to light up its indicator.

2 Play a chord, and see how the accompaniment will start automatically.

3 Stop the accompaniment by pressing the START/STOP button.

58| Playing and singing

Make the accompaniment start and stop automatically (Synchro Start and

Stop)

1 Be sure the SYNCHRO > START indicator is turned on.

2 Press the SYNCHRO > STOP button, to light up both the START and STOP

indicators.

3 Play a chord to start the accompaniment, and keep the keys pressed.

4 Lift your hands from the keyboard, and see how the accompaniment will

automatically stop.

Make the accompaniment stop automatically (Synchro Stop)

1 Press the SYNCHRO > START button again to turn it off, and leave only the

SYNCHRO > STOP indicator lightened.

2 Press the START/STOP button to start the accompaniment, then play a

chord and keep the keys pressed.

3 Lift your hands from the keyboard, and see how the accompaniment will

automatically stop.

Deactivate the Synchro Start/Stop functions

▪ Press the SYNCHRO > START and/or SYNCHRO > STOP buttons to turn both

indicators off.

Choosing an Intro

An Intro is the introduction of the song. To choose the right Intro for your

song, please note that Intro 1 plays a short sequence with a prerecorded

chord sequence and melody, while Intro 2 plays on the chord recognized on

the keyboard. Intro 3 is usually a one-bar Count In.

Style Element Suggested use

Intro 1 Intro with prerecorded chord sequence and melody.

Intro 2 Intro with chord recognized on the keyboard.

Intro 3/Count In One-measure Count In.

1 Press one of the VARIATION buttons on the control panel to choose the

Variation you want to use for the ﬁrst verse. The button’s indicator will be

on, meaning the Variation is waiting to start.

2 Press one of the INTRO buttons on the control panel to ‘book’ one of the

Intro sections. The button’s indicator will be on, meaning the Intro is waiting

Playing the Styles |59

to start. The button’s indicator on the selected VARIATION button will be

ﬂashing, meaning it is booked after the Intro.

3 Start the accompaniment.

Choosing a Variation to play a Verse or Chorus

Variations can be used for verses, choruses, bridges or specials. To choose

the right Variation for your verse, please note that Variations are of growing

‘density’ and ‘loudness’. This means that Variation 1 will be the ‘sparsest’

and the ‘quietest’ of the arrangements, while Variation 4 will be the ‘dens-

est’ and ‘loudest’ of them. Usually, you will use Variation 1 for the ﬁrst verse,

Variation 4 for the last chorus.

Style Element Suggested use

Variation 1 Verse, Bridge, Chorus or Special (lowest density)

Variation 2 Verse, Bridge, Chorus or Special (medium-low density)

Variation 3 Verse, Bridge, Chorus or Special (medium-high density)

Variation 4 Verse, Bridge, Chorus or Special (highest density)

▪ Wait for the Intro to end playing, and then the selected Variation will start

playing. The selected VARIATION indicator will stay lit.

▪ As an alternative, you can start the Variation before the end of the Intro.

While the Intro is playing, press one of the VARIATION buttons. The Variation

will start at the next measure.

Choosing a Fill

Fills are phrases that can be used for smoothly bridging between different

sections of a song. Their density is similar to that of the same numbered

Variations.

Style Element Suggested use

Fill 1 Fill (lowest density)

Fill 2 Fill (medium-low density)

Fill 3 Fill (medium-high density)

Fill 4 Fill (highest density)

60| Playing and singing

Automatically selecting a Fill

If you like, you can let Pa700 automatically select a Fill when you choose a

Variation.

Turn the Auto Fill function on

▪ Press the AUTO FILL button to light up its indicator.

Automatically play a Fill, then a Variation

▪ Press one of the VARIATION buttons. A Fill will be automatically selected.

Turn the Auto Fill function off

▪ When you no longer need this function, press the AUTO FILL button again

to turn the indicator off.

Programming the Auto Fill

You can program how the Auto Fill works.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style 1 page.

Playing the Styles |61

2 Use the Auto Fill menu to choose the Auto Fill mode.

Auto Fill Mode Meaning

Current Variation The Fill with the same number of the previous Variation will be auto-

matically selected. For example, if you are going from Variation 2 to

Variation 3, Fill 2 will be automatically selected.

Target Variation The Fill with the same number of the target Variation will be auto-

matically selected. For example, if you are going from Variation 2 to

Variation 3, Fill 3 will be automatically selected.

Smart Auto Fill tries to make the transition smoother. For example, if you

are going from Variation 1 to Variation 4, Fill 3 will be automatically

selected.

3 Press the EXIT button to return to the previous page.

Manually choosing a Fill

You can directly choose a Fill.

1 When you want to choose a Fill, press together the AUTO FILL button and

the VARIATION button whose number corresponds to the Fill you want to

select.

For example, if you want to choose Fill #3, press together the

AUTO FILL and

the VARIATION 3 buttons.

2 If you want, choose a different Variation before the end of the Fill.

Choosing a Break

A break introduces a short pause in your song, creating a suspension and a

sense of surprise.

Style Element Suggested use

Break One-measure break

▪ When the Variation is nearing its end, press the BREAK button to play a

short musical break.

62| Playing and singing

Choosing an Ending

To choose the right Ending for your song, please note that Ending 1 plays a

sequence with a prerecorded chord sequence and melody, while Ending 2

plays on the chord recognized on the keyboard.

Style Element Suggested use

Ending 1 Ending with prerecorded chord sequence and melody. If selected near the

end of the measure, it will only start at its end.

Ending 2 Ending with the chord recognized on the keyboard. If selected near the

end of the measure, it will only start at its end.

Ending 3 Two-measure Ending, starting immediately, without waiting for the mea-

sure to end.

▪ When it is time to end the song, press one of the ENDING buttons on the

control panel to ‘book’ one of the Ending sections.

After the Ending, the Style will automatically stop.

Looping sections

If you feel that an Intro, a Break or an Ending should last longer than the

recorded pattern, you can put it in a cycling loop.

Set a Style Element to loop

▪ Press twice the button of the Intro, Break or Ending to put in loop.

The indicator on the button will start ﬂashing, and the pattern will start re-

peating.

Exit from the loop

Do one of the following:

▪ Press the same Style Element button again, or

▪ Select a different Style Element.

Keep a Style Element looping while its button is pressed

▪ Keep an Intro, Break or Ending button pressed to loop it. Release it when you

want the Style Element to exit from the loop.

▪ If the Auto Fill function is turned on, keep a Variation button pressed to loop

the corresponding Fill. Release it when you want the Fill to exit from the loop,

and the Variation to start playing.

Playing the Styles |63

Fade In/Out

You can start and/or stop your playing with a smooth fade-in or fade-out.

Fade in

▪ While the accompaniment is not playing, press the FADE IN/OUT button to

light up its indicator and start the accompaniment with a smooth fade-in.

The accompaniment will start. When the maximum volume is reached, the

indicator will turn off.

Fade out

▪ When the song is approaching its end, press the FADE IN/OUT button to stop

the accompaniment with a smooth fade-out.

Setting the Fade time

▪ Go to Global > General Controls > Basic to set the Fade In and Fade Out time.

64| Playing and singing

Adjusting the accompaniment volume

Balancing the accompaniment against the keyboard

While playing, you may want to balance the Keyboard Sounds against the

Accompaniment Sounds, to make the soloist stand out of the background or

go back in the mix.

Balance the Accompaniment against the Keyboard Sounds

▪ While the accompaniment is playing, use the BALANCE knob to balance be-

tween the Accompaniment (Style) and the Keyboard (Keyboard Set) Sounds.

Adjusting the volume level of the Accompaniment Sounds only

If you wish, you can change how the BALANCE knob works, and transform it

into a volume control for the Accompaniment Sounds only.

Program the BALANCE knob

1 Go to the Global > Controllers > Hand page.

2 In the Balance Control section, touch the Accompaniment/Song Volume

option to choose it. Now, the BALANCE knob will work as the Style (and

Song) volume only.

To go back to the default way of working, choose the

Accompaniment/Song

– Keyboard Balance option.

3 Press the EXIT button to close the Global page and return to the main screen.

Adjust the volume level of the Accompaniment Sounds

▪ While the accompaniment is playing, use the BALANCE knob to adjust the

level of the Accompaniment Sounds.

The volume of the Keyboard Sounds will not change.

Playing the Styles |65

Making the accompaniment sparser

You can easily turn off any of the accompaniment groups by using the Play/

Mute buttons in the Main > Volume pane. For example, you may want to mute

the ACCOMP (Accompaniment) group to play with the backing of the drums

and bass alone.

If you only want to listen to Drums and Percussions, press the ACCOMP. but-

ton on the control panel to turn its indicator off. Press it again to reactivate

all the accompaniment sounds.

66| Playing and singing

Manually playing the Bass line

You can play the Bass Sound with your left hand, freeing it from the auto-

matic accompaniment.

Turn the Manual Bass function on

▪ Press the MANUAL BASS button to turn its indicator on.

The automatic accompaniment will stop playing (except for the Drum and

Percussion Sounds), and you can manually play the Bass line on the Lower

part of the keyboard.

When in Manual Bass mode, the volume level of the Bass Sound will be auto-

matically increased.

Turn the Manual Bass function off

▪ Press the MANUAL BASS button to turn its indicator off.

When turning the Manual Bass mode off, the volume level of the Bass Sound

will be automatically set back to the original value.

Playing the Pads |67

08 Playing the Pads

Choosing the Pad sets

Choose the Pads by selecting a Style

▪ Choose a Style. The four Pads it contains will be selected.

Choose the Pads by selecting a SongBook Entry

▪ Choose a SongBook Entry. The four Pads it contains will be selected.

What is a Pad?

Pads are single-track hits or sequences, that you can instantly play with

the dedicated PADS buttons. They can either play single sounds or short,

cycling sequences that play in time with the Style or the MIDI Song. In Style

Play mode, sequences are transposed according to the recognized chords.

68| Playing and singing

Playing the Pads

Starting and stopping the Pads

You can play up to four Pads at the same time, by using the dedicated PADS

buttons on the control panel.

Play the Pads

▪ Press one or more PADS buttons to trigger the Pads.

▪ Play some chords, and transpose any Pad of the Sequence type.

Stop a single Pad

▪ Press a PADS button to stop the corresponding Pad.

Stop all Pads at the same time

▪ Press the PADS > STOP button to stop all the Pads.

Stop all the Pads and the Style at the same time

▪ Press the START/STOP button, or one of the ENDING buttons.

Stop all the Pads and start a Song

▪ Press the PLAY/STOP button to start a Song. All the Pads will stop playing.

Pads of the One Shot type automatically stop at the end of the sequence.

Pads of the Loop type continue cycling until you don’t press the

PADS >

STOP button.

Changing Tempo

In Style Play mode, Pads are synchronized to the Style’s Tempo. Change the

Style’s Tempo, and the Pads’ Tempo will change accordingly.

Song Play mode, Pads are synchronized to the latest MIDI Song’s Tempo.

Since Pads cannot be synchronized with MP3 Songs, the Tempo of the latest

MIDI Song will be considered when playing MP3 Songs.

Playing the Songs |69

09 Playing the Songs

Choosing the Songs

Choosing a Song

Switch to the Song Play mode

Press the SONG PLAY button.

Title bar Page menu

Selected Song

Selected Style

Selected

Keyboard Set

Right-hand/

Upper Sounds

Left-hand/

Lower Sound

Keyboard Set

pane

Tabs recalling

other panes

Open the Song Select window from the control panel

▪ Press the SELECT button in the PLAYER section.

70| Playing and singing

Open the Song Select window from the display

▪ Touch the name of the Song on the display.

Browse through the Songs

While in the Song Select window, browse through the ﬁles to ﬁnd the Song

you are looking for.

Device

Current path

▪ Choose a storage device by using the Device menu.

If the Song is contained in an external USB device, connect the device to one

of the

USB HOST port.

Device Type

DISK Internal drive

SD Optional internal microSD

USB Optional device connected to the USB HOST port

The actual name (label) of the device will appear between square brackets.

▪ Scroll the list by using the scrollbar. As an alternative, use the VALUE con-

trol (if the focus is on the Device selector, touch any item in the list before

using the dial).

▪ Open the selected folder/directory by touching the Open button.

▪ Go to the upper folder/directory by touching the Close button.

▪ Jump to the folder/directory, containing the Song currently assigned to the

Player, by touching the Locate button.

Playing the Songs |71

Jump to a different alphabetical section

1 If it is not selected, touch the Name label on top of the list.

2 Keep the SHIFT button pressed and touch one of the arrows of the scrollbar

to jump to the previous or next alphabetical section.

Change the list sorting

▪ Reorder the items according to a different criterion (Type, Name, Size, Date)

by touching the corresponding label on top of the list.

▪ By touching the label again, the order of the ﬁles will switch between as-

cending and descending.

Select the Song

1 Touch the name of the Song you want to choose to highlight it.

2 Touch the Select button. If a Song is already playing, it will stop, and the new

Song will be ready to play. You will return to the Main page of the Song Play

mode.

When a Song has been selected, it will appear in the

Song area.

▪ MIDI Song selected:

Meter

(Time Signature)

Current measure

Tempo

▪ MP3 Song selected:

Total time

Elapsed time

Tempo variation

72| Playing and singing

What is a MIDI Song

MIDI Songs’ jargon name is Standard MIDI File, often abbreviated as SMF.

The ﬁlename extension is .mid. The Standard MIDI File is the industry stan-

dard format for songs, and is used by Pa700 as the native ﬁle format when

playing and recording MIDI Songs.

The MIDI Karaoke File (.kar) is an extension of the SMF format, and is also

supported. It always contains lyrics.

MID ﬁle

on disk

KAR ﬁle

on disk

MIDI

Song

What is an MP3 Song

MP3 Songs’ real name is even funnier: MPEG Layer-3, usually abbreviated

as MP3. The ﬁlename extension is .mp3. This is a compressed audio ﬁle,

used to store recorded songs in the smallest amount of space, without

losing too much audio quality. At the highest quality, MP3 ﬁles are usu-

ally impossible to distinguish from a non-compressed audio ﬁle. Pa700 can

play and record MP3 ﬁles.

MP3 ﬁle

on disk

MP3

Song

Choosing a Song by ID number

Each Song in a folder on a device has a progressive ID number assigned (up

to 9,999). When the ID numbers are shown in the Song Select window, you

can enter this number to select the corresponding Song.

To help you ﬁnd a Song by ID number, you can export a song list using the

Export Song List command in the Song Select window, and print it.

Playing the Songs |73

Showing the ID number

1 Open the Song Select window.

2 Touch the page menu icon to open the menu, then touch the Show Song

Number item to show (or hide) the ID numbers.

The Song’s

ID number will appear before each Song’s name in the Song

Select window.

Choosing a Song by number

1 Open the numeric keypad.

▪ While in the Song Select window, press the SELECT button.

▪ While in any page of the Song Play (or Style Play) mode, press the SELECT

button twice.

2 Enter the ID number (included in the 0001~9999 range) corresponding to

the Song to be selected, then touch the

OK button to conﬁrm. The Song will

be selected.

If no Song corresponds to the number entered, a message will warn that the

Song is not available.

Viewing the Song’s ﬁlename extension

While you can recognize the type of ﬁles from the self-explanatory icons

next to their names, you may prefer to also see the ﬁlename extension.

Make the ﬁlename extension appear

1 Open the Song Select window.

2 Touch the page menu icon, then touch the Show Song Extension menu item

to make the checkmark appear next to it.

The ﬁlename extension will appear at the end of each ﬁle.

Make the ﬁlename extension disappear

▪ Deselect the Show Song Extension menu item.

74 | Playing and singing

Playing a Song

Starting, stopping and controlling the Player

Pa700 features a set of Player controls in the PLAYER section.

Start the Player

▪ Press the PLAY/STOP (

) button.

While the Song is playing, the indicators in the display will show the current

position.

Fast Forward the Song

▪ Press the FAST FORWARD ( ) button once to jump to the next measure

(MIDI Song) or to the next second (MP3 Song).

▪ Keep the FAST FORWARD (

) button pressed to scroll the Song continu-

ously. Release it when you have reached the desired location.

Rewind the Song

▪ Press the REWIND (

) button once to jump to the previous measure (MIDI

Song) or to the previous second (MP3 Song).

▪ Keep the REWIND (

) button pressed to scroll the Song continuously.

Release it when you have reached the desired location.

Pause and resume playback

▪ Press the PLAY/STOP (

) button to stop the Song at the current position.

The button’s indicator will turn off.

▪ Press the PLAY/STOP (

) button again to resume playback. The indica-

tor will turn on again.

Stop the Player and return to the beginning of the Song

▪ Press the HOME (

) button to stop the Player and move to the beginning of

the Song. The button’s indicator will turn off.

Playing the Songs |75

Fade In/Out

You can start and/or stop a Song with a smooth fade-in or fade-out.

Fade in

▪ While the Song is not playing, press the FADE IN/OUT button to light up its

indicator and start with a smooth fade-in.

The Song will start. When the maximum volume is reached, the indicator will

turn off.

Fade out

▪ When the Song is approaching its end, press the FADE IN/OUT button to end

it with a smooth fade-out.

Setting the Fade time

▪ Go to Global > General Controls > Basic to set the Fade In and Fade Out time.

76| Playing and singing

Playing along with the Song

Playing the keyboard

Play along with the Song

▪ While the Song is playing, play on the keyboard.

Choose different Sounds from the Keyboard Set Library

▪ Choose a different Keyboard Set from the KEYBOARD SET LIBRARY sec-

tion of the control panel, or by touching the KBD area in the Main page.

Choose different Sounds from the Style or SongBook Entry

▪ The latest Style or SongBook Entry you selected contain up to four Keyboard

Set. Choose a different Keyboard Set from the KEYBOARD SET section un-

der the display, or from the Kbd Set pane of the Main page.

Muting the melody

Mute the melody if you are going to play or sing live. This will avoid overlap-

ping between your playing or singing and the internal Sounds.

1 Go to the Song Play > Volume pane.

2 Use the TRACK SELECT button to see the Sound you want to mute.

3 Touch the Play (

) icon in the mixer channel corresponding to the Sound

you want to mute. The Mute ( ) icon will appear.

Saving the Play/Mute status

To make the Play/Mute status of the Song Sounds permanent for all the sub-

sequent MIDI Songs, write it to memory.

▪ Go to the Global > Mode Preferences > Song & Sequencer page, and choose

the Write Song Play Track & FX command from the page menu.

Playing the Songs |77

Muting a Song’s Sound with an assignable switch or footswitch

You can mute the melody of a Song by assigning the Song Melody Mute

function to an assignable switch or footswitch. This function mutes a track

deﬁned as the melody track. If the Song has the melody part assigned to the

same track number, you can mute or unmute it by using the assigned switch

or footswitch.

▪ To choose a Song Melody track, go to Global > Mode Preferences > Song &

Sequencer page.

▪ To program the assignable switch, go to the Style Play or Song Play > Pads/

Switches > Switches page.

▪ To program the footswitch, go to the Global > Controllers > Foot page.

Please note that programming an assignable switch will tie the page scroll

command to a particular Keyboard Set or SongBook Entry. On the contrary,

programming the footswitch will offer a global option, that will not change

when choosing a different Keyboard Set or SongBook Entry.

Transpose the Songs to play in an easier key

You may want to play on the keyboard in an easier key, and transpose a Song

in the same key, without transposing the keyboard.

Activate transposition on the Players only

1 Go to the Global > Tuning > Transpose Control page.

2 Activate Transpose on the Player, and deactivate it on the Style and Keyboard

tracks.

Transpose the Songs

▪ Use the TRANSPOSE buttons on the control panel.

78| Playing and singing

Adjusting the volume levels

Balancing the Songs against the keyboard

While playing, you may want to balance the Keyboard Sounds against the

Songs, to make the soloist stand out of the background or go back in the mix.

Balance the Songs against the keyboard

▪ While the Songs are playing, use the BALANCE knob to balance between the

Songs and the Keyboard (Keyboard Set) Sounds.

Setting the general volume of the MP3 Songs

You can balance the volume of MP3 Songs against that of MIDI Songs and

Styles.

1 Go to the Global > Audio & Video > MP3/Speakers page.

2 Use the MP3 Player > Volume parameter to set the maximum volume of the

MP3 Player.

MP3 Volume Meaning

0 … 100 Max volume in percentage

Playing the Songs |79

Playing all the Songs in a folder

You can play all the Songs in a folder with a single command.

Open the Song Select window from the control panel

▪ Press the SELECT button.

Open the Song Select window from the display

▪ Touch the name of the Song in the display.

Select the folder containing the Songs to play

1 Browse through the ﬁles, until you ﬁnd the folder containing the Songs to

play, and open it.

2 Touch the Play All button to pre-select all the Songs in the folder.

A Jukebox ﬁle will be automatically generated and assigned to the Player.

The order in which the Songs will be played back will depend on how they

appear in the

Song Select window.

Play the list of Songs

3 Start and stop the Songs by pressing the PLAY/STOP (

) button.

4 Use the standard PLAYER controls to play, pause, stop, fast forward and

rewind the Songs.

80| Playing and singing

Move through the Songs

▪ Jump to the next Song in the list by keeping the SHIFT button pressed and

pressing the FAST FORWARD (

) button.

▪ Jump to the previous Song by keeping the SHIFT button pressed and press-

ing the REWIND (

) button.

▪ Press the HOME (

) button to go back to the beginning of the current Song.

Save the list as a Jukebox ﬁle

▪ If you want to save the list, go to the Song Play > Jukebox Editor edit page

and save it as a JBX ﬁle. (See below for more information).

Playing the Songs |81

Playing a Jukebox list

Creating and editing a Jukebox list

Create a Jukebox list

1 Go to the Song Play > Jukebox Editor page.

2 If a list of Songs already exists (because you selected an existing Jukebox

ﬁle, or used the Song Select > Play All function), touch the Del All button to

delete all from the list.

3 Touch the Add or Insert button to open the Song Select window.

▪ Add will append a Song at the end of the list.

▪ Insert will insert a Song between the selected item and the previous one.

4 While in the Song Select window, browse the MID, KAR and MP3 ﬁles in the

folder, and select the Songs to be added.

If you like, you can choose another Jukebox (JBX) ﬁle, and add all its Songs

to the Jukebox list you are editing.

5 Conﬁrm by touching the OK button.

6 Continue adding Songs to the list.

Please note that you can only add Songs from the same folder, and that a

Jukebox list can only include up to 127 Songs.

Edit the Jukebox list

▪ Use the Move > Down (

) and Move > Up ( ) buttons on the display to

move the selected Song to a different position in the list.

▪ Touch the Delete button to delete the selected Song from the list.

82| Playing and singing

▪ Touch the Del All button to delete all Songs from the list.

Save the Jukebox list

1 Touch the Save button to open the Save Jukebox File dialog.

Please note that you can only save the JBX ﬁle in the same folder containing

the Song ﬁles included in the list. The Jukebox ﬁle and Songs will have to be

in the same folder.

2 While in the Save Jukebox File dialog, touch the Text Edit (

) button if

you want to assign the Jukebox ﬁle a new name.

If you are saving a new list, the NEWNAME.JBX name is automatically as-

signed, and you can edit it.

Otherwise, the existing name is proposed. If the existing name is not edited,

the old Jukebox ﬁle will be overwritten.

3 When done, touch the OK button to conﬁrm.

Playing a Jukebox list

Instead of single Songs, you can assign a Jukebox ﬁle to the Player.

Open the Song Select window from the control panel

▪ Press the SELECT button in the PLAYER section.

Open the Song Select window from the display

▪ Touch the name of the Song in the display.

Select the Jukebox ﬁle

▪ Browse through the ﬁles, until you ﬁnd the Jukebox (.jbx) ﬁle, and open it.

You can quickly locate Jukebox ﬁles by their icon (

The selected Jukebox list contains pointers to Songs residing in the same

folder as the Jukebox ﬁle. Please do not move nor delete the Songs, nor dis-

connect any connected USB storage device containing the Songs.

Playing the Songs |83

Play the Jukebox list

1 While in the Main page of the Song Play mode, touch the Jukebox tab to

show the Jukebox pane and see the list of Songs contained inside the se-

lected Jukebox list.

2 Touch the name of the Song you want to start from, then touch the Select

button to assign it to the Player.

3 Start and stop the Songs by pressing the PLAY/STOP (

) button.

All the Songs in the list will continue playing one after the other, until you

don’t stop them.

4 Use the standard PLAYER controls to play, pause, stop, fast forward and

rewind the Songs.

Move through the Songs

▪ Touch a different Song in the list, then touch the Select button to jump to

that Song.

▪ Jump to the next Song in the list by keeping the SHIFT button pressed and

pressing the FAST FORWARD (

) button.

▪ Jump to the previous Song by keeping the SHIFT button pressed and press-

ing the REWIND (

) button.

▪ Press the HOME (

) button to go back to the beginning of the current Song.

What if a Song in the list is missing?

If a Song in the list is missing, the Player will stop and a warning message

will appear in the display. Go to the Song Play > Jukebox pane, and select a

different Song.

84| Playing and singing

10 Lyrics, chords, markers

and score

Reading the lyrics and chords contained in

a Song

Where are lyrics and chords contained?

▪

Inside the MIDI Songs. Lyrics and chords may be contained inside MIDI

Songs as MIDI events.

▪ Inside the MP3 Songs. Lyrics may be contained into MP3 Songs as

ID3/Lyrics3 and ID3/Frames tags.

▪ In TXT ﬁles associated to MIDI or MP3 Songs. Lyrics and chords may

be contained in a TXT ﬁle having the same name of a MIDI Song or an

MP3 Song, and residing in the same folder. You can even load a text ﬁle

while playing a Song or a Style.

▪ In CDG ﬁles associated to MP3 Songs. Lyrics and chords may be con-

tained in a CDG ﬁle having the same name of an MP3 Song, and resid-

ing in the same folder.

▪ In TXT ﬁles linked to a SongBook Entry. A TXT ﬁle can be linked to a

SongBook Entry.

Lyrics, chords, markers and score |85

Reading lyrics and chords

Open the Lyrics page

▪ Press the LYRI CS button on the control panel. The Lyrics page will appear,

and you will see the lyrics assigned to the selected Player.

Read the lyrics

▪ While the Song is playing, lyrics contained in a MIDI or MP3 Song will auto-

matically scroll in the display, in time with the music. Lyrics at the current

position will be highlighted.

Exit from the Lyrics page

▪ When done with the lyrics, press either the LYRI CS or the EXIT button.

Changing the text size

You can choose between two text sizes.

▪ Use the

AA button in the Lyrics page to change the font size.

Showing chords

You can show or hide the chord symbols that might be included as Lyrics

events in the MIDI Songs.

▪ Be sure the Chord button appears pressed in the Lyrics page to see the

chord symbols. Chord symbols (if any) will appear above the lyrics, in time

with the music.

▪ Be sure the Chord button doesn’t appear pressed in the Lyrics page to hide

the chord symbols.

86| Playing and singing

Chord transposition

When transposing the Song, chord symbols will usually be automatically

transposed. However, be sure Transpose is activated on the Player.

Activate chord transposition on the Player

1 Go to the Global > Tuning > Transpose Control page.

2 Activate Transpose on the Player.

You might want to transpose the chords data in a MIDI Song, by using the

Transpose edit function in Sequencer mode.

Lyrics, chords, markers and score |87

Reading the lyrics and chords loaded as a

text ﬁle

If the text has been linked or loaded as a text (TXT) ﬁle, it will not scroll au-

tomatically while the Song is playing back. You can manually scroll it in one

of the following ways.

Scroll the text on the display

▪ Scroll the text by using the VALUE control or the vertical scrollbar.

Scroll the text with a footswitch

1 Go to the Global > Controllers > Foot page, and assign the Text Page Next

commands to the footswitch.

2 Return to the Lyrics page, and scroll the text by using the programmed foot-

switch.

Scroll the text with a switch

1 Go to the Style Play or Song Play > Pads/Switches > Switch page, and assign

the Text Page Next commands to one of the assignable switches.

2 Write the changes to a Keyboard Set.

3 Return to the Lyrics page, and scroll the text by using the programmed as-

signable switch.

Please note that programming an assignable switch will tie the page scroll

command to a particular Keyboard Set or SongBook Entry, dedicated to a

particular Song based on an external text ﬁle. On the contrary, programming

the footswitch will offer a global option, that will not change when choosing

a different Keyboard Set or SongBook Entry.

Loading a text ﬁle with the same name of the Song

Lyrics and chords may be contained in a TXT ﬁle having the same name of

a MIDI Song or an MP3 Song. For example, if a ‘MySong.txt’ ﬁle exists in the

same folder as the ‘MySong.mid’ ﬁle or ‘MySong.mp3’ ﬁle, loading this latter

will load the TXT Lyrics ﬁle as well.

See

Creating text ﬁles (lyrics) on page 359 for more information on how

to create correctly formatted text ﬁles.

88| Playing and singing

Linking text ﬁles to SongBook Entries

Lyrics and chords may be contained in a TXT ﬁle linked to a SongBook Entry.

The same formatting rules described above apply.

On-the-ﬂy loading of Lyrics and chords from an external text ﬁle

When no lyrics or chords are contained or associated to the Style or Song,

you can load a text (TXT) ﬁle after having chosen a Style or Song.

Load a TXT ﬁle on-the-ﬂy

An empty Lyrics page with a message will appear when you press the LYRIC S

button in one of the following cases:

▪ You are in Style Play mode.

▪ The Song does not contain lyrics and chords.

▪ No external ﬁle is associated to the Style or the Song.

In this case, do the following:

▪ Keep the SHIFT button pressed and touch the center of the display. The ﬁle

selector will appear, and will let you choose a TXT ﬁle to be loaded.

Lyrics, chords, markers and score |89

Reading the lyrics and chords loaded as a

CDG ﬁle

CDGs are graphic ﬁles that change in time with the associated MP3 Song.

Read the lyrics and chords in the CDG ﬁle

▪ Be sure the CDG button appears pressed in the Lyrics page.

Loading a CDG ﬁle with the same name of the Song

Lyrics and chords may be contained into MP3 Songs as a CDG graphic ﬁle

with the same name of an MP3 Song (MP3+G Song format). For example, if a

“MySong.cdg” ﬁle exists in the same folder as the “MySong.mp3” ﬁle, load-

ing this latter will load the CDG Lyrics ﬁle as well.

90| Playing and singing

Moving through a Song with the markers

Using the markers

Song Marker events that might be contained in a MID ﬁle (that is, a MIDI

Song) can be read by Pa700. They are immediately shown in the Markers

page.

Open the Markers page

▪ While in Song Play mode, press the MARKER button.

Jump to a marker

1 If you like, start the Player by pressing the PLAY/STOP (

) button.

You can jump to a marker even if the Player is not running.

2 When you want to jump to a marker, touch it in the markers list. At the begin-

ning of the next measure, the Song will jump to the saved position.

Make the markers list scroll automatically

Select the Auto Scroll parameter, to let the markers list scroll automatically,

and always let the current marker be shown in the display.

Loop the current section

You can use the markers to repeat a passage you need practicing.

1 Start the Player.

2 When you reach the beginning of the point you need practicing, touch the

Add button to create a ﬁrst marker.

Lyrics, chords, markers and score |91

Usually, you will create the marker one or two measures before the actual

starting point.

3 When you reach the end of the point you need practicing, touch the Add but-

ton to create a second marker.

4 Select the ﬁrst marker, then select the Loop checkbox to repeat (loop) be-

tween the ﬁrst and second marker.

5 If you no longer need them, delete the markers. In any case, they will be

automatically removed when choosing a different Song or turning off the

instrument.

Creating and editing markers

You can add your own marker points to a MIDI Song, then save them into the

MID ﬁle.

Open the Markers page

▪ While in Song Play mode, press the MARKER buttons.

Add markers

1 Start the Player by pressing the PLAY/STOP (

) button.

Markers can be added even while the Player is not running, but adding them

while the Song is running is easier.

2 When you reach the position you want to save as a marker, touch the Add

button.

▪ If you touch Add within the early beats of the measure, the beginning of the

current measure is saved as a marker.

▪ If you touch Add within the last beat of the measure, the beginning of the

following measure is saved as a marker.

92| Playing and singing

3 Do the same for any following marker.

4 Stop the Player by pressing the PLAY/STOP (

) button.

Delete markers

1 Touch the marker to be deleted in the markers list.

2 Touch the Delete button to delete the selected marker.

3 Save the markers (as described below).

Edit the name and position of a marker

1 Touch the marker to be edited in the markers list.

2 Touch the Edit button to start editing the marker. The Edit Marker window

will appear.

3 While in the Edit Marker window, edit the position and name of the selected

marker.

4 Save the markers (as described below).

Save the markers

▪ Touch the Save Mk button to save all the markers into the MID ﬁle.

▪ If you are not in the Markers page, choose the Save Song Marker command

from the page menu.

Lyrics, chords, markers and score |93

Reading the music score

Creating and reading the music score

Create the music score

1 Choose a MIDI Song to play with the selected Player.

2 Press the SCORE button to open the Score page. A score of the selected

track will be generated.

Depending on the content of the track, either notes or chords are shown in

the staff.

Song name Tempo

Selected Player

Chord symbols

Current staff

Lyrics

Current

position

Selected trackView options Clef

Choose a different track

▪ Choose a different track to be seen as music score by using the Trk menu.

Usually, the melody is track #4.

Choose the clef

▪ Choose a different clef by using the Clef menu.

Usually, the correct clef is automatically assigned by the score generator.

94| Playing and singing

Clef Meaning

Treble Standard Treble clef.

Treble+8 Treble clef with transposition one octave upper.

Treble-8 Treble clef with transposition one octave lower.

Bass Standard Bass clef.

Bass-8 Bass clef with transposition one octave lower.

Exit from the Score page

▪ When done with the score, press either the SCORE or the EXIT button.

Intelligent display of the score

Score generation is smart enough to ‘clean-up’ a track with automatic

quantization, syncopation, key and clef generation. Even non-quantized

tracks will be shown in a very readable way.

If a Key Signature event is found at the beginning of the Song (position

‘001.01.000’ of the Song’s Master track), the correct key signature is also

shown.

Following the Song

You can always see where you are in the score by watching at these indica-

tors:

▪ A red vertical line, showing indicating the current staff in play.

▪ A red triangle, showing the current position.

Lyrics, chords, markers and score |95

Showing lyrics, chords, note names

Read the Lyrics

▪ Touch the Lyrics button to make the lyrics (if available) appear or disappear.

Read the chords

▪ Touch the Chord button to make the chord symbols (if available) appear or

disappear.

Read the note names

▪ Touch the Note button to make the note name appear or disappear next to

each note.

Choosing the chords and note names language

Chords and note names are shown either according to the English (A, B, C…)

or Italian (Do, Re, Mi…) system, depending on the selected language.

▪ Go to the Global > General Controls > Interface page, and use the Language

parameter to change the language.

Muting the selected track

Mute the track if you are going to play or sing it live. This will avoid overlap-

ping between your playing or singing and the internal Sounds.

▪ Touch the Play/Mute (

/ ) button to listen or mute the selected

track.

Saving the Play/Mute status

To make the Play/Mute status of the Song tracks permanent for all the sub-

sequent MIDI Songs, write it to memory.

▪ Go to the Global > Mode Preferences > Song & Sequencer page, and choose

the Write Song Play Track & FX command from the page menu.

Music score and transposition

The Score page shows the actual MIDI notes. Using the TRANSPOSE buttons

or transposing the selected track does not affect the music score.

96| Playing and singing

11 Searching for ﬁles and

other items

Using the Search function

Searching

Depending on the page, you can search for different types of data. For ex-

ample, while in the Media pages you can only search for ﬁles, while in Style

Play or Song Play mode you can search for several different types of data

(Styles, Songs, Lyrics…).

The Search function is also available while the Keyboard Set, Sound, Style,

Pad, Voice/Guitar Preset, Sample, Multisample, Drum Sample or File Selector

is open. It is not available in all pages, since sometimes there are no relevant

data to search for a particular page (for example, the Global pages).

Access the Search window

▪ Press the SEARCH (

) button to open the Search window.

Searching for ﬁles and other items |97

Choose the type of data to look for

▪ If needed, use the Type menu to choose the type of item you are looking for.

Choose a storage device and folder

When searching for Files, Songs or Lyrics, you can choose a storage device

and folder where to focus your search. When one of the above types are

chosen, the Browse button will be activated.

1 Touch the Browse button to open the File Selector.

2 Use the Device menu to choose the storage device containing the ﬁle you

are looking for. Use the Open and Close buttons to open and close the se-

lected folders. Use the Root button to return to the top level of the device.

3 When you see the folder containing the ﬁle you are looking for, touch it, then

touch the Select button to select it and close the File Selector. The name of

the selected folder will be shown in the title bar of the Search window.

98| Playing and singing

Type the name and start searching

1 Type the name of the item you are looking for. There is no difference be-

tween upper and lower cases (“LOVE” is the same as “Love” or “love”).

2 When ﬁnished entering the name, touch the Search button. After a while, the

list of items found will start showing on the display.

The time needed to complete a search depends on the type and size of the

device(s) and the number of items.

Only one search at a time can be carried on. Please wait for the current

search to be completed, or touch the

Stop button to stop the current search

and do a new one.

Stop the Search operation

▪ After you touch the Search button, its name changes to Stop. Touch this

button to stop the ongoing search before all results are found. The name of

the button will revert to Search. Any item found will remain on the display,

until you do a new search.

Searching for ﬁles and other items |99

Exit from the Search window without stopping the Search operation

▪ Touch the Cancel button in the display, or press the EXIT or SEARCH (

)

button on the control panel, to exit from the Search window and carry on

other operations. The search will continue in the background.

Ask info for an item

▪ Touch one of the items found to select it, then touch the Info button to see

relevant information.

Touch OK to close the Info dialog.

Restart the Search operation

▪ Touch the Search (

) icon to return to the main Search page and start

searching again.

Select the item found

1 If you have found what you were looking for, touch its name and then touch

the Select command.

2 If you want to close the Search window without selecting anything, press the

EXIT button. (When a window does not close by itself, it means the Display

Hold is turned on. See Display Hold on page 44).

100| Playing and singing

A note about searching: the wildcards

While searching, the string entered will be searched as a whole word or

as part of a word. For example, if you entered “love”, the function will ﬁnd

“Love” and “LoveSong”, or any other word containing the string “love”.

You can use the wildcards “?” (any single character) and “*” (any sequence

of characters) to search exactly for that string. For example, “*love” will ﬁnd

“MyLove”, but not “LoveSong”. “??love” will ﬁnd “Mylove” but not “AllLove”.

Also, if you are looking for words that can be spelled in a slightly different

way, you can use the “?” wildcard to ﬁnd all occurrences; “gr?y” will ﬁnd out

both “gray” and “grey”.

|101

PART III:

SONGBOOK

102| SongBook

Using the SongBook |103

12 Using the SongBook

Choosing the SongBook Entries

What is the SongBook?

The basic idea behind the SongBook is that you always start from a song.

By choosing an Entry from the SongBook, you choose a template for that

song. Everything you need (style, song, sounds, voice or guitar effects, lyr-

ics, key, tempo value) is there at the touch of a single button.

In other words, the SongBook is the onboard music database, allowing

you to organize the Styles and Songs for easy retrieving. Each Entry of

this database (a ‘song’) may include information like the artist, title, genre,

number, key, tempo, and meter (time signature) of a speciﬁed song. When

choosing one of the Entries, the associated Style, MIDI or MP3 Song – as

well as the Style Play or Song Play mode – is automatically recalled. The

Master Transpose value is automatically set. A Voice or Guitar Preset

might also be recalled.

In addition to helping you organize your shows, the SongBook allows you

to assign up to four Pads, and up to four Keyboard Sets to each Entry. Also,

you can link a TXT ﬁle to any Entry, to be used as the Lyrics of a song, even

if there are no Lyrics inside the associated MID or MP3 ﬁle, or if you prefer

to play the song live with the backing of the Styles.

You can add your own Entries to the SongBook, as well as edit the ex-

isting ones. KORG already supplies some hundred Entries as standard.

Furthermore, the SongBook allows you to create various Set Lists, that

are collections of Entries that will suit your different types of show, and

you can choose with the dedicated buttons on the control panel.

Internal and Direct SongBook

In addition to the internal SongBook, residing in your Pa700, you can also

choose Entries and Set Lists from an external, Direct SongBook, that will

extend your internal database on the ﬂy. How to select it is explained in

The Direct data on page 893.

104| SongBook

Choosing the SongBook Entries from the Book list

A large database is already included with the instrument. You may browse

through this database and choose a SongBook Entry.

Choose a SongBook Entry

1 While you are in Style Play or Song Play mode, press the SONGBOOK but-

ton to open the Book page.

2 Browse through the Entries.

Use the

scrollbar or the VALUE control to scroll.

Keep the

SHIFT button pressed and touch one of the arrows of the scrollbar

to jump to the previous or next alphabetical section.

3 When the Entry you are looking for appears in the display, touch it to assign

it to the Arranger or the Player.

After choosing the Entry, its name will appear just under the title bar (

N:),

next to the name of the associated Style or Song. The name of the Entry in

the list will appear highlighted.

Name of

the selected

Entry

Selected

Entry

Associated

Style or Song

The associated Style or Song will be recalled.

Using the SongBook |105

Pads and Keyboard Sets will also be recalled. Keyboard Set #1 will be select-

ed. Any TXT ﬁle associated with the Entry will be shown in the Lyrics page. A

Voice/Guitar Preset will also be recalled.

4 Use the START/STOP or PLAY/STOP (

) button to start and stop play-

back of the selected Style or Song.

Identifying the type of Entry

The icons in the Type column will help you identify the Entry.

Type Meaning

Style-based Entry. When chosen, it will select a Style and switch to the Style Play

mode.

MIDI Song-based Entry. When chosen, it will select a Song and switch to the Song

Play mode.

MP3 Song-based Entry. When chosen, it will select a Song and switch to the Song

Play mode.

Direct Entries are surrounded by a bright frame.

Type Meaning

Direct Entry.

Sorting by label/column

On top of the list you can ﬁnd some labels, each one corresponding to a col-

umn of data (Type, Name, Genre, Key, Bpm, Meter…). You can choose one of

the labels to sort the list according to that type of data.

Change the order of the list

▪ Reorder the items according to a different criterion (Type, Name, Genre,

Key, Bpm, Meter…) by touching the corresponding label on top of the list.

▪ By touching the label again, the order of the items will switch between as-

cending

and descending.

106| SongBook

Choosing the columns seen in the page

Due to space constraints, not all labels can be seen on top of the lists. You

can decide what to show in the SongBook lists.

Please note that the

Artist and Key ﬁelds of all the supplied Entries have

been intentionally left empty.

Choose one of the label combinations

1 Choose the Preferences command from the page menu to open the

Preferences dialog.

2 Use the Columns menu to choose the set of columns to be shown.

3 When done, touch the OK button to close the dialog.

Using the SongBook |107

Filtering the Entries

When you are looking for a particular artist, genre or other categories, you

may ‘ﬁlter’ the list to only see the type of Entries you are looking for. Please

note that you can also ﬁnd items inside the SongBook database by pressing

the SEARCH button on the control panel, but while the Search function only

searches for names, the Filter function allows for a more reﬁned search on

multiple parameters at the same time.

Open the Filter dialog

▪ While in the SongBook > Book page, touch the Filter… button to open the

Filter dialog.

Edit the ﬁlter criteria and activate the ﬁlters

1 Touch the Text Edit (

) icon next to the ﬁeld you want to edit, to open the

virtual keyboard and type the text string you are looking for.

For example, you may want to ﬁnd all songs containing the word ‘love’ in the

title (in any position in the string). If so, select the Name criterion, and enter

the word ‘love’. Capitals are not relevant for the search.

When done editing the name, conﬁrm by touching the OK button under the

virtual keyboard.

2 Repeat the above step for all the ﬁelds you want to include in your ﬁlter.

108| SongBook

3 If you like, select a Meter and/or a range of Tempo values to be included in

your ﬁlter criteria.

Delete the ﬁlter criteria you don’t need

▪ Touch the Clear button to delete the text string or reset the parameter to a

default value.

▪ Touch the Clear All button to reset all ﬁlter criteria.

Conﬁrm the ﬁlters

▪ When done editing the ﬁlter parameters, touch the OK button to close the

Filter dialog and return to the Book page.

The

Filtered checkbox will be automatically selected, and the ﬁlter will be

activated. Only the Entries matching the entered criteria will be seen in the

Book list.

Remove the ﬁlters and see all the Entries again

▪ Touch the Filtered checkbox to deselect it.

Using the SongBook |109

Getting information on the SongBook Entries

You can see some statistical information on the selected SongBook Entry,

to see the name of the Entry, the associated Style or Song, the total number

of Entries in the SongBook database, the number of ﬁltered Entries in the

Book page, the number of available Set Lists, and the number of Entries in

the selected list.

1 While in the SongBook, choose an Entry.

2 Go to the SongBook > Info page.

If you selected a

Style-based Entry:

Name of the

selected Entry

Associated Style

If you selected a Song-based Entry:

Name of the

selected Entry

Song assigned

to the Player

If the Selected Entry (N:) area is blank (---), the selected Entry has been

modiﬁed, or no Entry has been selected.

110| SongBook

Choosing the SongBook Entries by Song Number

You can select a SongBook Entry by entering its unique Song ID Number.

Numbers associated with each Entry can be programmed in any of the

SongBook Entry edit pages. (See Editing the Song Selection Number on

page 123 for more information).

To help you ﬁnd a SongBook Entry by ID number, you can export a song list

using the

Export as Text File command from the page menu, and print it.

1 To see the numbers while in the Book page, be sure the Num column is

shown.

If it is not shown, choose the

Preferences command from the page menu,

then use the Columns menu to choose one of the options including the Num

column.

2 To select a SongBook Entry by entering its ID number, press the SONGBOOK

button again while you are in any page of the SongBook. The numeric key-

pad will appear, allowing you to enter the ID number corresponding to the

desired Entry.

3 If a Direct SongBook has been selected, and the same number exists in both

lists, you are asked to choose between the Internal and Direct SongBook.

Choose an option and touch OK to conﬁrm.

Choosing the SongBook Entries via MIDI

SongBook Entries can be remotely selected via MIDI. In addition, MIDI mes-

sages can be sent via MIDI when choosing a SongBook Entry. This is useful

to synchronize Pa700 to an external editor or digital music sheet reader (for

example, a dedicate app running on a tablet).

Choosing the Tablet MIDI Preset

The Tablet MIDI Preset programs MIDI channel #16, so that it is used to send

MIDI messages when selecting the SongBook Entries, or to receive MIDI

messages to selecting them from an external device.

▪ Go to the Global > MIDI > General Controls page and choose the Tablet MIDI

Preset.

Using the SongBook |111

Editing an existing MIDI Preset

You can program or edit your own MIDI Preset for selecting SongBook

Entries. A special MIDI channel used as the Control channel is needed to send

MIDI messages to select the SongBook Entries, or to receive MIDI messages

when selecting them.

Conﬁgure the Control channel

1 Go to the Global > MIDI > General Controls page and choose a MIDI Preset to

be used as a starting point.

2 Go to the Global > MIDI > Midi In Channel page, and assign the Control op-

tion to one of the sixteen available MIDI channels (usually one of the higher-

numbered ones, for example #16).

3 Go to the Global > MIDI > Midi Out Channel page, and assign the Control op-

tion to one of the sixteen available MIDI channels (the same as on the MIDI

IN will work ﬁne).

4 When done, save these settings to a new or existing MIDI Preset, by choosing

the Write Midi Preset command from the page menu.

Selecting SongBook Entries via MIDI

When you are ready to remotely select SongBook Entries, switch to the Style

Play or Song Play mode.

At this point, Pa700 must receive on the special Control channel the NRPN

Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value

64) in fast succession, as an initialization string. This string must be sent

only once, unless another NRPN control is sent on the same MIDI channel

before selecting a different SongBook Entry.

After the initialization string has been sent, you must send the selection

string, made of two Control Change messages: CC#06 (Data Entry MSB) for

the thousands and hundreds, and CC#38 (Data Entry LSB) for the tens and

units. The range of the Data Entry controls, in this case, is 0~99 (instead of

the typical 0~127).

The following examples show some typical situations.

▪ Send the following string to select SongBook Entry #77:

Initialization string (CC#99, 98)

Thousands and hundreds (00xx)

Tens and units (xx77)

112| SongBook

▪ Send the following string to select SongBook Entry #100:

Initialization string (CC#99, 98)

Thousands and hundreds (01xx)

Tens and units (xx00)

▪ Send the following string to select SongBook Entry #2563:

Initialization string (CC#99, 98)

Thousands and hundreds (25xx)

Tens and units (xx63)

Sending MIDI messages when selecting SongBook Entries

When the special Control channel is assigned to one of the MIDI OUT chan-

nels, MIDI messages are sent on this channel when choosing a SongBook

Entry. The messages sent when selecting a SongBook Entry are the follow-

ing:

▪ An initialization string, made of the NRPN Control Change messages #99

(MSB, with value 2) and #98 (LSB, with value 64) in fast succession.

▪ A selection string, made of the two Control Change messages CC#06 (Data

Entry MSB) for the thousands and hundreds, and CC#38 (Data Entry LSB)

for the tens and units. The range of the Data Entry controls, in this case, is

0~99 (instead of the typical 0~127).

Using the SongBook |113

Using the Set Lists

What are the Set Lists?

Set Lists are selections from the full Book list. They allow for smaller, cus-

tomized lists, suitable for a single gig or your own music preferences. We

already included some example lists, that you can use for your own shows.

Choosing either the Tile View or List View

Set Lists can be used in Tile View or in List View. In Tile View, songs are

shown as pages of tiles, and assigned to the SET LIST buttons on the control

panel. In List View, all songs are shown in a plain list.

Switch between Tile View and List View

1 While in any SongBook page, choose the Preferences command from the

page menu to open the Preferences dialog.

2 Use the Set List Views menu to switch between the Tile View and List View.

3 When done, touch the OK button to close the dialog.

Playing a Set List from the Tile View

The Tile View shows the selected Set List as a set of songs assigned to the

SET LIST buttons on the control panel. Each tile in the display corresponds

to the same numbered button.

Select the Set List

1 Go to the SongBook > Set List page. You can press the SET LIST button to

open this page.

114| SongBook

2 Be sure you are in Tile View, otherwise choose the Preferences command

from the page menu to open the Preferences dialog, and select it.

3 Use the List pop-up menu to select one of the available Set Lists.

The songs in the selected set are assigned to the

SET LIST buttons on the

control panel.

Choose a page

The songs in the selected Set List are organized in ‘pages’ of nine (each page

matches the SET LIST buttons).

▪ Use the page indicator in the top right corner of the page to go to a different

page inside the selected Set List.

Page indicator

Choose the Set List from the control panel

1 Be sure the SET LIST indicator is turned on.

2 Use the SET LIST buttons to choose the corresponding song from the se-

lected Set List page.

Using the SongBook |115

Songs are assigned to the buttons whose indicator is turned on. Each row of

tiles corresponds to a group of three buttons. The indicator on the selected

song blinks.

Indicator status Meaning

Off No song assigned.

On Song assigned.

Blinking Song selected.

Choose the Set List from the display

1 Be sure you are in the SongBook > Set List page.

2 Touch one of the tiles in the display, to choose the corresponding song.

Play the Set List

1 Use the START/STOP or PLAY/STOP (

) button to start and stop play-

back of the selected Style or Song.

2 Use the standard Arranger or Player controls to start, pause or stop the

Styles or Songs, or to fast forward and rewind the Songs.

3 Move to the previous or next song by touching the Prev(ious) or Next but-

ton. Move to any other song by pressing a different SET LIST button, or by

touching a different tile.

116| SongBook

Playing a Set List from the List View

The List View shows the selected Set List as a plain list of songs.

Select the Set List

1 Press the SET LIST button to open the SongBook > Set List page.

2 Be sure you are in List View, otherwise choose the Preferences command

from the page menu to open the Preferences dialog, and select it.

3 Use the List pop-up menu to select one of the available Set Lists.

The list of songs in the selected Set List will appear. (Contrary to the

Tile

View, the songs are NOT assigned to the SET LIST buttons on the control

panel.)

Play the Set List

1 Browse through the Entries in the list.

2 Touch the name of the Entry you want to start from to assign it to the

Arranger or the Player.

3 Use the START/STOP or PLAY/STOP (

) button to start and stop play-

back of the selected Style or Song.

4 Use the standard Arranger or Player controls to start, pause, stop, fast for-

ward and rewind the Styles or Songs.

Move to the previous or next song by touching the

Prev(ious) or Next but-

ton. Move to any other song by touching a different Entry in the list.

Editing the SongBook |117

13 Editing the SongBook

Creating and editing the SongBook Entries

Creating a new SongBook Entry

You can add your own Entries to the SongBook database.

Choose the Style or Song

1 Go to the Style Play or Song Play mode, depending on the type of Entry you

want to add to the SongBook database.

2 Select the Style or Song to be added to the SongBook.

Assign the Song to Player 1 (only Songs assigned to Player 1 will be saved to

the SongBook Entry).

Choose the Sounds, the Effects and the Pads

▪ Choose the Keyboard Sounds, the Effects, the Pads, and adjust any relevant

parameter the way you prefer for your performance.

A snapshot of the current situation will be saved into the Entry. Keyboard

and Accompaniment Sounds and Effects, Volume levels, Play/Mute status,

the Split status and position, the Octave and Master Transpose, the selected

Style Element, the selected Keyboard Sets and Pads, the Voice or Guitar

Preset (and its Global status) will be saved in the Entry.

The current Keyboard Sounds and their settings will become Keyboard Set

#1.

Please note that changes to a MIDI Song’s Sounds will not be saved in the

SongBook Entry. Only the data included in the MID ﬁle will be used. To edit

the Song, edit the MID ﬁle in

Sequencer mode.

118| SongBook

Create a new SongBook Entry

1 Keep the SONGBOOK button pressed for about one second to create a new

SongBook Entry. The Write Song dialog will appear.

As an alternative, go to one of the SongBook Entry edit pages, and touch the

New Song button, then the Write button.

2 While in the Write Song dialog, touch the Text Edit ( ) icon if you want to

edit the name of the Entry, then touch OK to save the Entry to the SongBook

database.

Editing an existing SongBook Entry

Choose an existing SongBook Entry

1 Choose a SongBook Entry from the SongBook > Book or SongBook > Set

List page.

Change the Sounds, the Effects and the Pads

▪ Press the EXIT button to exit the SongBook, and choose different Keyboard

Sounds, Effects and Pads. Adjust any relevant parameter the way you prefer

for your performance. Choose a different Voice or Guitar Preset if you like,

and select the Global checkbox if you want to use the Global preset.

Editing the SongBook |119

Save over the existing SongBook Entry

1 Go to one of the SongBook Entry edit pages, and touch the Write button to

save the settings into the selected SongBook Entry.

Touch to Write the

SongBook Entry

2 Choose the Rename/Overwrite option to write over the selected Entry.

If you prefer to create a new Entry, choose the

New Song option instead.

3 If you want to change the Entry’s name, while in the Write Song dialog touch

the Text Edit ( ) icon, then touch OK to save the Entry to the SongBook

database.

Saving different Styles or Songs

With each SongBook Entry, a reference to a Style or Song is saved. When

editing an Entry, you can change it with a different Style or Song.

1 Choose the SongBook Entry to be edited.

120| SongBook

2 Go to the SongBook > Write page, and touch the Style/Song > Select button

to open the Style Select or Song Select window.

Touch to choose a

different Style or

Song

3 Choose a different Style or Song.

The

Style/Song area will show the Style or Song you just selected.

Replaced Style or

Song

4 Be sure the Style/Song > Write checkbox is selected, to save the new Style

or Song and replace the older one.

5 If you don’t want to replace the Keyboard Sets or Voice/Guitar Preset, be

sure the other Write checkboxes are not selected.

6 Touch the Write button to save over the existing SongBook Entry.

Saving different Keyboard Sets

With each SongBook Entry, up to four Keyboard Sets are saved. When edit-

ing an Entry, you can replace the older Keyboard Sets with new ones.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit

the SongBook.

2 Edit the Keyboard Sounds.

Editing the SongBook |121

3 Go to the SongBook > Write page.

4 Select the Keyboard Set > Write checkbox to save the new Keyboard Sets

instead of the older ones.

5 Choose a single Keyboard Set location to save the Keyboard Sounds to the

selected Keyboard Set inside the SongBook Entry. After choosing the target

location you can give the Keyboard Set a new name.

6 If you don’t want to replace the Style or Song, or the Voice/Guitar Preset, be

sure the other Write checkboxes are not selected.

7 Touch the Write button to save over the existing SongBook Entry.

8 If you want to save more Keyboard Sets, repeat the above procedure for the

other Keyboard Set locations inside the SongBook Entry.

Saving a different Voice or Guitar Preset

With each SongBook Entry, a reference to a Voice or Guitar Preset is saved

(depending on the audio input that was selected when creating the SongBook

Entry). When editing an Entry, you can replace it.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit

the SongBook.

2 Go to the Style Play/Song Play > Mic or Guitar pane and choose a Voice

or Guitar Preset. Select the Global checkbox if you want to use the Global

preset.

122| SongBook

3 Go to the SongBook > Write page. You will see the Voice or Guitar Preset has

been replaced.

4 Select the Voice/Guitar Preset > Write checkbox to save the new Keyboard

Sets instead of the older ones.

5 If you don’t want to replace the Style or Song, or the Keyboard Sets, be sure

the other Write checkboxes are not selected.

6 Touch the Write button to save over the existing SongBook Entry.

Saving different Pads

With each SongBook Entry, a reference to four Pads is saved. When editing

an Entry, you can save or replace the selected Pads.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit

the SongBook.

2 Go to the Style Play/Song Play > Pads pane to choose up to four Pads.

3 Go to the SongBook > Write page.

4 If you don’t want to replace the Style or Song, the Keyboard Sets, or the

Voice/Guitar Preset, be sure the Write checkboxes are not selected.

5 Touch the Write button to save over the existing SongBook Entry.

Editing the SongBook |123

Editing the Song Selection Number

Each SongBook Entry can have a unique ID number (up to 9,999). You can

type them to quickly recall an Entry (see Choosing the SongBook Entries by

Song Number on page 110 for more information).

To help you ﬁnd a SongBook Entry by ID number, you can export a song list

using the

Export as Text File command from the page menu, and print it.

Edit the Song Selection Number

▪ Go to the SongBook > Write page (or any other SongBook Entry edit page),

and edit the Number ﬁeld.

Assigning a number is not mandatory, but may help in organizing the Entries.

For example, you may use the different 100s to create a different way of cat-

egorizing your entries by genre or age.

124| SongBook

Editing the database tags

The SongBook is a database. You can add to each SongBook Entry special

archival data, or tags, that will later help in retrieving speciﬁc types of songs

by using the SongBook > Book > Filter function.

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Tags page.

3 Edit the SongBook Entry’s database tags.

Tag Style-based Entry MID-based Entry MP3-based Entry

Genre Music genre associated with the Entry.

Artist Name of the artist of the song associated with the Entry.

Key Info Original key of the Entry. The ﬁrst ﬁeld is the Root, the second one is the

Major/minor mode.

Tempo/BPM Song’s Tempo. This may change, if a Tempo Change event is included within

the associated resource.

You can manually change this value by using the TEMPO buttons on the

control panel. Any change will only be shown after saving the Entry.

Original Tempo of the

Style.

Original starting Tempo

of the MID ﬁle.

Always zero (original

Tempo of the MP3

Song).

Meter Info Song’s Meter (or ‘Time Signature’). This may change, if a Meter Change event

is included within the associated resource.

M.Transp.

(Master

Transpose)

Song’s Master Transpose value. When the Entry is selected, the Master

Transpose of the whole instrument is automatically changed. The Master

Transpose value saved in the SongBook Entry overrides any Master

Transpose setting contained in the associated resource.

You can manually change this value by using the TRANSPOSE buttons on the

control panel. Any change will only be shown after saving the Entry.

4 Touch the Write button to save over the existing SongBook Entry.

Editing the SongBook |125

Editing the Style controls (Synchro/Memory)

With Style-based Entries, you can memorize the status of the Style’s Synchro

and Memory function status.

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Controls/Lyrics page.

3 Edit the SongBook Entry’s Style controls.

Syncro Start /

Synchro Stop /

Memory status

Meaning

Unchanged When choosing this SongBook Entry, the status of the corresponding

function will be left unchanged.

Off When choosing this SongBook Entry, the status of the corresponding

function will be turned off.

On When choosing this SongBook Entry, the status of the corresponding

function will turned on.

4 Touch the Write button to save over the existing SongBook Entry.

126| SongBook

Linking a text ﬁle to the SongBook Entry

You can add Lyrics to any Entry as a linked TXT ﬁle. Since there is no auto-

matic synchronization between this type of Lyrics and the associated Style

or Song, you must scroll them manually (as explained in Reading the lyrics

and chords loaded as a text ﬁle on page 86).

Link Lyrics as a TXT ﬁle

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Controls/Lyrics page.

3 Touch the Browse button to open the ﬁle selector, and choose a TXT ﬁle to

be linked to the current SongBook Entry.

After selection, the name of the linked text ﬁle will appear in the

Linked

*.TXT area.

Unlink the TXT ﬁle

▪ While in the same page, touch the Reset button.

Deleting a SongBook Entry

1 While in the SongBook > Book page, select the song to be deleted.

2 Go to any of the SongBook Entry edit pages, and touch the Del Song button

to delete the selected song.

Editing the SongBook |127

Creating and editing the Set Lists

Enabling Set List editing

Editing the Set Lists is not usually available, to protect Set Lists from ac-

cidental changes.

Enable Set List editing

▪ While in the SongBook, select the Enable Set List Edit command from the

page menu.

▪ If you will prefer to protect the Set Lists again after editing, deselect the

Enable Set List Edit command from the menu.

When the list can be edited, a new set of buttons will appear at the bottom

of the page.

Creating or editing a Set List

Create a new, blank Set List

1 Go to the SongBook > Set List page, then touch the New List button.

2 If a Direct SongBook has been selected, you are asked to choose between

the Internal and Direct SongBook. Choose an option and touch OK to con-

ﬁrm.

The Internal Set Lists will use Internal Entries, while the Direct Set Lists

will only use Direct Entries. This way, the list will always ﬁnd the associated

Entries.

The new list will be automatically selected.

128| SongBook

Select a Set List for editing

1 Go to the SongBook > Set List page. Choose either the List View or Tile View.

2 Use the List pop-up menu to select the Set List to edit.

Add Songs to the selected Set List

1 Go to the SongBook > Book page.

2 Browse through the songs in your SongBook database.

3 When you see the song you are looking for, touch it, then touch the Add to

list button to add it to the selected Set List.

Editing the SongBook |129

Move or delete songs from the selected Set List

1 Go to the SongBook > Set List page, and touch the song you want to move

or remove from the list.

2 Edit the list.

▪ Use the Move > Down (

) and Move > Up ( ) buttons on the display to

move the selected Song to a different position in the list.

▪ Touch the Del Song button to delete the selected song from the Set List (the

song will not, however, be deleted from the Book list).

Save the Set List

1 While in the SongBook > Set List page, touch the Write button to open the

Write List dialog.

2 While in the Write List dialog, touch the Text Edit ( ) icon if you want to

assign the Set List a new name. When done editing the name, conﬁrm by

touching the OK button under the virtual keyboard.

3 Choose the Rename/Overwrite option to write over the selected Set List. If

you prefer to create a new Set List, choose the New List option instead.

4 Touch the OK button to conﬁrm saving.

130| SongBook

Deleting a Set List

While in the SongBook > Set List page, use the List pop-up menu to select

the Set List to delete.

2 Touch the Del List button to delete the selected Set List (the songs it con-

tains will not be deleted from the Book list).

Editing the SongBook |131

Deleting all the SongBook Entries and Set

Lists

You may want to create you own Book list, removing all the default Entries

and Set Lists.

1 Go to any of the SongBook pages.

2 Choose the Initialize SongBook command from the page menu, and conﬁrm.

Please note that this operation will permanently delete all the Entries and

the Set Lists. To restore the original factory data, use the

Factory Restore

command in the Media > Utility page, and only select the SongBook.

132| SongBook

Using the SongBook with a personal

computer

Additional software has been created to work together with the SongBook.

Editing the SongBook with SongBook Editor

You can use KORG’s own SongBook Editor to edit single Entries, the SongBook

database and the Set Lists on a Windows PC. With SongBook Editor you can

comfortably view and edit a SongBook ﬁle on your PC.

Using a tablet as a SongBook extension

You can synchronize Pa700 to an external editor or digital music sheet reader

(like BauM Software’s SongBook+ for the iPad or Zubersoft’s MobileSheets

for Windows and MobileSheetsPro for Android). Please refer to the devel-

oper’s documentation for further information about these software applica-

tions.

|133

PART IV:

CUSTOMIZING

AND EDITING

THE SOUND

SETS

134| Customizing and editing the Sound sets

Customizing the Keyboard Sets |135

14 Customizing the

Keyboard Sets

Playing different Sounds with the left and

right hand

Splitting the keyboard

Split the keyboard into a Lower (left hand) and Upper (right hand) part

▪ Press the SPLIT button on the control panel to light up its indicator. The

keyboard will be divided into a Lower (left hand) and Upper (right hand) part.

Upper

Lower

Remove the split and play the Upper Sounds over the full keyboard range

▪ Press the SPLIT button again to turn its indicator off. The Upper Sounds will

play on the full keyboard range, as in an acoustic piano.

Upper

136| Customizing and editing the Sound sets

Split, Keyboard modes, Sounds

When changing the SPLIT status, the number of Sounds you hear may

change.

SPLIT

indicator

Keyboard

mode

Left hand (Lower) Sounds Right hand (Upper) Sounds

Off Full No Lower Sound Up to three Upper Sounds as-

signed to the full extension of

the keyboard

On Split A single Lower Sound assigned

to the left hand

Up to three Upper Sounds as-

signed to the right side of the

keyboard.

Changing the local (or temporary) split point

You can choose a different point where the keyboard is split into an Upper

and a Lower part. This is called the split point.

Change the local (or temporary) split point from the control panel

1 Keep the SPLIT button pressed to open the Split Point dialog.

2 Play the lowest note of the Upper (right hand) part on the keyboard.

Change the local (or temporary) split point from the display

1 While in the Main page, touch the Split tab to see the Split pane.

2 Touch the keyboard diagram in the display, then play the lowest note of the

Upper (right) part on the keyboard.

As an alternative, touch the

Split Point parameter to select it, and use the

VALUE control to select the new split point.

When you change the split point, the Global parameter is automatically de-

selected (see ‘Global’ and ‘local’ (or temporary) split point on page 138).

Customizing the Keyboard Sets |137

Memorize the local split point

The local split point can be memorized into a Keyboard Set. Each Keyboard

Set associated to a Style or SongBook Entry can have a different split point.

▪ Write the changes to a Keyboard Set.

Changing the global split point

The global split point is both the general setting you use when there is no

‘local’ split, and a ‘template’ from which to start setting the various local split

points saved into the Keyboard Sets. You can change it and use it as the main

split point of the instrument. Some Keyboard Sets might override the global

split point with their memorized local split points.

Change the global split point

1 Go to the Global > Mode Preferences > Style page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style page.

2 Touch the keyboard diagram in the display, then play the lowest note of the

Upper (right hand) part on the keyboard.

As an alternative, touch the

Split Point parameter to select it, and use the

VALUE control to select the new split point.

3 Press the EXIT button to return to the previous page.

138| Customizing and editing the Sound sets

‘Global’ and ‘local’ (or temporary) split point

You can choose a ‘global’ split point that is not changed when choosing a

different Keyboard Set. Or you can choose a ‘local’ split point that is better

suited to the individual Keyboard Set, and can change when selecting it.

The ‘local’ split point is just temporary, and only becomes permanent when

you write a Keyboard Set.

To change the type of split point, select or deselect the

Global parameter in the Split Point dialog.

Global Split Split type Meaning

On (Selected) Global Leave this box checked to use the global split point. This

is the general setting from which you can start program-

ming the local settings.

Off (Deselected) Local

This box is automatically deselected when you start pro-

gramming a local split point in the Main page. The local

split point can be written into a Keyboard Set. Use it when

you need a particular split point for a particular Sound set.

Parts, tracks, channels

On the keyboard, Sounds are assigned to one of the keyboard parts

(Upper, Lower). In Styles and MIDI Songs, Sounds are directly assigned

to the Arranger or Sequencer tracks, where cycling patterns or recorded

sequences play them. Tracks are the equivalent of recorder tracks, with

the associated mixer channels. In fact, Pa700 does include a recorder and

a digital mixer!

Sounds/Tracks

Upper

Lower

Recorded Tracks

Mixer Channels

Upper

Lower

1,2,3

Pads

1,2,3,4

Style

Bs,Dr,Acc1…5

Song

1,2,3…16

Pads

1,2,3,4

Style

Bs,Dr,Acc1…5

Song(s)

1,2,3…16

MIDI Song

1,2,3…16

MP3 Song

Customizing the Keyboard Sets |139

Playing two or three Sounds at the same

time

You can play up to three layered Sounds on the keyboard. This is useful to

add, for example, a layer of Strings or Synth Pads to the Grand Piano sound.

The Sounds will be assigned to the Upper part of the keyboard.

When the

SPLIT button indicator is turned off (Full Keyboard mode), the

Upper parts will play on the full range of the keyboard, as it happens on an

acoustic piano. Otherwise (Split Keyboard mode), you will play the Upper

Sounds with the right hand.

Upper

Lower

Turn the selected Sound on or off from the display

▪ If the Sound you want to mute is in Play, touch the Play/Mute icon to set it

to Mute.

▪ If the Sound you want to hear is in Mute, touch the Play/Mute icon to set it

to Play.

Memorize the Sound status

▪ Write the changes to a Keyboard Set.

140| Customizing and editing the Sound sets

Choosing different Sounds

You can assign different Sounds to the keyboard. The new combination of

Sounds can then be written into a Keyboard Set.

Follow the same procedure when choosing Sounds for the other Sound sets

(Accompaniment and MIDI Song tracks, that can be written into the Style

Settings or a MIDI Song).

Open the Sound Select window from the display

1 Be sure to be in the main page of the Style Play or Song Play mode. If you

are not there, press either the ST YLE PL AY or the SONG PLAY buttons in

the control panel.

2 Touch the name of the Sound you want to change to select it.

3 Touch a second time the name of the Sound you want to change.

Choose a Sound

1 Browse through the Sounds in the Sound Select window.

Customizing the Keyboard Sets |141

▪ To choose one of the available types of Sound, touch the buttons at the top

of the window.

Type of Sound Meaning

Factor y Standard Pa700 Sounds, that cannot normally be modiﬁed. These are

the richest, most modern Sounds of the whole collection.

Legacy Legacy Sounds allowing for greater compatibility with older Pa-Series

instruments.

Local Some models could include Local-type Sounds, that are Factory Sounds

customized for a particular country.

GM/XG Sounds allowing for full compatibility with MIDI Songs based on General

MIDI and XG Sounds and Drum Kits.

User Locations where you can load new Sounds and Drum Kits from an

external device, or save new or edited Sounds and Drum Kits.

▪ To choose a different group of Sounds, touch one of the tabs on the sides

of the window.

▪ To choose one of the available pages in the selected Sound group, touch one

of the P1…Px tabs at the bottom of the window.

2 Touch the name of the Sound you want to choose.

3 If you want to close the Sound Select window (and it does not close by itself),

press the EXIT button. (When a window does not close by itself, it means the

Display Hold is turned on. See Display Hold on page 44).

Memorize the assigned Sounds

▪ Write the changes to a Keyboard Set.

142| Customizing and editing the Sound sets

Mixing the Keyboard Sounds

Adjusting the Sound’s volume

At its core, Pa700 is a mixer. As with any mixer, you can adjust the volume

level of each Sound, therefore changing the balance between the different

Sounds on the keyboard.

Adjust a Sound’s volume from the display

1 While in the Main page, touch the Volume tab to select the Volume pane.

Accompaniment

Groups

Keyboard Sounds

2 Touch the mixer channel whose volume level you want to change.

3 Keep the virtual volume slider held on the screen, and drag it to the desired

level.

As an alternative, use the

VALUE control to change the volume level of the

selected channel.

4 Keep the SHIFT button pressed, and use the TEMPO +/- buttons to propor-

tionally change the volume of all the similar parts.

For example, changing the volume of any of the

UPPER sliders proportion-

ally changes the volume of all the Upper Sounds.

Memorize the Sound’s mix

▪ Write the changes to a Keyboard Set.

Customizing the Keyboard Sets |143

Turning the Sounds on or off from the Volume pane

Sounds can be muted, in case you don’t want to hear them in the mix.

Select the mixer channel

▪ Select the mixer channel to turn on or off.

Turn a channel off (Mute)

▪ Touch the Play icon (

) in the mixer channel corresponding to the Sound

to mute ( ).

Turn a channel on (Play)

▪ Touch the Mute icon (

) in the mixer channel corresponding to the Sound

to play ( ).

Memorize the Sound status

▪ Write the changes to a Keyboard Set.

Soloing a Sound

You can listen to a single Sound in solo, to understand how it sounds out of

the mix.

Solo a Sound

▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch

the mixer channel that you want to listen in solo.

any page where it appears, you can touch the mixer channel correspond-

ing to the Sound to isolate.

When this function is activated, the ‘Solo’ warning will ﬂash on the page

header.

Solo a Sound via menu command

As an alternative, you can solo a Sound using a menu command.

1 While in any page where the name of the Sound or the mixer channel cor-

responding to the Sound to listen in solo appears, touch it to select it.

2 Choose the Solo Track command from the page menu.

144| Customizing and editing the Sound sets

Deactivate Solo

Do one of the following:

▪ While in any page where the mixer channels appear, keep the SHIFT button

pressed, and touch the mixer channel that is currently in solo.

▪ Choose the Solo Track command from the page menu to deselect it.

Customizing the Keyboard Sets |145

Transposing the Upper Sounds to a

different octave

All Upper Sounds can be transposed to an upper or lower octave at the press

of a single button. The current octave transposition is shown next to the

Sound name.

Octave

Transpose the Upper Sounds one octave up

▪ Press the UPPER OCTAVE + button on the control panel.

Transpose the Upper Sounds one octave down

▪ Press the UPPER OCTAVE - button on the control panel.

Reset the octave transposition

▪ Press both UPPER OCTAVE buttons together.

Memorize the Sound transposition

▪ Write the changes to a Keyboard Set.

146| Customizing and editing the Sound sets

Using the Ensemble to add harmony

There are several types of Ensemble, but with most of them what you play

with your right hand will be harmonized with the chords you play with your

left hand.

Turning the Ensemble on or off

Turn the Ensemble function on

1 Be sure the SPLIT indicator is turned on.

2 Press the ENSEMBLE button to light up its indicator.

Play chords with your left hand, and a melody with your right hand. You will

hear the chord notes added to the melody.

Turn the Ensemble function off

▪ Press the ENSEMBLE button again to turn its indicator off.

Choosing an Ensemble type

Select a different harmonization style

1 Go to the Style Play > Keyboard/Ensemble > Ensemble page.

As an alternative, keep the

SHIFT button pressed, and press the ENSEMBLE

button to open the Ensemble page.

Customizing the Keyboard Sets |147

2 Use the Type parameter to choose an Ensemble type.

Ensemble type Meaning

Duet Adds a single note to the melody.

Close Adds a closed-position chord to the melody.

Open 1 Adds an open-position chord to the melody.

Open 2 As the above, but with a different chord shape.

Block Block harmonization – very typical of jazz music.

Power Ensemble Adds a ﬁfth and an octave to the melody, as heard in hard rock.

Third Up This option adds a third over the melody note (depending on the recog-

nized chord).

Fourths LO Typical of jazz, this option adds two perfect fourths under the melody.

Fourths UP As the above, but with notes added over the melody.

Fifths This adds two ﬁfths below the original note.

Octave Adds an octave to the melody.

Dual This option adds to the melody line a second note, at a ﬁxed interval set

with the “Note” parameter. When selecting this option, a transposition

value appears (-24...+24 semitones to the original note).

Brass Typical Brass section harmonization.

Reed Typical Reed section harmonization.

Trill When two notes are played on the keyboard, this option trills them. If

three or more notes are played, only the last two are trilled. You can set

the trill speed by using the Tempo parameter (see below).

Repeat The played note is repeated in sync with the Tempo parameter (see be-

low). When playing a chord, only the last note is repeated.

Echo As the Repeat option, but with the repeated notes fading away after the

time set with the Feedback parameter (see below).

AutoSplit1 If more than a single Upper Sound is in play, the Upper 1 Sound plays the

melody in mono, while the other Upper Sounds play the chord notes.

If only the Upper 1 Sound is in play, it plays polyphonically all the chord

notes.

AutoSplit2 Similar to AutoSplit1, but the Upper 1 Sound always plays the uppermost

note.

148| Customizing and editing the Sound sets

3 When they appear, adjust the additional parameters.

Additional

parameters

How it works Value

Note Velocity Velocity (dynamics) difference between the melody played

with your right-hand and the added harmonization notes.

-10…0

Tempo Note duration for the Trill, Repeat or Echo Ensemble options.

This is in sync with the Tempo value.

1/23…4/4

Feedback Repetitions of the original note/chord when the Echo option

is selected.

1…8

4 Use the Ensemble Track Assign parameter to set the Ensemble function for

each of the Upper Sounds.

Ensemble Track

Assign

Meaning

Off No harmonization

Normal This Sound is included in the harmonization

Mute This Sound only plays the Ensemble notes, but not the original note.

Exit the Ensemble settings page

▪ Press the EXIT button to return to the previous page.

Memorize the Ensemble settings

▪ Write the changes to a Keyboard Set.

Advanced editing of the Sound sets |149

15 Advanced editing of the

Sound sets

The editing procedure

A – Choose a Sound set

Sound sets are groups of Sounds that are selected all at the same time.

Sound set Type

Keyboard Sets

(from the library)

Sounds assigned to the keyboard, saved in the KEYBOARD SET

LIBRARY.

Keyboard Sets

(from a Style)

Sounds assigned to the keyboard, saved in the KEYBOARD SET sec-

tion and selected with the Styles.

Keyboard Sets (from a

SongBook Entry)

Sounds assigned to the keyboard, saved in the KEYBOARD SET sec-

tion and selected with the SongBook Entry.

Style Settings Sounds for the Accompaniment tracks, selected with the Style.

MIDI Song (in Song

Play mode)

Sounds manually assigned to the tracks of any MIDI Song selected

in Song Play mode. You can select these Sounds, but not save them.

MIDI Song (in

Sequencer mode)

Sounds selected by the Program Change messages contained inside

a MIDI Song. You can edit and save these messages in Sequencer

mode.

Choose from the library a Keyboard Set whose Sounds and settings to edit

▪ Press either the STYLE PLAY or SONG PLAY button, then choose from the

KEYBOARD SET LIBRARY section the Keyboard Set whose Sounds you

want to edit.

Choose from a Style the Keyboard Set whose Sounds and settings to edit

▪ Press the STYLE PLAY button, then choose a Style, then the Keyboard Set

(from the KEYBOARD SET section) whose Sounds you want to edit.

150| Customizing and editing the Sound sets

Choose from a SongBook Entry the Keyboard Set whose Sounds and set-

tings to edit

▪ Press the SONGBOOK button and choose a SongBook Entry; or press one

of the SET LIST buttons to choose the corresponding SongBook Entry. Then

choose the Keyboard Set (from the KEYBOARD SET section) whose Sounds

you want to edit.

Choose a Style whose Sounds and settings to edit

▪ Press the STYLE PLAY button, then choose the Style whose Sounds you

want to edit.

Choose Sounds for the Song Play mode

▪ Press the SONG PLAY button, then choose any MIDI Song from disk. These

changes will not be saved to the Song, and will only serve for on-the-ﬂy cus-

tomization.

Choose a MIDI Song whose Sounds and settings to edit

▪ Press the SEQUENCER button to go to the Sequencer mode, then choose

from disk (or create by recording it) the MIDI Song whose Sounds you want

to edit.

Advanced editing of the Sound sets |151

B – Access editing

1 Press the MENU button to access editing and see the edit menu.

2 Choose an edit section and edit page to access the parameters.

C – Choose a Sound to edit

Most editing is to be done on the selected Sounds.

Switch between the Keyboard and Style or Song Sounds

▪ Repeatedly press the TRACK SELECT button. The display will cycle between

the Keyboard and the Style or Song Sounds.

Select the track/channel to edit

▪ Touch the individual track/channel to select it.

Selected

mixer

channel

D – Save the changes

▪ When ﬁnished editing, write the changes to a Sound set. This will be ex-

plained at the end of the relevant chapters.

152| Customizing and editing the Sound sets

Mixing the Sounds

The Volume/Pan page is the internal digital mixer of the instrument.

Setting the Volume and Play/Mute status

Access the Volume/Pan page

▪ Go to the Mixer/Tuning > Volume/Pan page, and ﬁnd the Volume and Play/

Mute controls.

Set the individual Sound’s Volume

▪ Keep a virtual volume slider held on the screen, and drag it to the desired

level.

As an alternative, use the

VALUE control to change the volume level of the

selected mixer channel.

Volume Meaning

0…127 Volume level in MIDI values

Change the play/mute status of the individual Sound

▪ Repeatedly touch the Play (

) or Mute ( ) icon in the mixer channel cor-

responding to the Sound whose status to change.

Advanced editing of the Sound sets |153

Linking the Upper Sound volume sliders

The Upper Sound volume sliders can be linked together, to proportionally

change all Upper Sounds with a single slider.

1 Go to the Mixer/Tuning > Volume/Pan page.

2 Select or deselect the Upper Volume Link checkbox.

Upper Volume Link Meaning

On When you change the volume of one of the Upper Sounds, the vol-

ume of the other Upper Sounds is changed proportionally.

Off You only move a single volume slider.

Setting the Pan

The Pan (panorama) is the Sound’s position in the stereo ﬁeld.

1 Go to the Mixer/Tuning > Volume/Pan page, and ﬁnd the Pan controls.

2 Keep the Pan knob held on the screen, and move it to the desired level.

As an alternative, use the

VALUE control to change the value of the selected

knob.

Pan Meaning

L- 6 4 … L- 1 Left

C 00 Center

R+1 … R+63 Right

154| Customizing and editing the Sound sets

Adding effects

The FX processors

Pa700 includes both insert and master effects (‘effect’ is often abbreviated

as FX).

▪ Insert effects (IFX) are assigned to a single Sound, and process the whole

signal passing through. The most common insert effects are amp simula-

tors, chorus or ﬂanger, overdrive and distortion pedals, compressors, etc.

Insert effects are pre-fader, so the volume level of the mixer channel will not

change the level of the signal entering the effect.

▪ Master effects (MFX) are effects shared by several different Sounds, that

can be mixed in at different levels. The most common master effects are

delays and reverbs. Master effects are post-fader, so the volume level of the

mixer channel will change the level of the signal entering the effect.

Each group of Sounds/channels can go to a different group and number of

effects.

Sound/Channel FX

Group

Insert FX Master FX

Keyboard FX B One (1), assigned to a single

Sound.

Two (2), shared between all

Sounds.

Accompaniment FX A Up to two (2), freely assignable

to any Sound. Up to two (2) ef-

fects can be assigned to a single

Sound.

Two (2), shared between all

Sounds.

Drum Families

(DF)

FX A Up to two (2), freely assignable

to any Drum Family. Up to two

(2) effects can be assigned to a

single Drum Family.

Drum Families can be processed

by their own Insert FXs. The

Drum Kit can then be further

processed by its channel’s Insert

FXs.

The total number of Insert FXs

available for Drum Families,

the Drum Kit and the other

Accompaniment Sounds is two

(2).

Two (2), shared between all

Sounds.

Drum Families can set their own

send level to the Master FXs.

Then, the Drum Kit has its own

send levels.

Pad FX A – Two (2), shared between all

Sounds.

Advanced editing of the Sound sets |155

Sound/Channel FX

Group

Insert FX Master FX

MIDI Song FX A Up to two (2), freely assignable

to any Sound. Up to two (2) ef-

fects can be assigned to a single

Sound.

Two (2), shared between all

Sounds.

MIDI Song made

with a Pa700

or a KORG Pa-

Series instru-

ment

A,B

Up to two (2), freely assignable

to any Sound. Up to two (2) ef-

fects can be assigned to a single

Sound.

Two (2), shared between all

Sounds.

You can assign to the master effect processors any type of available effects,

but we found it convenient to arrange them, most of the times, in the follow-

ing way:

Master FX Type of effect

A1 Reverb processor for the Accompaniment and MIDI Song Sounds

A2 Modulating FX processor for the Accompaniment and MIDI Song Sounds

B1 Reverb processor for the Keyboard Sounds

B2 Modulating FX processor for the Keyboard Sounds

All the effects in Pa700

Pa700 includes a powerful multi-effect processor for the internal Sounds.

These effects contribute to make the ﬁnal sound of the instrument, adding

vibe and a sense of the space. There are up to three insert and four master

effects, to which the Sounds can be sent from their internal mixer channel.

At the end of the audio path there are a Limiter and Master EQ, used to

process both Sounds and MP3 Songs, and give more punch and reﬁnement

to the ﬁnal, produced sound going to the audience.

In addition to the above, Pa700 also includes a multi-effect processor for

the microphone, called the Voice Processor, or as an alternative one for

the guitar called the Guitar Processor. These incredible effects can be

accessed directly from the controls of this instrument, without having to

patch-in any external effect processor.

156| Customizing and editing the Sound sets

Choosing (and viewing) the FX group

In Style Play and Song Play mode, the FX group is ﬁxed and cannot be

changed (you can only see it). In Sequencer mode you can freely choose it

for each Song track.

1 Go to the Mixer/Tuning > Insert FX or FX Send page.

FX group

2 See, or choose the FX group (this latter is only possible in Sequencer mode).

Advanced editing of the Sound sets |157

Activating and choosing the insert effects

Each Sound can go to one or more insert effect processors.

Activate the insert effects

1 Go to the Mixer/Tuning > Insert FX page.

FX group

FX on/off

Selected FX

type

2 Turn on or off the insert effect(s) assigned to a Sound.

Choose the insert effects

1 While in the Insert FX page, touch the name of the selected effect type, or

the ‘x’ symbol under the On/Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual

dedicated to the Effects.

You can adjust the Wet/Dry mix of the insert effects, but we suggest not to

touch it, unless you are editing the effects.

4 When ﬁnished editing, press the EXIT button to return to the previous page.

158| Customizing and editing the Sound sets

Activating and choosing the insert effects for the Drum Families

On Drum tracks, you can access a separate Drum mixer, and add insert ef-

fects to each Drum Family. The Drum channel is then sent to the main mixer,

and can use the channel’s insert effects.

1 Go to the Mixer/Tuning > Insert FX page.

2 Press the TRACK SELECT button to cycle between the tracks, and ﬁnd the

Drum track.

DF (Drum Family)

button in the

Drum track

3 Touch the DF button to access editing the Drum Families of the correspond-

ing Drum track.

Name of the Drum Families

Selected track

4 On each Drum Family strip, use the various controls to activate/deactivate

and select the insert effects.

5 When ﬁnished editing, touch the DF button again to exit the editing page.

Advanced editing of the Sound sets |159

Activating and choosing the master effects

Each Sound can send its audio signal to one or more master effects.

Activate the master effects

1 Go to the Master Effects pages, and choose either the FX group A

(Accompaniment, Pads, Song) or B (Keyboard).

FX on/off

Selected FX

2 Turn on or off the master effect(s). Please keep in mind that master effects

are assigned to all the Sounds of the same group.

Choose the master effects

1 While in the FX A or FX B page, touch the name of the assigned effects to

open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual

dedicated to the Effects.

You can adjust the Wet/Dry mix of the master effects, but we suggest not to

touch it, unless you are editing the effects. To set the amount of effect, use

the individual channels’ send level instead (as explained below).

4 When ﬁnished editing, press the EXIT button to return to the previous page.

160| Customizing and editing the Sound sets

Adjusting the send level to the master effects

You can adjust the level of the direct (dry) signal sent from each Sound/

channel to the master effects.

1 Go to the Mixer/Tuning > FX Send page.

2 On each mixer channel, use the Master knobs to control the level of the di-

rect (dry) signal sent to the corresponding FX processor (inside the selected

FX group).

Master 1, 2, 3 Meaning

0…127 FX Send level in MIDI values

Advanced editing of the Sound sets |161

Adjusting the send to the master effects for the Drum Families

On Drum/Percussion tracks, you can access a separate Drum/Percussion

mixer, and adjust the level of the direct (dry) signal sent from each Drum

Family to separate master effects. The Drum/Percussion channel is then

sent to the main mixer, and can use the channel’s master effects.

Since the Drum Families will be processed by two sets of master processors,

we suggest to lower to zero the Drum/Percussion send level in the main mixer.

1 Go to the Mixer/Tuning > FX Send page.

2 Press the TRACK SELECT button to cycle between the tracks, and ﬁnd the

Drum and Percussion tracks.

DF (Drum

Family) buttons

in the Drum

and Percussion

tracks

3 Touch the DF button to access editing the Drum Families of the correspond-

ing Drum or Percussion track.

Name of the Drum Families

Selected track

4 On each Drum Family strip, use the Master knobs to control the level of the

direct (dry) signal sent to the corresponding FX processor (inside the se-

lected FX group).

Master Meaning

0…127 FX Send level in MIDI values

5 When ﬁnished editing, touch the DF button again to exit the editing page.

162| Customizing and editing the Sound sets

Including the dry (direct) signal in the master effects

The dry (or ‘direct’) signal is the raw sound, without the effects. It should be

normally included in the signal coming out from the master effects, to give a

sense of presence of the sound’s source.

This parameter is not needed for the insert effects, since they always include

the dry signal.

1 Go to the Mixer/Tuning > Volume/Pan page.

2 Select or deselect the Dry checkbox corresponding to the Sound you want

to include or exclude.

Dry Meaning

On The direct signal is sent to the outputs, mixed with the master ef-

fects.

Sound

L/R Out

Master FX

Off The direct signal is removed from the audio outputs, that will only

contain the effected signal. With stereo effects, the effected signal

will still be positioned according to the Pan value.

This will work in a way similar to an insert effect, where all the dry

signal is always processed.

Sound L/R Out

Master FX

Advanced editing of the Sound sets |163

Copying the effects

To speed up programming, you can copy a single insert or master effect, or

all the effects of an FX group (FXA or FXB). You can copy them between dif-

ferent elements (for example, between Styles and Song, or Keyboard Sets

and Sounds).

The Copy/Paste operation only copies the parameters of the

FX Edit page.

Parameters contained in other pages, like Dry or FX Send, are not copied.

Copying a single effect

Copy the effect

1 Select the source element (Keyboard Set, Style, Song or Sound).

2 Go to the Mixer/Tuning > Insert FX page to copy an insert effect, or to the

Master Effects > FX A/B page to copy a master effect.

3 Touch the name of the effect to be copied, to open the relevant FX Edit

page.

4 Choose the Copy Effect command from the page menu.

5 Press the EXIT button to exit.

Paste the effect

1 Select the target element (Keyboard Set, Style, Song or Sound).

2 Go to the Mixer/Tuning > Insert FX page to paste an insert effect, or to the

Master Effects > FX A/B page to paste a master effect.

3 Touch the name of the effect to be pasted, to open the relevant FX Edit

page.

4 Choose the Paste Effect command from the page menu.

5 Press the EXIT button to exit.

164| Customizing and editing the Sound sets

Copying all the master effects in an FX group

Copy the effects

1 Select the source element (Keyboard Set, Style, Song or Sound).

2 Go to the Master Effects > FXA/B page showing the group to be copied.

3 Choose the Copy All Effects command from the page menu.

Paste the effects

1 Select the target element (Keyboard Set, Style, Song or Sound).

2 Go to the Master Effects > FXA/B page showing the group to be pasted.

3 Choose the Paste All Effects command from the page menu.

Advanced editing of the Sound sets |165

Equalizing the Sounds

The Channel Equalizer

Pa700 includes three-band equalization (EQ) on each individual mixer chan-

nel. Each Sound can be individually equalized.

Setting the EQ gain

Go to the Mixer/Tuning > EQ Gain page.

2 Keep the Gain knob held on the screen, and move it to the desired level.

As an alternative, use the

VALUE control to change the value of the selected

knob.

EQ Gain Meaning

Hi (High) Gain

-18 … +18dB High frequencies equalization. This is a shelving curve ﬁlter.

Mid (Middle) Gain

-18 … +18dB Middle frequencies equalization. This is a bell curve ﬁlter.

Low Gain

-18 … +18dB Low frequencies equalization. This is a shelving curve ﬁlter.

166| Customizing and editing the Sound sets

Adjusting the EQ input sensitivity

Extreme equalization gains can overload the audio circuits and lead to dis-

tortion. You can however trim the input to avoid overloading.

1 Go to the Mixer/Tuning > EQ Control page.

2 Use the Input Trim knobs to attenuate the level of the signal passing through

the equalizer.

Input Trim Meaning

0 … 99 Attenuation value.

Bypassing the EQ

Each EQ can be momentarily bypassed, to check its effect while programing.

1 Go to the Mixer/Tuning > EQ Control page.

2 Select the Bypass checkbox on the mixer channel you want to exclude from

equalization. Deselect it to activate the EQ again.

Advanced editing of the Sound sets |167

Resetting the EQ

You can reset the EQ to the default (that is, ‘ﬂat’) status.

1 Go to the Mixer/Tuning > EQ Control page.

Track Reset

2 Reset all the EQs, or a single EQ.

Reset the EQ on a single track/channel

▪ Touch the Track Reset button corresponding to the channel whose EQ you

want to reset.

Reset the EQ on all tracks/channels

▪ Touch the Reset All Tracks button.

168| Customizing and editing the Sound sets

Octave transpose and ﬁne tuning

You can set the octave transpose and ﬁne tuning of each Sound.

Access the Tuning page

▪ Go to the Style Play/Song Play > Mixer/Tuning > Tuning page.

As an alternative, keep the

SHIFT button pressed and press one of the

UPPER OCTAVE buttons to open the Tuning page.

Set the octave transpose

▪ Use the Oct. Transpose knobs to set the octave transpose for each Sound.

Octave Transpose Meaning

0 Standard tuning.

-3 … +3 Octave Transpose value (in octaves).

Set the ﬁne tuning

▪ Use the Detune knobs to set the ﬁne tuning for each Sound.

Detune Meaning

0 Standard tuning.

-64 … +63 Sound pitch (in cents of a semitone).

Advanced editing of the Sound sets |169

Programming the sound routing and

polyphony

Using the internal or external Sounds

Usually, the Keyboard, Arranger and Player play the internal Sounds.

However, you can choose to let them play an external sound generator.

1 Go to the Track Control > Mode page.

2 Use the Internal/External parameter to connect the corresponding part/

track to the internal and/or external sound generation.

Int/Ext Meaning

Both The part/track plays both the internal sounds and an external instru-

ment connected to the MIDI OUT or USB DEVICE port.

Internal The part/track only plays the sounds generated by the internal

sound generator.

External The part/track only plays an external instrument connected to the

MIDI OUT or USB DEVICE port. The connected device must receive

data on the MIDI channel associated with this part/track on Pa700.

170| Customizing and editing the Sound sets

External Sounds and Program Change messages

A part/track set to the External status cannot play the internal sounds.

Instead of the assigned Sound name, the <E: aaa.bbb.ccc> indicator is shown

on a track’s area in the Main page:

Control Change/

Program Change area

This indicator begins with a remark saying the track is in External (‘E’) mode,

and continues with a strings of transmitted Control Change and Program

Change data. This will let you know what the track is transmitting. In the fol-

lowing example, CC#0 is the Control Change 0 (Bank Select MSB), CC#32 is

the Control Change 32 (Bank Select LSB), PC is the Program Change:

CC#32

value

PC value

CC#0 value

When touching the Sound area, the numeric keypad appears, instead of the

Sound Select window. You can enter the Control Change/Program Change

bundle shown above, separating the three parts with a dot (.).

Choosing the polyphony type (Mono, Poly, Drum)

Sounds can play polyphonically or monophonically, or behave as Drum Kits.

1 Go to the Track Control > Mode page.

Advanced editing of the Sound sets |171

2 Use the Type parameter to choose the polyphony mode.

Type Meaning

Drum Drum/Percussion track. This is typically assigned to the Drum and

Percussion tracks of the Accompaniment and MIDI Songs.

Set a Keyboard Sound to Drum mode, if you don’t want it to be trans-

posed (it will behave as a Drum Kit, even if it is an ordinary Sound). Also,

set it to Drum mode if you wish to separately adjust the volume and set a

different output for each percussive family of a Drum Kit.

Drum Kits are never transposed, whichever the type of track they are

assigned to.

This parameter cannot be edited, it the track has already been set to

Drum or Percussion mode in Style Record mode.

Poly Tracks/parts of this kind are polyphonic, meaning they can play more

than one note at the same time.

Mono Tracks/parts of this kind are monophonic, meaning each new note stops

the previous note.

Mono Right A Mono track/part, with priority assigned to the rightmost (highest) note.

Mono Left A Mono track/part, with priority assigned to the leftmost (lowest) note.

172| Customizing and editing the Sound sets

Quick editing of Drum Kits

You can adjust the volume and edit the main parameters for each family of

Drum and Percussion instrument for the selected track. A list of families is

shown below.

These parameters can be accessed only on tracks set to the Drum mode

in the

Track Controls > Mode page. Use them on tracks with a Drum Kit as-

signed, or you will not be able to hear any change.

Edit the Drum Kits

1 Go to the Track Controls > Drum Edit page.

2 If you like, start the Style or Song to listen to the changes during playback.

3 If you like, solo the track you are editing, to isolate it from the other tracks.

4 Use the Select buttons to select a track set to Drum mode (usually, the Drum

and Percussion tracks).

After selecting a track set in Drum mode, the parameters in the page can be

selected (otherwise, they remain dimmed).

Advanced editing of the Sound sets |173

5 Select one of the Drum families, by using the Drum Family icons on top of

the page.

Drum family icon Drum family

Kick drums

Snare drums

Toms

Hi-Hat cymbals

Ride, Crash and other cymbals

Low-pitched percussions

High-pitched percussions

Special effects

6 Check the value of the selected parameter for all the Drum families. An over-

view of the current parameter can be seen under the icons of the Drum fami-

lies. This will let you compare the value of the selected family with all the

others. The values appear dimmed (non editable).

7 Select and edit the parameters. All values are offsets referred to the value

of the original Drum Kit.

1 74 | Customizing and editing the Sound sets

Sound parameter Meaning Value

Volume Instrument’s family volume. 0 … 127

Attack Attack time. This is the time during which the sound

goes from zero (at the moment when you strike a key)

to it’s maximum level.

-64 … +63

(offset)

Decay Decay time. Time to go from the ﬁnal Attack level to

the minimum level.

Cutoff Filter cutoff. This sets the sound brightness.

Resonance Use the Filter Resonance to boost the cutoff fre-

quency.

Fine Tune Fine instrument tuning.

Coarse Tune Coarse instrument tuning.

EQ Hi Equalization, High band.

EQ Mid Equalization, Middle band.

EQ Low Equalization, Low band.

Ambience Vol Volume of the Ambience effects (environment and

mechanical noise).

Ambience Time Length of the Ambience effects (environment and

mechanical noise).

Resetting a Drum family

▪ Touch the Reset Family button to reset all edited values.

Resetting a track

▪ Touch the Reset Track button to reset all changes to the selected track.

Advanced editing of the Sound sets |175

Quick editing of Sounds

You can edit the main Sounds parameters. These changes will be saved in

a Sound set, and not be part of the internal parameters of the Sounds (that

you can edit in Sound Edit mode).

Edit the Sounds

1 Go to the Track Controls > Sound Edit page.

2 If you like, start the Style or Song to listen to the changes during playback.

3 If you like, solo the Sound you are editing, to isolate it from the other tracks.

4 Use the Select buttons to select the Sound to edit.

5 Use the knobs to edit the corresponding parameters. All values are offsets

referred to the value of the original Sound.

Sound parameter Meaning Value

Attack Attack time. This is the time during which the sound

goes from zero (at the moment when you strike a key)

to it’s maximum level.

-64 … +63

(offset)

Decay Decay time. Time to go from the ﬁnal Attack level to

the minimum level.

Release Release time. This is the time during which the sound

goes from the sustaining phase, to zero. The Release is

triggered by releasing a key.

Cutoff Filter cutoff. This sets the sound brightness.

Resonance Use the Filter Resonance to boost the cutoff frequency.

LFO Depth Intensity of the Vibrato (LFO).

LFO Speed Speed of the Vibrato (LFO).

LFO Delay Delay time before the Vibrato (LFO) begins, after the

sound starts.

176| Customizing and editing the Sound sets

Setting Portamento

Portamento is a smooth sliding transition from a note to the following one.

▪ Select the Portamento checkbox to turn portamento on, or uncheck it to

turn it off.

▪ Use the Portamento > Time knob to adjust the speed of portamento.

Resetting a track

▪ Touch the Reset Track button to reset all changes to the selected track.

Resetting all tracks

▪ Touch the Reset Family button to reset all edited values.

Advanced editing of the Sound sets |177

Programming the key and velocity range

You can program a key and velocity zone for each of the Keyboard Sounds.

Key range is useful to create a set of Keyboard Sounds playing in differ-

ent zones of the keyboard. For example, you may have French Horns

and Woodwinds playing in the center range of the keyboard, while only

Woodwinds play on the higher range.

Velocity range is useful to create a sound made of up to three dynamic lay-

ers, assigning each of the Upper Sounds to a different velocity zone. As an

example, you may choose El.Piano 1 as the Upper 1 Sound, and El.Piano 2 as

the Upper 2 Sound. Then, set Upper 1 to Bottom=0, Top=80, and Upper 2 to

Bottom=81, Top=127. The El.Piano 1 will play when playing softer, the El.Piano

2 when playing louder.

Access the Range Velocity page

▪ Go to the Keyboard/Ensemble > Range/Velocity page.

Set the Key Range

▪ Use the Top Key and Bottom Key parameters to set the Top and Bottom

limits of the Sound’s Key zone.

Key Meaning

C-1 … G9 Selected key. The Top value is always higher than the Bottom value.

178| Customizing and editing the Sound sets

Set the Velocity Range

▪ Use the Top Vel. and Bottom Vel. parameters to set the Top and Bottom

limits of the Sound’s Velocity zone.

Velocity Meaning

0 … 127 Velocity value. The Top value is always higher than the Bottom value.

Advanced editing of the Sound sets |179

Editing the Digital Drawbars

Digital Drawbars are special Sounds emulating the classic tonewheel organs.

Settings for the Digital Drawbars are memorized in a Keyboard Set, the Style

Settings or in a MIDI Song, and may be considered the equivalent of an or-

gan’s preset.

A single Digital Drawbars Sound can be assigned to the keyboard, and only

one to the accompaniment. A single Digital Drawbars Sound can be assigned

to tracks 1-8, and a single one to tracks 9-16 or a MIDI Song.

You can assign the same Sound to different tracks in the same block (for

example, two different Acc tracks in a Style). Also, you can use the different

blocks to record the different manuals of a classic organ (for example, record

the Upper manual in one of the tracks 1-8, and the Lower manual in one of

the tracks 9-16).

Choosing a Digital Drawbars Sound

Open the Sound Select window from the control panel

▪ Press one of the KEYBOARD SOUNDS > SELECT buttons.

Open the Sound Select window from the display

▪ While in the Main page, touch one of the Sound names to open the Sound

Select window.

Choose the Digital Drawbars Sound

1 Use the side tabs to select the Organ group.

180| Customizing and editing the Sound sets

2 Choose the DRAWBARS Sound. The Drawbars Setting page will appear.

3 If you want to close this window, press the EXIT button.

Editing the Digital Drawbars

Access Digital Drawbars editing

1 While in the Main page, touch the DRAWBARS Sound to open the Sound

Select window.

2 Touch the selected DRAWBARS Sound to open the Drawbars Setting page.

Changing the footage

▪ Drag the virtual sliders to change the corresponding drawbars.

Changing the Percussive/Rotary settings

Go to the Percussive/Rotary page

▪ In case it is not selected, touch the Percussive/Rotary tab to show the

Percussive/Rotary page.

Advanced editing of the Sound sets |181

Program the Percussion parameters

Percussion adds a percussive sound to the attack segment of the organ

sound.

Percussion

parameters

Meaning Value

On/Off Turns percussion on or off.

Foot Selects a percussion register.

Mode

All, the percussive attack is played on all notes of a chord. If

1st, the percussive attack is played only on the ﬁrst note of a

chord or a group of held notes. Release all notes to trigger the

percussion again.

All, 1st

Volume Volume level of the percussive sound.

Length Decay speed of the percussive sound.

Program the Rotary parameters

Rotary adds the effect of a rotating speaker. The rotation speed can be con-

trolled by pushing forward the joystick.

182| Customizing and editing the Sound sets

Rotary

parameters

Meaning

Rotor On/Brake Touch this button to start or stop the rotating speaker.

Speed Slow/Fast Touch this button to switch the rotating speaker’s speed (from slow to

fast, or vice-versa).

Changing the Tone/Noise settings

Go to the Tone/Noise page

▪ Touch the Tone/Noise tab to show the Tone/Noise page.

Program the Tone parameter

Tone is the waveshape of the drawbars, producing the raw timbre.

Tone option Meaning

Mellow A mellow-sounding wave.

Hard A harder-sounding wave.

Program the Leakage parameter

▪ Increase Leakage from adjacent tonewheels, to make the sound richer.

Program the Key On and Key Off parameters

▪ Use the Key On and Key Off parameters, to add the noise of keypress or key

release.

Writing the Sound sets |183

16 Writing the Sound sets

Writing the Keyboard Sets to the library

Keyboard Sets can store the Keyboard Sounds and settings. The library is

where you organize them by type and family. You can recall these Keyboard

Sets by using the KEYBOARD SET LIBRARY buttons.

Note: All changes will be lost when choosing a different Keyboard Set, unless you

write them. Changes can normally only be saved onto User or Direct Keyboard Sets.

Writing a Keyboard Set

Open the Write Keyboard Set to Library dialog from the control panel

▪ While in Style Play or Song Play mode, keep any of the KEYBOARD SET

LIBRARY buttons pressed for about one second.

Open the Write Keyboard Set to Library dialog from the display

▪ While in Style Play or Song Play mode, choose the Write Kbd Set to Library

command from the page menu.

Keyboard Set name

Keyboard Set

bank

Keyboard Set

location

Touch to open

the Keyboard Set

Select window

Write over the same User Keyboard Set

▪ If you want to overwrite the current User Keyboard Set, just touch the OK

button.

184| Customizing and editing the Sound sets

Write to a different Keyboard Set location

1 If you want to save onto a different location, touch the Select button and

open the Keyboard Set Library Select window. Choose a location as if you

were choosing a Keyboard Set. Blank locations are shown as a series of dash-

es (‘–––’).

2 When back at the Write Keyboard Set dialog, you may change the name of

the Keyboard Set. Touch the Text Edit (

) icon to open the virtual key-

board and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back at the Write Keyboard Set dialog, conﬁrm the Write operation by

touching the OK button.

Writing the Sound sets |185

Writing Keyboard Sets into a Style

Keyboard Sets can store Keyboard Sounds and settings inside a Style.

When choosing a Style, four Keyboard Sets matching the selected Style are

automatically selected. You can recall these Keyboard Sets by using the

KEYBOARD SET buttons under the display.

Note: Changes can normally only be saved onto User and Direct Styles.

Writing the Keyboard Set to the current Style

Open the Write Keyboard Set to Style dialog from the control panel

▪ While in Style Play or Song Play mode, keep any of the KEYBOARD SET but-

tons under the display pressed for about one second.

Open the Write Keyboard Set to Style dialog from the display

1 While in Style Play or Song Play mode, choose the Write Kbd Set to Style

command from the page menu.

Keyboard Set name

Style containing the

Keyboard Set

Keyboard Set location

inside the Style

Write the Keyboard Set

▪ If you want to overwrite the current Keyboard Set, just touch the OK button.

▪ If you want to write the Keyboard Set to a different location inside the same

Style, touch the arrow next to the Kbd Set parameter to open a pop-up menu

and choose a different location.

2 You may change the name of the Keyboard Set. Touch the Text Edit (

)

icon to open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back at the Write Kbd Set to Style dialog, conﬁrm the Write operation

by touching the OK button.

186| Customizing and editing the Sound sets

Writing the Keyboard Set to a different Style

1 Choose the Style containing the original Keyboard Set.

2 Edit the Keyboard Set.

3 Be sure the STYLE TO KBD SET indicator is turned off.

If this indicator was turned on, choosing a Style would also select a different

Keyboard Set.

4 Choose the Style where you want to copy the modiﬁed Keyboard Set.

5 Write the Keyboard Set into the preferred location, by following the proce-

dure seen above.

Writing the Sound sets |187

Writing Keyboard Sets into a SongBook

Entry

You can write the changes to the Keyboard Sounds and settings into one of

the Keyboard Sets. When choosing a SongBook Entry, four Keyboard Sets

matching the selected Entry are automatically selected. You can recall these

Keyboard Sets by using the

KEYBOARD SET buttons under the display.

Saving Keyboard Sets to a new SongBook Entry

You can create a new SongBook Entry, and at the same time save the current

Keyboard Sets with it.

1 While you are in Style Play or Song Play mode, choose the Style or Song the

SongBook Entry will be based on. The Style includes up to four Keyboard

Sets.

2 If you want, edit the Keyboard Sounds and their settings (split point, octave

transposition, volume…). This will be Keyboard Set #1.

3 When ﬁnished editing, keep the SONGBOOK button pressed for one second

to open the Write Song page.

If a Direct SongBook has been selected, choose between the Internal and

Direct SongBook.

4 Touch the New Song Name parameter and assign the Entry a name.

5 Touch the OK button to save the new SongBook Entry.

Together with the Keyboard Sets, all the current settings are saved into the

new SongBook Entry (including the selected Style or the selected Song).

If you edited the Keyboard Sounds, they will be saved as the Keyboard Set

#1.

188| Customizing and editing the Sound sets

Saving a Keyboard Set to the selected SongBook Entry

You can save the Keyboard Sounds as a Keyboard Set inside the selected

SongBook Entry.

1 Before editing the Keyboard Sounds, go to the SongBook > Book or Set List

page, and choose the SongBook Entry where to save them.

2 Press the EXIT button to exit the SongBook.

3 Edit the Keyboard Sounds.

4 Go to the SongBook > Write page.

5 Select the Keyboard Set > Write checkbox, and select the name of the single

Keyboard Set.

6 Choose a single Keyboard Set location to save the Keyboard Sounds to the

selected Keyboard Set inside the SongBook Entry. After choosing the target

location you can give the Keyboard Set a new name.

7 Touch the Write button to make the Write Song dialog appear.

If a Direct SongBook has been selected, choose between the Internal and

Direct SongBook.

▪ Choose whether to overwrite an existing Entry, or create a new one:

Writing the Sound sets |189

▪ To overwrite the current SongBook Entry, choose Rename/Overwrite.

▪ To create a new SongBook Entry, choose New Song.

8 Touch the New Song Name line if you want to edit the SongBook Entry’s

name.

9 Touch OK to save the SongBook Entry.

10 If you want to save more Keyboard Sets, repeat the above procedure for the

other four Keyboard Set locations inside the SongBook Entry.

190| Customizing and editing the Sound sets

Writing Style Settings, Song Settings and

MIDI Song Sounds

The Sounds’ conﬁguration can also be written into other elements.

▪ To edit additional Style parameters, and save the Style Settings, see the

pages starting from Customizing the Styles on page 191.

▪ To edit additional parameters of the Song Play mode, and save the Song Play

Settings, see the pages starting from Customizing the Songs on page 301.

Please remember that changes made in Song Play mode are temporary, and

will be discarded when playing a Song.

▪ To edit additional MIDI Song parameters and save them into a Standard MIDI

File, see the pages starting from Editing the MIDI Songs on page 337.

|191

PART V:

CUSTOMIZING,

RECORDING

AND EDITING

THE STYLES

AND PADS

192| Customizing, recording and editing the Styles and Pads

Customizing the Styles |193

17 Customizing the Styles

Setting the Chord Recognition

Choosing where to play chords (Chord Scan area)

You can play chords with your left hand, or with both hands. You can choose

the recognition area, depending on the song you are playing and your pre-

ferred playing style.

The area where chords are recognized depends on the status of the

SPLIT

indicator.

SPLIT/

CHORD SCAN

Where to play chords (Chord Scan area) Notes to play

On Left hand (Lower area of the keyboard) Depends on the Chord

Recognition mode

Off Both hands (full keyboard) Three or more

Make chords be recognized when played with your left hand

▪ Press the SPLIT button to turn its indicator on.

The number of notes to be played, for a chord to be recognized, depends on

the Chord Recognition mode (see below).

Make chords be recognized when played with both hands

▪ Press the SPLIT button to turn its indicator off.

Always play three or more notes to let the arranger recognize a chord.

Deactivate chord recognition

▪ Press the ACCOMP. button to turn its indicator off.

Only the Drum and Percussion tracks will continue to play.

194| Customizing, recording and editing the Styles and Pads

Memorize the Chord Scan area

The status of the SPLIT indicator can be memorized into a Keyboard Set.

▪ Write a Keyboard Set.

Choosing how to play chords (Chord Recognition mode)

You can play chords in the simplest (even simpliﬁed), or the most sophisti-

cate way. It’s at you how chords have to be played to be recognized.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style 1 page.

2 Choose how to play chords by using the Chord Recognition menu.

Chord Recognition How to play chords

One Finger This mode is only available when the SPLIT indicator is turned on.

If you turn it off, the mode will automatically switch to Fingered (3

Notes).

With this mode, you can compose a chord using a simpliﬁed chord

playing technique:

• Play a single note for a Major chord to be recognized.

• Play the root note, plus a white key on the left, for a 7th. For

example, play C3 + B2 for a C7.

• Play the root note, plus a black key on the left, for a Minor chord.

For example, play C3 + Bb2 for a C minor.

• Play the root note, plus a white and a black key on the left, for a

Minor 7th. For example, play C3 + B2 + Bb2 for a C min 7.

One Finger Plus This mode works like One Finger. However, if you play complete

chords, it will recognize them as if you were in Fingered (3 Notes).

This way, you can play chords that One Finger cannot recognize.

Customizing the Styles |195

Chord Recognition How to play chords

Fingered (1 Note) When the SPLIT indicator is turned on, play one or more notes to

compose a chord. A full Major chord will be recognized even if only

a single note is played.

When the SPLIT indicator is turned off, play at least three notes to

compose a chord.

Fingered (3 Notes) Always play three or more notes for a chord to be recognized.

Advanced When the SPLIT indicator is turned on, play one or more notes for a

chord to be recognized. If you play a single note, a ‘root+8ve’ will be

played. If you play a ﬁfth, a ‘root+5th’ chord will be played.

When the SPLIT indicator is turned off, play at least three notes to

compose a chord.

With this mode, you can play rootless and slashed chords, often

used in jazz, fusion or modern pop. You don’t always need to play

the root note, that would otherwise double the note already played

by the bassist.

3 Press the EXIT button to return to the previous page.

196| Customizing, recording and editing the Styles and Pads

Keeping a chord in memory by pressing the Damper pedal

You can choose to keep the recognized chord in memory while the Damper

pedal is kept pressed. In this case, you can freely play any chord on the key-

board, and the arranger will still play the ‘latched’ chord. This is especially

useful when the SPLIT indicator is turned off, and all the notes you play on

the keyboard could be recognized as a new chord.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style 1 page.

2 Select the Damper&Latch checkbox, to make the recognized chord be held

for as long as the Damper pedal is kept pressed.

At this point, play a chord for the arranger. Press the Damper pedal and keep

it pressed to keep the recognized chord in memory. Release the Damper

pedal when you want to play another chord to be recognized by the arranger.

Customizing the Styles |197

Automatically holding chords and Lower

notes (Memory)

Using the Memory function

You can keep the chords and/or Lower notes in memory even after raising

your hand from the keyboard. How this function works depends on the set-

tings of the Memory Mode parameter (see below).

▪ Press the MEMORY button to turn its indicator on, and keep the chords and/

or Lower notes in memory.

▪ Press the MEMORY button to turn its indicator off. The chords and/or Lower

notes are released as soon as you raise your hand from the keyboard.

Choosing the Memory Mode

Set how the MEMORY button works according to your preferences.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the

SHIFT button pressed and press the ST YLE PL AY

button to open the Style 1 page.

198| Customizing, recording and editing the Styles and Pads

2 Use the Memory Mode parameter to choose the way the MEMORY button

works.

Memory Mode Meaning

Chord When the MEMORY indicator is on, recognized chords are held even

when raising your hand from the keyboard. When the indicator is off,

chords are reset when raising your hand.

Chord + Lower When the MEMORY indicator is on, recognized chords and the Lower

Sound are held until the next note or chord is played. When the in-

dicator is off, both the chord (therefore the accompaniment) and

Lower Sound are cut when raising the hand from the keyboard.

Fixed Arr. + Lower When the MEMORY indicator is on, recognized chords and the Lower

Sound are held until the next note or chord is played. When the indi-

cator is off, the Lower Sound is cut when raising the hand from the

keyboard, while the chord is held (the accompaniment will continue

to play).

Customizing the Styles |199

Recognizing the root note (Bass Inversion)

The instrument’s internal arranger recognizes chords by analyzing all the

notes you play in the chord recognition area, and considering their func-

tion in a chord. You can however always force the lowest (leftmost) note of

the chord to be considered, for example the chord’s root of a slashed chord

(such as ‘C/E’ or ‘F/C’).

You can activate/deactivate this function in the

Split pane.

Turn Bass Inversion on

1 While in the Main page of the Style Play mode, touch the Split tab to see the

Split pane.

2 Select the Bass Inversion checkbox to turn it on.

The lowest note of a chord will always be detected as the root note of a

slashed chord.

Turn Bass Inversion off

1 While in the Main page of the Style Play mode, touch the Split tab to see the

Split pane.

2 Deselect the Bass Inversion checkbox to turn it off.

The lowest note will be scanned together with the other chord notes, and will

not always be considered as the root note.

200| Customizing, recording and editing the Styles and Pads

Setting how velocity controls the

accompaniment

You can play stronger than a set velocity value to trigger an accompaniment

control.

1 Go to the Global > Mode Preferences > Style 2 page.

2 Use the Velocity Control parameter to choose the function to be controlled

when playing strongly.

Velocity Control Meaning

Off The function is turned off.

Break When playing with a velocity higher than the trigger value on the

Lower track, the Break is automatically triggered.

Start/Stop You can start or stop the automatic accompaniment by playing hard-

er on the keyboard.

Bass Inversion When playing with a velocity higher than the trigger value, the Bass

Inversion function will be activated or deactivated.

Memory When playing with a velocity higher than the trigger value, the

Memory function will be activated or deactivated.

3 Use the Value parameter to set the velocity trigger value.

4 Before using this function, be sure the SPLIT indicator is turned on.

Customizing the Styles |201

Mixing the grouped Accompaniment

Sounds

Grouped Accompaniment Sounds

As in a mixer, the Accompaniment Sounds can be grouped together. For

example, instead of separately muting the guitar and the strings parts in

the Accompaniment, you can mute the Accompaniment (ACCOMP) group

by touching a single button.

Grouped Accompaniment Sounds can be accessed directly from the

Main

page > Volume pane:

Muting grouped Accompaniment parts

Turn a group of Accompaniment Sounds off (Mute)

▪ If the group you want to mute is in Play, touch the Play/Mute icon to set it

to Mute.

Turn a group of Accompaniment Sounds on (Play)

▪ If the group you want to hear is in Mute, touch the Play/Mute icon to set it

to Play.

202| Customizing, recording and editing the Styles and Pads

Adjusting the (global) Accompaniment groups volume

Groups volume is a global setting, that is not meant to change when you

select a different Style. To avoid abrupt changes in the volume level of the

Accompaniment Sounds during a show, we moved the volume settings to a

safer area than the Main page.

1 Go to the Global > Mode Preferences > Style 2 page.

2 In the Style Volume section, touch the mixer group channel whose volume

level you want to change.

Grouped part name Meaning

DR/PERC Grouped Drum and Percussion parts (volume offset)

ACCOMP Grouped Accompaniment parts (Acc1-5) (volume offset)

BASS Bass part (volume offset)

Keep the virtual volume slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE control to change the volume level of the

selected channel.

As it happens with the groups of a mixer, these levels are not the actual chan-

nel level, but a global offset added to the separate channels. Therefore, the

resulting level will depend on the individual level of each channel, summed

to this group’s offset.

If you like, you can ﬁnely mix the various groups. For example, if you prefer

Drums and Bass to be more prominent to let them have more ‘punch’, you

can lower the grouped Accompaniment Sounds to leave more room to the

rhythm section.

If you whish to permanently mute a group, just move its volume to zero.

The (relative) volume level of grouped tracks will remain the same for all the

subsequent Styles you will choose during your performance.

4 Press the EXIT button to return to the previous page.

Editing the Style Settings |203

18 Editing the Style

Settings

Mixing the individual Accompaniment

Sounds

Adjusting the volume of the individual Accompaniment Sounds

As you can do with the Keyboard Sounds, you can adjust the volume of the

individual Accompaniment Sounds. This will allow for ﬁner balancing be-

tween Accompaniment Sounds.

Please note that in the

Global > Mode Preferences > Style page you can

adjust the volume of the grouped Style tracks as a general setting, as if you

were adjusting the levels of the mixer groups.

Note: Changes can normally only be saved onto User or Direct Styles. They cannot

be saved onto Factory Styles.

Adjust an Accompaniment Sound’s volume level from the display

1 See the Accompaniment parts mixer.

While in the

Main page, touch the Volume tab to select the Volume pane, then

press the TRACK SELECT button to switch to the Accompaniment Sounds.

Accompaniment

parts

204| Customizing, recording and editing the Styles and Pads

As an alternative, you can adjust the levels in the Style Play or Style Record

> Mixer/Tuning > Volume/Pan page.

2 Touch the mixer channel whose volume level you want to change.

3 Keep the virtual slider held on the screen, and drag it to the desired level.

As an alternative, use the

VALUE control to change the volume level of the

selected channel.

4 Keep the SHIFT button pressed, and use the TEMPO +/- buttons to propor-

tionally change the volume of all the similar parts.

Moving one of the sliders corresponding to a Style track, proportionally

changes the volume of all the Style tracks.

Style tracks Meaning

DRUM Drum part

PERC Percussion part

BASS Bass part

ACC1-5 Five separate instrumental accompaniment parts (Acc1-5). These

may freely be melodic or chordal parts

5 Return to the Main page

When done, press the

TRACK SELECT button again to switch back to the

Main page and see the grouped parts.

Memorize the volume level

▪ Write the Style Settings.

Turning the individual Accompaniment Sounds on or off

Sounds can be muted, in case you don’t want to hear them in the mix. As an

example, the accompaniment might contain a piano part, and you want to

play it live on the keyboard.

Note: Changes can normally only be saved onto User or Direct Styles. They cannot

be saved onto Factory Styles.

Editing the Style Settings |205

See the Accompaniment parts mixer

▪ While in the Main page, touch the Volume tab to select the Volume pane, then

press the TRACK SELECT button to switch to the Accompaniment Sounds.

Accompaniment parts

As an alternative, you can access these parameters in the Style Play or Style

Record > Mixer/Tuning > Volume/Pan page.

Turn a channel on (Play) or off (Mute)

▪ Select the mixer channel, then touch the Play (

) or Mute ( ) icon to

turn the corresponding Sounds on or off.

Return to the Main page

▪ When done, press the TRACK SELECT button again to switch back to the

Main page and see the grouped parts.

Memorize the play/mute status

▪ Write the Style Settings.

Soloing an Accompaniment Sound

You can solo an Accompaniment Sound exactly as you would do with the

Keyboard Sounds.

Solo a Sound

▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch

the mixer channel that you want to listen in solo.

any page where it appears, you can touch the mixer channel correspond-

ing to the Sound to isolate.

When this function is activated, the ‘Solo’ warning will ﬂash on the page

header.

206| Customizing, recording and editing the Styles and Pads

Solo a Sound via menu command

As an alternative, you can solo a Sound using a menu command.

1 While in any page where the name of the Sound or the mixer channel cor-

responding to the Sound to listen in solo appears, touch it to select it.

2 Choose the Solo Track command from the page menu.

Deactivate Solo

Do one of the following:

▪ While in any page where the mixer channels appear, keep the SHIFT button

pressed, and touch the mixer channel that is currently in solo.

▪ Choose the Solo Track command from the page menu to deselect it.

Editing the Style Settings |207

Changing the Sounds of the

accompaniment parts

Style vs. Style Element Sounds

You can assign Accompaniment Sounds to the whole Style (saved in the

Style Settings), that will not change when changing Style Element (for exam-

ple, going from Variation 1 to Variation 2). Or you can assign Accompaniment

Sounds to each Style Element, to let them change when choosing a different

Style Element.

Choosing Sounds for the whole Style

You may prefer to assign Sounds to the accompaniment tracks that will not

change when choosing a different Style Element (Intro, Variation…). The new

combination of Sounds can be written into the current Style Settings.

This is like having a band playing the same instruments for the whole song,

as it usually happens. It is also much quicker to program.

Choose Sounds for the Accompaniment parts

1 While in the Main page, touch the Volume tab to select the Volume pane.

2 Press the TRACK SELECT button to switch to the Accompaniment Sounds

(Style Tracks View).

Sounds of the

Accompaniment parts

3 Be sure the Original Sound Set checkbox is not selected. In any case, it will

be automatically deselected when choosing a Sound.

This will make the Style choose the Sounds assigned to the Style Settings,

instead of the Sounds assigned to the Style Elements (the ‘original’ Sounds).

208| Customizing, recording and editing the Styles and Pads

4 Choose Sounds by touching the Sound icon on each track.

These Sounds will become part of the Style Settings. They will remain the

same for the whole Style, and will not change when choosing different Style

Elements.

Memorize the assigned Sounds

▪ Write the Style Settings.

Changing Sounds for each Style Element

You can assign Sounds to each accompaniment part of each Style Element

(Intro, Variation…). This option requires editing the Style in Style Record

mode, since the events are recorded into the Style sequence. Please see the

relevant chapter.

To use these Sounds, be sure the

Original Sound Set checkbox is selected in

the Main > Volume page.

Drum Kits

Drum Kits (including Percussion Kits) are special Sounds, where each note

of the keyboard is a different percussive instrument. To preserve the kit’s

mapping, Drum Kits are not affected by transposition.

Choose the Drum and Percussion accompaniment parts

Usually, you will assign Drum Kits to the DRUM part, and Percussion Kits to

the PERC part.

Choose Drum Kits

Choose Drum Kits as any other Sound. Drum Kits are contained in the banks

whose name includes Drums.

Editing the Style Settings |209

Accompaniment Sounds and the Style Settings

The Style Settings contain all the Sounds used by the accompaniment

parts. A set of Sounds playing together in a Style can be memorized as the

Style Settings.

Style Settings are contained in the Style, and are recalled when choosing

a Style.

Style Settings

Bass Sound

Drums Sound

Percussions Sound

Acc 1 Sound

Acc 2 Sound

Acc 3 Sound

Acc 4 Sound

Acc 5 Sound

Digital Drawbars and the accompaniment parts

Digital Drawbars are special Sounds emulating the classic tonewheel or-

gans. Settings for the Digital Drawbars assigned to the accompaniment

tracks are memorized in the Style Settings, and may be considered the

equivalent of an organ’s preset. You can have a single Digital Drawbars

Sound for all the accompaniment parts.

210| Customizing, recording and editing the Styles and Pads

Setting the Style controls

Remapping Drum Kit instruments

You can remap Drum Kit instruments to add variety to the percussive part.

Select different Maps and Designations while listening to the Style, and see

how they affect the ﬁnal result.

1 Go to the Style Play or Style Record > Style Controls > Drum Map page.

As an alternative, you can access these parameters in the Style Record >

Style Track Controls > Drum Map page.

2 Use the Drum Mapping > Var pop-up menus to choose an alternative ar-

rangement of percussive instruments for the selected Drum Kit, without any

additional programming. Just select a Drum Map for each Variation, and

some percussive instruments will be replaced with different instruments.

Drum Mapping Meaning

Off Standard mapping

Drum Mapping 1…7 Drum Mapping number. Mapping 1 is ‘soft-sounding’, while mapping

7 is ‘loud-sounding’.

Editing the Style Settings |211

3 Use the Kick and Snare Designation > Kick pop-up menu to replace the origi-

nal Kick (Bass Drum) sound with a different Kick of the same Drum Kit.

4 Use the Kick and Snare Designation > Snare pop-up menu to replace the

original Snare Drum sound with a different Snare of the same Drum Kit.

Designation Meaning

Off Original Kick or Snare

Type 1…3 Kick or Snare replacing the original one

Memorize the Drum Kit mapping

▪ Write the Style Settings.

Turning the key range on/off and setting the wrap-around point

Accompaniment Sounds, like the acoustic instruments they imitate, sound

better in their natural range. When the accompaniment pattern exceeds this

range, or goes over the wrap-around point, it can be transposed to fall in the

best range.

1 Go to the Style Play > Style Controls > Range/Wrap page.

212| Customizing, recording and editing the Styles and Pads

As an alternative, you can access these parameters in the Style Record >

Style Track Controls > Range/Wrap page.

2 Use the Sound Range On/Off checkbox to turn the Key Range on/off for

each Sound.

A preferred range is set in the

Style Record > Element Track Controls >

Range page for each track of each Style Element. You can turn it on/off for

the whole Style.

Kbd Range Meaning

On The Sound’s Key Range is considered. When a track goes over the

lower or higher Key Range point, it is automatically transposed, to

remain inside the programmed range.

Off No Sound’s Key Range considered. The track plays the real note.

3 Use the Wrap Around knob to set a wrap-around point.

The wrap-around point is the highest key for the accompaniment track. When

the detected chord’s pitch is too high, the Style pattern might be transposed

to a range that is too high, therefore sound unnatural. So, when the pattern

reaches the wrap-around point, it will jump to a lower octave.

It is advisable to set different wrap-around points for each track, to avoid

that all tracks ‘jump’ to a different octave at the same time. For more real-

istic results, we suggest to consider the actual range of the real instrument.

Wrap Around Meaning

1 … 12 Maximum transposition (in semitones) of the track, referred to the

original Key/Chord of the Style pattern.

Memorize the key range and wrap-around

▪ Write the Style Settings.

Editing the Style Settings |213

Choosing and mixing the Pads

You can assign four Pads to each Style. The new combination of Pads can

then be written into the Style Settings.

Choosing the Pads

Open the Pad Select window

1 Be sure to be in the main page of the Style Play or Song Play mode. If you

are not there, press either the ST YLE PL AY or the SONG PLAY buttons in

the control panel.

2 Select the Pad pane by touching the corresponding tab.

3 Touch the name of the Pad you want to change to open the Pad Select

window.

Choose a Pad

1 Browse through the Pads in the Pad Select window.

214| Customizing, recording and editing the Styles and Pads

▪ To choose one of the available types of Pads, touch the buttons at the top

of the window.

Pad type Meaning

Hit While they are mostly used as non-transposing events, they can also

be transposing notes or chords. Basically, they are single-note or

single-chord Sequences (see below).

Sequence Single-track patterns, that can be transposed by playing different

chords on the keyboard – exactly as a Style track.

User Freely available locations to save your own Pads (created or edited

in Pad Record).

Direct Pads accessed directly from a storage device, without ﬁrst having

to load them.

▪ To choose a different group of Pads, touch one of the tabs on the sides of

the window.

▪ To choose one of the available pages in the selected Pad group, touch one of

the P1…P6 tabs at the bottom of the window.

2 Touch the name of the Pad you want to choose.

3 If you want to close the Pad Select window (and it does not close by itself),

press the EXIT button. (When a window does not close by itself, it means the

Display Hold is turned on. See Display Hold on page 44).

4 Repeat the above procedure for the other Pads.

Memorize the assigned Pads

▪ Write the Style Settings.

Pads can also be memorized into a SongBook Entry. See the instructions

dedicated to the SongBook.

Editing the Style Settings |215

Mixing the Pads

Access the Pad page

▪ Go to the Style Play or Song Play > Pad/Switch > Pad page.

Choose the Pads

▪ While in this page, you can choose different Pads by touching the Pad name,

and following the procedure seen above.

Adjust the volume and pan

▪ Use the Volume parameter to set the level of each Pad.

▪ Use the Pan parameter to set the position of each Pad in the stereo pan-

orama.

Adjust the send level to the master effects

▪ Use the Master parameters to adjust the amount of the signal sent to the FX

A Master effects.

Equalize the sound

▪ Use the EQ Gain controls to set the three-band equalizer for each Pad.

Memorize the Pad settings

▪ Write the Style Settings.

216| Customizing, recording and editing the Styles and Pads

19 Writing the Style

Settings

Writing the Style Settings

Style Settings can save Accompaniment Sounds and settings into a Style.

Note: Changes can normally only be saved onto User or Direct Styles, and onto

SongBook Entries. They cannot be saved onto Factory Styles.

Writing the Style Settings while in Style Play mode

Open the Write Current Style Settings dialog from the control panel

▪ While in Style Play mode, keep the STYLE SELECT button pressed for about

one second.

Open the Write Current Style Settings dialog from the display

▪ While in Style Play mode, choose the Write Current Style Settings com-

mand from the page menu to open the Write Current Style Settings dialog.

Write the Style Settings

▪ To write the current settings into the selected Style, touch the OK button.

Writing the Style Settings |217

Writing the Style Settings while in Style Record mode

In Style Record mode, you can write the Style Settings together with the

Style.

▪ While in Style Record mode, choose the Write Style command from the page

menu. Its Styles Settings are automatically saved. See Writing the Styles on

page 306.

218| Customizing, recording and editing the Styles and Pads

20 The Chord Sequencer

Recording Chord Sequences

You can record a Chord Sequence, that will play the chords for you. This

will be useful, for example, when you have to play a repeated sequence, and

prefer to use your left hand to play a solo on the keyboard, or to select the

DNC controllers.

Please note that the indicator on the

CHORD SEQUENCER button will show

if a Chord Sequence is ready to play, or in record.

CHORD SEQUENCER Meaning

Off Empty

Green steady Chord Sequence in memory

Green ﬂashing Chord Sequence playing or ready to play

Red steady Ready to record a Chord Sequence

Red ﬂashing Recording a Chord Sequence

Recording a Chord Sequence while the Accompaniment is playing

You can start recording while the Arranger is playing.

1 Press the START/STOP button to start the automatic accompaniment.

2 Keep the CHORD SEQUENCER button pressed for about one second to en-

ter record-pending mode. Its indicator will become steady red.

3 Press the CHORD SEQUENCER button again to start recording. At the be-

ginning of the next measure, the CHORD SEQUENCER indicator will start

ﬂashing in red. Start recording your Chord Sequence.

The Chord Sequencer |219

4 When the Chord Sequence is done, press the CHORD SEQUENCER button

again to stop recording. Its indicator will turn steady green, to show there is

a sequence in memory.

The Chord Sequence will remain in memory until you record a new Chord

Sequence, choose a different Style or SongBook Entry, or you turn the in-

strument off. If the sequence is locked, it will not change when choosing a

different Style or SongBook Entry.

Recording a Chord Sequence while the Accompaniment is not playing

1 Keep the CHORD SEQUENCER button pressed for about one second to en-

ter record-pending mode. Its indicator will become steady red.

2 Play a chord, then start the automatic accompaniment in one of these ways:

▪ Press the START/STOP button.

▪ Press one of the INTRO buttons. With INTRO 1, recording will start at the end

of the Intro.

▪ If the SYNCHRO START indicator is turned on, the accompaniment will start

as soon as you play a chord.

The

CHORD SEQUENCER indicator will start ﬂashing in red.

3 Record your Chord Sequence.

4 When the Chord Sequence is done, press the CHORD SEQUENCER button

again to stop recording. Its indicator will turn green (and steady).

The Chord Sequence will remain in memory until you record a new Chord

Sequence, choose a different Style or SongBook Entry, or you turn the in-

strument off. If the sequence is locked, it will not change when choosing a

different Style or SongBook Entry.

220| Customizing, recording and editing the Styles and Pads

Starting recording with a switch

You can program an assignable switch to be the Chord Sequence Record

button. This will let you start recording immediately, without having to enter

record-pending.

1 Go to the Pads/Switches > Switch page, and assign the Chord Sequence

Record command to one of the assignable switches (#3 recommended).

2 Write the changes to the a Keyboard Set. If you want this to be the default

behaviour of the switch, write the changes to the MY SETTING Keyboard Set

(automatically selected on startup).

3 Use the programmed assignable switch to record the sequences.

The Chord Sequencer |221

Playing back Chord Sequences

You can play back the Chord Sequence in memory. The chords driving the

automatic accompaniment will be performed by the recorded sequence.

Starting the Chord Sequence while the Accompaniment is playing

1 While the accompaniment is playing, press the CHORD SEQUENCER button

to start the Chord Sequence.

The indicator will start ﬂashing in green. The Chord Sequence will be played

back in loop starting from the next measure.

2 Play your solo part, while the Chord Sequence plays the chords for you.

During Chord Sequence looping, you can freely select any Variation, as if you

where playing chords with your hands.

3 Press the CHORD SEQUENCER button again to stop the Chord Sequence (or

stop the accompaniment). The button’s indicator will become steady green.

Starting the Chord Sequence with the Accompaniment

1 While the accompaniment is not playing, press the CHORD SEQUENCER but-

ton to book the Chord Sequence. The button’s indicator will start ﬂashing in

green.

2 Start the accompaniment. The Chord Sequence will immediately start play-

ing.

3 Play your solo part, while the Chord Sequence plays the chords for you.

During Chord Sequence looping, you can freely select any Variation, as if you

where playing chords with your hands.

4 Press the CHORD SEQUENCER button again to stop the Chord Sequence (or

stop the accompaniment). The button’s indicator will become steady green.

222| Customizing, recording and editing the Styles and Pads

Managing the Chord Sequences

Writing a Chord Sequence

The Chord Sequence can be memorized to the Style Settings or a SongBook

Entry.

▪ Write the Style Settings or a SongBook Entry, and the Chord Sequence in

memory will be automatically saved.

For information on how to write the Style Settings, see

Writing the Style

Settings on page 216. For information on how to write a SongBook Entry,

see the Editing the SongBook on page 116.

Recalling a Chord Sequence

Each Style or SongBook Entry may contain a Chord Sequence.

▪ Choose a different Style or SongBook Entry to recall the memorized Chord

Sequence.

If there is no Chord Sequence memorized, the one already in memory will

be deleted.

Locking the Chord Sequence

If you prefer to keep the current Chord Sequence in memory, without let-

ting a Style or SongBook Entry recall the memorized one, select the Chord

Sequence lock.

▪ Go to the Global > General Controls > Lock > Style page, and select the

Chord Sequence checkbox.

The Chord Sequencer |223

Deleting a Chord Sequence

To start anew, you can delete the Chord Sequence from memory.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit

command from the page menu.

2 Choose the Delete Sequence option, and touch the OK button to conﬁrm

deletion.

At this point, you can save the Style Settings or SongBook Entry again, and

the Chord Sequence will be gone from them.

Copying a Chord Sequence

You can copy a Chord Sequence from a different Style or SongBook Entry.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit

command from the page menu.

2 Choose the Copy from option, and use the pop-up menu to choose either a

Style or SongBook Entry as the source.

3 Touch the Select button to choose the source Style or SongBook Entry.

4 When back to the Chord Sequence dialog, touch the OK button to conﬁrm

copying.

At this point, you can save the Style Settings or SongBook Entry again, and

the copied Chord Sequence will be saved.

224| Customizing, recording and editing the Styles and Pads

Importing a Chord Sequence from a Standard MIDI Files

You can import a Chord Sequence from a Standard MIDI File (MIDI Song, that

is a MID ﬁle).

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit

command from the page menu.

2 Choose the SMF option, and use the pop-up menu to choose the Import op-

tion.

3 Use the Use pop-up menu to choose between importing Chords (Chord

events you might have recorded with a Backing Sequence Song, or included

in a Standard MIDI Files as Lyrics events) or Notes (ordinary notes, recog-

nized as chords).

4 Touch the Select button to choose the source Standard MIDI Files (MID ﬁle).

5 When back to the Chord Sequence dialog, use the From measure and To

measure parameters to set a measure range from which to import from.

For example, you may want to only import the verse or chorus chords.

6 Touch the OK button to conﬁrm importing.

At this point, you can save the Style Settings or SongBook Entry again, and

the imported Chord Sequence will be saved.

Exporting the Chord Sequence

You can export a Chord Sequence to a Standard MIDI File (MID ﬁle), to be

used in a MIDI Song.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit

command from the page menu.

2 Choose the SMF option, and use the pop-up menu to choose the Export op-

tion.

3 Touch the OK button to conﬁrm exporting.

4 When the ﬁle selector appears, choose a folder where to save the exported

ﬁle.

Recording the Styles and Pads |225

21 Recording the Styles and

Pads

How are Styles and Pads made?

KORG supplies a huge amount of professionally crafted Styles and Pads with

Pa700. However, you are free to customize them, or create totally new Styles

and Pads on your own.

Styles and Pads share most of the same structure and recording/editing op-

erations. Here is how they are made.

How Styles are made

Style Elements

Styles are music sequences automatically played by the Pa700’s arranger

when you play a chord, to give a you a realtime backing. A Style is made of

a series of Style Elements (Intro, Variation, Fill, Ending…), each one corre-

sponding to a section of a song. The Style Elements can be directly selected

by using the corresponding buttons on the control panel, or selected by the

Auto Fill function.

Chord Variations

Each Style Element is made of smaller units, called the Chord Variations.

When you play in the chord recognition area, the arranger scans the key-

board and detects which chord you are playing. Then, depending on the se-

lected Style Element, it chooses the right Chord Variation to be played for

the recognized chord.

226| Customizing, recording and editing the Styles and Pads

Which Chord Variation corresponds to each scanned chord is decided by the

Chord Variation Table. Each Style Element contains a Chord Variation Table,

whose general structure is the following:

Recognized Chord Chord Variations (CV)

Variation 1-4 Intro 1-2, Count-In, Fill 1-4,

Break, Ending 1-3

Major

CV1 – CV6 CV1 – CV2

M7, M7

(b5)

sus, sus2, M7sus

m7, m7

(b5),

(M7)

7, 7

(b5),

7sus4

dim, dim

(M7)

(#5),

(#5)

1+5, 1+8

dim7

Key/Chord

After deciding what CV to play, the arranger triggers the right sequence

for each track. Since each sequence is written in a particular key (for ex-

ample, CMajor, GMajor or Emin), the arranger transposes it according to the

scanned chord. Notes in the sequence are carefully transposed, to make

them work ﬁne with all the recognized chords.

Tracks and Patterns/Sequences

Each Chord Variation is made of eight different tracks. DRUM and PERC are

used for drum and percussion sequences, BASS for bass and ACC1-5 are for

instrumental accompaniment sequences (string, guitar, piano or other ac-

companiment instruments).

Recording the Styles and Pads |227

What happens when you play a chord

To summarize, when you play a chord in the chord recognition area, the ar-

ranger determines which Style Element is in use, then determines which

Chord Variation should be used for the recognized chord, then Style sequenc-

es for every track of that Chord Variation are transposed from the original

chord to the recognized chord, and so on every time you play a chord.

Ordinary, Guitar and Drum tracks

There are different types of tracks, and each of them is treated in a different

way by the arranger:

Track type Meaning

Acc (Accompaniment) When a chord is recognized, the programmed chord notes

are transposed to a suitable scale, according to the Note

Transposition Tables (NTT) The NTT table allows you to re-

cord just some Chord Variations, and have all the notes play

in the right place, avoiding dissonances and transposing the

pattern notes to the notes of the recognized chord.

Bass It behaves like the Acc tracks, but playing the chord’s root.

Drum No transposition is applied. The original pattern plays al-

ways.

Perc (Percussion)

Gtr (Guitar) When a chord is recognized, the arranger triggers single

strings, strumming and arpeggios on a ‘virtual guitar’, keep-

ing care of how notes are played on the guitar fretboard.

Please note that inside a Guitar track you can also ﬁnd some

sequence typical of an Acc track – a useful addition for short

‘free-form’ passages, like a short lead solo.

What to record in a Style

Recording a Style means recording tracks, inside a series of Chord Variations,

inside a series of Style Elements, inside the Style itself.

You don’t have to record all Chord Variations for all Style Elements. Often

you only need to record a single Chord Variation for each Style Element.

Exceptions are the Intro 1 and Ending 1, where we suggest to record both a

Major and minor Chord Variations.

228| Customizing, recording and editing the Styles and Pads

The Style structure

To explain the Style structure, we can use a tree structure, as shown in the

following diagram:

Pop Ballad

Va riation 1

CV1

Drum

Perc

Bass

Acc1

Acc2

Acc3

Acc4

Acc5

CV2

CV3

CV4

CV5

CV6

Va riation 2

Va riation 3

Va riation 4

Intro1

CV1

CV2

Intro 2

Intro

3/C.In

Fill 1

Fill 2

Break

Fill 3

Fill 4

Ending 1

Ending 2

Ending 3

Recording the Styles and Pads |229

How Pads are made

The Pads

A Pad is basically a single-track, single Style Element Style. Most of what ap-

plies to Style recording also applies to Pad recording. There are two different

categories of Pads: Hit and Sequence.

Pad type Meaning

Hit While they are mostly used as non-transposing events, they can also

be transposing notes or chords. Basically, they are single-note or

single-chord Sequences (see below).

Sequence Single-track patterns, that can be transposed by playing different

chords on the keyboard – exactly as a Style track.

Each Pad is made up of up to six smaller units, called Chord Variations (CV).

Each Chord Variation is made of a single track (the Pad track).

Exactly as with the Styles, when playing a chord in the chord recognition

area, the corresponding Chord Variation is recalled. Recognized chords are

associated to a Chord Variation by means of the Chord Variation Table. Each

Pad contains a Chord Variation Table.

The Pad structure

The Pad structure is the same of a single-track Style Element, as shown in

the following diagram:

Pad

CV1

Pad Track

CV2

CV3

CV4

CV5

CV6

230| Customizing, recording and editing the Styles and Pads

What to record in a Pad

Recording a Pad means recording a single track, inside a series of Chord

Variations, inside the Pad itself.

You don’t need to record all Chord Variations. It is often only needed to re-

cord just a single Chord Variation.

Recorded MIDI data

When recording Styles and Pads, non-supported events are ﬁltered out.

Here are the allowed events.

Recorded MIDI data CC#

Note On

RX Noise On

Pitch Bend

Channel After Touch

Modulation 01

Breath 02

Pan 10

Expression 11

CC#12 12

CC#13 13

Ribbon 16

Damper (Hold 1) 64

Filter Resonance (Harmonic Content) 71

Low Pass Filter Cutoff (Brightness) 74

CC#80 (Sound Controller 1) 80

CC#81 (Sound Controller 2) 81

CC#82 (General Purpose #7) 82

Recording the Styles and Pads |231

Programming the Style Settings, then

recording the musical sequences

The accompaniment track parameters are to be programmed separately

from the actual recording of the musical sequences.

1 While in Style Play or Style Record mode, program the Style Settings as

described in the previous pages and the pages dedicated to the more gen-

eral Sound sets. You will program the containing track’s parameters (like

Volume, Pan, Octave Transpose, FX settings…). You will also choose and mix

the Pads.

After having edited the track parameters in Style Play mode, save them to

the Style Settings by choosing the

Write Current Style Settings command

from the page menu of the Style Play mode.

Editing done in Style Record mode can be saved by choosing the

Write Style

command from the page menu of the Style Record mode; the Style Settings

will be automatically saved with the Style.

2 Go to the Style Record or Pad Record mode to create or edit the music

sequences.

After having created or edited music sequences in Style/Pad Record mode,

save them by choosing the

Write Style or Write Pad command from the page

menu of the Style/Pad Record mode.

232| Customizing, recording and editing the Styles and Pads

Accessing the Style/Pad Record mode

Accessing Style Record

Press the STYLE PLAY button to go to the Style Play mode.

2 If you want to edit an existing Style, choose a Style to edit.

You can normally only edit User or Direct Styles. To edit Factory Styles, you

must ﬁrst unprotect them, or copy them to a User location.

3 Press the RECORD button. The Select Record Mode dialog will appear.

▪ Select Record/Edit Current Style to edit the current Style.

▪ Select Record New Style to start from a new, empty Style. Default Style

Settings will be recalled.

4 The main page of the Style Record mode will appear.

Accessing Pad Record

Press the STYLE PLAY button to go to the Style Play mode.

2 Press the RECORD button. The Select Record Mode dialog will appear.

▪ Select Record/Edit Pad to edit and existing Pad.

▪ Select Record New Pad to start from a new, empty Pad. Default Pad Settings

will be recalled.

3 The main page of the Pad Record mode will appear.

Recording the Styles and Pads |233

The main Style Record page

Record

parameters

Sound

Key/Chord and

transposition table

Mixer

Measure counter Beat counter

The main Pad Record page

Record

parameters

Sound

Pad Volume

(not saved)

Key/Chord

Transposition

table

Measure counter Beat counter

Exiting Style/Pad Record

▪

While in the Style/Pad Record mode, choose the Exit from Record com-

mand from the page menu, or press the RECORD button again.

234| Customizing, recording and editing the Styles and Pads

Listening to the recorded Style

Testing chords

While in Style/Pad Record, the keyboard can play chords to drive the record-

ed musical patterns, and a piano sound to help you test the patterns. How

chords are recognized depends on the status of the SPLIT indicator.

SPLIT indicator Lower Upper

On Lower chord scan Piano sound

Off Full chord scan, piano sound

Blinking Full chord scan, no sound

Listening to the results

Press the START/STOP button to check how the musical pattern works.

2 Play a chord, and test the patterns.

3 Press START/STOP again to stop playback.

Recording the Styles and Pads |235

Setting the recording parameters

Choosing what to record

Choosing the Style Element and Chord Variation

With Styles, you record a Chord Variation, inside a Style Element, inside a

Style. This is the musical sequence you listen when playing a chord.

Pads are made of a

single Style Element, so you only have to choose the

Chord Variation.

▪ Go to the Style/Pad Record > Main page to choose the Chord Variation to be

recorded, and set the recording parameters.

The parameters are in the

Record Parameters box.

With Styles:

With Pads:

▪ Use the Element pop-up menu to choose a Style Element.

Each Style Element corresponds to a button on the control panel carrying

the same name. After selecting a Style Element, select a Chord Variation for

actual editing (see below).

Style Element Meaning

Var1 … End3 Selected Style Element

▪ Use the Chord Var pop-up menu to choose a Chord Variation inside the se-

lected Style Element (or Pad).

236| Customizing, recording and editing the Styles and Pads

When an asterisk (*) appears next to the abbreviation (CV1* … CV6*), the

Chord Variation is empty.

Style Element Chord Variation

Var1, Var2, Var 3, Var4 CV1 … CV6

Intro1, Intro2, Intro3 (CountIn), Fill1, Fill2,

Fill3, Fill4, Break, Ending1, Ending2, Ending3

CV1 … CV2

Adjusting the total Chord Variation length

▪ Use the CV Length (Chord Variation Length) parameter to set the length of

the Chord Variation (in measures).

The overall length of the selected Chord Variation can be 32 measures. When

playing a Style or Pad, this will be the overall length of the musical sequence,

when the corresponding chord is recognized on the keyboard.

Be careful not to decrease the Chord Variation length after recording, or any

measure after the selected length will be deleted.

Adjusting the track’s recording length

▪ Use the Rec Length (Recording Length) parameter to set the length (in mea-

sures) of the selected track (the one with the Record icon (

The value of this parameter is always equal to, or a divider of, the Chord

Variation Length.

This is not the total length of the Chord Variation, just that of the current

track. For example, you may want to record a Chord Variation eight mea-

sures long, with a drum pattern repeating every two measures. If so, set

the CV Length parameter to 8, and the Rec Length parameter to 2 before

starting to record the Drum track. When playing back the Style, saving it or

executing any edit operation on the Style, the 2-measures pattern will be

extended to the full 8-measures length of the Chord Variation.

If you assign to

CV Length a value lower than Rec Length, the value of Rec

Length is not immediately updated in the display. Therefore, you are still

free of changing the value of CV Length, before the measures exceeding its

value are deleted.

However, when you start recording the real

Rec Length value is changed to

the new one, even if the display still shows the old value.

For example, you may have CV Length = 4 and Rec Length = 4. If you set CV

Length to 2, and press START/STOP to begin recording, Rec Length is still

shown as 4, but it is in reality set to 2, and recording will cycle for just 2 mea-

Recording the Styles and Pads |237

sures. After you press START/STOP to stop recording, Rec Length is updated

to 2, and all measures after the second measure are deleted.

Tempo, Meter, Resolution

Setting the recording Tempo

While recording, you might want to use a different Tempo than the one saved

in the Style Settings. This alternative value will allow you, for example, to re-

cord at a slower speed, or to experiment with different values while listening

what you recorded.

When playing Pads, the Tempo is always the one of the most recently se-

lected Style or MIDI Song.

▪ Use the Tempo parameter to set the recording Tempo value.

As an alternative, use the

TEMPO buttons to change the recording Tempo.

This value will not be saved in the Style or Pad.

Hint: In case you want to create Tempo variations in a Style, insert Tempo Change

events in the Master Track (Style Record > Event Edit page). Pads always take Tempo

values from the Style or Song.

Choosing the Meter of the Style Element or Pad

▪ Use the Meter parameter to set the meter (time signature) of the Style

Element or Pad.

You can only edit this parameter if the Style Element or Pad is still empty.

238| Customizing, recording and editing the Styles and Pads

Choosing the Resolution

▪ Use the Resolution parameter to set quantization during recording.

Quantization is a way of correcting timing errors; notes played too soon or

too late are moved to the nearest axis of a rhythm grid, set with this param-

eter, thus playing perfectly in time.

To quantize after recording, use the Style/Pad Record > Style/Pad Edit >

Quantize function.

Resolution Meaning

High No quantization applied

(1/32) … (1/8)

Grid resolution, in musical values. For example, when you select 1/16,

all notes are moved to the nearest 1/16 division. When you select 1/8,

all notes are moved to the nearest 1/8 division. A ‘3’ after the quanti-

zation value means triplet.

No quantization

1/16

1/8

Synchronizing

Cue mode for the Style Element

You can decide how a Variation or Fill Style Element will enter after having

been selected.

▪ Go to the Style Record > Main page, and use the Cue mode pop-up menu to

choose the way the Style Element will enter.

Cue mode Meaning

Immediate, ﬁrst

measure

The Style Element enters immediately, and begins from the ﬁrst

measure. Only available on Fills.

Immediate, current

measure

The Style Element enters immediately, and begins from the current

measure. Only available on Fills.

Next measure, ﬁrst

measure

The Style Element enters at the beginning of the next measure, and

begins from the ﬁrst measure of the new pattern. Available on both

Fills and Variations.

Next measure, current

measure

The Style Element enters at the beginning of the next measure, and

begins from the current measure. Only available on Variations.

Recording the Styles and Pads |239

Pad Sync

You can decide how the Pad will synchronize to the current Tempo.

▪ Go to the Pad Record > Main page, and use the Pad Sync pop-up menu to

choose the way the Pad will synchronize.

Pad Sync Meaning

Off No synchronization. The sequence will start as soon as you press the

PAD button.

Continued Like a Fill, the pattern will start immediately, in sync with the

Arranger’s or active Player’s Tempo. Depending on the current posi-

tion of the beat counter, it might not start from its very beginning;

instead, it will continue from the current position.

For example, if the Arranger’s or Player’s beat counter shows the

third beat, and is playing tick 91, the Pad will start from its third beat,

at tick 91.

Beat counter

Beat The sequence will start at the next beat, in sync with the Arranger’s

or Player’s Tempo. It will start from its very beginning (that is, tick 1

or measure 1).

240| Customizing, recording and editing the Styles and Pads

Assigning Sounds to the Style Element

and Pads

While in Style Record, you can assign different Sounds to each Style Element.

These Sounds are used when the Original Sound Set parameter (that you

can access in the

Style Play > Main > Volume pane, when the accompani-

ment tracks are shown) is checked. Sounds assigned to the Style Settings

are ignored.

Assigning different Sounds to each Style Element can be useful when you

want, for example, to play a song’s section or a a single part with a different

set of instruments.

Pads only have a single Style Element and track, so there is a single Sound

for the whole Pad.

Assigning a Sound to a track of the Style Element

Choosing a Sound from the main record page

1 Go to the Style Record > Main page.

2 Choose a Style Element.

3 Touch the track to select in the mixer area.

The selected track will show the Record icon (

). Information about the

assigned Sound will appear in the dedicated area.

Selected track

Assigned

Sound

Sound bank

Program Change

bundle

4 Touch the name of the Sound to open the Sound Select window, and choose

a Sound.

Choosing a Sound from other edit pages

1 Go to the Style Record > Main page.

2 Choose a Style Element.

Recording the Styles and Pads |241

3 Go to any page of the Element Track Controls edit section, for example the

Style Record > Element Track Controls > Expression page.

Original Sounds

4 Touch the icon of the Sound to be replaced, to open the Sound Select win-

dow, and choose a Sound.

Testing the Sounds

▪ Press the START/STOP button to check how the changes work. Press START/

STOP again to stop playback.

Assigning a Sound to the Pad track

Go to the Pad Record > Main page.

2 Touch the name of the Sound to open the Sound Select window, and choose

a Sound.

Assigned

Sound

Sound bank

Program Change

bundle

242| Customizing, recording and editing the Styles and Pads

Transposing the Sounds while recording

While recording, you can transpose the accompaniment tracks, to make re-

cording of low or high keyboard ranges easier. You can set a separate trans-

pose value for each track.

1 Go to the main page of the Style/Pad Record mode.

Mixer channels

Octave

2 Touch the corresponding mixer channel to choose a Style track.

3 Use the UPPER OCTAVE buttons on the control panel to transpose the se-

lected track. The current value will appear in the Oct indicator.

Recording the Styles and Pads |243

Choosing the original key/chord and the

note transposition table

You will record the musical sequences in a particular key (say, C), matching a

chord shape (say, Major). You will then choose a transposition table accord-

ing to which they will be transposed and transformed when a different key

and a slightly different chord will be recognized.

Accessing the key/chord and note transposition table

▪ Go to the Style/Pad Record > Main page to choose the chord and transposi-

tion table.

The parameters are in the

Record Parameters box.

With Styles:

With Pads:

Choosing the Original Key/Chord for the selected track

▪ Use the Key and Chord pop-up menus to deﬁne the original key/chord root

and chord type for the selected Style track (or the Pad track) in the current

Chord Variation.

When playing this exact chord, the recorded patterns will play without any

transformation. No transposition, no processing will be applied.

When you select a track, the original key/chord assigned to the selected

track will be shown. All recorded tracks will play back on that same key/

chord. For example, if the original key/chord for the Acc1 track is A7th, when

selecting the Acc1 track all the other tracks will play on the A7th key/chord.

In the example above, you will record the Acc1 track in the AMajor key, with

notes pertaining to the A7th scale. This exact pattern will be recalled when

an A7th chord will be recognized.

These Key/Chord parameters don’t apply to Guitar tracks, controlled by dif-

ferent transformation rules.

244| Customizing, recording and editing the Styles and Pads

Hint: To conform to KORG speciﬁcations, it is advisable to record both the Major and

minor Chord Variations for the Intro 1 and Ending 1 Style Elements.

Choosing an NTT table for the selected track

▪ Use the NTT Type and NTT Table parameters to choose an NTT table (Note

Transposition Table) for the selected Style track (or the Pad track) of the

current Chord Variation.

An NTT table is a set of sophisticated algorithms that allows KORG arrangers

to convert recognized chords into musical patterns. The NTT table deter-

mines how the arranger will transpose pattern notes, when a chord is rec-

ognized that does not exactly match the original chord of a Chord Variation.

For example, if you only recorded a Chord Variation for the CMaj chord, when

a CMaj7 is recognized on the keyboard the arranger must transpose some

notes to create the missing 7th.

NTT parameters are not used by Drum and Percussion tracks, and are there-

fore dimmed when selecting these tracks.

There are two general types of NTTs:

NTT Type Description

Parallel Notes are transposed inside the area set by the Wrap Around parameter.

These tables are ideally suited to melody parts.

as written as played back

Fixed The arranger moves as few notes as possible, making legato lines and chord

changes more natural. They are ideally suited to chord tracks (strings, piano

etc...).

as written as played back

Recording the Styles and Pads |245

These are the NTT Type/Table combinations:

NTT Type/Table Description

Parallel/Root The root note (in CMaj = C) is transposed to the missing notes.

Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.

As recorded with

NTT = Root or 5th

(Key/Chord = C)

When you play a C7

with NTT = Root

When you play a C7

with NTT = 5th

Parallel/i-Series All original patterns must be programmed on the “Maj7” or “min7”

chords. When loading old KORG i-Series Styles, this option is auto-

matically selected.

As recorded with

NTT = i-Series

(Key/Chord = CM7 )

When you play a C

with NTT = i-Series

When you play a C7

with NTT

= i-Series

Parallel/No Transpose The chord shape is not modiﬁed, and is moved to the new key un-

changed. The pattern plays exactly the recorded notes, and is moved

to the new key as it is. This is the standard setting of Intro 1 and

Ending 1 in KORG’s original Styles (where a chord progression is usu-

ally recorded).

Fixed/Chord This table moves as few notes as possible, making legato lines and

chord changes more natural. It is ideally suited to chord tracks

(strings, piano etc...). Contrary to the Parallel mode, the programmed

chord is not transposed according to the Wrap Around parameter,

but always stays around its original position, looking for common

notes between the chords.

Fixed/No Transpose The programmed notes can only be transposed by the Master

Transpose. They are never transposed when chords are changed.

To conform to KORG speciﬁcations, it is advisable to set the NTT table to ‘No

Transpose’ on the Intro 1 and Ending 1.

246| Customizing, recording and editing the Styles and Pads

Recording a Style or Pad in Realtime

Record mode

After having chosen the Style Element and Chord Variation, go on recording.

Be sure to be in the Main page or the Style Record or Pad Record mode.

Using the metronome

▪

Press the METRONOME ( ) button to turn the metronome on or off while

recording.

Recording the Styles and Pads |247

Realtime recording

Select the Style track to record

▪ While in the Style Record > Main page, touch a track to enable it for record-

ing. The Record icon (

) will appear.

Track Description

Drum Drum track

Perc Percussion track

Bass Bass track

Acc 1…5 One of the ﬁve instrumental Accompaniment tracks

Select the Pad track to record

Be sure the Pad track is enabled for recording. The Record icon (

) should

appear.

Practice before recording

1 Mute the track to record, by repeatedly touching its status icon in the mixer

channel. The Mute icon (

) will appear. Be sure any track already recorded

is showing the Play ( ) icon.

2 Press the START/STOP button to let any previously recorded track play

back, and practice on the keyboard.

3 When you have ﬁnished practicing, press START/STOP to stop the arranger.

4 Set the track to record again, by repeatedly touching its status icon. The

Record icon (

) will appear again.

Record

1 Press the START/STOP button to begin recording.

1-measure precount will play before the recording actually begins. When

it begins, record freely.

While recording, the track’s Keyboard Range is ignored, and notes can be

recorded and played back over the full keyboard range. The Local Control

parameter is also automatically set to On, to allow playing on the keyboard.

2 Recording will happen in cycle. The sequence will last for some measures,

according to the Rec Length value, then start again from the beginning.

248| Customizing, recording and editing the Styles and Pads

At any subsequent cycle, you can add notes and overdub the previous re-

cording. This is very useful, for example, to record different percussive in-

struments at any cycle on a Drum or Percussion track.

3 When ﬁnished recording, press START/STOP to stop recording.

Record other tracks of the Chord Variation

▪ While the arranger is not running, select a different Style track and go on

recording all the tracks of the current Chord Variation.

Record other Chord Variations of the Style Element or Pad

▪ When ﬁnished recording the Chord Variation, select a different Chord

Variation to complete the Style Element or Pad.

Record other Style Elements of the Style

▪ When ﬁnished recording the Style Element, record the other Style Elements

to complete the Style.

Deleting notes

Use the Delete Note button to delete a single note or a single percussive

instrument from a track. For example, to delete a snare, keep the D2 note

(corresponding to the snare) pressed.

1 Select a Style track.

2 Touch the Delete Note button, and keep it pressed.

3 Press START/STOP to start the sequence.

4 When you reach the passage containing the note to be deleted, play the note

on the keyboard. Keep it pressed, up to the last note to be deleted.

If the note is at the beginning of the sequence, press the note before start-

ing it.

5 When ﬁnished, release the Delete Note button and the note to be deleted,

and press START/STOP again to stop the sequence.

Listening to the results

▪ Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

Recording the Styles and Pads |249

Saving the Style or Pad

▪

When ﬁnished recording the new Style or Pad, choose the Write Style or

Write Pad command from the page menu to save it.

Exiting the Style/Pad Record mode without saving

▪

To exit the Style/Pad Record mode without saving any change, choose the

Exit from Record command from the page menu, or press the RECORD but-

ton.

250| Customizing, recording and editing the Styles and Pads

Recording a Style or Pad in Step Record

Step Recording allows you to create a new Style or Pad by entering single

notes or chords in each track one step at a time. This is very useful when

transcribing an existing score, or in need of a higher degree of detail, and is

particularly suitable to create drum and percussion tracks.

Step recording

Access Step Recording

▪ While in the Style/Pad Record > Main page, choose the Overdub Step

Recording command from the page menu, to access step recording on the

selected Style track (or the Pad track).

Style Element /

Chord Variation

Current position

Event list

Chord Variation

Current position

Event list

Recording the Styles and Pads |251

Position the input pointer

▪ The Pos parameter shows the current position. This is where you will insert

the next event.

▪ If you do not want to insert a note or chord at the current position, insert a

rest instead, as shown below.

▪ To jump to the next measure, ﬁlling the remaining beats with rests, touch the

Next M. button.

Choose a step value

▪ Use the Step Time values to choose the step value.

Choose the relative note duration

▪ Use the Duration parameter to set the relative note duration. The percent-

age is always referred to the step value.

Duration Meaning

50% Staccato

85% Ordinary articulation

100% Legato

Choose the note velocity

▪ Use the Velocity parameter to set the velocity or playing strength of the

event to be inserted.

Velocity Meaning

Kbd Keyboard. Select this parameter by turning the VALUE control com-

pletely counter-clockwise. When this option is selected, the playing

strength of the played note is recognized and recorded.

1 … 127 Velocity value. The event will be inserted with this velocity value,

and the actual playing strength of the note played on the keyboard

will be ignored.

Insert a note or rest at the current position

▪ To insert a single note, play it on the keyboard. The inserted note length will

match the step length. You may change the velocity and relative duration of

the note, by editing the Duration and Velocity parameters.

▪ To insert a rest, touch the Rest button. Its length will match the step value.

252| Customizing, recording and editing the Styles and Pads

▪ To tie the note to be inserted to the previous one, touch the Tie button. A

note will be inserted, tied to the previous one.

Insert a chord

▪ Play a chord instead of a single note. The event name will be the ﬁrst note of

the chord you pressed, followed by the ‘…’ indicator.

Insert a chord made of notes with different velocity values

You can make the upper or lower note of a chord, for example, louder than

the remaining ones, to let the most important note stand out from the chord.

1 Edit the ﬁrst note’s Velocity value.

2 Press the ﬁrst note and keep it pressed.

3 Edit the second note’s Velocity value.

4 Press the second note and keep it pressed.

5 Edit the third note’s Velocity value.

6 Press the third note, then release all notes.

Insert a second voice

You can insert passages where one note is kept pressed, while another voice

moves freely.

A few examples:

Step Time =

Press E and C

Press G

Off

Release G and C

Release E (continue holding C)

Recording the Styles and Pads |253

Step Time = Step Time = Step Time =

Press F and C

Press G

(continue holding C)

OffOn On

Release F

(continue holding C)

Step Time = Step Time =

Press E

(continue holding C)

OffOn

Release E and C

Step Time = Step Time =

Press D

(continue holding C)

OffOn

Release G

(continue holding C)

Step Time =

Off

Release D

(continue holding C)

Step Time = Step Time =

Press C

Press G (continue holding C)

Off

Release G and C

Tie

Go back

▪ If you want to go back, touch the Back button. This will delete the previously

inserted event, and set the step in edit again.

Overdub recording

When the end of the pattern is reached, the ‘End of Loop’ event is shown, and

the recording restarts from the ‘001.01.000’ position. Any note exceeding

the pattern length, inserted at its end, will be reduced to ﬁt the total length

of the pattern.

254| Customizing, recording and editing the Styles and Pads

At this point, you may go on, inserting new events in overdub mode (the

previously inserted events will not be deleted). This is very useful when pro-

gramming a drum or percussion track, where you may want to program the

bass drum on a ﬁrst phase, the snare drum on a second phase, and the hi-hat

and cymbals during the following phases.

Exit from record

1 When ﬁnished recording, touch the Done button to exit the Step Record

mode.

2 A dialog box will appear, asking you to either cancel, discard or save the

changes. Touch Cancel to continue editing, No to exit from the Step Record

without saving, or Yes to save and exit Step Record.

Listen to your Style or Pad

▪ When back to the main page of the Style/Pad Record mode, you may turn

all tracks to the play status, then press START/STOP to listen to the Style or

Pad. Press START/STOP again to stop the playback.

Saving the Style or Pad

▪

When ﬁnished recording the new Style or Pad, choose the Write Style or

Write Pad command from the page menu to save it.

Exiting the Style/Pad Record mode without saving

▪

To exit the Style/Pad Record mode without saving any change, choose the

Exit from Record command from the page menu, or press the RECORD but-

ton.

Recording the Styles and Pads |255

Recording a Guitar track

Simulating a real guitar

Guitar Mode allows for easy creation of realistic rhythm guitar parts, without

the artiﬁcial, unmusical playing typical of MIDI programming of guitar parts.

In Guitar Mode, each chord is played according to its real position on the gui-

tar neck, and not generated by simply transposing a written pattern.

Recording a Guitar track is unlike recording the other tracks, where you play

exactly all the notes of a melody line or all the chords of an accompaniment

part. With Guitar tracks you simulate how a guitar player uses his or her left

and right hand, by doing the following:

▪ Play the keys corresponding to the strumming modes.

▪ Play an arpeggio using the six keys corresponding to the six guitar strings

(and the special keys corresponding to the root and ﬁfth notes).

▪ Play RX Noises to add realism to the pattern.

▪ Add regular patterns, for melodic or chordal passages.

▪ Fine edit the MIDI data in the Event Edit page, to select the chord types,

chord shapes, and recreate any nuance of a real guitar performance.

256| Customizing, recording and editing the Styles and Pads

The Guitar track recording procedure

Here is the general procedure to follow for recording a Guitar track in Guitar

Mode.

1 If there is no Guitar track, go to the Style Record > Style Track Controls >

Type/Trigger/Tension page (or to the Pad Record > Pad Track Controls >

Settings page) and set one of the Acc tracks as the Guitar track.

2 While in the Style Record > Main page, select a track set to the Guitar type.

The Guitar Mode page becomes available.

3 Go to the Guitar Mode page, and set the parameters.

Recording the Styles and Pads |257

In particular, edit the Key/Chord parameters, being sure it matches the oth-

er tracks (for example, if you are recording the other tracks in C7, choose C7

for the Guitar track).

4 Return to the Style/Pad Record > Main page, and set the recording prefer-

ences. Choose the Style Element and Chord Variation. Choose the Recording

Length, to set the length of the pattern to be recorded.

5 Touch the Guitar track (in a Style, corresponding to one of the Acc tracks),

until the red Record icon appears on it.

6 Press the START/STOP button to start recording. After the 1-measure pre-

count, start recording.

7 Record guitar strumming, by pressing the keys in the range from C1 to B1.

Record single strings, arpeggios or power chords, by pressing the keys from

C2 to B2. Record simple melodies or chords in the range from C3 to B6.

Record RX Noises in the range from C7 to the end of the MIDI scale.

RX NoisesStrumming

Single strings,

arpeggios,

power chords

Free melodies

or chords

8 Press the START/STOP button to stop recording.

9 Touch the Guitar track, to make the green Play icon appear.

258| Customizing, recording and editing the Styles and Pads

10 Press the START/STOP button to listen to what you just recorded.

At this point, you can either keep it, or delete it. You can use the

Delete

Note button to delete the notes corresponding to the strumming or strings

just recorded. For more information, see the instructions for the Realtime

Record mode.

11 Go on, and record other Chord Variations of the same Style/Pad Element,

then record other Style Elements of the Style.

Listening to the recorded pattern

You can listen to the recorded pattern in two ways:

▪ To listen to the selected Chord Variation at the original Key/Chord set in the

Guitar Mode page, go to the Main page of the Style/Pad Record mode.

▪ To listen to the whole Style/Pad (testing various chords, and even selecting

different Style Elements), go to any of the other pages in the Record or Play

mode.

The Guitar Mode page in detail

Reading the ﬁngerboard diagram

You can see how a chord is composed on the ﬁngerboard diagram.

Fingered string

Non-playing/muted string

Barré

Capo

Here is the meaning of the various symbols:

Symbol Meaning

Red dot Fingered string (i.e., played note).

White dot Fifth, playing on the D#2 key.

X Non played or muted note.

Light grey bar Barré (a ﬁnger crossing all the strings, like a mobile capo).

Dark grey bar Capo.

Recording the Styles and Pads |259

Choosing a Key/Chord

With Guitar tracks, the Key/Chord parameter usually sets the chord used for

prelistening while programming the pattern.

Intro 1 and Ending 1 behave in a different way, since they contain programmed

chord sequences. In this case, this is the reference key that will allow the cor-

rect transposition during playback.

Chord progressions for Intro 1 and Ending 1 have to be entered in the

Event

Edit page. The root notes are entered in the lowest MIDI octave (from C-1 to

B-1), under the normal range of a piano keyboard. Chord types are inserted

by using velocity values, as shown in the following table:

Out of the 88-note piano range

Root Notes; Velocity = Chord Type

Vel. Chord Type Vel. Chord Type

1 Major 2 Major 6th

3 Major 7th 4 Major 7th ﬂatted 5th

5 Suspended 4th 6 Suspended 2nd

7 Major 7th suspended 4th 8 Minor

9 Minor 6th 10 Minor 7th

11 Minor 7th ﬂatted 5th 12 Minor major 7th

13 Dominant 7th 14 7th ﬂatted 5th

15 7th suspended 4th 16 Dimished

17 Diminished major 7th 18 Augmented

19 Augmented 7th 20 Augmented major 7th

21 Major w/o 3rd 22 Major w/o 3rd and 5th

23 Flatted 5th 24 Diminished 7th

260| Customizing, recording and editing the Styles and Pads

As an example, a typical C Major progression will be entered as follows:

Chord Root Note Velocity

C Major C-1 1

A Minor A-1 8

D Minor D-1 8

G Dominant 7th G-1 13

C Major C-1 1

Selecting a Capo

A capo (from the Italian ‘capotasto’, ‘head of ﬁngerboard’) is a movable bar

attached to the ﬁngerboard of the guitar, to uniformly raise the pitch of all

the strings. Its use makes the strings shorter, therefore changing the timbre

and position of the chords (but not their shape).

This might prevent some strings from sounding, depending on the chord po-

sition. The following example shows a C Major chord ﬁngered with no capo,

and the same chord with a capo on the ﬁfth position.

Fret = 0

Fret = V

▪ Use the Capo > Fret pop-up menu to choose a Capo (‘capotasto’).

Capo Meaning

0 Open string – no capo.

I … XII Position of the capo over the ﬁngerboard (i.e., “I” corresponds to the ﬁrst

fret, “II” to the second one, and so on).

Recording the Styles and Pads |261

Selecting the lowest and highest strings

You can choose a range of strings over which the pattern will play. For ex-

ample, you might want to limit strumming to the highest notes, like in the

typical funky rhythm guitar.

The following example shows the same C Major chord played on all six

strings, on the highest four strings, then on the highest four strings, but with

a capo added on the ﬁfth fret.

Strings 1-6, fret 0

Strings 1-4, fret 0

Strings 1-4, fret V

▪ Use the Strings > High/Low parameter pair to choose the highest and lowest

strings to play.

String Meaning

1 … 6 Selected string. The pattern will be played between these strings.

262| Customizing, recording and editing the Styles and Pads

Recording the guitar pattern

After having set the various parameters in the Guitar Mode page, you can

return to the Style/Pad Record > Main page and start recording.

Recording strumming

While recording, you can select a type of strumming.

▪ Press one of the keys in the octave from C1 to B1.

By pressing these keys, you play the corresponding type of strumming.

Note Strum

C1 Full Down

C#1 Full Down Mute

D1 Full Up

D#1 Full Up Mute

E1 Full Down Mute Body

F1 Full Down Slow

F#1 Full Down Slow Mute

G1 Full Up Slow

G#1 Up Mute 4-Strings

A1 Down 4-Strings

A#1 Down Mute 4-Strings

B1 Up 4-Strings

Recording the Styles and Pads |263

Recording single strings, arpeggios or power chords

While recording, you can select single strings, power chords or fast arpeg-

gios.

▪ Use the keys in the octave from C2 to B2 to select single strings or power

chords.

By pressing these keys, you can play arpeggios or power chords. You can ei-

ther play a free arpeggio with the six guitar chords assigned to the keys from

C to A, or play one of the faster arpeggios on the higher keys.

The root note is always available on the C# key, while the ﬁfth note is always

assigned to the D# key; with them, you can always play the lowest notes of

an arpeggio.

This octave also includes a ‘mute all strings’ key (F#).

Note String(s)

C2 VI String (E)

C#2 Recognized Chord Root

D2 V String (A)

D#2 Recognized Chord Fifth

E2 IV String (D)

F2 III String (G)

F#2 Mute All Strings

G2 II String (B)

G#2 Power Chord

A2 I String (e)

A#2 Full Down/Up

B2 Down/Up 4-Strings

264| Customizing, recording and editing the Styles and Pads

Recording free melodies or chords

Together with strums and arpeggios, you can record regular patterns made

of free melodies or chords, exactly as if the track was of the Acc type. This is

useful when you need some short melodic or chordal passages (for example,

the closing of a strumming pattern, or a lead solo during an Intro or Ending).

You can record the pattern by playing in the range

from C3 to B6, as shown

by the diagram.

Recording RX Noises

RX Noises are noises generated on the guitar during a performance. Some

are already included in the strumming patterns. Here you can add more to

taste, for increased realism.

▪ Press one of the keys from C7 and up to trigger RX Noises.

Note RX Noise

C7 and up RX Noises (depending on the Sound)

Choosing a Chord Shape

You can choose Chord Shapes in the Event Edit page, by entering a C0 note

with different velocity values. The following table shows how a certain veloc-

ity value corresponds to how a chord is played in a particular position and on

a certain number of strings.

Recording the Styles and Pads |265

Playing the same chord with different positions in the same pattern will sim-

ulate the typical behavior of a guitar player.

Out of the 88-note piano range

Velocity = Chord Shape

Vel. Range from Str. to Str. Position

0 6 Strings I VI 0

1 6 Strings I VI 0

2 6 Strings I VI 1

3 6 Strings I VI 2

4 6 Strings I VI 3

5 6 Strings I VI 4

6 6 Strings I VI 5

7 5 Strings Bass II VI 0

8 5 Strings Bass II VI 1

9 5 Strings Bass II VI 2

10 5 Strings Bass II VI 3

11 5 Strings Bass II VI 4

12 5 Strings Bass II VI 5

13 5 Strings Treble I V 0

14 5 Strings Treble I V 1

15 5 Strings Treble I V 2

16 5 Strings Treble I V 3

17 5 Strings Treble I V 4

18 5 Strings Treble I V 5

19 4 Strings Bass III VI 0

20 4 Strings Bass III VI 1

21 4 Strings Bass III VI 2

22 4 Strings Bass III VI 3

23 4 Strings Bass III VI 4

24 4 Strings Bass III VI 5

25 4 Strings Middle II V 0

26 4 Strings Middle II V 1

266| Customizing, recording and editing the Styles and Pads

Vel. Range from Str. to Str. Position

27 4 Strings Middle II V 2

28 4 Strings Middle II V 3

29 4 Strings Middle II V 4

30 4 Strings Middle II V 5

31 4 Strings Treble I IV 0

32 4 Strings Treble I IV 1

33 4 Strings Treble I IV 2

34 4 Strings Treble I IV 3

35 4 Strings Treble I IV 4

36 4 Strings Treble I IV 5

37 3 Strings Bass IV VI 0

38 3 Strings Bass IV VI 1

39 3 Strings Bass IV VI 2

40 3 Strings Bass IV VI 3

41 3 Strings Bass IV VI 4

42 3 Strings Bass IV VI 5

43 3 Strings MiddleBas III V 0

44 3 Strings MiddleBas III V 1

45 3 Strings MiddleBas III V 2

46 3 Strings MiddleBas III V 3

47 3 Strings MiddleBas III V 4

48 3 Strings MiddleBas III V 5

49 3 Strings MiddleTreble II IV 0

50 3 Strings MiddleTreble II IV 1

51 3 Strings MiddleTreble II IV 2

52 3 Strings MiddleTreble II IV 3

53 3 Strings MiddleTreble II IV 4

54 3 Strings MiddleTreble II IV 5

55 3 Strings Treble I III 0

56 3 Strings Treble I III 1

57 3 Strings Treble I III 2

58 3 Strings Treble I III 3

59 3 Strings Treble I III 4

60 3 Strings Treble I III 5

Recording the Styles and Pads |267

Vel. Range from Str. to Str. Position

61 2 Strings Bass V VI 0

62 2 Strings Bass V VI 1

63 2 Strings Bass V VI 2

64 2 Strings Bass V VI 3

65 2 Strings Bass V VI 4

66 2 Strings Bass V VI 5

67 2 Strings MiddleBas IV V 0

68 2 Strings MiddleBas IV V 1

69 2 Strings MiddleBas IV V 2

70 2 Strings MiddleBas IV V 3

71 2 Strings MiddleBas IV V 4

72 2 Strings MiddleBas IV V 5

73 2 Strings Middle III IV 0

74 2 Strings Middle III IV 1

75 2 Strings Middle III IV 2

76 2 Strings Middle III IV 3

77 2 Strings Middle III IV 4

78 2 Strings Middle III IV 5

79 2 Strings MiddleTreble II III 0

80 2 Strings MiddleTreble II III 1

81 2 Strings MiddleTreble II III 2

82 2 Strings MiddleTreble II III 3

83 2 Strings MiddleTreble II III 4

84 2 Strings MiddleTreble II III 5

85 2 Strings Treble I II 0

86 2 Strings Treble I II 1

87 2 Strings Treble I II 2

88 2 Strings Treble I II 3

89 2 Strings Treble I II 4

90 2 Strings Treble I II 5

268| Customizing, recording and editing the Styles and Pads

22 Editing the Styles and

Pads

Editing the track parameters

For each Style Element, and the Pad, you can edit various track parameters.

Hint: In the edit pages where the Style Element abbreviation appears, you can

choose a Style Element by pressing the corresponding button on the control panel

(VARIATION1 … ENDING3). To select a Fill, turn the AUTO FILL on, then press the cor-

responding VARIATION. To loop the Fill, keep the VARIATION button pressed.

Selected Style Element

Style Element/Pad relative volume (Expression)

You can set different Expression (CC#11) values for each of the Style Element

tracks. Since Expression is a relative volume control, you can use it to lower

the level compared to the overall volume of the Style. This is especially use-

ful when different Sounds are assigned to the same track in different Style

Elements, and the level of these Sounds is different.

With Pads, Expression can help balancing the Pads between them.

Editing the Styles and Pads |269

1 Go to the Style Record > Element Track Controls > Expression page.

Selected Style Element

Expression

You set the Expression value for the Pad in the Pad Record > Pad Track

Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the

Style Elements (VARIATION1 … ENDING3).

3 Use the Expression Monitor indicators to check if Expression (CC#11) mes-

sages are contained in the tracks.

Press the

START/STOP button to start playback, and look at the indicators.

When one of them lights up, you can enter Event Edit on the corresponding

track, and edit or remove the Expression messages.

4 Use the Expression knobs to set the Expression (CC#11) value for the corre-

sponding track. This value can be seen at the beginning of the Event Edit list.

270| Customizing, recording and editing the Styles and Pads

Adjusting Expression

You can quickly and easily adjust the Expression level of all tracks in a Style

Element. This allows for a more precise control over the volume level of all

Style Element.

1 While in this page, select one of the Style Elements by pressing its button in

the control panel.

2 Keep the SHIFT button pressed, and press the TEMPO + button to increase

the Expression value of all the Style Element’s tracks, TEMPO - to decrease

it.

3 Release the SHIFT button.

4 Repeat the above operation with all the desired Style Elements.

A track’s volume may be changed by an Expression event contained in a

track. To check if any of these events exist in a track, let the Style Element

play and look at the Expression Monitor in this same page. If one or more

Expression events are found, go to the Event Edit page and delete or edit

them.

5 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press START/STOP

again to stop playback.

Keyboard Range

Setting the Keyboard Range automatically transposes any sequence note

that would otherwise play too high or too low in pitch, compared to the origi-

nal acoustic instrument’s natural range, when transposed by the arranger.

This will result in more natural sounding instruments.

For example, the standard lower limit for a concert ﬂute is C4. If you play

a chord under the C4, the transposed pattern could exceed this limit, and

sound unnatural. A Bottom limit set to C4 for the ﬂute track will solve the

problem.

Different Keyboard Range values can be set for each Style Element. This will

help forcing a preferred range in a particular section of the song, to simulate

a particular piano comping style, or to avoid overlapping of instruments over

different tracks.

Editing the Styles and Pads |271

1 Go to the Style Record > Element Track Controls > Range page.

Selected Style Element

Keyboard

Range

You set the Keyboard Range for the Pad in the Pad Record > Pad Track

Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the

Style Elements (VARIATION1 … ENDING3).

3 Use the Top and Bottom parameters to set the bottom and top limit of the

keyboard range for the corresponding track of the selected Style Element.

While recording, the Keyboard Range is ignored. It will be used when playing

back the Style.

4 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press START/STOP

again to stop playback.

272| Customizing, recording and editing the Styles and Pads

RX Noise/Guitar

In the Noise/Guitar page you can set the RX Noise level and the ‘human feel’

of the Guitar tracks.

1 Go to the Style Record > Element Track Controls > Guitar/Noise page.

Selected Style Element

RX Noise

level

Guitar track

‘humanization’

You set the RX Noise and Humanize parameters for the Pad in the Pad

Record > Pad Track Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the

Style Elements (VARIATION1 … ENDING3).

3 Use the RX Noise knobs to adjust the volume of RX Noises in the corre-

sponding tracks. This control applies to all types of tracks (provided the

Sound contains RX Noises).

4 Use the Humanize Guitar knobs to apply a random value to the position,

velocity and length of notes of Guitar tracks. This only works on tracks set

to the Gtr type in the Style Record > Style Track Controls > Type/Trigger/

Tension page, or the Pad Record > Pad Track Controls > Settings page.

5 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press START/STOP

again to stop playback.

Editing the Styles and Pads |273

Pad type

When triggered, Pads can play once or loop until you stop them.

1 Go the Pad Record > Pad Track Controls > Settings page.

2 Use the Pad Type pop-up menu to choose the type of Pad.

Pad Type Meaning

One Shot When you press one of the PAD buttons, the corresponding Pad is only

played once. This is useful for playing Hits or Sequences that must only

play once.

Loop When you press one of the PAD buttons, the corresponding Pad plays

up to the end, then continues playing from the start. Press STOP in the

PAD section to stop it playing. This is useful for playing cyclic sequences.

Please note that, while in Pad Record, the pattern is always played back in

loop, even if this parameter is set to One Shot.

274 | Customizing, recording and editing the Styles and Pads

Editing the Chord Table

You can assign a Chord Variation to each of the main recognized chord.

When a chord is recognized, the assigned Chord Variation will be automati-

cally selected by the arranger to play the accompaniment.

1 Go to the Style Record > Chord Table & Variation > Chord Table page.

Selected Style Element

With a Pad, go to the Pad Record > Pad Chord Table > Chord Table page.

2 Press the corresponding button on the control panel to select one of the

Style Elements (VARIATION1 … ENDING3). Pads have no Style Elements.

3 Use the Chord / Chord Variation parameters to assign a Chord Variation to

each of the chords.

4 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press

START/STOP

again to stop playback.

Editing the Styles and Pads |275

Checking the available Chord Variations

You can see which Chord Variations have been recorded (or imported) in the

current Style.

▪ Go to the Style Record > Chord Table & Variation > Chord Variation page.

Dimmed Chord Variations are empty.

While in the

Chord Table page you can see which Chord Variations have

been used in the current Style Element, this page lets you see which Chord

Variations are contained in the whole Style. If there are unused Chord

Variations, you may choose to delete them to make the Style ﬁle lighter, or

to assign them to a chord.

276| Customizing, recording and editing the Styles and Pads

Editing the track type, trigger, tension

You can edit the track type, its response to retriggering, and add harmonic

tension.

1 Go to the Style Record > Style Track Controls > Type/Trigger/Tension page.

You can access these parameters for the Pad in the Pad Record > Pad Track

Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the

Style Elements (VARIATION1 … ENDING3).

Editing the Styles and Pads |277

3 Use the Track Type parameter to set the type of the corresponding track.

Track Type Meaning

Drum Drum track. This type of track is not transposed by the arranger, and

is used for Drum Kits made of Drum Sounds. It can be affected by

Drum Mapping. With Pads, this is used for both Drum and Percussion

sounds.

Perc Percussion track. This type of track cannot be transposed, and is

used for Drum Kit made of Percussion sounds. It is NOT affected by

the Drum Mapping. (Not available with Pads.)

Bass Bass track. This type of track always plays the root when changing

chord.

Acc Accompaniment track. This type of track can be used freely, for me-

lodic or harmonic accompaniment patterns.

Gtr Guitar track. This type of track uses Guitar Mode to create guitar

strumming or arpeggios.

4 Use the Trigger Mode parameter to deﬁne how Bass and Acc-type tracks are

retriggered when the chord is changed.

Trigger Mode Meaning

Off Each time you play a new chord, current notes will be stopped. The

track will remain silent until a new note will be encountered in the

pattern.

Rt (Retrigger) The sound will be stopped, and new notes matching the recognized

chord will be played back.

Rp (Repitch) New notes matching the recognized chord will be played back, by

repitching notes already playing. There will be no break in the sound.

This is very useful on Guitar, Bass, Strings and Brass tracks.

5 Use the Tension checkbox to make the accompaniment’s harmony richer

and more interesting, by adding tension.

Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to

the accompaniment, but haven’t been written in the Style pattern.

6 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press START/STOP

again to stop playback.

278| Customizing, recording and editing the Styles and Pads

Editing the Style/Pad sequences

You can edit the Style/Pad sequence data in the Style/Pad Record > Style/

Pad Edit section. With Pads, you cannot select a track or Style Element to

edit.

Quantizing

The quantize function may be used to correct any timing mistake after re-

cording, or to give the pattern a ‘groovy’ feeling.

1 Go to the Style/Pad Record > Style/Pad Edit > Quantize page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

Track Meaning

All All tracks selected

Drum … Acc5 Selected track

3 Use the Resolution pop-up menu to choose the quantize resolution.

Resolution Meaning

(1/32) … (1/4)

Grid resolution after recording, in musical values. For example, when

you select 1/16, all notes are moved to the nearest 1/16 division. When

you select 1/8, all notes are moved to the nearest 1/8 division. A ‘b…f’

character added after the value means swing-quantization. A ‘3’ af-

ter the quantization value means triplet.

No quantization

1/16

1/8

Editing the Styles and Pads |279

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the passage to be quantized.

If a Chord Variation is four measures long, and you want to select it all, the

Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

These parameters are only available when a Drum or Percussion track is

selected. If you select the same note as the Bottom and Top parameters, you

can select a single percussive instrument in a Drum Kit.

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

Transposing

The transpose function may be used to transpose the selected track(s).

After transposing, please don’t forget to readjust the

Key/Chord parameter

in the main page of the Style/Pad Record mode.

1 Go to the Style/Pad Record > Style/Pad Edit > Transpose page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

Track Meaning

All All tracks selected, apart for the tracks set in Drum mode (like the

Drum and Percussion tracks). The whole selected Chord Variation

will be transposed.

Drum … Acc5 Selected track.

280| Customizing, recording and editing the Styles and Pads

3 Use the Value parameter to choose the transpose value.

Value Meaning

-127 … 127 Transpose value (in semitones)

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the passage to be transposed.

If a Chord Variation is four measures long, and you want to select it all, the

Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Since in a Drum Kit each

instrument is assigned to a different note of the scale, transposing a percus-

sive instrument means assigning the part to a different instrument.

Selective transpose can also be used to avoid transposing RX Noises (trans-

posing only notes under C7).

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

Editing Velocity data

You can change the velocity (dynamics) value of notes in the selected track.

When an RX Sound is assigned to the track being edited, the resulting sound

may change, since this kind of Sounds is made of several different layers

triggered by different velocity values.

Also, a fade-out may result in the level ‘jumping’ up next to the zero, since a

higher-level layer may be selected by low velocity values.

Editing the Styles and Pads |281

1 Go to the Style/Pad Record > Style/Pad Edit > Velocity page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

Track Meaning

All All tracks selected. The velocity for all notes of the whole selected

Chord Variation will be changed.

Drum … Acc5 Selected track.

3 Use the Velocity Value parameter to choose the transpose value.

Value Meaning

-127 … 127 Velocity change value (in MIDI value)

4 If you want to use the advanced parameters, allowing you to select a velocity

curve and create fade-ins or fade-outs, select the Advanced checkbox.

When this parameter is selected, the

Intensity, Curve, Start Velocity Value

and End Velocity Value parameters become accessible.

▪ Use the Intensity parameter to specify the degree to which the velocity data

will be adjusted toward the curve you specify with Curve.

Intensity Meaning

0 … 100% Intensity value. With a setting of 0%, the velocity will not change.

With a setting of 100%, the velocity will be changed the most.

282| Customizing, recording and editing the Styles and Pads

▪ Use the Curve parameter to select one of the six curves, and specify how the

velocity will change over time.

Start

Value

Curve 1

Velocity

Start Value = 0%, End Value = 100%

127

End

Value

Start

Value

Curve 2

Velocity

127

End

Value

Start

Value

Curve 3

Velocity

127

End

Value

Start

Value

Curve 4

Velocity

127

End

Value

Start

Value

Curve 5

Velocity

127

End

Value

Start

Value

Curve 6

Velocity

RANDOM

127

End

Value

▪ Use the Start Vel. Value and End Vel. Value to change the velocity value at

the starting and ending of the selected curve.

Intensity Meaning

0 … 100% Velocity change in percentage

5 Use the Start Tick and End Tick parameters to set the beginning and ending

of the passage to be edited.

If a Chord Variation is four measures long, and you want to select it all, the

Start will be positioned at 1.01.000, and the End at 5.01.000.

6 Use the Bottom Note and Top Note parameters to set key range to edit.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Selecting a range can also

be used to only edit RX Noises (from C7) or ordinary notes (under C7).

7 After having set the various parameters, touch Execute.

8 Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

Editing the Styles and Pads |283

Cutting out measures

You can delete a selected measure (or a series of measures) from the se-

lected Chord Variation. All following events will be moved back, to replace

the cut measure(s).

1 Go to the Style/Pad Record > Style/Pad Edit > Cut page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

Track Meaning

All All tracks selected

Drum … Acc5 Selected track

3 Use the Start parameter to select the ﬁrst measure to be cut.

4 Use the Length parameter to choose the number of measures to be cut.

5 After having set the various parameters, touch Execute.

6 Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

284| Customizing, recording and editing the Styles and Pads

Deleting data from measures

The Delete page is where you delete MIDI events out of the Style. This func-

tion does not remove measures from the pattern. To remove whole mea-

sures, use the Cut function instead.

1 Go to the Style/Pad Record > Style/Pad Edit > Delete page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

Track Meaning

All All tracks selected. After deletion, the selected Chord Variation will

remain empty.

Drum … Acc5 Selected track.

Editing the Styles and Pads |285

3 Use the Event pop-up menu to choose the type of event to delete.

Event Meaning

All All events. The measures are not removed from the Chord Variation.

Note All notes in the selected range.

Dup.Note All duplicate notes. When two notes with the same pitch are encoun-

tered on the same tick, the one with the lowest velocity is deleted.

After Touch After Touch events.

Pitch Bend Pitch Bend events.

Prog.Change Program Change events, excluding the bundled Control Change #00

(Bank Select MSB) and #32 (Bank Select LSB).

This kind of data is automatically removed during recording.

Ctl.Change All Control Change events, for example Bank Select, Modulation,

Damper, Soft Pedal…

CC00/32 … CC127 Single Control Change events. Double Control Change numbers (like

00/32) are MSB/LSB bundles.

Some CC data are automatically removed during recording.

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the passage to be deleted.

If a Chord Variation is four measures long, and you want to select it all, the

Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

These parameters are available only when the

All or Note option is selected.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Selecting a range can also

be used to only edit RX Noises (from C7) or ordinary notes (under C7).

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP

again to stop playback.

286| Customizing, recording and editing the Styles and Pads

Deleting Style Elements, Chords Variations or a whole Style

You can delete a selected Style Element or Chord Variation, or the whole

Style.

1 Go to the Style/Pad Record > Style/Pad Edit > Delete All page.

2 Select the Track to delete.

Track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum … Acc5 Single track of the selected Style, Style Element or Chord Variation.

3 Select the Style Element (E) and Chord Variation (CV) to delete.

E/CV Meaning

All All Style Elements, i.e. the whole Style. When E/Track=All and CV=All,

the whole Style is deleted.

Var1 … CountIn Single Style Element.

V1-CV1 … CI-CV2 Single Chord Variation.

4 After having set the various parameters, touch Execute.

5 Press the START/STOP button and play some chords to check how it works.

Select any Style Element using the control panel button. Press START/STOP

again to stop playback.

Editing the Styles and Pads |287

Copying from a Style

You can copy a track, Chord Variation or Style Element from the same or a

different Style. Be warned that copying will overwrite all data at the target

location.

1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Style page.

2 Use the From Style parameter to choose the source Style. Touch the Select

button to open the Style Select window and select the source Style from

there. Touch the Current button to select the current Style as the copy

source.

3 Use the From E/CV pop-up menu to choose the source Style Element (E) and

Chord Variation (CV), and the To E/CV pop-up menu to choose the target.

E/CV Meaning

All All Style Elements, i.e. the whole Style. You can’t change the target,

that is automatically set to All.

Var1 … End2 Single Style Element.

V1-CV1 … CI-CV2 Single Chord Variation.

Due to the different structure, you can only copy over similar Style Elements,

for example from a Variation to another Variation.

4 Use the From Track pop-up menu to choose the source track, and the To

Track pop-up menu to choose the target.

Track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum … Acc5 Single track of the selected Style, Style Element or Chord Variation.

288| Customizing, recording and editing the Styles and Pads

5 After having set the various parameters, touch Execute.

When you copy over an existing Chord Variation, Program Change data is

not copied, to leave the original Sounds unchanged for that Chord Variation.

If you copy a complete Style Element (Var1, End1… etc.), Program Changes

are also copied.

Copying from a Pad

You can copy a Chord Variation or all of a Pad’s Chord Variations. Be warned

that copying will overwrite all data at the target location.

1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Pad page.

2 Use the From Pad parameter to choose the source Pad. Touch the Select

button to open the Pad Select window and select the source Pad from there.

3 Use the From CV pop-up menu to choose the source Chord Variation (CV),

and the To E/CV pop-up menu to choose the target.

E/CV Meaning

Var1 … End2 Single Style Element.

V1-CV1 … CI-CV2 Single Chord Variation.

4 Use the To Track pop-up menu to choose the target in the Style where to

copy the Pad track.

Track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum … Acc5 Single track of the selected Style, Style Element or Chord Variation.

Editing the Styles and Pads |289

5 After having set the various parameters, touch Execute.

When you copy over an existing Chord Variation, Program Change data is

not copied, to leave the original Sounds unchanged for that Chord Variation.

290| Customizing, recording and editing the Styles and Pads

Editing the MIDI events

The Event Edit is the page where you can edit each single MIDI event of the

selected Chord Variation. You can, for example, replace a note with a differ-

ent one, or change its playing strength (that is, velocity value).

The Event Edit page

▪

Go to the Style/Pad Record > Event Edit > Event Edit page.

a. Touch here

to choose the

track to edit

b. Edit the

events

Editing the Styles and Pads |291

The Event Edit procedure

Here is the general procedure to follow for the event editing.

Choose the Style or Pad and access editing

1 While in Style Play mode, access recording by pressing the RECORD button

and choosing one of the options (create or edit a Style or Pad).

2 While in the Style/Pad Record > Main page, select the Style Element (Style

only) and Chord Variation to edit.

3 Go to the Style/Pad Record > Event Edit > Event Edit page.

Listen to the patterns

▪ Press the START/STOP button to listen to the selected Chord Variation.

Press START/STOP again to stop it.

Filter the events shown

▪ Go to the Style/Pad Record > Event Edit > Filter page to select the events

to hide.

292| Customizing, recording and editing the Styles and Pads

Filter Meaning

Note/RX Noise Notes and RX Noises

Program Program Change

Control Control Change events. Only the following Control Change numbers

are allowed with Styles.

Control function CC#

Modulation 1 1

Modulation 2 2

Pan 10

Expression

(a)

CC#12 12

CC#13 13

Ribbon 16

Damper 64

Filter Resonance 71

Low Pass Filter Cutoff 74

Sound Controller 1 (CC#80) 80

Sound Controller 2 (CC#81) 81

CC#82 82

(a). Expression events cannot be inserted at the starting Position

(001.01.000). An Expression value is already among the default

‘header’ parameters of the Style Element or Pad.

Tempo/Meter Tempo and Meter (time signature) changes (Master Track only).

Pitch Bend Pitch Bend events.

Pa Controls Messages exclusive to the Pa-Series instruments.

Edit the events

1 Go back to the Style/Pad Record > Event Edit > Event Edit page.

2 Use the Track pop-up menu to select the track to edit in a Style. The Pad

track is already selected.

The list of events contained in the selected track (inside the selected Chord

Variation) will appear in the display. Some events on the beginning of the

Chord Variations, as well as the ‘EndOfTrk’ event (marking its ending point)

cannot be edited, and appear dimmed.

3 Scroll though the various events by using the scrollbar.

Editing the Styles and Pads |293

4 Touch the event to be edited, and edit it.

Measure/Position

Type

Value 1 Value 2 Duration/Length

▪ Select the M (Measure), and use the VALUE control to change event’s posi-

tion.

▪ Select the Type parameter, and use the VALUE to change the event type.

▪ Select the Value 1 and Value 2 parameters, and use the VALUE control to

edit them. In case of numeric values, you can also touch them twice to open

the numeric keypad.

▪ If a Note event is selected, select the D (Duration/Length) parameter, and

use VALUE control to change the event’s length.

Jump to a different measure

1 Touch the Go Meas. button to go to a different measure. The Go To Measure

dialog will appear.

2 Enter a target measure and touch OK to conﬁrm The ﬁrst event available in

the target measure will be selected.

Insert events

▪ Touch the Insert button to insert an event at the current Position (M). A

Note event with default values will be inserted.

Delete events

▪ Select an event, then touch the Delete button to delete it.

Edit other tracks

▪ When editing is complete, select a different track to edit.

Exit Event Edit

▪ When ﬁnished editing the selected Chord Variation, press the EXIT button to

go back to one of the Style Record > Record pages, then select a different

Chord Variation to edit.

294| Customizing, recording and editing the Styles and Pads

Copying the Style track settings

Once you have edited a Style track, you can copy and paste its settings to

another track, Chord Variation or Style Elements.

1 Choose the Copy command from the page menu to open the Copy Track

Settings dialog.

2 Check all the track settings you want to copy.

3 Use the From pop-up menu to choose the source Style Element.

Style Element Meaning

Current Style Element Settings will be copied from all the tracks of the current Style

Element to all the tracks of the target Style Element(s).

Current Track Settings will be copied from the selected track of the current Style

Element to the same track of the target Style Element(s).

4 Use the To pop-up menu to choose the target Style Element.

Style Element Meaning

All Settings will be copied to all the Style Elements (whole Style).

All Var Settings will be copied to all the Variation Style Elements.

All Fill/Break Settings will be copied to all the Fill/Break Style Elements.

All Intro/Ending Settings will be copied to all the Intro/Ending Style Elements.

Var1 … End3 Settings will be copied to the selected Style Element.

Importing and exporting the Styles and Pads |295

23 Importing and exporting

the Styles and Pads

Importing a Standard MIDI File to a Chord

Variation

You can import Standard MIDI Files created on your preferred external se-

quencer, and transform them to a Chord Variation.

Preparing the MID ﬁle

The Standard MIDI File to be imported must be programmed as if it was one

of Pa700’s Chord Variations. Here are the rules.

Importing Style Element / Chord Variation parameters

When importing an SMF, parameters like CV Length, Meter, Tempo Changes,

Program Changes and Expression are recognized.

▪ The Chord Variation length is the same as the imported SMF. You can change

length by changing the value of the CV Length parameter in the Style/Pad

Record > Main page.

▪ Key/Chord, Chord Table, Expression, and any other Style Element param-

eter, must be manually programmed in the relevant Style/Pad Record pages.

▪ The starting Tempo, and each track’s Volume, must be programmed as Style

Settings data, and then saved in the Style Settings.

▪ Meter (Time Signature) Change is not allowed, therefore not recognized.

296| Customizing, recording and editing the Styles and Pads

MIDI events

When importing, only the events allowed for recording are imported (as

shown in the table on page 230). Some controllers are reset at the end of

the pattern.

Sounds

Sounds assigned to each track are imported, provided the Program Change,

Bank Select MSB and LSB events are on the ﬁrst ‘tick’ of the SMF. These will

be the ‘original’ Sounds of the Style Element, that you can access from the

Style Record > Main page, or the Style Record > Element Track Controls >

Expression page. These data are also the Sound of the Pad track.

These Sounds can be overridden by Sounds assigned to the Style Settings,

when the

Original Sound Set parameter in the Style Play > Main > Volume

pane (accompaniment tracks shown) is not checked.

Note length

If a note extends beyond the last measure of the Chord Variation, an addi-

tional measure is appended (for example, if a note extends after the end of

the fourth measure in a 4-measure pattern, a 5-measure Chord Variation will

be generated). If so, change the CV Length value to reset the Chord Variation

length. The exceeding note will be cut, to ﬁt the new sequence length.

MIDI channels

When programming a Chord Variation on an external sequencer, please as-

sign each Style track to the correct MIDI channel (In and Out), according to

the following table.

Style Track MIDI Channel

Bass 09

Drum 10

Percussion 11

Accompaniment 1 12

Accompaniment 2 13

Accompaniment 3 14

Accompaniment 4 15

Accompaniment 5 16

The Pad track is to be assigned to MIDI channel #10.

Importing and exporting the Styles and Pads |297

Importing a Standard MIDI File into a Chord Variation

Go to the Style/Pad Record > Import/Export > Import SMF page.

2 Use the From Song parameter to choose a MID ﬁle to import. Touch the

Select button to open the ﬁle selector.

Only Standard MIDI Files in format 0 can be loaded.

3 Select the Initialize checkbox if you want all settings of the target Style

Element or Pad (like Key/Chord, Chord Table, Sounds…) to be reset when

loading the SMF.

It is a good idea to select the

Initialize parameter when importing the ﬁrst

Chord Variation of a Style Element or Pad, and deselect it when importing

the subsequent Chord Variations. This way, the initial parameter will be reset

only once.

4 Use the To E/CV pop-up menu to choose a target Chord Variation (CV) inside

a Style Element (E) or Pad.

5 After having set all the parameters in this page, touch the Execute button to

import the Standard MIDI File into the target Chord Variation.

298| Customizing, recording and editing the Styles and Pads

Importing a Standard MIDI File to a Style

Preparing a Standard MIDI File ‘separated by markers’

As an alternative to importing individual Chord Variations, you can convert

a Standard MIDI File ‘separated by markers’ into a Style. This is a single

Standard MIDI File containing all the Chord Variations and Style Elements

(Variation 1, Variation 2, etc.) each one separated by a marker (the same

events used in Song Play mode).

All the rules described in the section devoted to importing an individual

Chord Variation apply. Style Tracks and MIDI Channels must be matched as

in the previous table, as per KORG’s standard Style format deﬁnition. Tracks/

MIDI Channels other than the above mentioned are ignored during the im-

port procedure.

Importing a Standard MIDI File into a Style

Go to the Style/Pad Record > Import/Export > Import SMF page.

2 Use the From Song parameter to choose a MID ﬁle to import. Touch the

Select button to open the ﬁle selector.

Only Standard MIDI Files in format 0 can be loaded.

3 Select the Initialize checkbox if you want all settings of the target Style

Element or Pad (like Key/Chord, Chord Table, Sounds…) to be reset when

loading the SMF.

When creating a new Style, we suggest to check the

Initialize checkbox. Do

not check it if the SMF you are loading was previously exported from a Style

to be edited; in this case, it is very important to keep all the previous settings.

Importing and exporting the Styles and Pads |299

4 After having set all the parameters in this page, keep the SHIFT button

pressed and touch the Execute button to import the Standard MIDI File.

Imported MIDI events

When importing, only the events allowed for recording are imported (as

shown in the table on page 230). Some controllers are reset at the end of

the pattern.

The following events are stripped off the sequence, and automatically trans-

ferred to the Style Element or Pad header during the import procedure:

▪ Time signature (this event is mandatory)

▪ Control Change bundle #00-32 (Bank Select MSB/LSB)

▪ Program Change

Control Change #11 (Expression), Control Change 00, Control Change 32 and

Program Change messages must be placed at the very beginning of each

Chord Variation (tick 0).

Whenever they are not saved in the SMF, Program Change, Control Change

00, 11 and 32, can be still programmed in Style Record mode, by using the

edit features available.

Naming conventions

The naming structure for the markers inside the SMF is ‘EnCVn’, whose sin-

gle components are shown in the following table:

Component Meaning

E Style Element (‘v’ = Variation, ‘i’ = Intro, ‘f’ = Fill, ‘e’ = Ending)

n Style Element number (‘1’~’4’ for Variations, ‘1’~’2’ for all other Style

Elements)

CV Chord Variation (‘cv’ = Chord Variation – no other choices allowed)

n Chord Variation number 1~6 for Variations, 1~2 for all others]

It is mandatory not to use capital letters in marker names. Some examples

of valid names:

▪ ‘i1cv2’ = Intro1 – Chord Variation 2

▪ ‘v4cv3’ = Variation 4 – Chord Variation 3

Examples of non accepted names:

▪ ‘V1cv2’, ‘v1CV2’, ‘intro i1cv2’, ‘v1cv1 chorus’

300| Customizing, recording and editing the Styles and Pads

The order of the Chord Variations inside the SMF is not relevant. They can be

freely placed inside the SMF.

Pads always use names of this type: ‘v1cvn’ (they always start with ‘v1’).

Below, you can ﬁnd a screenshot of a test ﬁle created in Steinberg Cubase,

just as an example of how a SMF separated by markers can look like.

Considering analogies between actual workstations, it will not look much

different in other applications like Digital Performer, Logic Pro, Pro Tools or

Sonar.

Importing and exporting the Styles and Pads |301

Importing a MIDI Groove to a Style or Pad

You can import a MIDI Groove created with the Time Slicing operation (in

the Sampling). Importing a MIDI Groove is a step in the general procedure of

creating an Audio Groove from an audio sample. You can ﬁnd the procedure

described on page 475. The Import Groove operation is described on page

482.

302| Customizing, recording and editing the Styles and Pads

Exporting a Chord Variation

You can export a Chord Variation as a Standard MIDI File (MID ﬁle), then edit

it on your preferred external sequencer.

Exporting a Chord Variation to a Standard MIDI File

Go to the Style/Pad Record > Import/Export > Export SMF page.

The (non editable) To Song parameter shows the name of the Standard MIDI

File that will be generated. This (automatically assigned) name will be the

same of the exported Chord Variation.

2 Use the To E/CV pop-up menu to choose the source Chord Variation (CV)

from a Style Element (E) or the Pad.

3 After having set all the parameters in this page, touch the Execute button to

export it as a Standard MIDI File. A standard ﬁle selector will appear. Select

the target device and directory, then touch Save. A dialog box will appear,

letting you assign a name to the ﬁle.

Importing and exporting the Styles and Pads |303

Exporting a Style to a Standard MIDI File ‘separated by markers’

As an alternative to exporting single Chord Variations to individual Standard

MIDI Files, you can export a whole Style as an SMF separated by markers,

that is, a single SMF containing all the Chord Variations and Style Elements

(Variation 1, Variation 2, etc.) each one separated by a marker (the same

events used in Song Play mode).

1 Go to the Style/Pad Record > Import/Export > Export SMF page.

The (non editable) To Song parameter shows the name of the Standard MIDI

File that will be generated.

2 Keep the SHIFT button pressed and touch the Execute button to export it as

a Standard MIDI File. A standard ﬁle selector will appear. Select the target

device and directory, then touch Save. A dialog box will appear, letting you

assign a name to the ﬁle.

This operation will create, in the selected device, an SMF format 0 (Zero),

containing all the MIDI data included in the selected Style or Pad, with each

Chord Variation starting from a different marker (named as per the naming

convention explained in the Import section above).

Each Chord Variation will include, at the very beginning (tick 0), the following

informations:

▪ Time Signature

▪ Control Change bundle #00-32 (Bank Select MSB/LSB)

▪ Program Change

▪ Control Change #11 (Expression)

304| Customizing, recording and editing the Styles and Pads

24 Converting a MIDI Song

to a Style

The Style Creator Bot

You can convert any commercially or freely available MIDI Song (in Standard

MIDI File format) into a complete Pa700 Style. While Pa700 includes a state-

of-the-art converter of this type, and will most of the times result in a careful

recreation of the original song, the quality of results may vary depending on

the source song.

1 Press the STYLE PL AY button to switch to the Style Play mode.

2 Press the RECORD button to open the Style Record Mode Select dialog.

3 Choose the Style Creator Bot option and touch OK to open the ﬁle selector.

4 Select the source MIDI Song (.mid ﬁle), and conﬁrm by touching Select.

Converting a MIDI Song to a Style |305

5 When the conversion is complete, you are asked to write the new Style into a

Style location. See the procedure in the next page.

6 After writing, the new Style is automatically selected. Fine-tune it with the

functions seen in this part of the manual.

In the end, you will get a Style including all the Style Elements, the four Pads,

the four Keyboard Sets and a Chord Sequence containing the chords recog-

nized in the source MIDI Song.

25 Writing the new/edited

Style or Pad

Writing the Styles

Styles can be saved into a Style memory location (usually, User or Direct).

When saving a Style, its Style Settings are automatically saved.

1 While in Style Record mode, choose the Write Style command from the page

menu to open the Write Style dialog.

Style name

Style bank

Style location

Touch to open the

Style Select window

2 You may change the name of the Style. Touch the Text Edit ( ) icon to open

the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back to the Write Style dialog, if you want to save onto a different

location touch the Select button and open the Style Select window. Choose

Writing the new/edited Style or Pad |307

a location as if you were choosing a Style. Blank locations are shown as a

series of dashes (‘–––’).

4 When back at the Write Style dialog, conﬁrm the Write operation by touch-

ing the OK button.

Writing the Pads

Pads can be saved into a Pad memory location. After saving the Pads, assign

up to four of them to a Style or SongBook Entry, that will recall them.

1 While in Pad Record mode, choose the Write Pad command from the page

menu to open the Write Pad dialog.

Pad name

Pad bank

Pad location

Touch to open the

Pad Select window

2 You may change the name of the Pad. Touch the Text Edit ( ) icon to open

the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back to the Write Pad dialog, if you want to save onto a different loca-

tion touch the Select button and open the Pad Select window. Choose a loca-

tion as if you were choosing a Style. Blank locations are shown as a series of

dashes (‘–––’).

4 When back at the Write Pad dialog, conﬁrm the Write operation by touching

the OK button.

|309

PART VI:

CUSTOMIZING,

RECORDING

AND EDITING

THE SONGS

310| Customizing, recording and editing the Songs

Customizing the Songs |311

26 Customizing the Songs

How to play a Song – Song Play vs.

Sequencer mode

The Player is just that – a player. So, to prevent undesired changes to the

ﬁle, no changes made in Song Play mode can be saved. To save changes to

a MIDI Song, load and edit it in Sequencer mode.

However, you can do on-the-ﬂy edits to the MIDI Song Sounds exactly as

you would with the Keyboard Sounds. See the

Customizing and editing the

Sound sets section for more information.

In the following pages, you will ﬁnd quick information on how to set the

Sound volume and the play/mute status of the Song tracks.

312| Customizing, recording and editing the Songs

Special tracks (Melody, Drum & Bass), Fast

Play

Choosing the Melody track

You might want to deﬁne a Player’s track as the Melody track. You will then

be able to mute it by using the Song Melody - Mute function, that you can

assign to a switch or footswitch. See the Controllers part for information on

how to program the controllers.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Use the SMF Melody Track pop-up menu to choose one of the Song tracks to

be used as the Melody track.

Choosing the Drum & Bass tracks

You can deﬁne two MIDI Song’s tracks as the Drum and Bass tracks. These

tracks will play when selecting the Drum&Bass function, that you can assign

to a switch or footswitch. See the Controllers part for information on how to

program the controllers.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Use the SMF Drum & Bass Mode - Drum Trk pop-up menu to choose one of

the Song tracks to be used as the Drum track.

Customizing the Songs |313

3 Use the SMF Drum & Bass Mode - Bass Trk pop-up menu to choose one of

the Song tracks to be used as the Bass track.

Letting a MIDI Song start immediately

MIDI Songs (MID and KAR ﬁles) may contain a silent setup measure at the

beginning. You can skip this measure and let the Song start immediately.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Select the Fast Play checkbox to let the MIDI Songs ignore the silent setup

measure at the beginning.

While the beats are skipped, setup data they may contain are read and con-

sidered.

Please note that MP3 Songs, being audio data, are not affected by this op-

tion.

314| Customizing, recording and editing the Songs

Mixing the Song Sounds

Adjusting the volume of the individual MIDI Song Sounds

As you can do with the Keyboard Sounds, you can adjust the volume of the

individual MIDI Song Sounds. However, since MIDI Songs are already dynami-

cally mixed by the original creators, their volume may automatically change

during playback.

The volume of the MIDI Song tracks will be reset when choosing a different

Song.

Adjust the Sound volume levels from the display

1 While in the main page of the Song Play mode, touch the Volume tab to se-

lect the Volume pane.

Here, you can adjust the volume of the Keyboard Sounds.

Customizing the Songs |315

2 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again

to see Song track 9-16.

Song tracks

3 Touch the mixer channel whose volume level you want to change.

4 Keep the virtual volume slider held on the screen, and drag it to the desired

level.

As an alternative, use the

VALUE control to change the volume level of the

selected channel.

5 When done, press the TRACK SELECT button again to switch back to the

main page.

316| Customizing, recording and editing the Songs

Muting the individual MIDI Song Sounds

As you can do with the Keyboard Sounds, you can mute/unmute the indi-

vidual MIDI Song Sounds. Mute the Song track that you will want to play or

sing live (the melody track in a MIDI Song is usually #04).

See the Song tracks

▪ While in the Main page, touch the Volume tab to select the Volume pane,

then press the TRACK SELECT button a ﬁrst time to switch to Song tracks

1-8, a second time for Song tracks 9-16.

Song tracks

Mute/unmute the Song tracks

▪ Touch the Play (

) or Mute ( ) icon in the mixer channel to turn the

Sounds on or off.

Return to the Main page

▪ When done, press the TRACK SELECT button again to switch back to the

Main page and see the Keyboard Sounds.

Memorize the track status

▪ Write the Song Play Settings.

Customizing the Songs |317

Soloing a MIDI Song Sound

You can solo a MIDI Song Sound exactly as you would do with a Keyboard

Sound.

▪ While the Volume pane is shown, or while in any page where the digital mixer

appears, keep the SHIFT button pressed, and touch the mixer channel that

you want to listen in solo.

▪ As an alternative, while in any page where the name of the Sound or the

mixer channel appears, select it and choose the Solo Track command from

the page menu.

318| Customizing, recording and editing the Songs

Changing the Sounds of the MIDI Song

tracks

Changing the MIDI Song Sounds

You can assign different Sounds to the current MIDI Song. These Sounds will

be reset when choosing a different Song.

Choose a different Sound for a Song track

1 While in the main page of the Song Play mode, touch the Volume tab to se-

lect the Volume pane.

2 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again

to see Song track 9-16.

3 Touch the name of the Song track whose Sound you want to change.

Sounds

4 Touch a Sound icon to select the corresponding track.

5 Touch it again, to open the Sound Select window, then choose a Sound.

Transposing the MIDI Song Sounds

If needed, set the Octave Transpose for each track.

1 Go to the Mixer/Tuning > Tuning page.

You can go to this page by keeping the

SHIFT button pressed, and pressing

one of the UPPER OCTAVE buttons.

2 Use the Oct. Transpose knobs to set the octave.

Writing the Song Play Settings |319

27 Writing the Song Play

Settings

Writing the default Player settings

When you choose a different Song, switch to a different mode or turn the

instrument off, all changes to the Song will be reset. If you want to pre-

serve the current conﬁguration for all the subsequent MIDI Songs, write it

to memory.

Write the Song Play Settings

▪ Go to the Global > Mode Preferences > Song & Seq. page, and choose the

Write Song Play Track & FX command from the page menu.

The following parameters will be saved:

▪ Play/Mute status of the Song tracks

▪ Internal/External status of the Song tracks

▪ Default FX A Group effect settings

▪ EQ settings for the Song tracks

When loading MIDI Songs created on a KORG Pa-Series instrument (or the

HAVIAN 30 digital ensemble piano), these settings might be changed by the

special data they contain.

320| Customizing, recording and editing the Songs

28 Listening the MIDI Songs

in Sequencer mode

Loading and listening a MIDI Song

Listening MIDI Songs in the Sequencer mode is especially useful when you

want to check the results of any editing carried on on the Song tracks, with-

out having to switch to the Song Play mode.

Loading a MIDI Song

Press the SEQUENCER button to go to the main page of the Sequencer

mode.

Song name and

parameters

Track info

Sounds and Octave

transposition

Mixer

Beat counter and Tempo

Listening the MIDI Songs in Sequencer mode |321

2 Touch the name of the Song to open the Song Selection window.

Device

Current path

3 Browse through the ﬁles and folders. When you see the MIDI Song (.mid, .kar)

you want to load, touch it, then touch the Load button to load it.

Importing a MIDI Song without initializing the current settings

While in the Sequencer mode, you can import a MIDI Song without initializing

the current Sequencer settings. This is useful when you are, for example,

programming a Song on an external sequencer, and at the same time editing

the Sounds, Effects, EQ, Volume Levels, Pan values, Drum Family param-

eters, etc., right on the Pa700. Importing the MID ﬁle will not reset these

settings.

1 Press the SEQUENCER button to go to the main page of the Sequencer

mode.

2 Choose the Import command from the page menu, and open the Song

Selection window.

3 Browse through the ﬁles and folders. When you see the MIDI Song (.mid, .kar)

you want to import, touch it, then touch the Select button to import it.

322| Customizing, recording and editing the Songs

Playing the MIDI Song

The main page of the Sequencer mode shows the Song playback controls.

Name of the MIDI Song Beat counter and Tempo

Tempo ModeAlternative starting point

Transport controls

While in the main page of the Sequencer mode, use the PLAYER 1 section’s

PLAY/STOP (

), HOME ( ), FAST FORWARD ( ) and REWIND ( )

controls.

Alternative starting position

1 Set the Start from measure number to choose the alternative starting posi-

tion from where to start playback.

2 Select the Start from measure checkbox to activate the alternative starting

position.

When pressing the

HOME (

) button, or using the REWIND ( ) button to

go back to the beginning, the Song will return to this point.

Choosing the Tempo mode

▪ Use the Tempo pop-up menu to choose a Tempo mode.

Tempo Mode Meaning

Manual In this mode, you can change the Tempo value by using the TEMPO

buttons, or by touching it and using the VALUE control or the nu-

meric keypad. The Song will be played back using the manually se-

lected Tempo.

Auto The Tempo recorded in the Song will be used.

Recording MIDI Songs |323

29 Recording MIDI Songs

Multitrack Song Recording

In Multitrack Sequencer mode, you will record a MIDI Song by playing live

over up to 16 MIDI tracks.

Accessing Multitrack Sequencer Recording

Press the SEQUENCER button to switch to the Sequencer mode.

The

main page of the Sequencer mode will appear.

2 Press the RECORD button to open the Song Record Mode Select dialog.

3 Choose the Multitrack Sequencer option and touch OK to access the

Multitrack Sequencer Record page.

324| Customizing, recording and editing the Songs

Record

parameters

Track info

Sounds and Octave

transposition

Mixer

Measure and Beat counter

Setting the recording parameters

When you enter the Multitrack Sequencer mode, you could simply start re-

cording. However, there are some additional settings that you might want

to do.

Select the recording mode

▪ Use the Rec Mode pop-up menu to choose the Overdub or Overwrite record-

ing mode.

Recording Mode Meaning

Overdub The newly recorded events will be mixed to any existing events.

Overwrite The newly recorded events will replace any existing events.

Auto Punch Recording will automatically begin at the Start position, and stop at

the End position.

The Auto Punch function will not work on an empty Song. At least

one track must already be recorded.

Pedal Punch Recording will begin when pressing a pedal set to the Punch In/Out

function, and will ﬁnish when pressing the same pedal again.

The Pedal Punch function will not work on an empty Song. At least

one track must already be recorded.

Recording MIDI Songs |325

Set a starting point (left locator)

▪ Set the Start from measure number to choose the alternative starting posi-

tion from where to start playback.

Select the

Start from measure checkbox to activate the alternative starting

position.

When pressing the

HOME (

) button, or using the REWIND ( ) button to

go back to the beginning, the Song will return to this point.

Choose a quantize resolution for recording

▪ Set the recording Resolution.

Resolution Meaning

High No quantization applied

(1/32) … (1/8)

Grid resolution, in musical values. For example, when you select 1/16,

all notes are moved to the nearest 1/16 division. When you select 1/8,

all notes are moved to the nearest 1/8 division. A ‘3’ after the quanti-

zation value means triplet.

No quantization

1/16

1/8

Set the Tempo and Meter

▪ Change the Tempo value. Use the Tempo pop-up menu to choose the way

Tempo events will be recorded.

Tempo Mode Meaning

Manual Manual reading. The latest manual Tempo setting (made using the

TEMPO buttons) is considered the current Tempo value. No Tempo

change events will be recorded. This is very useful when you want

to record the Song at a much slower speed than the actual Tempo.

Auto Auto reading. The Sequencer plays back all the recorded Tempo

events. No Tempo change events are recorded.

Record All Tempo changes made during recording will be recorded to the

Master Track. Tempo is always recorded in overwrite mode (old data

is replaced by the new data).

326| Customizing, recording and editing the Songs

▪ Use the Meter parameter to set the basic meter (or time signature) of the

Song. You can edit this parameter only when the Song is empty, that is, be-

fore you begin recording anything. To insert a meter change in the middle of

the Song, use the Sequencer > Song Edit > Insert Measure function.

Choosing the Sounds and transpose

You choose the Sounds in the dedicated Sound area of the Record page.

Octave Transpose

Sound icon

Choose a Sound

1 Touch a Sound icon to select the corresponding track.

2 Touch it again, to open the Sound Select window and choose the Sound for

the corresponding Song track.

Set the octave transposition

1 Go to the Mixer/Tuning > Tuning page.

You can go to this page by keeping the

SHIFT button pressed, and pressing

one of the UPPER OCTAVE buttons.

2 Use the Oct. Transpose knobs to set the octave.

Recording MIDI Songs |327

Recording

Turn on the metronome

▪ Press the METRONOME (

) button to turn the metronome on or off while

recording.

Select the track to record

1 Use the TRACK SELECT button to switch between Song Tracks 1-8 and Song

Tracks 9-16.

2 Touch the track to record to select it. The Record icon ( ) will appear.

Record

1 Press the PLAY/STOP (

) button to begin recording.

1-measure precount will play before the recording actually begins. When

it begins, record freely.

2 When ﬁnished recording, press the PLAY/STOP (

) button to stop the

sequencer.

3 Select a different track, and go on recording the whole Song.

While recording, you can see the current measure and current beat in the

header. You can also check the free memory available for recording.

BeatMeasureFree memory

Exit from Record

1 When ﬁnished recording, choose the Exit from Record command from the

page menu, or press the RECORD button to return to the main page of the

Sequencer mode.

2 While in the main page of the Sequencer mode, press the PLAY/STOP (

)

button to listen to the recorded Song.

3 Save the Song to a storage device, to avoid losing it when the instrument

enters standby. This is explained later in this section.

328| Customizing, recording and editing the Songs

Second-take recording

You may want to record additional events, or replace a previously recorded

track. If so, repeat recording.

Prepare to record

1 Press the RECORD button to enter Record mode again. When the Song

Record Mode Select dialog box appears, select Multitrack Sequencer again.

2 Select the track to record.

3 Choose the Overwrite Rec Mode if you want to replace recorded data,

Overdub if you want to add events to the same track.

Overdub is useful, for example, when recording different percussive instru-

ments in subsequent cycles.

Record

1 Set the Start from measure number to choose the alternative starting posi-

tion from where to start playback.

Select the

Start from checkbox to activate the alternative starting position.

2 Press the PLAY/STOP (

) button to start recording the selected track.

3 After recording, press the PLAY/STOP (

) button to stop recording.

4 Repeat the same procedure for any additional track or event to record.

Exit from Record

▪ When ﬁnished recording, choose the Exit from Record command from the

page menu, or press the RECORD button to return to the main page of the

Sequencer mode.

Punch-Recording

Punch recording allows for automatic or on-the-ﬂy start and stop of record-

ing. The Punch function will not work on an empty Song. At least one track

must already having been recorded.

Auto Punch Recording

You can let the sequencer start and stop recording for you.

1 While in the Multitrack Sequencer page, use the Rec Mode parameter to

choose the Auto Punch recording mode.

Recording MIDI Songs |329

2 Use the Start and End locators to choose the start and end points for re-

cording.

3 Touch a track to record to select it. The Record icon (

) will appear.

4 Press the PLAY/STOP (

) button to start playing back the selected track.

Recording will automatically begin and end at the

Start and End points.

5 Press the PLAY/STOP (

) button to stop recording.

PedalPunch Recording

You can use a footswitch to start and stop recording.

Program the footswitch for Pedal Punch

▪ Go to the Global > Controllers > Foot Controllers page, and assign the Punch

In/Out function to the footswitch.

Record

1 While back to the Multitrack Sequencer page, use the Rec Mode parameter

to choose the Pedal Punch recording mode.

2 Touch the track to be recorded to select it. The Record icon (

) will appear.

3 Press the PLAY/STOP (

) button to start playing back the selected track.

4 When you want to start recording, press the footswitch.

5 When you want to end recording, press the footswitch again.

6 Press the PLAY/STOP (

) button to stop recording.

Saving the Song

▪

When ﬁnished recording the new Song, go to the main page of the Sequencer

mode and choose the Save Song command from the page menu to save the

Song.

More details are later in this section.

330| Customizing, recording and editing the Songs

Step Recording a Song

Step Recording allows you to create a new Song by entering single notes

or chords into each track. This is very useful when transcribing an existing

score, or in need for a higher grade of detail, and is particularly suitable to

create drum and percussion tracks.

Overdub Step Recording mode you will add to existing events, while in

Overwrite Step Recording mode you will overwrite all existing events.

Accessing Step Recording

While in the Multitrack Sequencer pages, touch a mixer channel to select

the track to edit.

2 Choose either the Overdub Step Recording or Overwrite Step Recording

command from the page menu, to access the Step Record mode.

Current position

Event list

Recording

Position the input pointer

▪ The Pos parameter shows the current position. This is where you will insert

the next event.

▪ If you do not want to insert a note or chord at the current position, insert a

rest instead, as shown below.

▪ To jump to the next measure, ﬁlling the remaining beats with rests, touch the

Next M. button.

Recording MIDI Songs |331

Choose a step value

▪ Use the Step Time values to choose the step value.

Choose the relative note duration

▪ Use the Duration parameter to set the relative note duration. The percent-

age is always referred to the step value.

Duration Meaning

50% Staccato

85% Ordinary articulation

100% Legato

Choose the note velocity

▪ Use the Velocity parameter to set the velocity or playing strength of the

event to be inserted.

Velocity Meaning

Kbd Keyboard. Select this parameter by turning the VALUE control com-

pletely counter-clockwise. When this option is selected, the playing

strength of the played note is recognized and recorded.

1 … 127 Velocity value. The event will be inserted with this velocity value,

and the actual playing strength of the note played on the keyboard

will be ignored.

Insert a note or rest at the current position

▪ To insert a single note, play it on the keyboard. The inserted note length will

match the step length. You may change the velocity and relative duration of

the note, by editing the Duration and Velocity parameters.

▪ To insert a rest, touch the Rest button. Its length will match the step value.

▪ To tie the note to be inserted to the previous one, touch the Tie button. A

note will be inserted, tied to the previous one.

Insert a chord

▪ Play a chord instead of a single note. The event name will be the ﬁrst note of

the chord you pressed, followed by the “…” indicator.

332| Customizing, recording and editing the Songs

Insert a chord made of notes with different velocity values

You can make the upper or lower note of a chord, for example, louder than

the remaining ones, to let the most important note stand out from the chord.

1 Edit the ﬁrst note’s Velocity value.

2 Press the ﬁrst note and keep it pressed.

3 Edit the second note’s Velocity value.

4 Press the second note and keep it pressed.

5 Edit the third note’s Velocity value.

6 Press the third note, then release all notes.

Insert a second voice

You can insert phrases where one note is kept pressed, while another voice

moves freely.

A few examples:

Step Time =

Press E and C

Press G

Off

Release G and C

Release E (continue holding C)

Recording MIDI Songs |333

Step Time = Step Time = Step Time =

Press F and C

Press G

(continue holding C)

OffOn On

Release F

(continue holding C)

Step Time = Step Time =

Press E

(continue holding C)

OffOn

Release E and C

Step Time = Step Time =

Press D

(continue holding C)

OffOn

Release G

(continue holding C)

Step Time =

Off

Release D

(continue holding C)

Step Time = Step Time =

Press C

Press G (continue holding C)

Off

Release G and C

Tie

Go back

▪ If you want to go back, touch the Back button. This will delete the previously

inserted event, and set the step in edit again.

334| Customizing, recording and editing the Songs

Exit from Record

1 When ﬁnished recording, touch the Done button to exit the Step Record

mode. A dialog box will appear, asking you to either cancel, discard or save

the changes.

2 Touch Cancel to continue editing, No to exit from the Step Record without

saving, or Yes to save and exit Step Record.

Saving the Song

▪

When ﬁnished recording the new Song, go to the main page of the Sequencer

mode and choose the Save Song command from the page menu to save the

Song.

More details are later in this section.

Recording MIDI Songs |335

Quick Recording a Backing Sequence Song

What is a Backing Sequence Song?

MIDI Songs are made of up to sixteen ‘tracks’ – that is, separate parts, each

one with a different Sound. Usually, MIDI Songs are recorded one track at a

time: the drums ﬁrst, then the bass, then the accompaniment guitar, then

the strings…

Backing Sequence (Quick Record) makes this much easier and faster: you

just record your live performance on the keyboard accompanied by the

Styles. After saving, this ‘quick song’ will be converted into an ordinary

sixteen-tracks MIDI Song, that you can play with the Player.

Choosing the Style and Sounds

Before accessing the Record mode, prepare the Style and Sounds with which

to record your Song.

1 Go to the Style Play mode.

2 Choose a Style.

3 Choose a Keyboard Set.

336| Customizing, recording and editing the Songs

Accessing the Backing Sequence (Quick Record) mode

Press the SEQUENCER button to switch to the Sequencer mode.

The

main page of the Sequencer mode will appear.

2 Press the RECORD button to open the Song Record Mode Select dialog.

3 Choose the Backing Sequence (Quick Record) option and touch OK to ac-

cess the Backing Sequence Record page.

Record

parameters

Track info

Tracks

Mixer

Measure and Beat counter

Setting the recording parameters

When you enter the Backing Sequence Record mode, the latest selected

Style and Sounds are already selected, and all recorder’s tracks are armed

and ready to record. You could simply start recording as if you were playing

with the Styles. However, there are some additional settings that you might

want to do.

Recording MIDI Songs |337

Choose the Style

▪ Touch the Style parameter (or press the STYLE SELECT button on the con-

trol panel) to open the Style Select window, and choose a different Style.

Choose the Sounds

▪ Touch the Kbd parameter (or use the KEYBOARD SET LIBRARY buttons) to

open the Keyboard Set Select window, and choose a different set of Sounds

for the keyboard. You can also use the KEYBOARD SET buttons under the

display.

Choose a quantize resolution for recording

▪ Set the recording Resolution.

Resolution Meaning

High No quantization applied

(1/32) … (1/8)

Grid resolution, in musical values. For example, when you select 1/16,

all notes are moved to the nearest 1/16 division. When you select 1/8,

all notes are moved to the nearest 1/8 division. A ‘3’ after the quanti-

zation value means triplet.

No quantization

1/16

1/8

You cannot change the

Meter (or Time Signature), because it has to match

the Style’s Meter.

Set the Tempo

▪ Change the Tempo. The Tempo value memorized in the Style is already se-

lected, but you are free to change it.

338| Customizing, recording and editing the Songs

Recording

Turn on the metronome

▪ Press the METRO (

) button to turn the metronome on or off while record-

ing. The metronome click will not be recorded with the Song.

Select the tracks to record

▪ Select or deselect the Backing Sequence grouped tracks (Chord/Acc and

Kbd/Pad). This status is reﬂected by the big status indicator above the track

sliders.

Track status Meaning

Rec The Backing Sequence grouped track is in record. All previously

recorded data will be deleted. After pressing the PLAY/STOP

(

) button to start recording, the track will receive notes from

the keyboard.

Play The Backing Sequence track is set to play. If there are recorded

data, they will be heard while recording the other Backing Sequence

grouped track.

Mute The Backing Sequence grouped track is muted. If this track has

already been recorded, it will not be heard during recording of the

other Backing Sequence track.

The

Chord/Acc Backing Sequence track groups all the Style tracks, together

with recognized chords and Style controls and Style Elements selection.

The

Kbd/Pad Backing Sequence track contains the four Keyboard Sounds

and the Pads.

Record

1 Select the Style Element you want to use before starting to play. Select any

of the Variations before starting to record. Select one of the Intros to start

with an introduction.

2 Start recording.

▪ Press the START/STOP button to start recording with the automatic accom-

paniment.

▪ Press the PLAY/STOP (

) button to start recording without the auto-

matic accompaniment. You will later be able to start the accompaniment by

pressing the START/STOP button.

Recording MIDI Songs |339

A 1-measure precount will play before the recording actually begins. When

it begins, record freely.

3 Play as if you were performing live with the Styles.

During recording, select any Style Element (Intro, Variation, Fill, Break,

Ending…) you like. While recording in Backing Sequence Record mode, you

cannot use the Synchro, Tap Tempo, Manual Bass, Balance controls.

If you want to stop the accompaniment, press the START/STOP or one of the

ENDING buttons; restart by pressing the START/STOP button again.

4 When ﬁnished recording your Song, press the PL AY/STOP (

) button to

exit recording, and return to the main page of the Sequencer mode.

If you are recording the accompaniment, and you want to stop it, press the

START/STOP or one of the ENDING buttons; restart by pressing the START/

STOP

button again. When ﬁnished recording, press the PLAY/STOP (

)

button to exit recording, and return to the main page of the Sequencer mode.

5 While in the main page of the Sequencer mode, press the PLAY/STOP (

)

button to listen to the recorded Song.

340| Customizing, recording and editing the Songs

Backing Sequence and MIDI Songs

After ﬁnishing recording, the Backing Sequence Song will be converted to an

ordinary MIDI Song. Grouped tracks will be converted to Song tracks 9-16, as

shown in the following table:

Grouped BS Track Keyboard/Style Track Song Track/Channel

Kbd/Pad Upper 1 1

Upper 2 2

Upper 3 3

Lower 4

Pad 1 5

Pad 2 6

Pad 3 7

Pad 4 8

Chord/Acc Bass 9

Drum 10

Percussion 11

Accompaniment 1 12

Accompaniment 2 13

Accompaniment 3 14

Accompaniment 4 15

Accompaniment 5 16

Recording MIDI Songs |341

Second-take recording (Overdubbing)

You may want to record an additional ‘grouped’ track, or replace a previously

recorded track. A good idea may be to record all chords and Style Element

changes during the ﬁrst take, then record Keyboard track during the second

take.

1 Press the RECORD button to enter Record mode again. When the Song

Record Mode Select dialog box appears, select Backing Sequence (Quick

Record) again.

2 If you are recording just one of the “grouped” tracks, set to Play the track

to be preserved. For example, if you only want to record the Keyboard track

again, set the Kbd/Pad track to Rec, and the Chord/Acc track to Play.

3 Press the START/STOP or PLAY/STOP (

) button to start recording the

selected track. With the above example, chords will play as recorded; you can

record what you play on the keyboard.

If you are recording the accompaniment, and you want to stop it, press the

START/STOP or one of the ENDING buttons; restart by pressing the START/

STOP button again.

4 When ﬁnished recording, press the PLAY/STOP (

) button to exit record-

ing, and return to the main page of the Sequencer mode.

5 While in the main page of the Sequencer mode, press the PLAY/STOP (

)

button to listen to the recorded Song.

6 Save the Song to a storage device, to avoid losing it when the instrument

enters standby.

342| Customizing, recording and editing the Songs

Using the KAOSS effects while recording

While recording, you can use the KAOSS effects as if you were using them

live.

1 While in the Backing Sequence Record page, touch the KAOSS button to

access the KAOSS page.

2 Choose one of the KAOSS Preset by using the Preset menu or the Favorite

buttons.

3 Start recording.

4 If you want to return to the Backing Sequence Record page, while continu-

ing to record, press the EXIT button.

5 End recording.

Saving the Song

▪

When ﬁnished recording the new Song, go to the main page of the Sequencer

mode and choose the Save Song command from the page menu to save the

Song.

More details are later in this section.

Recording MIDI Songs |343

Step Recording a Backing Sequence Song

The Step Backing Sequence mode allows you to enter single chords, to cre-

ate or edit the Style (Ch/Acc) part of a Song. This mode lets you enter chords

even if you are not a keyboard player, or ﬁx any error made playing chords or

selecting Style controls, during a Backing Sequence (Quick Record) record-

ing.

In this mode, you can only edit Songs created using the Backing Sequence

(Quick Record) recording mode. When saving a Song created using the

Backing Sequence (Quick Record) recording mode, all Ch/Acc data is pre-

served, and can be loaded later, to be edited again by using the Step Backing

Sequence mode.

Accessing the Step Backing Sequence mode

Press the SEQUENCER button to switch to the Sequencer mode.

The

main page of the Sequencer mode will appear.

2 Press the RECORD button to open the Song Record Mode Select dialog.

344| Customizing, recording and editing the Songs

3 Choose the Step Backing Sequence option and touch OK to access the Step

Backing Sequence page.

Event list

Step controls

Position indicator

Recording

While in edit, the events at the current position are shown by the right-point-

ing arrowheads ( ) on the left of the event.

1 Use the Measure parameter to go to the desired position in the Song, by us-

ing the VALUE control.

As an alternatively, you can move the locator by using the

step controls in

the lower area of the display.

Step control Meaning

Event Use these buttons to move to the previous or next recorded event.

Step Use these buttons to go to the previous or next step (1/8, or 192

ticks). If an event is located before the previous or next step, the

locator stops on that event. For example, if you are positioned on

M001.01.000, and no event exists before M001.01.192, the > button

moves to the M001.01.192 location. If an event exists on M001.01.010,

the > button stops to the M001.01.010 location.

Measure Use these buttons to move to the previous or following measure.

2 Select a parameter type (Style, Keyboard Set, Tempo…) to insert, edit or

delete at the current position.

3 Use the VALUE control to modify the selected event. Delete it by touching

the Del button next to the event. When editing a parameter without the ar-

rowhead (

) next to it, a new event is inserted at the current position.

4 When ﬁnished editing, touch the Done button to exit from the Step Backing

Sequence recording mode.

Recording MIDI Songs |345

5 While in the main page of the Sequencer mode, press the PLAY/STOP ( )

button to listen to the recorded Song.

Event types

These are the events you can enter or edit.

Event type Meaning

Style Latest selected Style. To insert a Style change at the current posi-

tion, touch the Style name to open the Style Select window.

Any Style Change inserted after the beginning of the measure (i.e.,

to a position other than Mxxx.01.000) will be effective at the follow-

ing measure. For example, if a Style Change event has been inserted

at M004.03.000, the selected Style will be effectively selected at

M005.01.000. (This works exactly as in Style Play mode).

When inserting a Style Change, you may also insert a Tempo Change

at the same position. A Style Change will not automatically insert

the Style’s Tempo.

Keyboard Set Latest selected Keyboard Set. To insert a Keyboard Set change at the

current position, touch the Keyboard Set name to open the Keyboard

Set Select window, or follow the standard selecting procedure using

the KEYBOARD SET LIBRARY section.

Tempo This is the Tempo Change parameter. To insert a Tempo Change

event at the current position, select this parameter and use the

VALUE control to change its value.

Chord The chord parameter is divided in three separate parts:

Name Type

Extension

Select one of the parts, then use the VALUE control to modify it. As

an alternative, you can play a chord, and it will be automatically rec-

ognized. While recognizing a chord, the status of the Bass Inversion

parameter will be considered.

The lack of a chord (--) means that the accompaniment will not play

at the current position (apart for the Drum and Percussion tracks).

To select the “--” option, select the Name part of the Chord param-

eter, then use VALUE control to select the very last value (C…B, Off).

If you replace a chord with a different one, please remember that the

Keyboard track (if recorded) will not be automatically changed, and

may cause a dissonance against the accompaniment.

Style Element This is the Style Element (i.e., a Variation, Fill, Intro, or Ending). The

length of the selected Style Element is always shown by the “Length”

parameter (see below).

‘Off’ means that the accompaniment will not play at the selected po-

sition – only Keyboard and Pad tracks will play.

Hint: Insert a Style Element Off event exactly where the automatic

accompaniment must stop (at the end of the Song).

346| Customizing, recording and editing the Songs

Event type Meaning

Length This parameter will let you know where to place the following Style

Element Change. For example, if you inserted an Intro event lasting

for 4 measures, you can insert 4 empty measure after this event,

and a Variation event at the end of the Intro, beginning at the 4th

empty measure.

Inserting measures

▪ Choose the Insert Measures command from the page menu, to insert an

empty measure starting from the current measure.

All Ch/Acc events contained in the current measure will be moved to the fol-

lowing measure. The event at the Mxxx.01.000 position (i.e., exactly at the

beginning of the measure, like a Time Signature or Style change) will not be

moved.

Cutting out measures

▪ Choose the Cut Measure command from the page menu, to delete the cur-

rent measure.

All Ch/Acc event contained in the following measures will be moved one

measure back.

Deleting everything from the current position

▪ Choose the Delete All from Selected command from the page menu, to de-

lete events of all types, starting from the current position.

The events on the very ﬁrst tick (M001.01.000), like Style, Tempo, Chord,

Style Element selection, will not be deleted, since they are the setting pa-

rameters of the Song.

Recording MIDI Songs |347

Deleting selected types of events

▪ To delete all events of a speciﬁed type starting at the current position,

choose from the page menu the Delete All … from Selected command cor-

responding to the type of event to delete (Styles, Style Elements, Chords,

Tempos).

To delete all the events of the same type from the whole Song, go back to the

M001.01.000 position, and select one of these commands.

The events on the very ﬁrst tick (M001.01.000), like Style, Tempo, Chord,

Style Element selection, will not be deleted, since they are the setting pa-

rameters of the Song.

Deleting single events

▪ Delete a single event by touching the Del (Delete) button next to it.

Exiting from record

1 When ﬁnished recording, touch the Done button to exit the Step Record

mode. A dialog box will appear, asking you to either cancel, discard or save

the changes.

2 Touch Cancel to continue editing, No to exit from the Step Record without

saving, or Yes to save and exit Step Record.

Saving the Song

▪

When ﬁnished recording the new Song, go to the main page of the Sequencer

mode and choose the Save Song command from the page menu to save the

Song.

More details are later in this section.

348| Customizing, recording and editing the Songs

30 Editing the MIDI Songs

Editing the Song tracks

You can edit the Song data in the Sequencer > Song Edit section.

After modifying something, press the

PLAY/STOP (

) button to listen to

the edited Song. Use the transport controls to move through the Song.

Quantizing

The quantize function may be used to correct any timing mistake after re-

cording, or to give the pattern a ‘groovy’ feeling.

1 Go to the Sequencer > Song Edit > Quantize page.

2 Select the Track to edit.

Track Meaning

All All tracks selected

Track 1 … 16 Selected track

Editing the MIDI Songs |349

3 Use the Resolution pop-up menu to choose the quantize resolution.

Resolution Meaning

(1/32) … (1/8)

Grid resolution after recording, in musical values. For example, when

you select 1/16, all notes are moved to the nearest 1/16 division. When

you select 1/8, all notes are moved to the nearest 1/8 division. A “b…f

” character added after the value means swing-quantization. A ‘3’

after the quantization value means triplet.

No quantization

1/16

1/8

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the phrase to be quantized.

If a phrase is four measures long, and you want to select it all, the Start will

be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to quantize.

These parameters are only available when a Drum or Percussion track is

selected. If you select the same note as the Bottom and Top parameters, you

can select a single percussive instrument in a Drum Kit.

6 After having set the various parameters, touch Execute.

350| Customizing, recording and editing the Songs

Transposing

The transpose function may be used to transpose the selected track(s).

1 Go to the Sequencer > Song Edit > Transpose page.

2 Select the Track to edit.

Track Meaning

All All tracks selected, apart for the tracks set in Drum mode (like the

Drum and Percussion tracks).

Track 1 … 16 Selected track.

3 Use the Value parameter to choose the transpose value.

Value Meaning

-127 … 127 Transpose value (in semitones)

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the phrase to be transposed.

If a phrase is four measures long, and you want to select it all, the Start will

be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to trans-

pose.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Since in a Drum Kit each

instrument is assigned to a different note of the scale, transposing a percus-

sive instrument means assigning the part to a different instrument.

Selective transpose can also be used to avoid transposing RX Noises (trans-

posing only notes under C7).

Editing the MIDI Songs |351

6 Select the Include chords checkbox if you want to also transpose the Chord

events, for example those recorded with a Backing Song.

The Chord events will be shown in the

Lyrics and Score pages, so we suggest

to transpose them to match the notes and the chord abbreviations shown.

However, be very careful if you want to read the resulting Standard MIDI File

with a dedicated player, because saving the Chord events would change their

format, and make them no longer compatible with some devices.

7 After having set the various parameters, touch Execute.

Editing Velocity data

You can change the velocity (dynamics) value of notes in the selected track(s).

When an RX Sound is assigned to the track being edited, the resulting sound

may change, since this kind of Sounds is made of several different layers

triggered by different velocity values.

Also, a fade-out may result in the level ‘jumping’ up next to the zero, since a

higher-level layer may be selected by low velocity values.

1 Go to the Sequencer > Song Edit > Velocity page.

2 Select the Track to edit.

Track Meaning

All All tracks selected. The velocity for all notes will be changed.

Track 1 … 16 Selected track.

3 Use the Velocity Value parameter to choose the velocity change value.

Value Meaning

-127 … 127 Velocity change value (in MIDI value)

352| Customizing, recording and editing the Songs

4 If you want to use the advanced parameters, allowing you to select a velocity

curve and create fade-ins or fade-outs, select the Advanced checkbox.

When this parameter is selected, the

Intensity, Curve, Start Velocity Value

and End Velocity Value parameters become accessible.

▪ Use the Intensity parameter to specify the degree to which the velocity data

will be adjusted toward the curve you specify with Curve.

Intensity Meaning

0 … 100% Intensity value. With a setting of 0%, the velocity will not change.

With a setting of 100%, the velocity will be changed the most.

▪ Use the Curve parameter to select one of the six curves, and specify how the

velocity will change over time.

Start

Value

Curve 1

Velocity

Start Value = 0%, End Value = 100%

127

End

Value

Start

Value

Curve 2

Velocity

127

End

Value

Start

Value

Curve 3

Velocity

127

End

Value

Start

Value

Curve 4

Velocity

127

End

Value

Start

Value

Curve 5

Velocity

127

End

Value

Start

Value

Curve 6

Velocity

RANDOM

127

End

Value

▪ Use the Start Vel. Value and End Vel. Value to change the velocity value at

the starting and ending of the selected curve.

Intensity Meaning

0 … 100% Velocity change in percentage

5 Use the Start Tick and End Tick parameters to set the beginning and ending

of the phrase to be edited.

If a phrase is four measures long, and you want to select it all, the Start will

be positioned at 1.01.000, and the End at 5.01.000.

6 Use the Bottom Note and Top Note parameters to set key range to change.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Selecting a range can also

be used to only edit RX Noises (from C7) or ordinary notes (under C7).

7 After having set the various parameters, touch Execute.

Editing the MIDI Songs |353

Cutting or inserting measures

You can delete a selected measure (or a series of measures), or insert new

ones in the middle of the Song.

1 Go to the Sequencer > Song Edit > Cut/Insert page.

2 Use the Start parameter to select the ﬁrst measure to be cut or inserted.

3 Use the Length parameter to choose the number of measures to be cut or

inserted.

4 Use the Meter parameter to set the meter (time signature) of the measure

to be inserted.

5 After having set the various parameters, touch Execute.

354| Customizing, recording and editing the Songs

Deleting data from measures

The Delete page is where you delete MIDI events out of the Song. This func-

tion does not remove measures from the Song. To remove whole measures,

use the Cut function instead.

1 Go to the Sequencer > Song Edit > Delete page.

2 Select the Track to edit.

Track Meaning

All All tracks selected

Track 1 … 16 Selected track

Master Master track. This is where the Tempo, Scale and Effect events are

recorded.

3 Use the Event pop-up menu to choose the type of event to delete.

Event Meaning

All All events. The measures are not removed from the Song.

Note All notes in the selected range.

Dup.Note All duplicate notes. When two notes with the same pitch are encoun-

tered on the same tick, the one with the lowest velocity is deleted.

After Touch After Touch events.

Pitch Bend Pitch Bend events.

Prog.Change Program Change events, excluding the bundled Control Change #00

(Bank Select MSB) and #32 (Bank Select LSB).

Ctl.Change All Control Change events, for example Bank Select, Modulation,

Damper, Soft Pedal…

CC00/32 … CC127 Single Control Change events. Double Control Change numbers (like

00/32) are MSB/LSB bundles.

Editing the MIDI Songs |355

4 Use the Start Tick and End Tick parameters to set the beginning and ending

of the phrase to be deleted.

If a phrase is four measures long, and you want to select it all, the Start will

be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to delete.

These parameters are available only when the

All or Note option is selected.

If you select the same note as the Bottom and Top parameters, you can se-

lect a single percussive instrument in a Drum Kit. Selecting a range can also

be used to only edit RX Noises (from C7) or ordinary notes (under C7).

6 After having set the various parameters, touch Execute.

356| Customizing, recording and editing the Songs

Copying data

You can copy tracks or phrases.

1 Go to the Sequencer > Song Edit > Copy page.

2 Use the Mode parameter to choose a Copy mode.

Copy Mode Meaning

Merge Copied data are merged with the data at the target position.

Overwrite Copied data replace all data at the target position.

3 Use the From Track parameter to choose the source track, and the To Track

parameter to choose the target.

Track Meaning

All All tracks will be copied. The target track cannot be selected.

Track 1 … 16 Selected track.

4 Use the Start Measure and End Measure parameters to set the beginning

and ending of the phrase to be copied.

5 Use the To Measure parameter to choose the ﬁrst of the target measures.

6 Use the Repeat Times parameter to choose the number of times the copy

must be repeated consecutively.

7 After having set the various parameters, touch Execute.

Editing the MIDI Songs |357

Moving data

You can shift a track forward or backward by just a few ticks or whole mea-

sures.

1 Go to the Sequencer > Song Edit > Move page.

2 Use the Track parameter to choose the track to edit.

Track Meaning

All All tracks will be moved.

Track 1 … 16 Selected track.

3 Use the Start Tick and End Tick parameters to set the beginning and ending

of the phrase to be moved.

If a phrase is four measures long, and you want to select it all, the Start will

be positioned at 1.01.000, and the End at 5.01.000.

Use the

To Tick parameter to choose the point where the data will be moved.

4 After having set the various parameters, touch Execute.

358| Customizing, recording and editing the Songs

Converting notes to RX Noises

You can go to the Utility page to convert notes of a Standard MIDI File into

RX Noises, and vice-versa. This will help programming Songs on an external

sequencer.

1 Go to the Sequencer > Song Edit > Utility page.

2 Edit the parameters, and choose the commands.

▪ Use the Track parameter to choose a track, then use the Velocity parameter

to set the volume level of the RX Noises in the selected track(s). When done,

touch the Execute button.

Track Meaning

All All tracks.

Track 1 … 16 Selected track.

▪ Touch the Execute button next to the Add to Guitar Tracks parameter to

automatically analyze the Standard MIDI File, and add RX Noises to Guitar

tracks.

This command scans the whole Standard MIDI File, looking for guitar strum-

ming played by nylon, steel or electric guitars. After scanning, a suitable

Guitar sound will be automatically assigned to the relevant tracks, and RX

Noises automatically added where needed.

▪ Touch the Execute button next to the Convert to MIDI Notes parameter to

convert the RX Noises to ordinary MIDI Notes.

▪ Touch the Execute button next to the Convert from MIDI Notes parameter

to convert all the relevant MIDI Notes to RX Noises.

Editing the MIDI Songs |359

Converting MIDI Song’s notes to chords

The Detect Chord function scans the MIDI Song’s tracks to detect chords,

and then saves them as Chords events, to be seen in the Lyrics or Score

page.

1 Go to the Sequencer > Song Edit > Utility page.

2 Touch the Execute button next to the Detect Chords parameter to automati-

cally analyze the Standard MIDI File, and ﬁnd chords.

This command scans the whole Standard MIDI File, looking for chords. After

scanning, chords will be automatically saved in the ﬁle as Chords events.

360| Customizing, recording and editing the Songs

Editing the MIDI events

The Event Edit is the page where you can edit each single MIDI event of the

selected track. You can, for example, replace a note with a different one, or

change its playing strength (that is, velocity value).

The Event Edit page

▪

Go to the Sequencer > Event Edit > Event Edit page.

a. Touch here

to choose the

track to edit

b. Edit the

events

The Event Edit procedure

Here is the general procedure to follow for the event editing.

Load the Song and access editing

1 Press the SEQUENCER button to go to the Sequencer mode.

2 Either record a new Song, or load an existing MIDI Song by choosing the

Load Song command from the page menu.

3 Go to the Sequencer > Event Edit > Event Edit page.

Editing the MIDI Songs |361

Filtering the events shown

▪ Go to the Sequencer > Event Edit > Filter page to select the events to hide.

Filter Meaning

Note/RX Noise Notes and RX Noise events

Program Change Program Change events

Control Change Control Change events

Tempo/Meter Tempo and Meter (time signature) changes (Master Track only)

Aftertouch Mono (Channel) Aftertouch events

Poly Aftertouch Polyphonic Aftertouch events

Pitch Bend Pitch Bend events

Pa Controls Messages exclusive to KORG Pa-Series instruments (and the HAVIAN

30 digital ensemble piano).

Edit the events

1 Go back to the Sequencer > Event Edit > Event Edit page.

2 Use the Track pop-up menu to select the track to edit.

The list of events contained in the selected track will appear in the display.

Some events on the beginning of the track, as well as the ‘EndOfTrk’ event

(marking its ending point) cannot be edited, and appear dimmed.

3 Scroll though the various events by using the scrollbar.

4 Touch the event to be edited, and edit it.

Measure/Position

Type

Value 1 Value 2 Duration/Length

362| Customizing, recording and editing the Songs

▪ Select the M (Measure), and use the VALUE control to change event’s posi-

tion.

▪ Select the Type parameter, and use the VALUE to change the event type.

▪ Select the Value 1 and Value 2 parameters, and use the VALUE control to

edit them. In case of numeric values, you can also touch them twice to open

the numeric keypad.

Event Type Value 1 Value 2

Ordinary tracks (1-16)

Note Note name Velocity

RX Noise Note name Velocity

Prog Program Change number –

Ctrl Control Change number Control Change value

Bend Bending value –

Aftt Mono (Channel) Aftertouch value –

PAft Note to which the Aftertouch is

applied

Poly Aftertouch value

Master track

Tempo Tempo change –

Volume Master Volume value –

Meter Meter (time signature) change

(a)

–

KeySign Key Signature

(b)

–

Scale One of the available preset

Scales

Root note for the selected Scale

UScale (User Scale) Altered note Note alteration

(c)

QT (Quarter Tone) Altered note Note alteration (0, 50)

(c)

QT Clear (Quarter

Tone Clearing)

Reset of all Quarter Tone (QT)

changes

–

(a). Meter changes can’t be edited or inserted separately from a measure. To insert a Meter

change, use the Insert function in the Edit section and insert a series of measures with the

new meter. Existing data can then be copied or entered to these measures

(b). This is the key signature shown in the Score. If this event is missing, the Score will be

shown as if it was in the key of C Major.

(c). To edit User Scale and Quarter Tone settings, select the ﬁrst value, then select the scale’s

degree to edit. Edit the second value to change the tuning of the selected note of the scale.

▪ If a Note event is selected, select the D (Duration/Length) parameter, and

use the VALUE control to change the event’s length.

Editing the MIDI Songs |363

Jump to a different measure

1 Touch the Go/Catch button to go to a different measure. The Go To Measure

dialog will appear:

2 Enter a target measure and touch OK to conﬁrm The ﬁrst event available in

the target measure will be selected.

Insert events

▪ Touch the Insert button to insert an event at the current Position (M). A

Note event with default values will be inserted.

Delete events

▪ Select an event, then touch the Delete button to delete it.

Edit other tracks

▪ When editing is complete, select a different track to edit.

Exit Event Edit

▪ When ﬁnished editing the Song, press the EXIT button to go back to the main

page of the Sequencer mode, and listen to the Song.

364| Customizing, recording and editing the Songs

31 Saving MIDI Songs

Saving the MIDI Song

The Song will be lost when the instrument is turned off, or you switch to a

different mode. Save it after recording.

1 While in the main page of the Sequencer mode, choose the Save Song com-

mand from the page menu. The Save Song window will appear.

Storage device

Current path

This window is very similar to the Media > Save page. Files are ﬁltered, so

that can only see MIDI Song ﬁles (.mid, .kar).

2 Use the Device pop-up menu to select a storage device, then choose a folder

where to save your Song.

Use the

Open and Close buttons to browse through the folders.

Use the

scrollbar to see all Songs in the list. Keep the SHIFT button pressed

and touch the Up/Down arrows to scroll to the next/previous alphabetic sec-

tion. As an alternative, use the VALUE control to scroll the list.

3 Choose an existing ﬁle, or create a new ﬁle.

▪ To overwrite an existing Song, select it. In any case, you can change the

name of the Song while saving, and the original ﬁle will not be overwritten.

If you select a .kar ﬁle, a ﬁle with the same name, but the .mid extension, will

be created. The older ﬁle will not be overwritten.

Saving MIDI Songs |365

▪ If no Song is selected, a new Song ﬁle will be created on the target device. To

deselect a selected Song, touch anywhere else in the Song list, or select the

same storage device again.

At this point, press the

EXIT button if you prefer to exit without saving the

Song.

4 Touch the Save button to save the Song into the current folder. The Save

Song dialog box will appear.

5 You may change the name of the Song. Touch the Text Edit ( ) icon to

open the virtual keyboard and edit the name. When done editing the name,

conﬁrm by touching the OK button under the virtual keyboard.

If you started from an existing ﬁle, changing the name will create a new ﬁle

and will not overwrite the existing ﬁle.

6 When back to the Save Song dialog, touch the OK button to save the Song.

A Standard MIDI File format 0 (Zero) will be created in the target storage

device. The ﬁle will have a .mid extension.

A setup measure, containing various Song initialization parameters, will be

inserted at the beginning of the Song.

366| Customizing, recording and editing the Songs

32 Recording MP3 Songs

Recording and saving an MP3 Song

Recording an MP3 Song

Prepare for recording

▪ Either choose a Style or Song, if you want to record them in the new Song.

You can choose either MIDI or MP3 Songs.

▪ Choose a Keyboard Set to assign Sounds to the keyboard.

▪ Choose a Voice/Guitar Preset to add effects to your voice/guitar.

Enter MP3 Record mode

▪ While in Style Play or Song Play mode, keep the RECORD button pressed for

about one second to let the MP3 Record dialog appear.

Set the recording parameters

▪ Use the Quality pop-up menu to choose the preferred MP3 audio quality.

The higher the sound quality, the larger the MP3 ﬁle that will be generated.

Recording MP3 Songs |367

Please note that MP3 ﬁles recorded with lower sampling rates might not

sound very good. With MP3 ﬁles there is always a trade-off between higher

quality and smaller ﬁle size.

Quality Meaning

Highest 256 kbps

High 192 kbps

Medium 128 kbps

▪ Use the Device pop-up menu to choose a location where to temporary store

the recorded MP3 ﬁle.

This is not the ﬁnal destination of your ﬁle, since you will be able to choose

a different location after recording. However, be sure there is enough space

for the temporary ﬁle, by checking the

Free space parameter. The current

ﬁle size is always shown by the File length parameter.

Record the MP3 Song

1 Touch the Rec button in the display to start recording.

The

Rec button will change to Stop, and the Recording label will appear.

2 Start playing your song.

During recording, use the

MP3 Record dialog to check the Recording time,

File length and the Free space on the storage device.

Exit the MP3 Record dialog without stopping recording

▪ If you like, press the EXIT button to exit the MP3 Record dialog and navigate

through the Style Play and Song Play pages, without stopping to record.

▪ To access the MP3 Record dialog again, and see the ﬁle length or stop re-

cording, keep the RECORD button pressed for about one second again.

If you exit from the MP3 Record dialog while recording, the RECORD but-

ton’s indicator will continue ﬂashing.

368| Customizing, recording and editing the Songs

Stop recording

▪ Touch the Stop button in the display to stop recording.

As an alternative, press the

RECORD button.

What can you record into an MP3 Song?

Everything you sing or play on the keyboard or a guitar, the Styles and the

MIDI or MP3 Songs performed by the Player, the events generated by the

KAOSS effects, will be recorded.

Saving the MP3 Song

Save the MP3 Song

After having stopped recording, the MP3 Record dialog will allow you to

choose a location for saving the MP3 ﬁle.

1 Touch the Text Edit ( ) icon to give the MP3 ﬁle a name.

2 Touch the Browse button to select a storage device and folder where to

save the ﬁle.

3 Touch the Save button to save the MP3 ﬁle.

After saving, you can listen to the MP3 Song in Song Play mode. The MP3 ﬁle

can also be moved to a personal computer for listening or further editing.

Recording MP3 Songs |369

Overdubbing MP3 Songs

MP3 Songs are compressed audio. Compression replaces the original au-

dio stream with encoded audio, taking less space while preserving high

sound quality. Overdubbing is the process of recording audio over existing

audio.

When overdubbing an MP3 Song in MP3 Record mode, you recompress a

compressed ﬁle, and artifacts will be ampliﬁed. If you transpose the MP3

Song, pitch-shifting artifacts will be added and further degrade the result-

ing audio.

It is suggested to compose using the internal Sounds and MIDI Songs. You

can transpose and overdub MIDI Songs without any audio degradation.

When done with your song, you can record it as an MP3 ﬁle.

370| Customizing, recording and editing the Songs

33 Creating text ﬁles

(lyrics)

Creating text ﬁles on a personal computer

Choosing the right language

Pa700 supports lyrics text in various languages. This however requires that

you choose the right language in Pa700, and save the TXT ﬁle with the cor-

rect text encoding from a personal computer.

To save a TXT ﬁle with the correct encoding, you can use a Windows PC or

Mac with an advanced text editor. The two free applications we suggest you

use are Don Ho’s

Notepad++ for Windows and Bare Bone’s BBEdit for Mac.

Language Text Encoding

Please ﬁnd in the following table the text encodings corresponding to the

various languages supported by Pa700.

Language Encoding (Notepad++) Encoding (TextWrangler)

Dutch Western European > Windows-1252 Western (Windows Latin 1)

English Western European > Windows-1252 Western (Windows Latin 1)

Estonian Baltic > Windows-1257 Baltic (Windows)

French Western European > Windows-1252 Western (Windows Latin 1)

German Western European > Windows-1252 Western (Windows Latin 1)

Greek Greek > Windows-1253 Greek (Windows)

Italian Western European > Windows-1252 Western (Windows Latin 1)

Polish Central European > Windows-1250 Central European (Windows Latin 2)

Russian Cyrillic > Windows-1251 Cyrillic (Windows)

Spanish Western European > Windows-1252 Western (Windows Latin 1)

Turkish Turkish > Windows-1254 Turkish (Windows Latin 5)

Creating text ﬁles (lyrics) |371

Setting the language on the Pa

To correctly read text on your Pa, be sure to set the Language parameter to

your language. This can be done in the Global > General Controls > Interface

page.

1 Since the instrument must be restarted at the end of this procedure, be sure

to ﬁrst save any unsaved data.

2 While in the Interface page, select a language from the popup menu.

3 The Change command will start ﬂashing. Touch it.

4 A message will ask you to reboot the instrument. Touch OK to close the mes-

sage window.

5 Turn the instrument off, then on again.

Editing the TXT ﬁle on a Windows PC

Launch Notepad++.

2 Open the original TXT ﬁle.

3 Choose File > New to open a new tabbed window containing the new TXT ﬁle.

4 Choose Encoding > Character sets > [Your Language] > [Encoding].

5 Click on the tab containing the original TXT ﬁle.

372| Customizing, recording and editing the Songs

6 Select all and copy the selected text.

7 Click on the tab containing the new TXT ﬁle.

8 Paste the copied text.

9 Save and assign a name to the new TXT ﬁle.

10 Load the ﬁle into your instrument, and check it.

Editing the TXT ﬁle on a Mac

Launch BBEdit.

2 Open the original TXT ﬁle.

3 In the status bar (in the lower part of the window) ﬁnd the Text Encoding

parameter (it usually defaults to Unicode or Western ISO). Click it to open the

popup menu, and choose Other….

Creating text ﬁles (lyrics) |373

4 While in the dialog, choose your language encoding.

5 Next to it in the status bar, ﬁnd the Line Break Type parameter, usually de-

faulting to Unix (LF). Click it to open the popup menu, and choose Windows

(CRLF).

6 Save a copy of the ﬁle by choosing File > Save As. Give the new ﬁle a name,

and be sure that the Save As dialog box shows the correct Line breaks and

Encoding.

7 Load the ﬁle into your instrument, and check it.

Formatting text for the Pa-Series instruments

While in a text editor, text ﬁles must be formatted with non-proportional

fonts (like Courier, Courier New, Letter Gothic, Lucida Sans, Menlo, Monaco,

Vera Sans, or any other monospaced font). Up to 41 characters can ﬁt a

single line of text when using the smaller font size in the Pa, 24 when using

the bigger font size.

374 | Customizing, recording and editing the Songs

▪ Small font in a text editor and the Pa:

▪ Big font in a text editor and the Pa:

Using imported text as a memo

Importing text ﬁles may be useful not only to load Lyrics, but also to load

notes on the show. Please ﬁnd below an example of playlist and gig outline.

|375

PART VII:

CUSTOMIZING

AND EDITING

THE SOUNDS

376| Customizing and editing the Sounds

Listening and customizing the Sounds |377

34 Listening and

customizing the Sounds

Accessing the Sound mode

▪

Press the SOUND button in the MODE section of the control panel. The main

page of the Sound mode will appear.

Sound name, bank,

Octave Transpose,

Program Change

Quick edit data

Voice

Mode

Effects

378| Customizing and editing the Sounds

Listening to individual Sounds

While in the Sound mode, the selected Sound can always play across the full

keyboard range. The split point will be ignored.

Choosing a Sound

While in the main page of the Sound mode, touch the name of the Sound to

open the Sound Selection window.

2 Browse through the Sounds, and touch the Sound to select.

Choosing a Sound while in other modes

While in a different mode, you can easily ‘send’ a Sound to the Sound mode.

▪ Select the track/channel the Sound to be edited is assigned to, then keep the

SHIFT button pressed and press the SOUND button.

Playing via MIDI

In Sound mode, Pa700 receives and transmits on the same channel as the

Upper 1 part. If the Global channel is assigned to a MIDI channel, notes can

also be received on this channel.

MIDI channels can be programmed in the

Global > MIDI > MIDI IN Channels

page.

Listening and customizing the Sounds |379

Customizing the Sound

While in the main page of the Sound mode, you can edit some Sound pa-

rameters in realtime. This is useful both for on-the-ﬂy adjustments, and for

realtime sound manipulation.

Using the Realtime Controls

▪ Use the Realtime Controls to edit the main parameters of the Sound.

All values are offset of the original values memorized in the Sound (they are

added to or subtracted from the original values). The position of these con-

trols is reset after you write the Sound, or choose a different Sound.

380| Customizing and editing the Sounds

Realtime Control Meaning

Attack Attack time. This is the time during which the sound goes from the

Start level (at the moment when you press a key) to the Attack level.

Decay Decay time. Time to go from the ﬁnal Attack level to the beginning

of the Sustain.

Release Release time. This is the time during which the sound goes from the

sustaining phase, to zero. The Release is triggered by releasing a key.

Note-on

Note-off

Attack

Time

Decay

Time

Release Time

Attack Level

Sustain

Level

Tim

Break Point

Start

Level

Slope

Time

Ampliﬁer EG

olume

Cutoff Filter cutoff. This sets the sound brightness.

Frequency

Level

Low Pass

12dB/oct

24dB/oct

Resonance Use the Filter Resonance to boost the part of the sound spectrum

around the cutoff frequency.

LFO Depth Intensity of the Vibrato (LFO).

LFO Speed Speed of the Vibrato (LFO).

LFO Delay Delay time before the Vibrato (LFO) begins, after the sound starts.

Listening and customizing the Sounds |381

Setting the Voice mode

▪ Use the Poly and Mono radio buttons to choose whether the Sound will play

polyphonically (playing chords) or monophonically (one voice at a time).

▪ Use the Legato checkbox to activate legato to a mono voice.

Legato will make the second note’s attack smoother. Envelope and LFO will

not be retriggered. This is particularly effective with wind instrument and

analog synth-type sounds.

▪ Turn on the Hold parameter to keep the notes sustained even after releasing

the keys.

Mixing the effects

Sounds are sent to two Master FX processors (MFX 1 and MFX 2). The ﬁrst

one is usually a reverb, the second a modulating effect.

▪ Use the On/Off switch to turn on or off the corresponding effect.

▪ Use the Send knob to adjust the level of the dry sound sent to the corre-

sponding effect.

▪ Use the Amount knob to mix between the dry and effected signal.

Writing the Sound

▪ When ﬁnished editing the Sound parameters in the main page of the Sound

mode, choose the Write Sound command from the page menu to save the

Sound. More details on writing Sounds at the end of this section.

382| Customizing and editing the Sounds

35 Editing the Sounds

You can edit each single parameter of a Sound. Pa700 is, at its core, a pow-

erful sample-based synthesizer, with advanced analogue-like sound shaping

features.

Sound generation

At the base of each Sound there are Samples, that are recordings of real

sounds.

Each Sample is assigned to a separate zone of the keyboard together with

other Samples to create a Multisample. One or two Multisamples are as-

signed to each Oscillator.

Up to twenty-four Oscillators can be put together to make a Sound. In a

Sound, Oscillators are balanced, layered, and processed by the Effects.

Sounds are the basic unit of the Pa700’s timbre, and can be combined in

Sound sets called Keyboard Sets. They can also be assigned to Style and

Song tracks.

Accessing Sound editing

Press the SOUND button in the MODE section of the control panel to go to

the corresponding mode.

2 Press the MENU button and touch any of the buttons in the edit menu to

choose the Sound Edit section.

Editing the Sounds |383

Choosing the oscillators (OSC)

While in an edit page requiring an oscillator to be selected for editing, use the

vertical row of buttons on the right (1…24 max) to select one of the available

oscillators. The number of available oscillators depends on the Oscillators

Count parameter (in the Sound > Basic > Sound page).

Oscillators

If you cannot see the desired oscillator, touch the scroll arrow, until the hid-

den oscillator is shown in the display.

When oscillators cannot be select, since the parameter contained in the

current page are global and valid for the whole Sound, these buttons are

dimmed, and cannot be selected.

Sounds, Drum Kits, Digital Drawbars

Pa700 features different types of Sounds:

▪ Ordinary Sounds. These are normal instrument Sounds, like pianos,

strings, basses.

▪ Drum Kits. These are drum and percussion kits, where each note (key)

of the keyboard is a different percussive instrument. You can ﬁnd

Drum Kits in the Drum & SFX and User DK banks.

▪ Digital Drawbars. These are Sounds simulating electromechanical or-

gans. Their complex structure, and the special usage, require their set-

tings to be saved into a Keyboard Set.

Before pressing the

MENU button to access the edit pages, you should

select a Sound of the type you wish to edit or create.

384| Customizing and editing the Sounds

Setting the Sound’s basic parameters

Before editing the oscillators, choose the number of oscillators in the Sound,

the Sound’s mono/poly mode, and the transpose and legato ranges.

▪ Go to the Sound > Basic > Sound page.

Setting the oscillators

The Oscillator Count section is where you choose how many voices will be

used by a single Sound.

Choosing the number of oscillators

▪ Use the Oscillators Count parameter to choose the number of oscillators (up

to 24) the Sound is based on.

The total polyphony varies depending on the number of oscillators used by

the Sound (a maximum of 128 with only 1 oscillator per voice).

Editing the Sounds |385

Limiting the number of oscillators when polyphony is low

▪ Use the Low priority parameter to allow the highest-numbered oscillators to

be turned off when the instrument is short on voices. Keep in mind that, with

a dense polyphony, missing oscillators might not even be heard.

Low Priority Meaning

0 No oscillator will be turned off in any case.

1 The highest-numbered oscillator will be turned off, if needed.

2 The two highest-numbered oscillators can be turned off, one after

the other, if needed.

[n]…24 The n-numbered oscillators (up to 24) can be turned off, one after

the other, if needed.

Limiting transpose to a deﬁned key range

Some parts of the Sound, in a keyboard range containing special effects, can

fall out of the Transpose Range.

▪ Use the Transpose Range (Top Key and Bottom Key) parameters to limit

transposition to a deﬁned key range. Notes will only be transposed if falling

inside this range.

This is useful to avoid RX Sounds to be transposed (therefore reassigned do

different sounds) when transposing a Sound. Set these values so that all RX

Noises assigned to any oscillator will fall out of the Transpose Range. For

example, if you assigned an RX Noise to a G7 on OSC1, and an RX Noise to an

A7 on OSC2, set the Top Key value no higher than F#7 (just below the lowest

RX Noise).

386| Customizing and editing the Sounds

Polyphony, triggering, legato

The Voice Assign Mode section is where you choose polyphony, triggering

and legato.

Choosing the mono/poly mode

▪ Use the Poly and Mono radio buttons to choose whether the Sound will play

polyphonically (playing chords) or monophonically (one voice at a time).

Choosing triggering mode

▪ When the selected mode is Poly, use the Single Trigger checkbox to choose

the triggering mode.

Single Trigger Meaning

On When the same note is played repeatedly, the previous note will be

silenced before the next note is sounded, so that the notes do not

overlap.

Off When the same note is played repeatedly, the previous note will not

be silenced before the next note is sounded.

Activating Legato

▪ When the selected mode is Mono, use the Legato checkbox to activate

Legato.

Legato will make the second note’s attack smoother. Envelope and LFO will

not be retriggered. This is particularly effective with wind instrument and

analog synth-type sounds.

Editing the Sounds |387

Choosing the Mono note priority

▪ When the selected mode is Mono, use the Priority pop-up menu to specify

which note will be given priority when two or more notes are played simul-

taneously.

Priority Meaning

Low The lowest note will take priority.

High The highest note will take priority.

Last The last note will take priority.

Holding notes

▪ Select the Hold checkbox to let the notes play even after releasing the keys.

This is especially useful for percussive sounds, that you will trigger and let

alone sounding.

Setting the Sound Controllers Mode

You can use the assignable switches, footswitch and the joystick as DNC

Sound Controllers. Depending on the Sound, these controllers can ‘book’ or

‘toggle’ a DNC function.

You can program four controllers:

Sound Controller Meaning

SC1/2 Two functions that can be assigned to an assignable switch or foot-

switch.

Y- Backward joystick movement (pull).

Y+ Forward joystick movement (push).

388| Customizing and editing the Sounds

The controller can work in two ways:

Sound Controller

Mode

Meaning

Booking Activate the controller to ‘book’ its function, then play. The control-

ler will be automatically deactivated.

Toggle Use the controller to ‘toggle’ its function between activated and de-

activated.

The assigned controller type and status is shown by the indicators on the

assignable switches.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return

steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

Editing the Sounds |389

Detecting Legato

Two notes can be considered legato when there is very little or no time be-

tween them (and they can even be overlapping). You can adjust the instru-

ment’s sensitivity to detect legato.

Legato can be used as an oscillator trigger, when you assign one of the

Legato triggers to the OSC Trigger Mode parameter (in the Sound Edit >

Basic > OSC Basic page).

Adjusting the time gap

▪ Use the Max Time parameter to set the delay between notes (1…999 ms), to

consider them legato, even if there is a very small gap before them.

This is useful to avoid some notes in a chord are played legato, and some oth-

ers staccato. Notes played with a small gap are still considered legato notes.

A value of approx. 15 ms is usually considered effective when playing chords.

Adjusting the key note gap

▪ Use the Max Range parameter to set the range (1…127 semitones) within

which notes can be considered legato. If you play a wider interval, the notes

are always considered staccato.

This is typical of some acoustic instruments, where legato is only possible

within a small interval, but not on wider ones.

As an example, please try the ‘Jazz Sax DN2’ sound, where the Max Range

is 9 semitones. Play legato with intervals smaller than 9 semitones, and you

will hear how smoother legato notes will become. Play legato with wider in-

tervals, and legato smoothing will be lost.

390| Customizing and editing the Sounds

Setting the oscillator’s basic parameters

Each of the oscillators can play one or two different multisamples (High and

Low layers), separated by a velocity switch.

▪ Go to the Sound > Basic > OSC page.

The multisamples

The OSC Multisample section contains the basic parameters of the assigned

multisamples.

Editing the Sounds |391

Choosing and setting the multisamples

▪ Use the High and Low pop-up menus to choose the multisample’s bank (ROM

or RAM).

▪ Use the numeric ﬁeld next to the multisample name to choose the multi-

sample inside the selected bank.

Bank Meaning

ROM Factory multisamples, supplied by KORG as standard.

RAM User multisamples, loaded when loading some User Sounds.

The High multisample will be triggered by velocities equal or higher than the

Velocity SW L–>H value. If you do not want to use velocity switching, set the

switch to a value of 001, and only assign the High multisample.

If you create a new Sound based on RAM samples, the RAM samples must be

loaded from the internal drive or from a device connected to the

USB HOST

ports. In case samples are not loaded, no sound will be heard, even if the

Sound or multisample can be selected and its name appears in the display.

▪ Use the Offset parameters to specify the point where the multisample(s) will

start to play. With some multisamples this parameter is not available.

Offset Meaning

Off The sound will start from the beginning of the multisample wave-

form.

1st…6th The sound will begin from the offset location predetermined for each

sample.

No Attack The initial portion of the multisample is ignored.

AMS Activates the Alternate Modulation Source (see below).

PseudoRandom (Only works when more than a single Offset point is available in the

multisample). Randomly selects one of the available Offset points.

▪ Select the Reverse checkbox to reverse the samples in the multisample

(reading starts from the end). This can only be activated on some multi-

samples.

▪ Use the Level parameters to specify the volume level of each multisample.

Depending on the multisample, high settings of this parameter may cause

the sound to distort when a chord is played. If this occurs, lower the level.

392| Customizing and editing the Sounds

Setting octave and ﬁne tuning

▪ Use the Oct(ave) parameter to adjust the pitch of the selected oscillator in

octave units (-2…+1). The normal octave is 0 (Zero).

▪ Use the Transpose parameter to adjust the pitch of the selected oscillator

over a range of ±1 octave (-12…+12 semitones).

▪ Use the Tune parameter to adjust the pitch of the sample over a range of ±1

octave (-1200…+1200 cents of a semitone) .

Setting the velocity switch between the Low and High layers

▪ Use the Vel SW L–>H parameter to set the velocity value dividing the High

and Low multisamples for the selected oscillator. Notes struck at this value

or harder will be played by the High multisample.

Choosing an AMS (Alternate Modulation Source)

When the AMS option is assigned to the Offset parameter, the Offset

Intensity by AMS and AMS parameters become available. A list of AMS

sources can be found in the Appendix.

When the

Offset Intensity by AMS parameter has a positive value, the se-

lected Offset point will depend by the AMS value. For example, with the

Velocity AMS, playing softly will select the Off or 1st Offset, while playing

loudly will select the 6th or No Attack Offset.

When the

Offset Intensity by AMS parameter has a negative value, the se-

lection will happen in reverse (higher-numbered Offsets will be selected be-

fore the lowest-numbered ones).

Editing the Sounds |393

Oscillator triggering

Triggering Mode is how the oscillator will start after pressing a key or a

controller.

Choosing the oscillator triggering mode

▪ Use the ﬁrst OSC Trigger Mode > Mode pop-up menu to choose the event

triggering the selected oscillator.

Trigger Mode (What) Meaning

Note On The oscillator starts playing when a note is played.

Note Off (VOn) The oscillator starts playing when a note is released. Note On

Velocity is considered.

This is useful to create sounds such as the ‘click’ that is heard when a

harpsichord note is released. In this case, set the Sustain parameter

to 0 (see the Amp > Amp EG page).

Note Off (VOff) As the above, but Note Off Velocity is not considered.

Last Note Off (VOn) The oscillator starts playing only when the last note of a chord or

legato sequence is released. Note On Velocity is considered.

Last Note Off (VOff) As the above, but Note Off Velocity is not considered.

Natural Release The oscillator starts playing when a note is released. Its amplitude

starts from the current amplitude level. If the sound’s volume is al-

ready at zero, this oscillator is not retriggered.

After Touch The oscillator starts playing when an After Touch message with a

value of at least 90 is received. The Velocity value is the same as

the latest Note On message. The oscillator will stop playing when the

After Touch value falls back to zero.

Hint: This (like the following Triggers) is especially useful to trigger

harmonics or growls when a note is already playing.

Note: After Touch is received/transmitted via MIDI or contained in

Standard MIDI Files.

Joystick Y+ As the above, but with the joystick, assigned as the Sound Controller,

pushed at least half-way forward (value 64). This control is equiva-

lent to a CC#01 (Modulation) Control Change message.

Joystick Y- As the above, but with the joystick, assigned as the Sound Controller,

pulled at least half-way back (value 64). This control is equivalent to

a CC#02 (Breath Controller) Control Change message.

394| Customizing and editing the Sounds

▪ Use the second OSC Trigger Mode > Mode pop-up menu to choose an ad-

ditional condition before triggering the selected oscillator. For example, a

Normal-triggered oscillator will always play, while a Legato-triggered oscilla-

tor will only play when a note is played legato.

Trigger Mode (How) Meaning

Normal The oscillator always plays when a key, or another triggering control

chosen in the ﬁrst menu, is pressed.

Legato The oscillator only plays when the note is played ‘legato’. The delay

and pitch interval from the previous note are also to be considered,

as set in the Sound > Basic > Sound page (Legato as OSC Trigger

parameter).

Legato Up Like Legato, but this is only activated when the second note is out of

the Max Range value (as set in the Sound > Basic > Sound page) and it

is higher than the ﬁrst one.

Legato Down Like Legato, but this is only activated when the second note is out of

the “Max Range” value (as set in the Sound > Basic > Sound page) and

it is lower than the ﬁrst one.

Not Legato The oscillator only plays when the note is NOT played legato (it is the

opposite of the above choice). This only works if at least an oscillator

is set to Legato; if there isn’t, this behaves as a Normal trigger.

Sound Controller 1 The oscillator only plays when a CC#80 (Sound Controller 1) mes-

sage is received. Press and release the corresponding physical con-

troller, and the next note will also trigger the selected oscillator. If

you keep it pressed, the oscillator will continue to be triggered until

you release the controller.

Note: In Sequencer and Sound mode, the Assignable Switch 1 is auto-

matically assigned to Sound Controller 1.

Hint: This (like the following Sound Controllers) is especially useful to

enable a different nuance to the following note(s).

Sound Controller 2 As the above, but with the CC#81 (Sound Controller 2) message.

Note: In Sequencer and Sound mode, the Assignable Switch 2 is au-

tomatically assigned to Sound Controller 2.

Sound Controller Y+ As the above, but with the joystick, assigned as the Sound Controller,

pushed at least half-way forward (value 64). The controller is turned

off when the joystick is released. This control is equivalent to a

CC#01 (Modulation) Control Change message.

Sound Controller Y- As the above, but with the joystick, assigned as the Sound Controller,

pulled at least half-way back (value 64). The controller is turned off

when the joystick is released. This control is equivalent to a CC#02

(Breath Controller) Control Change message.

Cycle 1 All oscillators with this same trigger mode assigned will play in cycle.

For example, if Oscillators 1, 2 and 4 are assigned the Cycle 1 trigger

mode, the following note will trigger Oscillator 1, then 2, then 4, then

1 again.

Hint: This is especially useful to trigger different sound nuances or

create vector-like sound sequences.

Editing the Sounds |395

Trigger Mode (How) Meaning

Cycle 2 As the above, for use with a different (and parallel) group of oscilla-

tors. Having two Cycle Trigger Modes allows for cycling stereo mul-

tisamples.

Random As the above, but with a random selection of oscillators within the

assigned group.

Choosing a delay before note start

▪ Use the Delay parameter to set a lapse (0…5000ms) between pressing a

key (or in general triggering the oscillator) and hearing the beginning of the

sound.

Reversing the controllers

▪ Select the OSC Off when Sound Controllers are On checkbox to reverse

the way Sound Controllers work. With this parameter checked, the current

oscillator will not play when one of the Sound Controllers (Sound Controller

1, Sound Controller 2, Sound Controller Y+, Sound Controller Y-) is activated.

It should be applied to oscillators with the After Touch, Joystick Y+, Joystick

Y-, Normal, Legato, Legato Up, Legato Down, Not Legato, Cycle 1, Cycle 2,

and Random trigger modes, that can be turned off by using a switch, foot-

switch or the joystick programmed as a Sound Controller.

396| Customizing and editing the Sounds

Setting the velocity and key zone

You can limit the selected oscillator to play inside a deﬁned velocity zone

and key range. This will allow for creating different key and velocity layers.

▪ Go to the Sound > Basic > Velocity/Range page.

Setting a velocity zone

▪ Use the Velocity Zone (Top and Bottom) parameters (0…127) to specify the

velocity zone for the selected oscillator.

Setting a key range

▪ Use the Keyboard Range (Top Key and Bottom Key) parameters (C-1…G9) to

specify the note range for the selected oscillator.

Scaling the received velocity values

▪ Use the Scaled Velocity (Top and Bottom) parameters (0…127) to scale the

velocity values received by the oscillator. By using the Velocity Zone, an os-

cillator may be limited to a restricted range (say, 10 to 20), that may result in

weak dynamics when the associated sample is triggered.

By assigning a different value to these parameters, the restricted range will

be expanded to a wider range (for example, the lowest range value of 10 may

be converted to a Scaled Velocity value of 0, and the highest range value of

20 may be converted to a Scaled Velocity value of 127). All values included

between the minimum and maximum value are scaled accordingly.

As a consequence, you can create an RX Sound of guitar, by assigning

the guitar fret noise to the 10~20 velocity range. When a dynamics value

between 10~20 is received, the real velocity value is scaled to the Scaled

Velocity values, and will play louder.

Editing the Sounds |397

Programming the Damper pedal

Programming the pedal

Pa700 carefully recreates the way an acoustic piano Damper pedal works.

▪ Go to the Sound > Basic > Damper Mode page.

Choosing a Damper pedal mode

▪ Use the Damper Mode pop-up menu to choose how the Damper pedal will

work on the selected oscillator.

Damper Mode Meaning

Normal The Damper pedal works as usual: by keeping it pressed, the note

decay is lengthened, to simulate the longer note decay of an acoustic

piano.

Damper Off The Damper pedal is deactivated for the selected oscillator.

Choose Damper Off, if you plan to use the selected oscillator in the

Basic > Damper Trigger page to trigger sounds.

Resonance/Halo The Damper pedal enables a multisample, normally used for the

Piano Resonance/Halo effect. If the pedal is pressed when the note

is already playing, the speed at which the multisample appears and

disappears, and the volume it can reach, depend on the Resonance/

Halo parameters programmed below.

Hint: This Damper mode is much more realistic than the Normal

mode, but also ‘steals’ more notes from the overall polyphony, and is

especially suggested for solo piano playing.

Note: Half-pedaling, as well as Damper messages received via MIDI

(as Control Change #64), control the level of the Resonance/Halo

effect.

398| Customizing and editing the Sounds

Damper Mode Meaning

Repedaling This mode acts as the Normal mode, but also enables the Damper

pedal effect when the pedal is pressed after the note has been re-

leased (Note Off). In this case, the Damper effect starts from the

current Release level, and decays slowly.

Do not use Repedaling in Sounds used by Style tracks.

Programming the Resonance/Halo

You can program the Resonance/Halo effect that is enabled by the

Resonance/Halo Damper Mode (see above). These parameters only affect

the Resonance/Halo that is enabled when pressing the Damper pedal down

when a note is already playing.

▪ Use the Attack Time parameter to set the time needed to the Resonance/

Halo to reach the maximum level after the Damper pedal has been pressed.

Values (0…99) are relative to the current Amp Env Attack value.

▪ Use the Release Time parameter to set the time needed to the Resonance/

Halo to fade out after the Damper pedal has been released. Values (0…99)

are relative to the current Amp Env Release value.

▪ Use the Volume Scaling parameter to set the volume of the Resonance/Halo

effect. Values (0…100%) are relative to the current level of the sound, as de-

termined by the sum of the Multisample Volume, Velocity value and current

Amp Env value. 0% is no volume at all.

Setting a key range without dampers

In an acoustic piano, the felt dampers can only dampen strings up to a cer-

tain note. Starting from that note (usually G6), it is as if the Damper pedal

was always pressed down, and the dampers removed from the strings.

▪ When the Damper is in Normal mode (see above), use the No Note Off Range

> From Note parameter to choose the note (C#-1…G9) starting from which

notes are never dampened.

This parameter has no effect on the

Resonance/Halo mode.

Editing the Sounds |399

Triggering notes when pressing or releasing the Damper pedal

Special effects can be achieved by triggering notes with the Damper pedal.

▪ Go to the Sound > Basic > Damper Trigger page.

The parameters in this page apply to the Sound as a whole, and not to a

single oscillator.

As warned by the message on the lower area of the display, triggered notes

must fall out of the

Transpose Range programmed in the Sound > Basic

> Sound page. Please either choose a note out of that range, or edit the

Transpose Range, so that the note is either higher or lower than that range.

Damper Trigger Sample

Transpose Range

Playing a note when pressing the Damper pedal

The Damper On Trigger parameters allow to play a note when pressing the

Damper pedal (Damper On).

This is useful when a special sample is assigned to a particular note (for ex-

ample, pedal down squeaking in the Sound ‘Grand Piano Demo’, breathing in

the ‘Harmonica 1 DNC’ Sound …).

▪ Choose a Note, and set its Velocity.

▪ Select the Note Off on Damper Off checkbox to make the sound stop when

the Damper pedal is released.

400| Customizing and editing the Sounds

Playing a note when releasing the Damper pedal

The Damper Off Trigger parameters allow to play a note when releasing the

Damper pedal (Damper Off).

Releasing the Damper pedal can play a special sample assigned to a particu-

lar note (for example, Damper pedal release noise in the ‘Grand Piano Demo’

Sound).

▪ Choose a Note, and set its Velocity.

Editing the Sounds |401

Equalizing the Sound

You can use a three-band, semi-parametric equalizer on each oscillator.

▪ Go to the Sound > Basic > EQ page.

Activating the EQ

▪ Select the Enable checkbox to activate the equalizer on the selected oscil-

lator.

Trimming and programming the EQ

▪ Use the Trim knob to limit the level of the signal passing through the equal-

izer (0…99). Extreme equalization values can overload the audio circuits and

lead to distortion. This control lets you set equalization as desired, and at the

same time avoid overloading.

▪ Use the EQ controls to create the equalization curve.

EQ Control Meaning Value

Low Gain Low frequencies equalization. This is a shelving

curve ﬁlter.

-18…+18dB

Mid (Middle) Gain Middle frequencies equalization. This is a bell

curve ﬁlter.

-18…+18dB

Mid (Middle) Freq Centre frequency of the middle frequencies

equalization.

0.100…10kHz

Hi (High) Gain High frequencies equalization. This is a shelving

curve ﬁlter.

-18…+18dB

402| Customizing and editing the Sounds

Setting the Drum Kit’s basic parameters

When editing a Drum Kit, you ﬁrst choose and set the percussive samples

assigned to each key and velocity layer.

▪ Go to the Sound > DrumKit > DrumKit page.

Selecting and setting a key

The key can be selected and programmed in the KEY section.

Choosing the key to edit

▪ Use the KEY parameter to select a key. As an alternative, select it by press-

ing a key on the keyboard.

Choosing the number of layers per key

Each key can have a variable number of velocity zones (layers). This allows

for assigning different samples to different playing velocity strengths.

▪ Use the Layers pop-up menu to choose the number of layers assigned to

the selected key. Depending on the number of selected layers, a different

number of velocity switches will become available.

Turning the key on or off

▪ Use the Assign checkbox to turn the selected key on/off. When a key is not

assigned, the next assigned key on the right will extend over it.

Editing the Sounds |403

Selecting the dry or ambient portion of the sound

You can separately listen to the dry or ambient portion of the percussive

samples while editing.

▪ Use the Dry+Amb menu to choose the dry and/or ambient portion of the

sound.

Layer and velocity switch

After having selected a key to edit, choose the velocity layer.

Choosing the layer to edit

▪ Use the radio buttons in the Layer Selector & Velocity Sample Switch area

to select the layer to edit. The available number of layers depend on the

Layers pop-up menu above.

Editing the velocity switches

Each of the velocity switch values in the Layer Selector & Velocity Sample

Switch area separates two adjacent layers of the selected key. Notes strick-

en harder than a velocity switch will be played by the layer on the right, while

notes stricken softer are played by the layer on the left.

The ﬁrst and last values are not editable, and are always 001 and 127 (re-

spectively).

Choosing and setting the drum samples

Use the Drum Sample section to assign a percussive sample to the selected

velocity layer inside the selected key.

The available parameters depend on the selected sample.

404| Customizing and editing the Sounds

Choosing a drum sample

▪ Use the Drum Sample parameters to assign a different drum sample to each

layer. You can use velocity to switch between the available samples. Offset

and Level can be adjusted independently for the various drum samples.

Use the

pop-up menus to choose the bank (ROM or RAM).

Use the

numeric ﬁeld next to the sample name to choose the sample inside

the selected bank.

Bank Meaning

ROM Factory samples, supplied by KORG as standard.

RAM User samples, loaded when loading some User Drum Kits.

The sample you select for the current layer will be triggered by velocities

higher than the value of the velocity switches. If you do not wish to use veloc-

ity switching, assign just one layer to the selected key, and assign a sample

only to layer 1.

If you create a new Drum Kit based on RAM samples, the RAM samples must

be loaded from the internal drive or from a device connected to the

USB

HOST ports. In case samples are not loaded, no sound will be heard, even if

the Drum Kit can be selected and its name appears in the display.

▪ Select the Rev (Reverse) checkbox to play the sample in reverse (if this is al-

lowed by the sample). In the case of samples that were originally speciﬁed to

loop, the sample will be played back in one-shot reverse mode. If the sample

was originally set to reverse, it will playback without change.

Setting a sample start offset

▪ Use the Ofs (Offset) parameter to specify the point where the sample will

start to play.

Offset Meaning

Off The sound will start from the beginning of the sample.

1st…6th The sound will begin from the offset location pre-determined for

each sample.

NoAtk The initial portion of the multisample is ignored.

AMS Activates the Alternate Modulation Source (see below).

PseudoRandom (Only works when more than one Offset point is available in the mul-

tisample). Randomly selects one of the available Offset points.

Editing the Sounds |405

▪ Use the AMS and Int(ensity) parameters to choose the AMS modulation

source and its intensity.

When the Intensity parameter has a positive value, the selected Offset point

will depend on the AMS value. For example, with the Velocity AMS, playing

softly will select the Off or 1st Offset, while playing loudly will select the 6th

or No Attack Offset.

When the Intensity parameter has a negative value, the selection will hap-

pen in reverse (higher-numbered Offsets will be selected before the lowest-

numbered ones).

Setting the sample level

▪ Use the Level parameter to specify the level of the sample.

Programming the sample envelope

▪ Use the Attack and Decay parameters to offset the selected sample’s EG

Attack and Decay segments.

Programming the ﬁlter

▪ Use the Cutoff and Resonance parameters to set the cutoff frequency and

resonance for the ﬁlter applied to the selected sample.

Setting transpose and ﬁne tuning

▪ Use the Transpose parameter (-64…+63 semitones) to transpose the select-

ed sample. Use it to change the pitch of the selected key.

▪ Use the Tune parameter (-99…+99 cents of a semitone) to ﬁne-tune the as-

signed sample.

Adjusting the ambient level and time

▪ Use the Amb Level / Time parameters to adjust the ambient level and pan.

These parameters are only available if the selected Drum sample is of the

Ambient type. When these parameters are available,

Level controls the vol-

ume of the direct (dry) sounds, while Amb. Level and Time control the vol-

ume and length of the ambience respectively.

406| Customizing and editing the Sounds

Equalizing the Drum Kit

Each of the drum samples can be processed with a three-band, semi-para-

metric equalizer.

▪ Go to the Sound > DrumKit > EQ page.

Choosing the key to edit

▪ Use the Key parameter to select a key. As an alternative, select it by pressing

a key on the keyboard.

The

Layers and Assign parameters are the same of the Sample Setup page.

Trimming and programming the EQ

▪ Select the Enable checkbox to activate the equalizer on the selected layer.

▪ Use the Trim knob to limit the level of the signal passing through the equal-

izer (0…99). Extreme equalization values can overload the audio circuits and

lead to distortion. This control lets you set equalization as desired, and at the

same time avoid overloading.

Editing the Sounds |407

▪ Use the EQ controls to create the equalization curve.

EQ Control Meaning Value

Low Gain Low frequencies equalization. This is a shelving

curve ﬁlter.

-18…+18dB

Mid (Middle) Gain Middle frequencies equalization. This is a bell

curve ﬁlter.

-18…+18dB

Mid (Middle) Freq Centre frequency of the middle frequencies

equalization.

0.100…10kHz

Hi (High) Gain High frequencies equalization. This is a shelving

curve ﬁlter.

-18…+18dB

408| Customizing and editing the Sounds

Mixing the Drum Kit layers

You can see all the drum samples, dry/ambient levels, and velocity switches

of the available layers in a single page. While in this page, you can see which

layer is playing.

▪ Go to the Sound > DrumKit > Velocity Switch Levels page.

View which layer is playing

▪ Play a note on the keyboard. Depending on the velocity, an indicator will turn

on on the extreme right of the page, next to the layer that is playing.

Choose the drum sample

▪ Use the ROM/RAM parameter to choose the bank (ROM or RAM).

▪ Use the drum sample name parameter to assign a different drum sample to

each layer.

Adjust the dry/ambient level

▪ Use the Dry Level and Amb Level parameters to adjust the level of the dry

and ambient portion of the sound.

Adjust the velocity switch

▪ Use the Vel parameter to adjust the velocity switch between the layers.

Editing the Sounds |409

Mixing and retriggering the drum samples

You can choose a triggering mode, and mix the key (usually a percussive

sound with its different velocity layers) with the other keys. All layers of the

selected key will get the same settings.

▪ Go to the Sound > DrumKit > Voice/Mixer page.

Choosing the key to edit

▪ Use the Key parameter to select a key. As an alternative, select it by pressing

a key on the keyboard.

The

Layers and Assign parameters are the same of the Sample Setup page.

Choosing polyphony, retriggering and legato

▪ Use the Single Trigger checkbox to choose the triggering mode.

Single Trigger Meaning

On When the same key (note) is played repeatedly, the previous note

will be stopped before the new note is triggered, so that they will

not overlap.

Off When the same key (note) is played repeatedly, the previous note will

not be stopped before the new note is triggered.

410| Customizing and editing the Sounds

Creating exclusive groups

Exclusive Groups are sets of mutually exclusive keys, stopping each other.

For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same

Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing.

Exclusive Group Meaning

None No Exclusive Group assigned. The selected key will not be stopped

by any other key.

1…127 Exclusive Groups assigned to the selected key. When you play this

key, all other keys assigned to the same Exclusive Group will be

stopped, and this key will be stopped by other keys assigned to the

same Exclusive Group.

Enabling Note On and Note Off

▪ Select the Enable Note On Receive checkbox to enable reception of the

Note On (Key On) message.

If this parameter is not selected, the key will not play.

▪ Select the Enable Note Off Receive checkbox to enable reception of the

Note Off (Key Off) message.

If this parameter is not selected, the sample will continue to play to the end

of the sample.

Setting the Level, Pan and FX Send mixing parameters

▪ Use the Level parameter to set the level of the selected key.

▪ Use the Pan parameter to set the position of the selected key in the stereo

panorama.

▪ Use the Send to MFX1 and Send to MFX2 parameters to set the MFX1 or

MFX2 send level for the selected key.

Editing the Sounds |411

Modulating pitch

Pitch can change depending on the note and the activated controllers. Pa700

also includes LFO generators that can modulate the pitch.

▪ Go to the Sound > Pitch > Pitch Mod page.

Controlling pitch

The oscillator’s pitch can follow the natural scale, or a different pitch ‘slope’.

Setting the Pitch Slope

▪ Use the Pitch Slope parameter (-1.0…+2.0) to change pitch depending on the

note position on the keyboard.

Normally you will leave this parameter at +1.0. Positive (+) values will cause

the pitch to raise as you play higher notes, and negative (–) values will cause

the pitch to fall as you play higher notes.

With a value of 0, there will be no change in pitch, and the C4 pitch will sound

regardless of the keyboard location you play.

412| Customizing and editing the Sounds

The diagram shows how the Pitch Slope and pitch are related:

Pitch

Key

2oct

1oct

C4 C5

–1

Controlling the pitch with physical controllers

▪ Use the Pitch Mode pop-up menu to set the Pitch Bend direction.

Pitch Mode Meaning

Normal Linear bending.

Fixed Scale When this parameter is turned on on an oscillator, Pitch Bend and

Sub Scale have no effect on its tuning. The relevant parameters are

greyed out and non-selectable.

Highest Pitch Bend

only

On this oscillator, Pitch Bend is only activated on the highest note

currently playing on the keyboard.

Lowest Pitch Bend

only

On this oscillator, Pitch Bend is only activated on the lowest note cur-

rently playing on the keyboard.

▪ Use the Ribbon to Pitch parameter to set the Pitch Bend range (-12…0…+12

semitones) controlled by the Ribbon Controller message (CC#16). The Ribbon

Controller message can be received from MIDI or contained in a Standard

MIDI File.

▪ Use the JS (+X) parameter to specify how the pitch will change when the

joystick is moved all the way to the right (-60…+12 semitones). A setting of 12

produces 1 octave of change.

For example if you set this to +12 and move the joystick all the way to the

right, the pitch will rise one octave above the original pitch.

▪ Use the JS (-X) parameter to specify how the pitch will change when the

joystick is moved all the way to the left (-60…+12 semitones). A setting of 12

produces 1 octave of change.

For example, if you set this to -60 and move the joystick all the way to the

left, the pitch will fall ﬁve octaves below the original pitch. This can be used

to simulate the downward swoops that a guitarist produces using the trem-

olo arm.

Editing the Sounds |413

Choosing a pitch modulation source

▪ Use the Pitch > AMS (Alternate Modulation Source) pop-up menu to select a

modulation source for the pitch of the selected oscillator. A list of the avail-

able AMS sources is in the Appendix.

The

Intensity parameter (-12.00…+12.00) speciﬁes the depth and direction

of the effect produced by the AMS. With a setting of 0, no modulation will be

applied. With a setting of 12.00, the pitch will change up to one octave.

For example, if you choose the JS (-Y) AMS and move the joystick down-

wards, the pitch will rise if this parameter is set to a positive (+) value, or fall

if this parameter is set to a negative (–) value. The range is a maximum of

one octave.

Controlling the Pitch EG (Envelope Generator)

Use the Pitch EG parameters to controls the Pitch EG unique to all oscilla-

tors.

Linking pitch to the envelope

▪ The Velocity Intensity parameter (-12.00…+12.00) speciﬁes the depth and

direction of the Pitch EG modulation. With a setting of 12.00, the pitch will

change a maximum of ±1 octave.

Linking pitch to an AMS modulation

▪ Use the Pitch EG > AMS parameter to select a modulation source for the

pitch EG of the selected oscillator. A list of the available AMS sources is in

the Appendix.

▪ Use the Pitch EG > Intensity parameter to specify the depth and direction of

the AMS. For example, if you choose the Velocity AMS and set this value to

+12.00, the velocity will control the range of pitch change produced by the

pitch EG in a range of ±1 octave. As you play more softly, the pitch change will

draw closer to the pitch EG levels.

414| Customizing and editing the Sounds

The Pitch EG > AMS and Pitch EG > Intensity will be summed to determine

the depth and direction of the pitch modulation applied by the pitch EG.

Pitch change (level)

Softly played

(Intensity (Pitch EG) setting)

Strongly played with a

negative (–) value

Strongly played with

a positive (+) value

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Programming Portamento

Portamento adds a slide between notes (a smooth change in pitch from one

note to the next).

▪ Select the Enable checkbox to activate the portamento effect.

Portamento will also be switched on or off when the CC#65 (Portamento

SW) message is received.

▪ Select the Fingered checkbox to make portamento restart when playing a

note.

When Fingered is enabled, playing legato will turn Portamento on, while

playing detached will turn it off again.

▪ Use the Time parameter to set the portamento time (000…127). Increasing

the value will produce a slower change in pitch.

Editing the Sounds |415

Controlling the LFO

Use the LFO 1/2 parameters to controls the LFO (Low Frequency Oscillation)

on the selected oscillators. LFO generators are programmed in the Sound

Edit > LFO > LFO 1 and LFO 2 pages.

▪ Use the LFO 1/2 Int parameter to set the intensity (-12…0…+12) of the cor-

responding LFO. Negative values will invert the LFO shape.

▪ Use the JS+Y parameter to set the intensity (-12…0…+12) of the correspond-

ing LFO when the joystick is pushed forward. Negative values will invert the

LFO shape.

▪ Use the AMS and Intensity parameters to choose an AMS to modulate the

corresponding LFO, and the intensity of the modulation.

416| Customizing and editing the Sounds

Programming the pitch envelope (Pitch EG)

Pa700 includes a pitch envelope generator (Pitch EG) that can vary the pitch

over time.

▪ Go to the Sound > Pitch > EG page.

You can see the shape of the envelope in the diagram on top of the page.

Setting the Pitch EG levels and times

Pitch EG can be programmed by setting the Level and Time parameters of

the envelope segments.

Note-on

Note-off

Attack

Time

Decay

Time

Start Level

Release Level

Release Time

Attack Level

+99 = approximately 1 octave

–99 = approximately 1 octave

0 = pitch when

key is held

(sustained)

Time

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

▪ Use the Level parameters (-99…+99) to specify the amount of pitch change.

EG Level Meaning

Start Amount of pitch change at note start.

Attack Amount of pitch change when the attack time has elapsed.

Release Amount of pitch change when the release time has elapsed.

Editing the Sounds |417

The actual amount of pitch change will depend on the Pitch EG > Intensity

parameters (see the Sound > Pitch > Pitch Mod page). For example, with an

Intensity setting of +12.00, a Level setting of +99 would raise the pitch one

octave, and a Level setting of –99 would lower the pitch one octave.

▪ Use the Time parameters (0…99) to specify the time over which the pitch

change will occur.

EG Time Meaning

Attack Time over which the pitch will change from note-on until it reaches

the pitch speciﬁed as the attack level.

Decay Time over which the pitch will change after reaching the attack level

until it reaches the normal pitch.

Release Time over which the pitch will change from note-off until it reaches

the pitch speciﬁed as the release level.

Modulating the Pitch EG

Modulating the Pitch EG levels

Use the Level Modulation > AMS 1/2 parameters to select a modulation

source for the Pitch EG > Level parameters.

▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the modulation generated by AMS1 or AMS2. With a

setting of 0, the levels speciﬁed by the Level parameter will be used.

For example, if you choose the Joystick Y+ the AMS, moving the Joystick

in the upper direction to turn it on will change the Level parameters of the

Pitch EG. As the absolute value of Intensity is increased, the Pitch EG levels

will change more when the Joystick is released. The direction of the change

is speciﬁed by St (Start Level Swing) and At (Attack Level Swing). When the

Joystick is released, the Pitch EG levels will return to their own settings.

If you choose the Velocity AMS, increasing the absolute value of Intensity

will produce increasingly wider change in Pitch EG levels for strongly-played

notes. The direction of the change is speciﬁed by St (Start Level Swing) and

At (Attack Level Swing). As you play more softly, the pitch change will draw

closer to the Pitch EG levels.

▪ Use the St (Start Level Swing) and the At (Attack Level Swing) parameters

to specify the direction of change in Level > Start and Level > Attack caused

by the AMS.

418| Customizing and editing the Sounds

If the Intensity is a positive (+) value, a setting of + will increase the EG level,

and a setting of – will decrease it. With a setting of 0 there will be no change.

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

A note played softly with

Start Level Swing set at 0,

Attack Level Swing set to +,

the Joystick pulled on

A note played strongly with

Start Level Swing set to 0,

Attack Level Swing set to +,

the Joystick pulled on

A note played strongly with

Start Level Swing set to 0,

Attack Level Swing set to –,

the Joystick pulled on

Modulating the Pitch EG times

Use the Time Modulation > AMS parameter to select a modulation source for

the Pitch EG > Time parameters.

▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the effect that AMS will have on the Time parameters.

With a setting of 0, the pitch EG times will be just as speciﬁed by the Time

settings.

The alternate modulation value at the moment that the EG reaches each

point will determine the actual value of the EG time that comes next.

For example, the decay time will be determined by the alternate modulation

value at the moment that the attack level is reached.

When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed

EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or

slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time).

For example, with the Velocity AMS, increasing the absolute value of Intensity

will allow strongly-played notes to increase the changes in pitch EG Time val-

ues. The direction of the change is speciﬁed by At (Attack Time Swing) and

Dc (Decay Time Swing). As you play more softly, the pitch EG times will more

closely approach the actual settings of the pitch EG.

▪ Use the At (Attack Time Swing) and the Dc (Decay Time Swing) parameters

to specify the direction in which AMS will affect the Time > Attack and Decay

parameter. With positive (+) values of Intensity, a setting of + will cause the

Editing the Sounds |419

time to be lengthened, and a setting of – will cause the time to be shortened.

With a setting of 0 there will be no change.

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

A note played softly with

Attack Time Swing set to + and

Decay Time Swing set to +

A note played strongly with

Attack Time Swing set to +

and Decay Time Swing set to +

A note played strongly with

Attack Time Swing set to – and

Decay Time Swing set to –

420| Customizing and editing the Sounds

Programming the ﬁlters

As in a subtractive analogue synthesizer, ﬁlters are the main agents of the

sound’s timbre quality. Envelope and modulation allow for timbral shift over

time, making the sound alive.

Choosing the ﬁlters

You can choose one of two ﬁlters for the selected oscillator.

▪ Go to the Sound > Filter > Filter Type page.

Choosing the ﬁlter type

▪ Use the Filter Type radio buttons to choose the type of ﬁlter for the selected

oscillator.

Filter Type Meaning

Low Pass Resonance This is a 24db/oct ﬁlter. When the Low Pass ﬁlter type is selected,

only ﬁlter A will be activated.

Low Pass & High Pass These are two 12dB/oct ﬁlters in series. When the Low Pass & High

Pass ﬁlter type is selected, the ﬁlter B will be activated.

Editing the Sounds |421

Trimming the ﬁlter input

▪ Use the Trim parameter (00…99) to adjust the level at which the audio signal

generated by the selected oscillator is input to ﬁlter A.

If this value is too high, the sound may distort when Resonance is set to a

high value, or when you play a chord.

Programming the ﬁlters

Programming ﬁlter A

▪ Use the Filter A > Frequency parameter to set the cutoff frequency of ﬁlter

A (00…99).

Frequency

Level

Low Pass

12dB/oct

24dB/oct

This is a ﬁlter that cuts the high-frequency

region above the cutoff frequency.

This is the most common type of ﬁlter, and is

used to cut part of the overtone components,

making an originally bright timbre sound more

mellow (darker).

When the “Filter Type” is Low Pass Resonance,

the cutoff will have a steeper slope.

▪ Use the Filter A > Resonance parameter to set the resonance of ﬁlter A

(00…99).

The resonance emphasizes the overtone components that lie in the region

of the cutoff frequency speciﬁed by Frequency, producing a more distinctive

sound. Increasing this value will produce a stronger effect.

▪ Use the Res. Mod. by AMS parameter to choose a modulation source for the

Resonance parameter.

The effect of resonance

Low Pass

Level

Low resonance value High resonance value

▪ Use the Intensity parameter (-99…+99) to specify the depth and direction of

the effect that Res. Mod. by AMS will have on the resonance level speciﬁed

by Resonance.

For example if Velocity has been selected, changes in keyboard velocity will

affect the resonance.

422| Customizing and editing the Sounds

With positive (+) values, the resonance will increase as you play more strong-

ly, and as you play more softly the resonance will approach the level speci-

ﬁed by the Resonance setting.

With negative (–) values, the resonance will decrease as you play more

strongly, and as you play more softly the resonance will approach the level

speciﬁed by the Resonance setting.

The resonance level is determined by summing the Resonance and Intensity

values.

Programming ﬁlter B

When both ﬁlters are activated, you can also program ﬁlter B.

▪ Use the Filter B > Frequency parameter to set the cutoff frequency of ﬁlter

B (00…99).

This parameter is only available when the selected ﬁlter type is Low Pass &

High Pass.

Level

Frequency

High Pass

This ﬁlter cuts the low-frequency range that

lies below the cutoff frequency. By cutting the

lower overtones, it lightens the tone.

12dB/oct

Editing the Sounds |423

Modulating the ﬁlters

You can modulate the ﬁlter cutoff frequency of the selected oscillator.

Modulation will add dynamic timbre variation.

Programming realtime ﬁlter modulation

▪

Go to the Sound > Filter > Modulation page.

When the ﬁlter type is Low Pass Resonance, the parameters for ﬁlter B will

not be editable (dimmed).

Tracking the cutoff frequency across the keyboard

Keyboard Tracking changes the timbre quality across the keyboard.

▪ Use the Key Low/High parameters (C–1…G9) to change the ﬁlter cutoff fre-

quency across the keyboard for the selected oscillator.

Keyboard Tracking varies the cutoff frequency according to the position of

the key on the keyboard. How the cutoff frequency is affected by the key-

board location can be speciﬁed by the Key Low, Key High, Ramp Low, Ramp

High, and the Intensity to A/B parameters.

Keyboard tracking will apply to the range below the speciﬁed Low note num-

ber, and above the speciﬁed High note number.

424| Customizing and editing the Sounds

▪ Use the Ramp Low/High parameters to specify the slope of the keyboard

tracking (-99…+99).

Cutoff frequency

Key

Low Ramp=+99

Low Ramp=+43

Low Ramp=0

Low Ramp=–62

Low Ramp=–99

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Low Key

High Key

▪ Set the Intensity to A and Intensity to B parameters (-99…+99) to specify

the depth and direction of the changes applied to ﬁlters A and B.

For the range of notes between Key Low and Key High, the cutoff frequency

will change according to the keyboard location (pitch).

Modulating the Filter EG (Envelope Generator)

The ﬁlter envelope can be controlled while playing.

▪ Use the Velocity to A/B parameter (99…+99) to specify the depth and direc-

tion of the effect that velocity will have on the time-varying changes created

by the ﬁlter EG (as set on Filter > Filter EG) to control the ﬁlter A/B cutoff

frequency.

With positive (+) values, playing more strongly will cause the ﬁlter EG to pro-

duce greater changes in cutoff frequency. With negative (–) values, playing

more strongly will also cause the ﬁlter EG to produce greater changes in

cutoff frequency, but with the polarity of the EG inverted.

▪ Use the Int to A/B parameters (-99…+99) to specify the depth and direction

of the effect that the time-varying changes created by the ﬁlter EG will have

on the ﬁlter A/B cutoff frequency.

With positive (+) settings, the sound will become brighter when the EG levels

set by Filter EG Level and Time parameters are in the ‘+’ area, and darker

when they are in the ‘–’ area.

With negative (–) settings, the sound will become darker when the EG levels

set by Filter EG Level and Time parameters are in the ‘+’ area, and brighter

when they are in the ‘–’ area.

Editing the Sounds |425

▪ Use the AMS pop-up menu to select a modulation source for the ﬁlter EG

applied to the cutoff frequency of ﬁlters A and B.

▪ Use the Int to A/B parameters (-99…+99) to specify the depth and direction

of the effect that the AMS will have on ﬁlter A/B.

The sum of the settings for Velocity to A/B, Intensity to A/B, and (AMS)

Intensity to A/B will determine the depth and direction of the effect pro-

duced by the ﬁlter EG.

Changes in cutoff frequency

Softly played

Strongly played

Setting to –

Strongly played

Setting to +

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Modulating the ﬁlters cutoff frequency

You can control the ﬁlters with a modulation source.

▪ Use the AMS 1/2 parameters to select a modulation source for the ﬁlter A/B

cutoff frequency.

▪ Use the Intensity (AMS 1/2) parameters to specify the depth and direction

of the AMS 1/2.

When AMS1 is JS X, a positive (+) value for this parameter will cause the

cutoff frequency to rise when the joystick is moved toward the right, and fall

when the joystick is moved toward the left. With a negative (–) value for this

parameter, the opposite will occur.

This value is summed to the setting of the Filter A/B Frequency.

426| Customizing and editing the Sounds

Applying LFO to the ﬁlters

You can use LFO to apply cyclic modulation to the cutoff frequency of the

ﬁlters. This will create cyclical changes in tone on the selected oscillator.

▪ Go to the Sound > Filter > LFO Mod page.

Modulating the ﬁlters with the LFOs

▪ Use the LFO 1/2 > Intensity to A/B parameters (-99…+99) to specify the

depth and direction of the modulation that LFO 1/2 (set on Sound Edit > LFO

> LFO 1 or LFO 2) will have on the cutoff frequency of ﬁlter A/B. Negative (–)

settings will invert the phase.

Change in cutoff

Low setting High setting

▪ Use the JS (Joystick) –Y Intensity to A/B parameters (-99…+99) to modu-

late LFO with the joystick pulled back.

By moving the joystick in the Y direction (toward yourself), you can control

the depth at which LFO 1/2 modulates the cutoff frequency of ﬁlter A/B. This

parameter speciﬁes the depth and direction of the control.

Higher settings of this parameter will produce greater increases in the effect

of LFO 1/2 on the ﬁlter when the joystick is moved toward yourself.

▪ Use the LFO 1/2 > AMS pop-up menus to select a modulation source for the

cutoff frequency of both ﬁlters A and B.

The Intensity to A/B parameters (-99…+99) set the depth and direction of

the effect that the AMS will have on ﬁlter A/B.

Editing the Sounds |427

For example if the AMS is Joystick Y+, higher settings of this parameter will

allow greater change to be applied to LFO 1/2 when you move the Joystick

up in the Y axis.

428| Customizing and editing the Sounds

Programming the ﬁlter envelope (Filter EG)

You can create an envelope to vary over time the cutoff frequency of the

ﬁlters on the selected oscillator.

▪ Go to the Sound > Filter > EG page.

You can see the shape of the envelope in the diagram on top of the page.

Setting the Filter EG levels and times

Filter EG can be programmed by setting the Level and Time parameters of

the envelope segments.

The result will depend on the ﬁlter type. For example, with the Low Pass

Resonance ﬁlter, positive (+) values of EG Intensity will cause the tone to be

brightened by positive (+) levels, and darkened by negative (–) levels.

Also, the effect of these settings on the ﬁlter cutoff frequency depends by

the Velocity and Intensity parameters of the Filter > Modulation page.

Note-on

Note-off

Attack

Time

Start

Level

Decay

Time

Release

Time

Release

Level

Attack Level

The speciﬁed

cuto

frequency

Sustain Level

Tim

Break

Point

Level

Slope

Time

Editing the Sounds |429

▪ Use the Level parameters (-99…+99) to specify the amount of cutoff fre-

quency change.

EG Level Meaning

Start Change in cutoff frequency at the time of note-on.

Attack Change in cutoff frequency after the attack time has elapsed.

Break (Break Point) Change in cutoff frequency after the decay time has elapsed.

Sustain Change in cutoff frequency that will be maintained from after the

slope time has elapsed until note-off occur.

Release Change in cutoff frequency that will occur when the release time has

elapsed.

▪ Use the Time parameters (0…99) to specify the time over which the cutoff

frequency change will occur.

EG Time Meaning

Attack Time over which the level will change from note-on until the attack

level is reached.

Decay Time over which the level will change from the attack level to the

break point level.

Slope Time over which the level will change after the decay time has

elapsed until the sustain level is reached.

Release Time over which the level will change after note-on occurs until the

release level is reached.

430| Customizing and editing the Sounds

Modulating the Filter EG

Modulating the Filter EG levels

▪ Use the Level Modulation > AMS parameter to select the source that will

control the Level parameters of the ﬁlter EG.

▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the AMS. With a setting of 0, the levels speciﬁed by

the Frequency parameter will be used.

For example, if AMS is Velocity, and you set St (Start Level Swing), At (Attack

Level Swing) and Br (Break Level Swing) to + and set Intensity to a positive

(+) value, the EG levels will rise as you play more strongly. If Intensity is set to

a negative (–) value, the EG levels will fall as you play harder.

▪ Use the St (Start Level Swing), At (Attack Level Swing) and Br (Break Level

Swing) parameters to specify the direction in which AMS will affect the Start,

Attack and Break Point.

When Intensity has a positive (+) value, a setting of + for this parameter will

allow the AMS to raise the EG level, and a setting of – will allow AMS to lower

the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note with Start

Level Swing, Attack Level Swing,

and Break Level Swing set to +

Strongly played note with Start

Level Swing, Attack Level Swing,

and Break Level Swing set to +

Strongly played note with Start

Level Swing, Attack Level Swing,

and Break Level Swing set to –

Editing the Sounds |431

Modulating the Filter EG times

▪ Use the Time Modulation > AMS 1/2 parameters to select a modulation

source for the Time parameters of the ﬁlter EG.

▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the effect that the AMS will have on the Time param-

eters. With a setting of 0, the ﬁlter EG times will be just as speciﬁed by the

Time settings.

For example, if the AMS is set to FltKTr +/+, the EG Time parameters will be

controlled by the Keyboard Tracking settings. With positive (+) values of this

parameter, positive (+) values of Ramp Low/High will lengthen the EG times,

and negative (–) values of Ramp Low/High will shorten the EG times. The

direction of change is speciﬁed by At (Attack Time Swing), Dc (Decay Time

Swing), Sl (Slope Time Swing), and Rl (Release Time Swing).

With a setting of 0, the times speciﬁed by the Frequency parameter will be

used.

If the AMS is set to Velocity, positive (+) values of this parameter will cause

EG times to lengthen as you play more strongly, and negative (–) values will

cause EG times to shorten as you play more strongly.

▪ Use the At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time

Swing) and Rl (Release Time Swing) parameters to specify the direction

in which the AMS will affect the Time > Attack, Decay, Slope and Release

parameters.

With positive (+) values of Intensity, a setting of + will cause the time to be

lengthened, and a setting of – will cause the time to be shortened. With a set-

ting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note with Attack,

Decay, Slope and Release

Level Swings set to +

Strongly played note with

Attack, Decay, Slope and

Release Level Swings set to +

Strongly played note with

Attack, Decay, Slope and

Release Level Swings set to –

432| Customizing and editing the Sounds

Programming amplitude and pan

You can program the amplitude and pan of each oscillator. Amplitude is the

volume of the oscillators. Pan is the position of the oscillators in the stereo

panorama. With amplitude envelope you can make the sound volume vary

over time.

Setting the basic amplitude and pan values

You can set the basic volume and pan values of the selected oscillator.

▪ Go to the Sound > Amp > Level/Pan page.

Setting the amplitude’s basic level

▪ Use the Amp Level parameter (0…127) to set the volume of the selected

oscillator.

The volume of a Sound can be controlled by CC#7 (Volume) and #11

(Expression). The resulting level is determined by multiplying the values of

CC#7 and #11. The Global MIDI channel is used for control.

Editing the Sounds |433

Setting the pan’s basic position

▪ Use the Pan parameter to set the stereo position (panorama) of the selected

oscillator.

This parameter is not available when editing a Drum Kit. Use the individual

Pan control for each key instead.

Pan Meaning

Rand(om) The sound will be heard from a different location at each note-on.

L-63…C00…R+63 Sound placed from Left (L) to Right (R). A value of C00 is Center (C).

The pan of a Sound can be controlled by CC#10 (Pan). A CC#10 value of 0 or

1 will place the sound at the far left, a value of 64 will place the sound at the

location speciﬁed by the Pan setting for each oscillator, and a value of 127

will place the sound at the far right.

Modulating the pan position

Modulating the pan position makes the sound live between the stereo chan-

nels.

▪ Use the AMS pop-up menu to choose the modulation source that will modify

the pan. This change will be relative to the Pan setting.

The

Intensity parameter (-99…+99) speciﬁes the depth of the effect pro-

duced by AMS. For example, if Pan is set to C064 and AMS is Note Number,

positive (+) values of this parameter will cause the sound to move toward

the right as the note numbers increase beyond the C4 note (i.e., as you play

higher), and toward the left as the note numbers decrease (i.e., as you play

lower). Negative (–) values of this parameter will have the opposite effect.

434| Customizing and editing the Sounds

Modulating amplitude

Modulating the amplitude level of each oscillator makes the sound alive and

ever-changing.

▪ Go to the Sound > Amp > Modulation page.

Tracking the amplitude across the keyboard

Use the Keyboard Track parameters to adjust the volume of the selected

oscillator across the keyboard.

▪ Use the Key Low/High parameters (C–1…G9) to specify keyboard tracking for

the note number at which keyboard tracking will begin to apply. The volume

will not change between Key Low and Key High.

Keyboard tracking will apply to the range below the speciﬁed Low note num-

ber, and above the speciﬁed High note number.

▪ Use the Ramp Low/High parameters to specify the slope of the keyboard

tracking (-99…+99).

With positive (+) values of the Ramp Low parameter, the volume will increase

as you play notes below the Key Low note number. With negative (–) values,

the volume will decrease.

With positive (+) values of the Ramp High parameter, the volume will increase

as you play notes above the Key High note number. With negative (–) values,

the volume will decrease.

Editing the Sounds |435

Here is an example of volume changes produced by keyboard location and

Ramp settings:

Volume

Key

Ramp Low=+99

Ramp Low=0

Ramp Low=–99

Ramp High=+99

Ramp High=0

Ramp High=–99

Key Low

Key High

Modulating amplitude

Use the Amp Modulation parameters to specify how the volume of the se-

lected oscillator will be affected by velocity.

▪ Use the Velocity Intensity parameter (-99…+99) to link velocity and volume.

With positive (+) values, the volume will increase as you play more strongly.

With negative (–) values, the volume will decrease as you play more strongly.

Volume change (with positive (+) values of this parameter)

Softly played

Strongly played

Note-on

Note-off

Note-on

Note-off

▪ Use the AMS pop-up to select a modulation source for the volume of the amp

for the selected oscillator. Velocity cannot be selected as a source.

The

Intensity parameter (-99…+99) speciﬁes the depth and direction of the

AMS. The actual volume will be determined by multiplying the value of the

changes produced by the amp EG with the values of Alternate Modulation

etc., and if the levels of the amp EG are low, the modulation applied by

Alternate Modulation will also be less.

For example, if AMS is set to Joystick Y+, positive (+) values of this parameter

will cause the volume to increase when you move the Joystick up in the Y

436| Customizing and editing the Sounds

axis. However if the EG settings etc. have already raised the volume to its

maximum level, the volume cannot be increased further.

With negative (–) values of this parameter, the volume will decrease when

pressure is applied to the keyboard.

Modulating amplitude with the LFOs

LFO is a cyclic modulation. Applied to the amplitude it produces an effect

usually called ‘tremolo’.

▪ Go to the Sound > Amp > LFO page.

▪ Use the LFO 1/2 > Intensity parameters (-99…+99) to adjusts the effect of

the cyclic modulation that LFO 1/2 (set in the LFO > LFO 1 and LFO 2 pages)

will apply on the amp EG. Negative (–) settings will invert the phase.

Change in cutoff

Low setting High setting

▪ Use the AMS pop-up to select a modulation source for the LFO Intensity vol-

ume of the amp for the selected oscillator.

The

Intensity parameter (-99…+99) speciﬁes the depth and direction of the

AMS.

Editing the Sounds |437

Programming the amplitude envelope (Amp EG)

You can create time-varying changes in the volume of the selected oscillator.

▪ Go to the Sound > Amp > EG page.

The diagram on top of the page shows the Amplitude envelope line.

Setting the Amp EG levels and times

Amp EG can be programmed by setting the Level and Time parameters of

the envelope segments.

Note-on

Note-off

Attack

Time

Decay

Time

Release Time

Attack Level

Sustain

Level

Tim

Break Point

Start

Level

Slope

Time

Ampliﬁer EG

olume

▪ Use the Level parameters (-99…+99) to specify the volume level that will be

reached at the end of the segment.

EG Level Meaning

Start Volume level at note-on. If you want the note to begin at a loud level,

set this to a high value.

Attack Volume level that will be reached after the attack time has elapsed.

Break (Break Point) Volume level that will be reached after the decay time has elapsed.

Sustain Volume level that will be maintained from after the slope time has

elapsed until note-off occur.

438| Customizing and editing the Sounds

▪ Use the Time parameters (0…99) to specify the time over which the volume

level is reached.

EG Time Meaning

Attack Time over which the volume will change after note-on until it reaches

the attack level. If the start level is 0, this will be the rise time of the

sound.

Decay Time over which the volume will change from when it reaches the

attack level until it reaches the break point level.

Slope Time over which the volume will change from when it reaches the

break point level until it reaches the sustain level.

Release Time over which the volume will change after note-off until it reach-

es 0.

Modulating the Amp EG

Modulating the Amp EG levels

▪ Use the Level Modulation > AMS parameter to select a modulation source

for the Level parameters of the Amp EG.

▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the AMS.

For example, if the AMS is Velocity, setting St (Start Level Swing), At (Attack

Level Swing) and Br (Break Point Level Swing) parameters to + and setting

Intensity to a positive (+) value, will cause the amp EG volume levels to in-

crease as you play more strongly. Setting Intensity to a negative (–) values

will cause the amp EG volume levels to decrease as you play more strongly.

With a setting of 0, the levels will be as speciﬁed on

Amp > Amp EG.

▪ Use the St (Start Level Swing), At (Attack Level Swing) and Br (Break Level

Swing) parameters to specify the direction in which AMS will affect the Level

> Start, Attack and Break Point levels.

Editing the Sounds |439

When Intensity has a positive (+) value, a setting of + for this parameter will

allow the AMS to raise the EG level, and a setting of – will allow AMS to lower

the EG level. With a setting of 0 there will be no change.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note when Start Level

Swing=0 and Attack Level Swing

and Break Level Swing are set to +

Strongly played note when Start Level

Swing=0 and Attack Level Swing and

Break Level Swing are set to +

Strongly played note when Start Level

Swing=0 and Attack Level Swing and

Break Level Swing are set to +

Modulating the Amp EG times

▪ Use the Time Modulation > AMS 1/2 parameters to select a modulation

source for the Time parameters of the Amp EG.

▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the

depth and direction of the effect that the AMS will have on the Time param-

eters. With a setting of 0, the Amp EG times will be just as speciﬁed by the

Time settings.

For example, if the AMS is Amp KTrk +/+, the (Amp) Keyboard Track settings

(in the

Edit Sound > Amp > Amp Mod page) will control the EG Time param-

eters. With positive (+) values of this parameter, positive (+) values of Ramp

(Ramp Setting) will cause EG times to be lengthened, and negative (–) values

of Ramp (Ramp Setting) will cause EG times to be shortened. The direction

of the change is speciﬁed by the At (Attack Time Swing), Dc (Decay Time

Swing), Sl (Slope Time Swing), and Rl (Release Time) parameters.

If the AMS is set to Velocity, positive (+) values of this parameter will cause

EG times to lengthen as you play more strongly, and negative (–) values will

cause EG times to shorten as you play more strongly. With a setting of 0, the

EG times will be as speciﬁed by the Level parameters.

▪ Use the At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time

Swing) and Rl (Release Time Swing) parameters to specify the direction

in which the AMS will affect the Time > Attack, Decay, Slope and Release

parameters.

440| Customizing and editing the Sounds

With positive (+) values of Intensity, a setting of + will cause the time to be

lengthened, and a setting of – will cause the time to be shortened. With a set-

ting of 0 there will be no change.

Amp 1 EG changes ( Time) (AMS= Velocity, Intensity= a positive (+) value)

Amp 1 EG changes ( Time)

(AMS=Amp KTrk +/+, Intensity = a positive (+) value)

(When Amp Keyboard Track “Low Ramp”= a positive (+) value, and

“High Ramp” = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Low-pitched note played with

Attack, Decay, Slope, and

Release Time Swing at +

Softly played note with

Attack, Deca

y, Slope and

Release Time Swing at +

High -pitched note played with

Attack, Decay, Slope, and

Release Time Swing at –

Strongly played note with

Attack, Decay, Slope and

Release Time Swing at +

Strongly played note with

Attack, Decay, Slope and

Release Time Swing at –

Editing the Sounds |441

Programming the LFO

LFO (Low Frequency Oscillation) can be used to cyclically modulate the Pitch,

Filter, and Amp of each oscillator. There are two LFO units for each oscillator

(LFO 1 and LFO 2).

▪ Go to the Sound > LFO > LFO 1 or LFO 2 page, depending on the LFO to pro-

gram.

Choosing the LFO waveform and settings

You can choose the LFO waveform, program it and synchronize it.

442| Customizing and editing the Sounds

Choosing the LFO waveform and frequency

▪ Use the Waveform parameter to choose the LFO waveform. The numbers

appearing on the right of some of the LFO waveforms indicate the phase at

which the waveform will begin.

Triangle wave

Phase will change

randomly at each key-in

Sawtooth down Ø

Square wave

Sine wave

Guitar vibrato

Triangle 0

Triangle

Random

Saw 0

Saw 180

Square

Sine

Guitar

Exponential

Triangle

Exponential

Saw Down

Exponential

Saw Up

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Step Saw – 6

Random1 (S/H):

Conventional sample & hold (S/H) in which

the level changes randomly at ﬁxed intervals

of time

Random2 (S/H):

Both the levels and the time intervals will

change randomly.

Random3 (S/H):

The maximum level and minimum level will

alternate at random intervals of time (i.e., a

square wave with random period).

Random4 (Vector)

Random5 (Vector)

Random6 (Vector)

These types cause Random 1–3 to change

smoothly. They can be used to simulate the

instability of acoustic instruments etc.

▪ Use the Frequency parameter to set the LFO frequency (00…99). This pa-

rameters adjusts the speed of the vibrato.

▪ Use the Offset parameter to specify the central value of the LFO waveform.

For example, with a setting of 0 as shown in the following diagram, the vi-

brato that is applied will be centered on the note-on pitch. With a setting of

+99, the vibrato will only raise the pitch above the note-on pitch, in the way

in which vibrato is applied on a guitar.

When the Waveform is Guitar, the modulation will occur only in the positive

(+) direction even if you set the Offset to 0.

Here are offset settings and pitch change produced by vibrato:

offset = –99 offset = 0 offset = +99Pitch

Pitch at note-on

Editing the Sounds |443

Synchronizing the LFO with the key strokes

▪ Select the Key Sync checkbox to synchronize the LFO to the key strokes.

Key Sync Meaning

On The LFO will restart each time you play a note, and an independent

LFO will operate for each note.

Off The LFO effect that was started by the ﬁrst-played note will continue

to be applied to each newly-played note. (In this case, Delay and Fade

will be applied only to the LFO when it is ﬁrst started).

Fading the LFO

▪ Use the Fade parameter (00…99) to specify the time elapsed from the LFO

start to its maximum amplitude. When Key Sync is Off, the fade will apply

only when the LFO is ﬁrst started.

Here is how Fade affects the LFO (when Key Sync is On):

Note-on Note-off

Fade

Delay

Delaying the LFO

▪ Use the Delay parameter (0…99) to specify the time elapsed from note-on

to the LFO starting to apply. When Key Sync is Off, the delay will apply only

when the LFO is ﬁrst started.

Fading vibrato is typical of wind instruments, where vibrato enters gradually.

444| Customizing and editing the Sounds

Modulating LFO frequency

Use the Frequency Modulation parameters to set the two alternate modula-

tion sources to adjust the speed of the LFO for the selected oscillator.

▪ Use the AMS 1/2 pop-up to choose the modulation sources that will adjust

the frequency of the selected oscillator’s LFO. LFO 1 can be modulated by

LFO 2.

▪ Use the Intensity parameters (-99…+99) to set the modulation depth and

direction.

This parameter speciﬁes the depth and direction of the effect that the AMS

will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99,

the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32,

or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64

respectively).

For example, if the AMS is Note Number, positive (+) values of this parameter

will cause the oscillator LFO to speed up as you play higher notes. Negative

(–) values will cause the oscillator LFO to slow down as you play higher notes.

This change will be centered on the C4 note.

If the AMS is set to JS +Y, raising the value of this parameter will cause the

oscillator LFO 1 speed to increase as the joystick is moved away from your-

self. With a setting of +99, moving the joystick all the way away from yourself

will increase the LFO speed by approximately 64 times.

Editing the Sounds |445

Synchronizing the LFOs

Use the Frequency MIDI/Tempo Sync parameters to synchronize the LFO to

the Player’s Tempo.

▪ Select the MIDI/Tempo Sync checkbox to synchronize the LFO to the Player’s

Tempo. The values speciﬁed in Frequency and Frequency Modulation will be

ignored.

▪ Use the Base Note pop-up menu to choose a note length, and the Times pa-

rameter to choose a multiple of it. This will be the LFO frequency.

For example if Base Note is

(quarter note) and Times is 04, the LFO will

perform one cycle every four beats.

These parameters are not available when editing a Drum Kit.

446| Customizing and editing the Sounds

Adding effects to the Sound

You can send the Sound to the effects of the FX B Group (usually reserved

to the Keyboard Sounds).

▪ Go to the Sound > Effects > FX B page.

Activating and choosing the insert effects

Each Sound can go into an insert effect processor.

Activate the insert effects

▪ Use the Insert FX > On/Off button to turn on or off the insert effect.

Choose the insert effect

1 Touch the name of the selected effect type, or the ‘x’ symbol under the On/

Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual

dedicated to the Effects.

Editing the Sounds |447

You can adjust the Wet/Dry mix of the insert effects, but we suggest not to

touch it, unless you are editing the effects.

4 When ﬁnished editing, press the EXIT button to return to the previous page.

Activating and choosing the master effects

Each Sound can send its audio signal to two master effects.

Activate the master effects

▪ Use the Master Effects > On/Off buttons to turn on or off the master effects.

Choose the master effects

1 Touch the name of the assigned effects to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual

dedicated to the Effects.

You can adjust the Wet/Dry mix of the master effects, but we suggest not to

touch it, unless you are editing the effects. To set the amount of effect, use

the individual channels’ send level instead (as explained below).

4 When ﬁnished editing, press the EXIT button to return to the previous page.

448| Customizing and editing the Sounds

Setting the effect parameters

All the parameters in this page are the same seen for the Sound sets. Please

check the Customizing and editing the Sound sets section.

▪ Use the Send controls (0…127) to set the level of the Sound signal going to

the Master FXs.

▪ Select the Dry > On checkbox to add the dry signal to the effected signal. If

this is not selected, only the effected signal will be heard.

Editing the Sounds |449

Sound Edit utilities

Listening to a single oscillator

▪

Choose the Solo Oscillator command from the page menu to solo the se-

lected oscillator, and mute the other oscillators.

▪ Choose it again to unmute all oscillators.

When this function is activated, the

Solo OSC [n] indicator (n = oscillator

number) blinks on the page header. While in this situation, you can select a

different oscillator to be soloed.

Swapping the LFOs

▪

Choose the Swap LFO command from the page menu to replace LFO 1 with

LFO 2, and vice-versa.

Copying the oscillators

You can copy all the settings of an oscillator onto the other oscillators.

1 Choose the Copy Oscillator command from the page menu. The Copy

Oscillator dialog will appear.

2 Touch the From Sound button to open the Sound Select window, and choose

the source Sound.

3 Use the From Oscillator parameter to choose the source oscillator to copy

from.

4 Use the To Oscillator parameter to choose the target oscillator where to

copy the source settings onto.

5 Touch the OK button to conﬁrm.

450| Customizing and editing the Sounds

Copying Drum Kits

You can copy the Drum Kit from a different Drum Kit.

1 Choose the Copy Drum Kit command from the page menu. The Copy Drum

Kit dialog will appear.

2 Touch the From Drum Kit button to open the Sound Select window, and

choose the source Drum Kit.

3 Use the From Key parameters to choose the range of keys to copy from.

4 Use the To Key parameter to choose the key from which to start copying.

5 Touch the OK button to conﬁrm.

Copying the effects

To speed up programming, you can copy a single effect, or both effects, to

a different Sound. The procedure is the same explained for the Sound sets.

Initializing a Sound

▪

Choose the Initialize Sound command from the page menu to delete all pa-

rameters, and reset them to a default value.

Comparing with the original Sound

You can compare the Sound you are editing with the original Sound.

▪ Check the Compare item in the page menu to listen to the original Sound.

▪ Uncheck this item to recall the Sound in edit.

While this function is on, the Compare indicator blinks on the page header.

You cannot edit the Sound while you are in Compare mode.

Editing the Sounds |451

AMS (Alternate Modulation Sources)

When the AMS abbreviation is encountered, an Alternate Modulation can

be applied to the corresponding parameter. Alternate Modulation allows for

realtime control of the effect. The following table shows the available modu-

lation sources.

AMS Description Note

Off Do not use Alternate Modulation

Pitch EG Pitch EG

Filter EG Filter EG within the same oscillator

Amp EG Amp EG within the same oscillator

LFO1 LFO1 within the same oscillator

LFO2 LFO2 within the same oscillator

Flt KTrk +/+ (Filter

Keyboard Track +/+)

Filter keyboard tracking

within the same oscillator

+/+ The direction of the effect will

be determined by the sign (positive or

negative) of the Ramp Low or Ramp

High setting.

+/– The direction of the effect will be

determined by the sign of the Ramp

Low setting, and by the opposite sign

of the Ramp High setting (50 for a set-

ting of +50, and +50 for a setting of

50).

0/+ Ramp Low will have no AMS ef-

fect. The sign of the Ramp High set-

ting will determine the direction of its

effect.

+/0 The sign of the Ramp Low setting

will determine the direction of its ef-

fect. Ramp High will have no AMS ef-

fect.

Flt KTrk +/– (Filter

Keyboard Track +/)

Flt KTrk 0/+ (Filter

Keyboard Track 0/+)

Flt KTrk +/0 (Filter

Keyboard Track +/0)

Amp KTrk +/+ (Amp

Keyboard Track +/+)

Amp keyboard tracking

within the same oscillator

Amp KTrk +/– (Amp

Keyboard Track +/–)

Amp KTrk 0/+ (Amp

Keyboard Track 0/+)

Amp KTrk +/0 (Amp

Keyboard Track +/0)

Note Number Note number

Velocity Velocity

Poly AT

(Poly After Touch)

Polyphonic After Touch (received/transmitted via MIDI or contained

in Standard MIDI Files)

Channel AT

(Channel After Touch)

After Touch (Channel After Touch) (received/transmitted via MIDI or

contained in Standard MIDI Files)

Joystick X Joystick X (horizontal) axis

Joystick +Y Joystick +Y (vertical upward) direction (CC#01)

Joystick –Y Joystick –Y (vertical downward) direction (CC#02)

452| Customizing and editing the Sounds

AMS Description Note

JS+Y & AT/2 (Joy Stick

+Y & After Touch/2)

Joystick +Y (vertical up-

ward) direction and After

Touch (received/transmit-

ted via MIDI or contained in

Standard MIDI Files)

The effect will be controlled by the

joystick +Y (vertically upward) and

by after touch. In this case, the effect

of after touch will be only half of the

speciﬁed intensity.

JS–Y & AT/2 (Joy Stick

Y & After Touch/2)

Joystick Y (vertical down-

ward) direction and After

Touch (received/transmit-

ted via MIDI or contained in

Standard MIDI Files)

The effect will be controlled by the

joystick Y (vertically downward) and

by after touch. In this case, the effect

of after touch will be only half of the

speciﬁed intensity.

Assign. Pedal Assignable foot pedal (CC#04)

Ribbon Ctl. Ribbon controller (CC#16)

CC#18 CC#18

CC#17 CC#17

CC#19 CC#19

CC#20 CC#20

CC#21 CC#21

CC#17 [+] CC#17 positive values only

CC#19 [+] CC#19 positive values only

CC#20 [+] CC#20 positive values only

CC#21 [+] CC#21 positive values only

Damper Damper pedal (CC#64)

CC#65 Portamento switch (CC#65)

Sostenuto Sostenuto pedal (CC#66)

CC#80 Sound Controller 1 (CC#80)

CC#81 Sound Controller 2 (CC#81)

CC#82 General Purpose #7 (CC#82)

CC#83 General Purpose #8 (CC#83)

Tempo Tempo value from the Player or external MIDI clock

Velocity Plus Key On and Key Off Velocity are used

Velocity Exp Velocity with Exponential curve (higher velocity notes are even

louder)

Velocity Log Velocity with Logarithmic curve (higher velocity notes are weaker

than with the linear Velocity)

Editing the Sounds |453

Diagrams of the AmpKTrk sources follow.

Note Number

Amp

Key Low

Key High

AMS = Amp K Trk +/+

AMS Intensity = positive (+) value

Ramp Low

= +50

Ramp High

= +50

Depth and direction of modulation

zero

+ max

- max

example of Amp

Keyboard Track settings

AMS = Amp K Trk +/–

AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

AMS = Amp K Trk 0/+

AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

AMS = Amp K Trk +/0

AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

454| Customizing and editing the Sounds

36 Writing the Sounds

Writing the edited Sound

After editing, you can save all the edited parameters into a User Sound loca-

tion in memory.

Note: Changes can only be saved onto User Sounds.

1 While in Sound Edit mode, choose the Write Sound command from the page

menu to open the Write Sound dialog.

Sound name

Sound bank

Sound location

Touch to open

the Sound Select

window

2 You may change the name of the Sound. Touch the Text Edit ( ) icon to

open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back to the Write Sound dialog, if you want to save onto a different lo-

cation touch the Select button and open the Sound Select window. Choose

a location as if you were choosing a Sound. Blank locations are shown as a

series of dashes (‘–––’).

4 When back at the Write Sound dialog, conﬁrm the Write operation by touch-

ing the OK button.

Some notes about writing the Sounds

▪ If you write over an existing Sound, the existing Sound will be deleted. Please

save on a storage device any User Sound you don’t want to lose.

▪ Ordinary Sounds cannot be written over Drum Kit locations. Drum Kits can-

not be written over standard Sound locations.

Writing the Sounds |455

▪ To save over a Factory Sound location, deselect the Protect > Factory check-

box in the Global > Mode Preferences > Media page.

When replacing a Factory Sound, please be warned that all Keyboard Sets,

Styles and Songs making use of it will be modiﬁed as well. Use this feature

with great care!

▪ To restore the original data, please use the Factory Restore command in the

Media > Utility page.

456| Customizing and editing the Sounds

37 Making new sounds with

Sampling

Creating new Sounds or Audio Grooves

Pa700 includes a full-featured sampler, that allows you to create new

Samples, new Multisamples and new synced Audio Grooves. You can load

Samples, Multisamples, Sounds and banks of Sounds from various formats.

Creating new ordinary or percussive Sounds

Sampling allows you to create new sounds, by loading ﬁles from a storage

device.

To be used, Samples must then be assigned to a Multisample or a Drum Kit.

A Multisample allows you to arrange samples into separate zones of the key-

board. Drum Kits allows you to assign a different sample to each note of the

keyboard, with up to six dynamic layers per note.

Multisamples can then be assigned to Sounds. Sounds created with this func-

tion can be used as any ordinary Sound, and assigned to any part/track.

Creating Audio Grooves

Another powerful feature of the Sampling mode is the Time Slice, that lets

you add realism to MIDI tracks by creating Audio Grooves. Cycling rhythm

samples, usually named ‘audio grooves’, can be ‘sliced’ into separate per-

cussive instruments. Combined with MIDI tracks, the ‘sliced’ audio groove

can be kept in sync with the Tempo, and can play slower or faster than the

original groove.

Making new sounds with Sampling |457

Accessing and exiting the Sampling mode

▪

While in Sound mode, press the RECORD button to enter Sampling mode.

Please note that no sound will be heard when you ﬁrst enter Sampling mode.

▪ While in Sampling mode, choose the Exit from Record command from the

page menu, or press the RECORD button to exit Sampling mode.

458| Customizing and editing the Sounds

Loading samples and multisamples

Loading samples

You can load samples (up to 15,048) in the following formats.

Sample format Meaning

KSF KORG’s native sample format, used by the Trinity and Triton series of

workstations, as well as the Pa-Series arrangers. File names must have

the .ksf extension.

AIFF Apple Mac’s preferred format for audio. File names must have the .aif

extension.

WAVE Microsoft Windows preferred format for audio. File names must have the

.wav extension.

You can load samples (mono or stereo) in a 8 or 16-bit resolution, and a

sampling frequency rate from 11,025 to 48,000Hz. Loaded samples always

preserve their original resolution.

If the sample exceeds the maximum size allowed (1,048,576 samples, cor-

responding to 1 Megasample, either mono or stereo), it will be truncated. A

warning will appear in the display.

Please be aware that, by loading new samples, the sample currently in edit

will be lost if not saved. Before loading, use the

Write command to save the

sample in edit, if not yet saved.

As an alternative to loading individual samples, you can import sounds or

multisamples and their assigned samples, as described later in this chapter.

1 While in the Sample > Edit page, choose the Load Sample command from

the page menu, to open the Load Sample window.

Making new sounds with Sampling |459

While in this window, you can press the SEARCH button, and use the Search

function to ﬁnd samples in the various media.

2 Browse through the ﬁles, then select the sample to load, and touch the Load

button.

3 After loading a sample, you can edit it in the other pages of the Sample sec-

tion, then add it to a multisample. If it is an Audio Groove, continue editing it

with the Time Slice function.

Loading compressed User Samples

Pa700 can read and play compressed User Samples (in Pa700, Pa1000,

Pa4X, or Pa3X format). Load compressed User Samples exactly as you load

the other samples.

Loading other samples

To create an ordinary Sound, you must load more samples to make a multi-

sample.

Importing samples, multisamples and Sounds

You can import Sounds and multisamples (including the contained samples)

in formats other than the native Pa-Series format.

You can import the following ﬁle formats.

File format Meaning

PCG KORG’s native Program format, used by the Triton series of workstations.

The ﬁle name has the .pcg extension. Note that Drum Kits cannot be im-

ported.

KMP KORG’s native multisample format, used by the Trinity and Triton series

of workstations. The ﬁle name has the .kmp extension.

SF2 Sound bank format by Creative Labs. The ﬁle name has the .sf2 exten-

sion. Multisample data are imported. Due to the deep differences with

KORG’s own format, some Instruments from the SF2 ﬁle could not be

imported (for example, Instruments with overlapping zones).

460| Customizing and editing the Sounds

1 While in any of the Sample or Multisample pages, choose the Import com-

mand from the page menu, to open the Load Sample window.

While in this window, you can press the SEARCH button, and use the Search

function to ﬁnd ﬁles in the various media.

2 Browse through the ﬁles, then select the one to load, and touch the Load

button.

Imported Sounds, multisamples and sample are automatically stored in the

internal memory, and will not be lost when turning the instrument off.

When importing a multisample, take note of its name; you will need it in

Sound mode, when assigning the multisample to a new Sound.

Importing PCG ﬁles

When importing a PCG ﬁle, you can choose between a single Program or a

whole bank:

▪ Choose Program to choose a single Program (corresponding to a Pa-Series

Sound); touch the Program number and dial in the corresponding number.

Choose a target Sound location where to load the imported Program.

▪ Choose Bank to import all the Programs from the selected bank. Touch

the Sound Bank name to choose a target bank where to load the imported

Programs.

Due to the differences between Pa700 and the older KORG instruments,

some differences may arise during conversion. When reading a PCG ﬁle,

Pa700 tries to use exactly the same multisamples as in Triton. If this is not

possible, it looks for a similar multisample. If this is also not possible, an

<empty> multisample will be selected. Go to the Sound mode, and select a

multisample suitable for the imported Program.

Not all Triton’s PCG data are imported. Insert FX, EQ, Arpeggio, Combi,

Global and Drum Kit data are not loaded.

Making new sounds with Sampling |461

Importing SF2 ﬁles

When importing an SF2 ﬁle, you can choose between a single multisample

or the whole bank:

▪ Choose MultiSample to choose a single Multisample (that is, SF2 Instruments);

touch the multisample number and dial in the corresponding number.

▪ Choose Complete bank to import all the multisamples from the selected

bank.

Check

Override Sample Names if you want to assign the sample names a

progressive number. In this case, when importing a multisample whose name

is, for example, ‘Piano’, you will have all samples renamed as ‘Piano_001’,

‘Piano_002’, and so on.

Freeing memory

If you get a messages warning there isn’t enough memory to load all samples

or resources, return to the main Sampling page and choose the Delete com-

mand from the page menu to clean the sample memory, then retry. Please

note that importing single multisamples is the safest way to avoid ﬁlling the

memory with unnecessary data.

As an alternative, you can compress some or all the samples in memory, as

described later in this chapter.

462| Customizing and editing the Sounds

Editing the samples

After loading or importing, you can edit the samples.

▪ Go to the Sampling > Edit page.

This page allows you to cut, trim or normalize a sample, as well as edit the

loop points. The sample can be played over the full keyboard.

Choosing the sample to edit

Touch the name of the sample on top of the page to open the Sample Select

window.

2 Touch the name of a sample to select it.

Reading the sample waveform diagram

The diagram shows the sample’s waveform evolving during time (x-axis), and

its changing amplitude (y-axis). It also shows the Start, End and Loop points.

The area included between the Start and End points appears highlighted.

Making new sounds with Sampling |463

Use the Zoom controls to change the size of the waveform shown in the

diagram. When a button is greyed-out, it means the maximum or minimum

value has been reached.

Increase the

horizontal size

Increase the

vertical size

Decrease the

vertical size

Full zoom inFull zoom out

Decrease the

horizontal size

Changing the sample length

When recording, you may have included exceeding materials at the begin-

ning and/or ending of the sample. You can cut them out of the sample.

▪ Use the Start parameter to edit the sample’s start point (in samples). Match

the start point with the actual attack of the sound you can see in the dia-

gram.

If the Start point reaches the Loop Start point, this latter is also moved for-

ward.

▪ Use the End parameter to edit the sample and loop end point (in samples).

Match this point to the actual end of the sound you can see in the diagram.

When writing the edited sample, the segments exceeding the Start and End

points will be permanently removed.

Changing the loop start

The loop is the cycling segment at the end of a sample, allowing for playing

long notes while still using short recordings.

▪ Be sure the Loop On checkbox is selected in the Sampling > Loop page.

Otherwise, moving the loop start point will have no effect.

▪ When back to the Sampling > Edit page, use the Loop Start parameter to

adjust the Loop Start point. When you adjust this parameter, an audible click

may appear, due to a pitch and/or level mismatch between the starting and

ending points of the loop. Move the Loop Start and Loop/Sample End point,

so that the click can no longer be heard.

464| Customizing and editing the Sounds

When editing audio grooves, the Loop Start should match the Sample Start

point. This parameter usually differs from the Sample Start in ordinary

sounds (that is, a guitar, a piano, a voice…).

Forcing the use of ‘zero’ points

When the Use Zero checkbox is selected, the Start, Loop Start and End

points always fall on the nearest zero-crossing point (that is, a point where

the waveform crosses the x-axis, and goes from negative to positive, or from

positive to negative values). This will make loops more accurate, and will

reduce the risk of clicks.

Choosing the original note

▪

Use the OrigNote (Original Note) parameter to choose the sample’s original

pitch.

While this parameter has no immediate effect on the sound, it will be useful

to identify the original pitch of the sample and when assigning a sample to

the multisample.

For example, if you sample a C4, set this parameter to ‘C4’. When the sample

will be assigned to a keyboard zone of the multisample, it will be transposed

(if needed) according to this parameter, to avoid a change of the original

pitch.

Normalizing the sample

Normalization automatically rescales the level of the selected sample. Peaks

will be raised to -0dB (that is, maximum volume before clipping), while the

remaining parts of the sample will be proportionally raised.

This helps optimizing the sample’s level relative to other samples, making all

samples sound more uniformly. It also helps optimizing signal/noise ratio,

by preventing further stages of ampliﬁcation from increasing any residual

noise.

▪ While in any Sample editing page, choose the Normalize command from the

page menu.

Making new sounds with Sampling |465

Cutting away part of the sample

You can cut away the selected part of the sample.

1 While in the Edit page, use the Start and End points to choose the segment

to cut away.

2 Choose the Cut command from the page menu.

Cutting away the unused parts of the sample (trimming/

cropping)

You can cut away the non-selected parts of the sample.

1 While in the Edit page, use the Start and End points to choose the segment

to preserve.

2 Choose the Trim/Crop command from the page menu.

466| Customizing and editing the Sounds

Editing the loop

After editing the sample, you can ﬁne-tune the loop.

▪ Go to the Sampling > Loop page.

The loop is a cycling portion of a sampled sound. Looping is a technique used

to reduce the sampling time, cycling a portion of the sound to create the

sustaining phase of the sound. After the attack stage, most sounds repeat

the same waveform during their sustain stage.

Reading the loop diagram

The diagram lets you ﬁne tune the loop points, by watching at the Loop End

(left half of the diagram) and Loop Start (right half of the diagram) points

matching at the center of the diagram. A good-sounding loop is shown as a

continuous, nonbreaking line.

Use the

Zoom controls to change the size of the looping ends shown in the

diagram. When a button is greyed-out, it means the maximum or minimum

value has been reached.

Zoom out

Zoom in

Changing the loop points

▪

Be sure the Loop On checkbox is selected.

▪ Use the Loop Start parameter to adjust the Loop Start point.

▪ Use the End parameter to adjust the Loop End point (always matching the

Sample End point).

Making new sounds with Sampling |467

Protecting the loop length

▪ Use the Loop Lock to ﬁx the length of the loop being edited. When it is

closed, moving the Loop Start automatically moves the Loop/Sample End

point, or vice versa.

This is convenient when you are creating a rhythm loop to match a speciﬁc

tempo.

Using crossfade looping

When looping the pitched sample of a complex sound such as strings or

woodwinds to make the sound sustain, it is necessary to create a long loop

to preserve the rich character of the sound. Crossfade Loop can be used to

minimize the difference in pitch and level between the beginning and ending

of the loop region, to create a natural-sounding loop. In order to solve such

problems, Crossfade Loop causes the sound to change gradually from the

end to the beginning of the loop.

In practice, here is how it works. A speciﬁc length (the Crossfade Length

value) of the waveform immediately before the beginning of the loop is taken

and mixed with the end portion. At this time, the waveform level of the por-

tion immediately before the end (the length speciﬁed by Crossfade Length)

will gradually decrease, and the waveform level immediately before the be-

ginning of the loop will gradually increase as the two are mixed.

When the Loop On checkbox is selected, and the Start and Loop S(tart)

parameters have different values, the Crossfade button becomes available.

1 Touch the Crossfade button to open the Crossfade Loop dialog:

2 Use the Crossfade Length parameter to specify the length of the sample

that you wish to crossfade. You can enter it either as the number of samples,

or a percentage (%). If you set this as a percentage, the number of samples

will be calculated automatically.

If you set this to 50%, crossfade will be performed on the second half of the

region between loop start and loop end.

The Crossfade Length cannot be greater than the smaller length between

the Sample Start – Loop Start points, or the Loop Start – Sample End points.

468| Customizing and editing the Sounds

3 Use the Curve radio buttons to specify how the volume will change in the

crossfaded region.

Curve Meaning

Linear The volume will change linearly.

Power The volume will change non-linearly. Sometimes a setting of Linear

will produce the impression that the volume has dropped in the mid-

dle of the crossfade curve. In such cases, use Power.

Making new sounds with Sampling |469

Getting information on the Sampling

memory

In case you receive a message warning about not enough Sampling memory

available, you can check what is ﬁlling it up. You will then be able to delete

some data or compress the samples.

▪ Go to the Sampling > Info page.

▪ Use the Sampling area to get information on the number of samples, drum

samples and multisamples in the Sampling memory.

Parameter Meaning

Samples Number of samples in memory.

Drum Samples Number of drum samples in memory.

MultiSamples Number of multisamples in memory.

The maximum number of samples you can load is 15,048.

▪ Use the Available Memory area to get information on the Sampling mem-

ory (RAM) itself. Pa700 comes with 128 MB of RAM. This is the maximum

amount of non-compressed samples that can be loaded. In case you need

more Sampling memory, you can compress the samples and then load up to

256 MB of samples.

470| Customizing and editing the Sounds

Parameter Meaning

Mono Time Remaining memory in seconds. This value is given for mono samples.

With stereo samples, this time has to be halved.

Bytes Remaining memory in Bytes. This value is given for mono samples.

With stereo samples, this time has to be halved.

Largest block Largest contiguous block of memory. This is the maximum size of a

sample you can write to memory. Each time you turn the instrument

on, this block is extended to match the Bytes parameter. In case you

cannot save a sample, please export it, then import it after having

restarted the instrument.

▪ Use the Sample area to get information on the selected sample and all the

samples in memory.

Parameter Meaning

Selected samples Size of the selected sample (in samples).

Samples Total size of the samples in memory (in samples).

Sampling frequency Sampling frequency of the selected sample (in Hertz).

Making new sounds with Sampling |471

Writing, exporting or deleting the samples

Writing the sample

If you are creating an ordinary Sound or Drum Kit, write the sample to the

internal memory.

1 While in any page of Sample editing section, choose the Write command

from the page menu to open the Write Sample dialog.

2 You may change the name of the sample. Touch the Text Edit ( ) icon to

open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 If you are saving a percussive sample, use the Drum Sample family pop-up

menu to choose a Drum Sample family.

4 Select an option to choose a location where to save the sample:

▪ Choose Save as a new Sample to save to a new location.

▪ Select Save to to overwrite an existing location. In this case, the existing

sample will be deleted.

5 If you want to compress the sample, select the Compression checkbox.

(Compression is explained later in this chapter).

6 Conﬁrm the Write operation by touching the OK button.

Pa700 comes with 128 MB of RAM. This is the maximum amount of non-com-

pressed samples that can be loaded. In case you need more Sampling mem-

ory, you can compress the samples and then load up to 256 MB of samples.

472| Customizing and editing the Sounds

Exporting samples

You can export the sample in edit in one of two popular computer audio ﬁle

formats (WAVE and AIFF).

1 While in any page of the Sample section, choose the Export command from

the page menu, to open the Export Sample window.

2 Choose a target location, then touch the Save button to make the Export

Sample dialog appear:

3 You may change the name of the sample. Touch the Text Edit ( ) icon to

open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

4 When back to the Export Sample dialog, use the File Type pop-up menu to

choose the export format.

5 Conﬁrm saving by touching the OK button.

Making new sounds with Sampling |473

Deleting samples

You can delete a sample, all the unused samples, or all the samples.

Accessing the Delete Sample dialog

▪ While in any page of Sample editing section, choose the Delete command

from the page menu to open the Delete Sample dialog.

Deleting a sample

▪ Select the Selected option, choose the sample to be deleted, and touch OK

to conﬁrm.

Deleting all the unassigned samples

▪ Select the Not assigned to any Multisample/Drumkit option, and touch OK

to conﬁrm.

This command deletes only samples not yet assigned to any Multisample or

Drum Kit. Use this option with care, since you may delete samples you would

like to preserve, but have not yet been assigned.

Deleting all the samples, multisamples and drum samples

▪ Select the All Samples, Multisamples, Drum Samples option, and touch OK

to conﬁrm.

Select this command to delete all samples, multisamples and drum samples

from the RAM memory. This operation completely resets the RAM, and may

be used to clean-up any trouble with memory management.

474 | Customizing and editing the Sounds

Compressing the User Samples

Pa700 can read and play compressed User Samples. It can compress User

Samples when saving them, or in batch. Sample compression allows for dou-

bling the available Sampling memory.

Compressed samples can no longer be decompressed. If you want to keep

the original samples, please save a copy before compressing them.

Compressing User Samples when writing them

You can compress a User Sample while writing it to the internal memory.

1 While in any page of Sample editing section, choose the Write command

from the page menu to open the Write Sample dialog.

2 While in this dialog, select the Compression checkbox, to reduce the size of

the sample up to a half of its original size. Please note that compression may

require a long time.

Compressed samples will have an asterisk (*) added to their name.

Compressing all User Samples in memory

You can compress all the User Samples contained in the Sampling memory.

1 While in any page of Sample editing section, choose the Compress all sam-

ples command from the page menu to run compression.

2 A message appears, warning about the long times needed to compress all

the samples. Touch OK to conﬁrm.

Please do not turn the instrument off while compression is going on.

When ﬁnished, compressed samples will appear with an asterisk (*) added

to their name.

Making new sounds with Sampling |475

Creating multisamples

After having loaded or imported all the needed samples, you can create a

multisample. The multisample is a way of organizing several samples on the

keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a

higher and a lower limit. Later, the multisample will be assigned to an oscil-

lator in an ordinary Sound.

▪ Go to the Sampling > Multisample > Edit page.

Sample

Zone index

Multisample diagram

In this page you will assign the sample(s) to a multisample. Assign each sam-

ple to a different keyboard zone.

Choosing the multisample to edit

Touch the name of the multisample on top of the page to open the

Multisample Select window.

2 Touch the name of a multisample to select it.

476| Customizing and editing the Sounds

Reading the multisample diagram

The keyboard diagram shows the selected Index/Zone (highlighted), and its

Original Note (in red). Use the big ‘–’ and ‘+’ buttons on its side to scroll the

diagram one octave lower or upper.

Assigning samples to the keyboard

Creating a new zone

By default, a new multisample contains a single zone.

▪ Touch the Insert button to split the current zone in half, and create a new

zone (Index) on the left of the selected one.

▪ Touch the Add button to add a new zone (Index) after the last one.

Deleting a zone

You can delete zones, when no longer needed.

▪ Touch the Delete button to delete the selected zone (Index). The zone on the

right of the deleted one is automatically extended to ﬁll the gap.

Selecting a zone

▪ Play a note on the keyboard to select the corresponding zone (Index).

As an alternative, use the

Index parameter to choose the corresponding

zone.

The total number of zones in the multisample is shown by the second num-

ber of the

Index parameter.

Adjusting the zone range

▪ Use the From … To pair of parameters to adjust the range of the selected

zone (Index).

The minimum size is one key. When reducing the range of a zone, the adja-

cent one is automatically increased to ﬁll the gap.

Making new sounds with Sampling |477

Assigning a sample to the selected zone

A zone always corresponds to a single sample.

▪ Use the Sample parameter to choose a sample.

To create a silent zone, create it and assign no sample to it.

Editing the selected sample

▪ Touch the Edit Sample button to go to the Sampling > Sample > Edit page

with the selected sample.

Setting the zone parameters

▪ Use the Original Note parameter to automatically transpose the assigned

sample on the keyboard. When you play this note, the sample will sound

exactly as it was recorded.

By default, this parameter will match the

OrigNote (Original Note) value as-

signed when editing the sample in the Sampling > Sample > Edit page.

The note set with this parameter appears highlighted in the keyboard dia-

gram.

▪ Use the Level parameter to adjust the relative level of the selected zone. This

value can only be a negative offset to the overall volume of the multisample.

▪ Use the Pitch parameter to ﬁne tune the selected sample in cents (1 cent =

1/100 of a semitone).

478| Customizing and editing the Sounds

Overview of the assigned samples and zones

You can see the overall map of the samples assigned to the zones, and edit

their range on the keyboard.

▪ Go to the Sampling > Multisample > Key Assign page.

Samples

Multisample

diagram

Zones

▪ Scroll the zones by using the list of samples on the left of the page. Use the

big button with an arrow on top and to the bottom of the list to scroll the list

up or down.

▪ Edit the zone range, when needed, by using the low and high zone limits

appearing on the left and the right of the keyboard diagrams. The Original

Note is shown in red.

Making new sounds with Sampling |479

Writing, exporting or deleting the

multisamples

Writing the multisample

Before creating a Sound, save the multisample organizing the samples on

the keyboard to the internal memory.

1 While in any page of Multisample editing section, choose the Write com-

mand from the page menu to open the Write Multisample dialog.

2 You may change the name of the multisample. Touch the Text Edit ( )

icon to open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 Select an option to choose a location where to save the multisample:

▪ Choose Save as a new Multisample to save to a new location.

▪ Select Save to to overwrite an existing location. In this case, the existing

multisample will be deleted.

4 Conﬁrm the Write operation by touching the OK button.

Exporting multisamples

You can export the multisample in edit, together with all the linked samples.

The Export operation generates a KMP ﬁle (KORG’s proprietary ﬁle format

for multisamples), and a folder containing a series of KSF ﬁles (KORG’s pro-

prietary ﬁle format for samples) inside the same directory.

When exporting a stereo multisample, assign a different name to the Left

and Right channel ﬁles, to avoid overwriting them. A ‘-L’ and ‘-R’ sufﬁx is usu-

ally added after the name of this kind of ﬁles.

1 While in any page of the Multisample section, choose the Export command

from the page menu, to open the Export Multisample window.

480| Customizing and editing the Sounds

2 Choose a target location, then touch the Save button to make the Export

MultiSample dialog appear:

3 You may change the name of the multisample. Touch the Text Edit ( )

icon to open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

4 When back to the Export Multisample dialog, conﬁrm saving by touching the

OK button.

Deleting multisamples

You can delete a multisample, the samples left unused after deleting the

multisample, all the multisamples, or all the samples and multisamples.

Accessing the Delete Multisample dialog

▪ While in any page of Multisample editing section, choose the Delete com-

mand from the page menu to open the Delete Multisample dialog.

Deleting a multisample

▪ Select the Selected option, choose the multisample to be deleted, and

touch OK to conﬁrm.

▪ Select the Delete Unassigned Samples checkbox to also delete all the sam-

ples left free after deleting the multisample, and not used by other multi-

samples.

Making new sounds with Sampling |481

Use this option with care, since you may delete samples you would like to

preserve, to be later used in new multisamples still to be created.

Deleting all the multisamples

▪ Select the All Multisamples option, and touch OK to conﬁrm.

Deleting all the samples, multisamples and drum samples

▪ Select the All Samples, Multisamples, Drum Samples option, and touch OK

to conﬁrm.

Select this command to delete all samples, multisamples and drum samples

from the RAM memory. This operation completely resets the RAM, and may

be used to clean-up any trouble with memory management.

482| Customizing and editing the Sounds

Creating new Sounds from multisamples

You can create a new Sound while in Sound mode.

1 Go to the Sound mode.

2 Choose a Sound similar to the one you are going to create.

If you prefer to start from a blank, default situation, choose the

Initialize

Sound command from the page menu.

3 Go to the Sound > Basic > OSC page.

4 Select one of the available oscillators from the radio buttons on the right

side of the page.

5 Use the parameters in the OSC Multisample section to assign the multisam-

ple to the High or Low layer of the selected oscillator. Your new multisample

can be found in the RAM bank of multisamples.

6 Go on editing the Sound, as shown in the pages dedicated to Sound editing.

Making new sounds with Sampling |483

Creating new Drum Kits from percussive

samples

You can create a new Drum Kit while in Sound mode.

1 Go to the Sound mode.

2 Choose a Drum Kit similar to the one you are going to create.

If you prefer to start from a blank, default situation, choose the

Initialize

Sound command from the page menu.

3 Go to the Sound > DrumKit > DrumKit page.

4 Use the KEY parameter to select a key. As an alternative, select it by press-

ing a key on the keyboard.

5 Select one of the available layers from the radio buttons under the keyboard

diagram.

6 Use the parameters in the Drum Sample section to assign a sample to the

current layer or the selected oscillator. Your new sample can be found in the

RAM bank of samples.

7 Go on editing the Drum Kit, as shown in the pages dedicated to Sound edit-

ing.

484| Customizing and editing the Sounds

Assigning the new Sound or Drum Kit to a

part/track

The new Sounds or Drum Kits are contained in the User banks. Assign them

to the Keyboard, Accompaniment or Song tracks, as you would do with

any other Sound or Drum Kit. Drum Kits are better suited for the Drum or

Percussion track.

When done, save the Sound set (Keyboard Set, SongBook Entry, Style

Settings, MIDI Song) to preserve your editing.

Making new sounds with Sampling |485

Creating Audio Groove Slices with Time

Slicing

Creating separate samples from a sliced audio groove

After loading an audio groove, you must ‘slice’ it to create a series of separate

percussive samples, a multisample to organize them on the keyboard, and a

MIDI Groove containing the original sequence converted to MIDI events. In

the end, you will save it as a new Sound.

How it works

Time Slicing detects the attacks (that is, kick and snare shots) inside a rhythm

audio groove, and automatically divides the audio groove into individual

percussive samples. The sliced percussive samples will be automatically as-

signed to different keys in a multisample, and the multisample to a Sound.

Within the generated multisample, a separate sample is assigned to a dif-

ferent note on the keyboard, starting from C#3. By playing an ascending

chromatic scale with this multisample, you could recreate the original audio

groove.

A MIDI Groove will also be created, containing a sequence of notes trigger-

ing the sliced percussive samples in the same order as in the original audio

groove. When you will import this MIDI Groove to a Style or Pad track, this

sequence will let you adjust the groove’s tempo without affecting the pitch

of the percussive samples.

In addition to changing the groove’s tempo without affecting its pitch, this

will let you change the order in which the samples are played, change the

timing, and edit the pattern to freely recreate a new rhythm loop.

486| Customizing and editing the Sounds

Slicing

1 Go to the Sampling > Time Slice page.

2 Use the Meter parameter to specify the Meter of the original sample.

3 Use the Measure parameter to specify the number of measures of the origi-

nal sample. Usually, you will load a groove 1- or 2-measures long.

4 The BPM (Beats Per Minute) parameter speciﬁes the tempo (in Beats Per

Minute) of the original sample. This value is automatically calculated, based

on the Start, End, Meter and Measures parameters.

If you know these data, manually enter the

Meter, Measures and BPM pa-

rameters, to make the slicing more accurate. The BPM value can be only

adjusted to values lower than the one automatically calculated. This can

be useful, for example, when the actual sample is shorter than the entered

Meter and Measures values.

Meas.1 Meas.2

In the example above, the actual groove lasts only up to the ﬁrst half of

Measure 2. The recognized tempo is 130, while the real tempo is 100. Set the

BPM value to 100, and a rest will be added to the end of the groove, to allow

it to loop seamlessly.

5 Touch the Slice button to slice the original audio groove.

Making new sounds with Sampling |487

The generated multisample

Each individual sample generated from slicing the audio groove will be as-

signed to a different key.

Key Assigned sample/pattern Speed %

C2 Full pattern cycling at half the speed 50%

C#2 Full pattern cycling at various speeds 53%

D2 56%

D#2 60%

E2 63%

F2 67%

F#2 71%

G2 75%

G#2 80%

A2 84%

A#2 89%

B2 94%

C3 Full pattern cycling at the original speed 100%

C#3 and above Separate sliced samples –

The generated MIDI Groove

After slicing, a MIDI Groove with the original pattern will also be generated.

The diagram will show the individual sliced samples separated by vertical

lines:

488| Customizing and editing the Sounds

Testing the generated Drum Kit

▪ To test the full pattern at different speed, play a note from C2 (half speed) to

C3 (original speed). See table above.

▪ To test the single sliced samples, play notes from C#3 and above. If you play

a full chromatic scale, you can play the original pattern.

If too many samples have been generated, and the keyboard can’t ﬁt them

all, use the

UPPER OCTAVE buttons to transpose the keyboard, and also

listen to the samples exceeding the upper limit.

Adjusting the slicing parameters

▪ If the Slice procedure didn’t produce satisfactory results, adjust the Release

parameter, and touch the Slice button again.

Adjust the

Release value changes the number of recognized attacks, by

varying the speed needed to the Slice engine to start working again. For ex-

ample, in the following example, if the Release value is too high (that is, too

long), the second attack may be lost:

▪ If this, again, does not produces good results, try to also adjust the Threshold

parameter, and touch the Slice button again.

▪ Since a Tempo value rounding happens during the Slice operation, and the

loop may not be accurate, you may need to adjust both the Start and End

parameters of the Sample > Edit page, to make the groove loop ﬂawlessly.

After editing these parameters, touch the Slice button again.

Go on experimenting different settings. Editing an audio groove is a pure

matter of experimentation.

Making new sounds with Sampling |489

Extending the sample tails

When using the sliced grooves with a Tempo slower than the original, an

annoying gap may be heard between a sample and the following one. The

Extend function allows you to ﬁx this problem by adding a ‘tail’ to all sam-

ples, making their decay smoother and more musical.

1 After slicing and testing the groove, use the Extend function if needed.

2 Go to the Sampling > Time Slice page.

3 Adjust the Extend > By parameter to set the length of the ‘tail’ added to the

samples (in percentage). A setting of 20-30% is usually suitable to most

grooves.

Depending on the Tempo of the Style that will include this groove, use high

or low values. If you will slow down the groove very much, assign higher val-

ues to this parameter, otherwise you may assign lower values.

Be careful with the higher By values, because the Extend function may add

audible artifacts.

490| Customizing and editing the Sounds

4 Use the Extend Mode pop-up menu to specify if the added ‘tail’ must decay

in a linear way, or sustain for a longer time and then fall suddenly. Choose

the Extend method suitable for the processed materials.

Extend Mode Meaning Shape

Normal Most suitable for percussive sound with a short (but not

immediate) decay. The ‘tail’ envelope is linear, and the

level decays fast.

Long Most suitable for cymbals, whose sound should be sus-

tained up until the next note. The ‘tail’ envelope is sus-

tained and falls slowly, then falls suddenly next to the end.

5 Touch the Extend button.

6 After the Extend operation is complete, test the pattern.

▪ To test the full pattern at different speed, play a note from C2 (half speed) to

C3 (original speed). See table above.

▪ To test the single sliced samples, play notes from C#3 and above. If you play

a full chromatic scale, you can play the original pattern.

7 If the Extend operation didn’t produce satisfactory results, change the set-

tings and repeat it.

Making new sounds with Sampling |491

Writing the Audio Groove Slices

When the Time Slicing procedure is completed, you can save the data as a

new Sound, together with a series of separate percussive samples, a multi-

sample arranging them on the keyboard. A MIDI Groove containing the origi-

nal sequence converted to MIDI events will also be created.

1 While in the Sampling > Time Slice page, choose the Write command from

the page menu.

Sound name

Sound bank

Sound location

Touch to open

the Sound Select

window

2 You may change the name of the Sound. Touch the Text Edit ( ) icon to

open the virtual keyboard and edit the name.

When done editing the name, conﬁrm by touching the

OK button under the

virtual keyboard.

3 When back to the Write Slice dialog, if you want to save onto a different lo-

cation touch the Select button and open the Sound Select window. Choose

a location as if you were choosing a Sound. Blank locations are shown as a

series of dashes (‘–––’).

4 When back at the Write Slice dialog, conﬁrm the Write operation by touching

the OK button.

Together with the Sound and the associated samples and multisample, a

MIDI Groove with the same name will also be saved to the RAM memory.

This memory will be deleted when turning the instrument off. Therefore, im-

mediately convert the MIDI Groove to a Style or Pad pattern, as explained in

the following pages.

492| Customizing and editing the Sounds

Using the Audio Groove Slices in a Style or

Pad

After generating the Audio Groove Slices, you can use them in a Style or Pad,

by importing the MIDI Groove to a track, and assigning the corresponding

Sound to the same track.

Imported grooves can play at different Tempo values. However, please re-

member that they will not be transposed when playing different chords,

since they are still audio data, that cannot be transposed by the Arranger.

Importing the MIDI Groove to a Style or Pad track

Go to the Style Play mode, and choose the User Style to which to assign the

groove.

2 Press the RECORD button to access Style/Pad Record mode, and choose

one of the Style or Pad recording options.

3 Go to the Style/Pad Record > Import/Export > Groove page.

4 Use the From pop-up menu to choose the MIDI Groove. (This menu only ap-

pears if a MIDI Groove has been generated).

5 Use the To E/CV pop-up menu to choose a target Style Element and Chord

Variation.

6 Use the To Track pop-up menu to choose a target track. We suggest the

Percussion track, since the Drum track is still suitable for standard Drum Kit

sounds (for count-ins, breaks, etc.).

7 Touch the Execute button to conﬁrm.

Making new sounds with Sampling |493

Assigning the Sound to the Style or Pad track

After having imported the MIDI Groove, assign the Sound generated by the

Time Slicing procedure to the track playing the MIDI Groove.

Assigning the Sound to a Style

1 Go to the Style Play mode, and choose the User Style to which to assign the

Sound.

2 Go to the Style Play > Main page, and choose the Volume pane.

3 Use the TRACK SELECT button to see the accompaniment tracks (Style

Tracks View).

4 Touch the icon of the track to which to assign the Sound (we suggest the

Percussion track).

5 While the Sound Select window is open, choose the Sound (in the User bank).

6 Write the Style Settings.

Assigning the Sound to a Style Element track

1 Go to the Main page of the Style Record mode.

2 Select the track to which to assign the Sound (we suggest the Percussion

track).

3 Touch the name of the Sound next to the Trk parameter.

4 While the Sound Select window is open, choose the Sound (in the User bank).

5 Write the Style.

Assigning the Sound to a Pad

1 Go to the Main page of the Pad Record mode.

2 Touch the name of the Sound next to the Pad Track parameter.

3 While the Sound Select window is open, choose the Sound (in the User bank).

4 Write the Pad.

494| Customizing and editing the Sounds

Using the Audio Groove Slices in other

Sounds

You can use the multisample and samples generated by a Time Slicing op-

eration in other Sounds.

1 Go to the Sound mode, and choose a Sound similar to the one you want to

assign the multisample to.

If you prefer to start from blank programming, choose the

Initialize Sound

command from the page menu.

2 Go to the Sound > Basic > OSC page, and select one of the oscillators.

3 Choose the new multisample from the RAM area, and assign it to one of the

two layers (High or Low).

4 Choose the Write Sound command from the page menu, and save the Sound

to an empty User location.

|495

PART VIII:

AUDIO

AND VIDEO

CONNECTIONS

496| Audio and video connections

Connecting an external display |497

38 Connecting an external

display

You can connect Pa700 to a TV or video monitor, to read lyrics and chords

with your fellow musicians or audience, or to mirror the display.

Connect the external video monitor

▪ Use the HDMI or VIDEO OUT connector to connect Pa700 to a TV set or

video monitor. Please use a certiﬁed HDMI cable.

Depending on the version of your Pa700, and the type of video monitor to be

connected, you will have to choose a different cable. You can buy the needed

cables at a store that sells television equipment.

Pa700 Type Video Out Type Monitor Connector Cable

Type A

(up to SN# 39999)

RCA RCA (Composite) RCA-to-RCA

SCART RCA-to-SCART

Type B

(from SN# 40000)

HDMI HDMI HDMI-to-HDMI

DVI HDMI-to-DVI

VGA HDMI-to-VGA

Go to the Video Out page

1 If it is off, turn the instrument on.

2 Go to the Global > Audio & Video > Video Out page.

With Pa700 Type A:

498| Audio and video connections

With Pa700 Type B:

Turn the external monitor on

▪ Turn the video monitor on, and tune it on the correct AV/Source input.

Select the video standard (only Pa700 Type A)

▪ Use the System menu to select the video standard.

System Meaning

PAL Used in most European, South American, Asian and African countries. This

setting can be also used with SECAM TV sets (used in France, Russia, and

some African countries); in this latter case, however, the picture is shown in

black & white.

NTSC Used in North America, Central America and part of South America. It is also

used in Japan, Korea, Taiwan, Philippines and Myanmar.

Check if the monitor is recognized (only Pa700 Type B)

▪ When the monitor is recognized, its name appears in the Monitor line. If it

doesn’t appear, check the connections.

Please note that the supported resolution is 640x480 pixels. In case the

picture is not showing correctly, please check the settings in the monitor (for

example, the zoom or aspect ratio controls).

Choose the synchronization option (only Pa700 Type B)

In case the instrument and the external video monitor can’t automatically

choose the correct synchronization option, you can do it manually.

▪ Use the Sync options parameter to choose one of the synchronization op-

tions. Choose the one that works the best with your monitor.

Connecting an external display |499

The chosen option will remain memorized. If you connect a different moni-

tor, you may need to repeat the synchronization procedure described above.

Set the colors

▪ In the same page, use the Colors menu to choose the preferred set of colors

for the lyrics and the background.

Colors Meaning

1...5 Color set. Try them to ﬁnd the one you feel most comfortable with.

Choose what to display

▪ In the same page, use the Mode menu to choose what to show in the video

monitor.

Mode Meaning

Lyrics Only Lyrics and Chords (if any) are shown in the external display. (This is

the default option at startup.)

Display Mirror The internal display is duplicated (‘mirrored’) to the external display.

500| Audio and video connections

39 Connecting the audio

outputs and setting the

ﬁnal effects

Connecting the audio outputs

Connect the audio outputs as described in Connecting the audio outputs on

page 17. The internal speakers will work in parallel with the main audio

outputs.

Connecting the audio outputs and setting the ﬁnal effects |501

Programming the master effects

The mastering suite helps making the sound louder, clearer, fuller, and more

polished. These effects apply to the ﬁnal stage of the audio path, just before

the audio outputs.

Choosing a Limiter or Master EQ Preset

You can quickly program the Limiter or Master EQ parameters by choosing

a Preset.

1 Go to the Global > Limiter/Master EQ > Limiter or Master EQ page.

2 Use the Preset pop-up menu on top of the page to choose a preset.

Editing the Limiter

The Limiter allows for an increased loudness of the MIDI tracks (Styles and

Songs), by compressing the signal exceeding a deﬁned threshold. MP3 ﬁles

are not affected by the Limiter, since they are usually already ‘produced’,

and do not need to pass through the Limiter again.

Accessing the Limiter

1 Go to the Global > Limiter/Master EQ > Limiter page.

Turning the Limiter on/off

▪ Use the On/Off button to turn the Limiter on/off.

502| Audio and video connections

Programming the Limiter

▪ Use the In/Out indicators to check the level of the audio entering and coming

out of the Limiter. Be sure the indicators never go to the red area (since this

means distortion).

If the input level is too high, decrease the level of the Sounds, Styles, Songs

that are playing. If the output level is too high, decrease the level of the

Gain

Adjust control.

▪ Use the Ratio parameter to adjust the signal compression ratio. Compression

is applied only when the signal level exceeds the Threshold value. 1.0:1 means

no compression.

▪ Use the Threshold parameter to set the level above which compression is

applied. 0dB means no signal processed.

▪ Use the Attack parameter to adjust the attack time. A higher attack time will

cause the compression to be applied more slowly, and not react fast enough

for notes with faster transients.

▪ Use the Release parameter to adjust the release time. A higher release time

will cause the compression to be released more slowly; this may help sustain-

ing longer notes.

▪ Use the Gain Adjust parameter to adjust the output gain. Use it to compen-

sate for the gain loss caused by compression.

Editing the Master EQ

Master EQ is a full spectrum frequency equalization, positioned at the end

of the signal chain, just before the audio outputs. It gives you the power to

design EQ curves and shape your sound. Master EQ features four fully pro-

grammable bands with fully adjustable gain, frequency, and Q parameters.

Connecting the audio outputs and setting the ﬁnal effects |503

Accessing the Master EQ

1 Go to the Global > Limiter/Master EQ > Master EQ page.

Turning the Master EQ on/off

▪ Use the On/Off button to turn the EQ on/off.

Programming the EQ

▪ Look at the results of any edit in the diagram. The diagram shows the EQ

curve. Its shape changes depending on the various parameter values.

▪ Use the Input Trim parameter to adjust the level of the signal entering the

EQ. Excessive amount of signal may cause distortion when boosting the EQ

bands.

▪ Use the Gain parameter to change the emphasis or attenuation of the cor-

responding band. Use it to make the frequencies stronger or weaker.

Band Value

All Bands -18...0...+18dB

▪ Use the Freq parameter to change the center frequency of the correspond-

ing band. Center it on the problematic frequency, or the harmonics you want

to emphasize or attenuate.

Band Type of EQ curve Value

Low Shelving 20Hz...1kHz

Mid-Low Peaking 50Hz...10kHz

Mid-High Peaking 300Hz...10kHz

High Shelving 500Hz...20kHz

504| Audio and video connections

▪ Use the Q parameter to adjust the ‘quality’ of the EQ ﬁlter; higher values

correspond to narrower, more accurate ﬁlters. Use higher values for near-

surgical correction on isolated frequencies, lower values for more musical,

softer equalization.

Band Value

All Bands 0.5...10

Writing a Limiter or Master EQ Preset

Open the Write Limiter or Master EQ Preset dialog

1 Go to the Global > Limiter/Master EQ > Limiter or Master EQ page.

2 Choose the Write Limiter Preset or Write Master EQ Preset command from

the page menu to open the Write Limiter Preset or Write Master EQ Preset

dialog.

Write over the current Preset

▪ If you want to overwrite the current Preset, just touch the OK button.

Write to a different Preset location

1 If you want to choose a different location, use the Preset pop-up menu.

2 If you want to change the name of the Preset, touch the Text Edit (

) icon

to open the virtual keyboard and edit the name.

3 When done editing the name, conﬁrm by touching the OK button under the

virtual keyboard.

4 When back at the Write Preset dialog, conﬁrm the Write operation by touch-

ing the OK button.

Connecting the audio inputs |505

40 Connecting the audio

inputs

Connecting a line audio device, a

microphone, a guitar

Choose the audio input depending on the audio device to be connected.

After connecting an audio device, choose the correct impedance and rout-

ing to the audio outputs.

Please note that, for safety reasons, the input level is always set to zero

when turning the instrument on.

Connecting a line audio device

You can connect to the audio inputs another keyboard, the outputs of a voice

or guitar effect processor, a media player, the line outs of a stage mixer, or

any other line audio device.

Warning: Connecting a power ampliﬁer to these inputs will damage the instrument!

Use the AUDIO IN > LEFT and RIGHT connectors to connect the line outputs

of an external audio device. Connect either of them to receive a mono signal.

These are unbalanced (TS) 6.35 mm, or 1/4”, jack connectors.

506| Audio and video connections

Connecting a microphone

Use the AUDIO IN > LEFT connector to connect a microphone. This is an

unbalanced (TS) 6.35 mm, or 1/4”, jack connector. You will need an adapter

to connect a microphone with an XLR connector.

Microphone types

There are two main types of microphones that you can connect to your

Pa700: dynamic and condenser.

Dynamic microphones do not require powering. They are usually con-

ceived for live use, and have a narrow cardioid or hypercardioid pattern

for better rejection of stage noise.

Condenser microphones require phantom powering, that can be supplied

by a dedicated power supply. As an alternative, you can use a small mixer

including phantom powering, to be connected via its insert or line outs

to Pa700’s line inputs; in this case, however, you will not be able to use

Pa700’s dedicated effects.

Usually found in studio, condenser microphones usually come with a wid-

er cardioid pattern, capturing more ambience and deeper basses. Wide-

capsule condenser microphones are the preferred for studio voice applica-

tions.

Connecting a guitar (or bass guitar)

Use the AUDIO IN > LEFT connector to connect a guitar (or bass guitar). This

is an unbalanced (TS) 6.35 mm, or 1/4”, jack connector.

Connecting the audio inputs |507

Setting the routing and mixing the effects

Selecting the impedance and routing

By default, the audio inputs are enabled for a microphone. You can use the

following procedure to select a different input impedance and signal routing,

or re-enable the microphone input.

1 Go to the Global > Audio & Video > Audio In page.

2 Use the Audio In pop-up menu to choose the correct routing and impedance.

Audio In Meaning

Line The LEFT and RIGHT audio inputs will go to the ﬁnal mix, together with the

sounds generated by Pa700. No Voice or Guitar Processor effect will be ap-

plied. The audio inputs will also go to the internal MP3 recorder.

Mic The LEFT audio input will go to the Voice Processor, then to the ﬁnal mix,

together with the sounds generated by Pa700. The RIGHT audio signal will be

replicated on both audio outputs. Both inputs will be recorded when record-

ing an MP3 Song.

508| Audio and video connections

Audio In Meaning

Guitar The LEFT audio input will go to the Guitar Processor (included in the FX

block), then to the ﬁnal mix, together with the sounds generated by Pa700.

The RIGHT audio signal will be replicated on both audio outputs. Both inputs

will be recorded when recording an MP3 Song.

Adjusting the audio input gain

After connecting an audio device, you can adjust the input gain.

1 Be sure the MIC/IN indicator is turned on in the Main page > Volume pane of

the Style Play or Song Play mode. If not, touch it to turn it on.

2 If you connected a microphone or guitar, use the MIC/GTR GAIN knob next

to the LEFT audio input to adjust the input gain (the level goes from 0 to

40 dB). If you connected a line audio device, adjust the audio level from the

external device.

Check the input level by watching at the

MIC/IN label in the Main page >

Volume pane while you sing or play.

MIC/IN color Meaning

Off No signal entering.

Green Low- to mid-level signal entering.

Orange Slight overload in the signal path.

Red Clipping is occurring in the signal path.

Connecting the audio inputs |509

For more accurate control of the microphone or guitar input, you can check

the input level in the Global > Mic Setup > EQ/Dynamics page, or the Global

> Guitar Setup > Setup page.

With a microphone or line audio device, keep the level so that this indica-

tor remains green most of the time, with orange appearing at signal peaks.

Never go to red.

With a guitar, keep the level so that this indicator remains green most of the

time (even at signal peaks). For best results, keep the input level low (not

exceeding -20 dB, as shown in the input meter).

Turning the audio input on and adjusting the volume

The audio input can be quickly turned on or off, and its volume in the mix

adjusted, right from the main page. Please note that, for safety reasons, the

input level is always set to zero when turning the instrument on.

1 Go to the Main page > Volume pane of the Style Play or Song Play mode.

2 Use the Play/Mute button of the MIC/IN channel to turn the audio input on

or off.

510| Audio and video connections

3 Adjust the audio input volume by using the slider of the same channel.

As an alternative, with default settings, use the ASSIGNABLE KNOB 1 to

adjust the volume.

Start the automatic accompaniment or a Song, to balance the audio input

against the internal Sounds.

Shaping the sound of the lead voice |511

41 Shaping the sound of the

lead voice

The lead voice is your voice, or the one of your singer, entering the micro-

phone input. You can apply effects, before sending it to the Voice Processor.

Adding EQ, compression and gate to the lead voice

While in the Global > Mic Setup > EQ/Dynamic page, you can program equal-

ization, compression and gate for the lead voice.

Programming the EQ

This is an extremely ﬂexible 3-band EQ with frequency and gain-adjustable

high and low shelving bands, as well as a fully parametric band with Q con-

trol.

▪ Use the On/Off button to turn the EQ on or off.

▪ Use the Gain (upper) and Frequency (lower) controls to create the EQ curve.

The Low and High Gain controls boost or cut all frequencies below or above

the frequencies set by the Frequency controls. These are most like the com-

mon Bass and Treble controls on a stereo system.

512| Audio and video connections

The Mid Gain control boosts or cuts the frequencies within a selected band

that is deﬁned by a center frequency (Frequency control) and a width con-

trol (Q parameter). For vocals, the gain of a narrow parametric band is typi-

cally reduced to overcome room or voice resonances and smooth the sound

although experienced users may boost a band felt to be missing in a particu-

lar voice as well.

EQ Band Frequency Gain Q

Low 20 Hz … 1.00 kHz ±18 dB –

Mid 50 Hz … 10.00 kHz ±18 dB 0.5 … 10.0

High 500 Hz … 20.00 kHz ±18 dB –

Programming the compressor

This is a compressor optimized for vocals. Be sure to reduce the level of

your ampliﬁcation when adjusting the compressor, because high settings

can cause more gain and thus feedback.

Compression can be quite subtle until you educate your ears. We typically

sing dynamically, like this (capitals are used to show louder dynamics):

LOVE to watch you WALK down the STREET

At acoustic singing levels with no, or very quiet instrumentation, this would

sound ﬁne. When ampliﬁed however, the loud words become strident and

even worse, quiet words can be lost in the instrument sounds. The louder the

ampliﬁcation system and band the more pronounced the loud parts become.

Compression seeks to do the following to your dynamics:

I LOVE to watch you WALK down the STREET

Applied appropriately, the difference between loud and soft is reduced with-

out killing the interesting dynamics in your performance.

▪ Use the On/Off button to turn the compressor on or off.

▪ Use the Threshold control to set the singing level at and above which the

amount of gain reduction (compression) speciﬁed by the Ratio control will

occur. The range is 0 dB to -40 dB: 0 dB being the loudest input signal that

can be accepted without distortion and -40 dB being a very quiet signal. If

you sing consistently more quietly than the Threshold, you will not hear any

compression. A good setting for experimentation is -10 dB.

Shaping the sound of the lead voice |513

▪ Use the Ratio control to set how much gain reduction you prefer when your

voice level goes above the threshold. The range is from 1:1 (no gain reduc-

tion) to Inf:1 (maximum vocal gain reduction ). A typical setting for Ratio is

4:1.

The number on the left side of the : (colon) symbol is how loud the peaks

in your singing have to be in order to achieve a 1 dB gain increase. A brief

example of how adjusting the ratio of compressor works is this: say a word

you sang went 4 dB over the threshold when the Ratio was set to 4:1. The

compressor would only allow it to go 1 dB louder.

Note that the Ratio control has to be set above 1.0 (1.0:1) to apply any com-

pression regardless of the setting of the Threshold.

Programming the gate

The Gate control helps in minimizing feedback, and reducing the amount of

audible effects processing on sounds entering the mic other than your voice.

A typical, ﬁxed gate works by shutting off, or reducing the level of any signal

below a threshold that you set. When you sing louder than that threshold,

the gate will open and your vocal will come through the ampliﬁcation sys-

tem. When you aren’t singing, the gate will close and block sounds around

you.

▪ Use the On/Off button to turn the gate on or off.

▪ Use the Threshold knob to deﬁne the minimum singing level you need to

reach in order for the Gate to open and let your voice sound. The range is 0

to 100. A typical setting of 40 is very sensitive to allow a wide range of sing-

ing levels but it may also allow more nearby instrumental sounds through

when you are not singing. In this case, further adjustment from 39 and up-

ward may be needed.

You can also turn the gate to

Off with good results if you are in a quiet, low

volume musical environment.

514| Audio and video connections

42 Talking with your

audience

Soloing your voice (TalkOver)

▪

Go to the Main page > Mic pane, and touch the TalkOver button to talk to

your audience.

The background music will be softened, and the voice effects switched off.

▪ Touch the same button again to turn the TalkOver function off.

Setting the Talk mode and level

Go to the Global > Mic Setup > Setup page.

Choose between automatic and manual TalkOver

▪ While in this page, use the Mode > Auto checkbox to choose between Manual

and Auto TalkOver.

When in Auto mode, TalkOver will be automatically engaged when the

Arranger or Players are stopped. This way, you can talk to the audience be-

tween two songs, without the need to touch the TalkOver On/Off button.

Talking with your audience |515

▪ Use the Background Music Level control to set the level to which the volume

of all Sounds (Keyboard, Style, Player, Pad…) will be reduced when TalkOver

is engaged. 100% corresponds to no level reduction.

516| Audio and video connections

43 Using the voice/guitar

effects

Choosing a Voice/Guitar Preset

When the LEFT audio input is set as a microphone input, you can choose

voice effect presets. When it is set as a guitar input, you can choose guitar

effect presets.

Choosing a Voice/Guitar Preset from the library

Voice Presets contain settings for the voice effects. Guitar Presets contain

settings for the guitar effects.

Open the Voice/Guitar Preset window

1 While in the Main page, touch the Mic/Guitar tab to see the Mic/Guitar pane.

2 Touch the name of the selected Voice/Guitar Preset.

Using the voice/guitar effects |517

Select a Voice/Guitar Preset

As soon as you touch the display, the Voice/Guitar Preset Select window

appears.

1 In case you want to choose a different group of Voice/Guitar Presets, touch

one of the tabs on the sides of the Voice/Guitar Preset Select window.

2 Touch the name of the Voice/Guitar Preset you want to choose.

3 If you want to close the Voice/Guitar Preset Select window (and it does not

close by itself), press the EXIT button.

518| Audio and video connections

In the end, you will see the name of the selected Voice/Guitar Preset in the

dedicated area of the Mic pane. The voice/guitar effects will change.

▪ When changing the Voice/Guitar Preset, the Global parameter is automati-

cally deselected.

‘Global’ and ‘local’ (or temporary) Voice/Guitar Preset

You can choose a ‘global’ Voice/Guitar Preset that is good for all your

show, and does not change when choosing a different SongBook Entry.

Or you can choose a ‘local’ Voice/Guitar Preset that is better suited to the

individual SongBook Entry.

You can choose a Voice/Guitar Preset from the library (

Main page > Mic/

Guitar pane). This ‘local’ Voice/Guitar Preset can be saved into a SongBook

Entry.

To change the type of Voice/Guitar Preset, select or dese-

lect the

Global parameter in the Main page > Mic/Guitar

pane. This parameter is saved with each SongBook Entry.

Using the voice/guitar effects |519

Voice Presets

Hall

Small Hall

Large Hall

Plate

Small Plate

Large Plate

Room

Small Room

Large Room

Delay

Slap Echo 1

Mod. Delay 1/4

Mod. Delay 1/8

St. Mod. Delay

Slap Echo 2

Delay 1/4

Delay 1/8

Stereo BPM Delay

Mod

Megaphone Voice

Flanging Voice

Phasing Voice

Double

Auto Pan Delay

Octave Down

Octave Up

Overdrive Voice

Dirty Vinyl

Modulator

Auto Reverse

Guitar Presets

Clean

Clean AC30 SC

Black Combo SC

Funky SC

VOX AC15

Clean AC30 HB

Black Combo HB

Funky HB

Acoustic

Overdrive

Overd AC30 SC

VOX AC15TB SC

UK Blues SC

Stone Combo

Overd AC30 HB

Distortion

Dist AC30TB SC

High Voltage

UK 80’s HB

UK 90’s HB

Dist AC30TB HB

Modded OD HB

Boutique HB

Big Lead

Delay

You2 Delay

Streets Name

Wall Delay

Clean BPM Delay

Ambient Tape Dly

Modulation

Combo Trem SC

Rotary

Stereo Chorus

Floyd Vibe

Orange Phaser

Classic Flanger

Classic Chorus

Pitch Shift Mod.

VOX Wah

Guitar Octaver

5th Below

Auto Reverse

Swell Delay

Pad Guitar

Bank 7

(empty)

Bass

Finger Bass

Slap Bass

Freetless Bass

Deep Bass

Modern Bass

Note:

SC = Single Coil

HB = Humbucker

520| Audio and video connections

Choosing a Voice/Guitar Preset with a SongBook Entry

When choosing a SongBook Entry, the Voice/Guitar Preset might change.

This will happen if the Global checkbox in the Main page > Mic/Guitar tab is

not selected.

Changing the global Voice/Guitar Preset

The global Voice/Guitar Preset is the general setting you use when there is

no ‘local’ Voice/Guitar Preset in a SongBook Entry. Some SongBook Entries

might override the global Voice/Guitar Preset with their memorized local

Voice/Guitar Presets.

Change the global Voice/Guitar Preset

1 Go to the Global > Mic/Guitar Setup > Setup page.

2 Touch the Select button in the Global Voice/Guitar Preset area to open the

Voice/Guitar Preset window and choose the global Voice/Guitar Preset.

Using the voice/guitar effects |521

Using the effects

Effects can add ambience, improve or transform your lead voice or guitar

sound, add a pedal or rack effect, add a guitar ampliﬁer and cabinet model.

They are always included in any Voice/Guitar Preset as separate FX blocks,

that you can turn on/off or edit.

Accessing the effect controls

▪

Go to the Main page > Mic/Guitar pane.

Turning the effects on or off

▪

Use the FX1, FX2 or FX3 effect block buttons to turn each effect on or off.

The abbreviations next to each FX on/off button will show the corresponding

type of effect.

FX Type Meaning FX Type Meaning

REV Reverb AMP Ampliﬁer

DEL Delay FILT Filter

MOD Modulation FREQ Frequency

DYN Dynamics MISC Miscellaneous

522| Audio and video connections

Choosing different effects

Next to each FX on/off button, you can see an abbreviation indicating the

corresponding type of effect.

1 Touch the type of effect to open the corresponding FX Edit page.

2 Touch the name of the effect to choose a different effect for the block in

edit.

3 Press the EXIT button to return to the main page.

Using the voice/guitar effects |523

Adjusting the effects level

Adjust the voice effects level from the control panel

With default settings, use the ASSIGNABLE KNOB 2 to adjust the effects

level for the voice. (For safety reasons, this does not work with a guitar).

Adjust the voice effects level from the display

▪ Go to the Style Play/Song Play > Voice Preset > FX page, and use the FXs

Level knob to adjust the FX send level for the voice.

Adjust the guitar effects level from the display

▪ Go to the Style Play/Song Play > Guitar Preset > FX page, and use the Preset

Level knob to adjust the overall preset level for the guitar.

524| Audio and video connections

Controlling the Voice/Guitar Processor via MIDI

You can control the Voice/Guitar Processor via MIDI, for example by con-

necting a MIDI pedalboard to the MIDI IN port of Pa700.

Choosing a MIDI channel

The controlling device must transmit on the MIDI channel selected as the

Voice/Guitar Processor’s MIDI channel.

1 Go to the Global > Midi > Midi In Control page.

2 Use the Voice/Guitar Processor > Channel parameters to select one of the

MIDI channels.

Choosing a Voice/Guitar Preset

Voice/Guitar Presets can be selected by sending a series of messages on the

MIDI channel assigned to the Guitar Processor.

▪ Control Change #00 (Bank Select MSB) message with value ‘0’.

▪ Control Change #32 (Bank Select LSB) message to choose the type of pre-

set.

Type of Preset CC32 Value

Factor y 0

User 1

Local 2

Using the voice/guitar effects |525

▪ Program Change message to choose the preset.

Preset PC Number

Preset 1…64 0…63

If your controlling device can only send Program Change messages, manu-

ally select the type of preset (Factory, User, Local).

Controlling the guitar input volume

You can control the level of the signal entering the Guitar Processor by us-

ing the Control Change #07 (Volume) message. (This does not work with the

Voice Processor).

Turning the guitar effects on/off

Each of the effects in a Guitar Preset can be turned on or off, by sending a

Control Change message on the Guitar Processor MIDI channel. (This does

not work with the Voice Processor).

FX On/Off CC Number

FX1 80

FX2 81

FX3 82

Live control of the guitar effect parameters

You can control a guitar FX parameter via MIDI, by using one of the MIDI

pedalboard pedals.

Please note that when a pedalboard has two pedals or more, its leftmost

pedal usually sends the Volume control (CC#07).

1 Be sure your pedalboard is sending data on the same MIDI channel of the

Pa700’s Guitar Processor.

2 Program one of the pedals to transmit the MIDI Control Change message

you prefer.

526| Audio and video connections

3 Access editing of the Guitar Processor effect you want to use. Assign to the

Src parameter the same MIDI CC number as the programmed pedal.

4 Try the effect with your pedalboard, and adjust the Amt parameter depend-

ing on the results.

5 Press the EXIT button to return to the FX page, then choose the Write Guitar

Preset command from the page menu to save the preset.

Editing the Voice/Guitar Presets |527

44 Editing the Voice/Guitar

Presets

You can create your custom voice/guitar effect chain, to be saved into a

Voice/Guitar Preset and assigned to a SongBook Entry.

Accessing Voice/Guitar Preset editing

Press the STYLE PLAY or SONG PLAY button in the MODE section of the

control panel to go to the corresponding mode.

2 Press the MENU button and touch the Voice/Guitar Preset button in the edit

menu to choose the Voice/Guitar Preset section.

528| Audio and video connections

Choosing, enabling and mixing the effects

While in the Style Play/Song Play > Voice/Guitar Preset > FX page, you can

choose a Voice/Guitar Preset, turn on/off the various effect blocks, choose

the effects for each block, and mix them in the Voice/Guitar Preset.

Choosing the Voice/Guitar Presets

▪

Use the Select button to choose a different Voice/Guitar Preset.

Choosing the effects

Touch the name of an effect to access editing.

2 While you are in edit, choose a different effect for the selected block.

3 Press the EXIT button to return to the previous page.

Turning the FX blocks on/off

▪

Use the On/Off button to turn the corresponding effect on/off. These switch-

es are also found in all the effect editing pages.

Mixing the effects

▪

Use the W/D control to adjust the mix. W (Wet) is the effected signal, D (Dry)

the direct one (the lead voice or guitar sound).

▪ Use the FXs Level (Mic) or Preset Level (Guitar) parameter to adjust the

general level of the effects.

With default settings, use the ASSIGNABLE KNOB 2 to adjust the effects

level for the voice.

Editing the Voice/Guitar Presets |529

Creating new presets by assembling FX

blocks

You can quickly create a new Voice/Guitar Preset by assembling various ef-

fect blocks from other presets. Start from a preset similar to the one you

want to create, and edit it.

Creating a new User Preset

1 While in the Main > Mic/Guitar pane, or the Style Play/Song Play > Voice/

Guitar Preset > FX page, touch the name of the Voice/Guitar Preset to open

the Voice/Guitar Preset Select window.

2 Browse through the items in the Select window, and choose a preset that

you would like to use as a template for your new preset.

3 While still in the Select window, choose the Copy and Paste command from

the page menu to copy the selected item.

4 Find an empty User location, and select it as the target location.

5 When done, press the EXIT button to return to the previous page.

Copying the FX blocks

Copy from the source FX block

1 Open the Voice/Guitar Preset Select window, and select the source preset

from which you want to copy an FX block.

530| Audio and video connections

2 Go to the Main page > Voice/Guitar pane, or the Style Play/Song Play >

Voice/Guitar Preset > FX page, and touch the abbreviation or the name of

the effect you want to copy.

This will open the FX Edit page.

3 While in the FX Edit page, choose the Copy FX command from the page

menu to copy the selected effect, then press the EXIT button to return to

the previous page.

Paste to the target FX block

1 Open the Voice/Guitar Preset Select window, and select the User Preset

you created.

2 Go to the Main page > Voice/Guitar pane, or the Style Play/Song Play >

Voice/Guitar Preset > FX page, and touch the abbreviation or the name of

the effect over which you want to paste the effect in memory. This will open

the FX Edit page.

Editing the Voice/Guitar Presets |531

3 While in the FX Edit page, choose the Paste FX command from the page

menu to paste the effect, then press the EXIT button to return to the previ-

ous page.

Copy more FX blocks

▪ Repeat the above procedure for all the FX blocks you wish to copy.

Writing the edited preset

▪ While in the Style Play/Song Play > Voice/Guitar Preset > FX page, choose

the Write Voice/Guitar Preset command from the page menu to save the

preset. For more details, see the next page.

Editing the effects

You can edit each effect in a preset. The edited parameters will be saved

when writing the preset.

1 While in the Main page > Voice/Guitar pane, or the Voice/Guitar Preset > FX

page, touch the name or abbreviation of an effect to access editing.

2 Edit the effect parameters.

Please ﬁnd information on the effects and their parameters in

Effects for

the Sounds, Voice, Guitar on page 535

3 When done, press the EXIT button to close the editing page.

▪ While in the Style Play/Song Play > Voice/Guitar Preset > FX page, choose

the Write Voice/Guitar Preset command to save the changes.

532| Audio and video connections

Writing a Voice/Guitar Preset

Voice/Guitar Presets can store the Voice/Guitar effects settings for instant

recall. The library is where you organize them by type.

Note: Changes can normally only be saved onto User Voice/Guitar Presets. They can-

not be saved onto Factory Voice/Guitar Presets.

Writing a Voice/Guitar Preset

Open the Write Voice/Guitar Preset dialog

▪ While in the Voice/Guitar Preset > FX page, choose the Write Voice/Guitar

Preset command from the page menu.

Voice/Guitar Preset name

Voice/Guitar

Preset location

Touch to open the

Voice/Guitar Preset

Select window

Write over the same Voice/Guitar Preset

▪ If you want to overwrite the current Voice/Guitar Preset, just touch the OK

button.

Write to a different Voice/Guitar Preset location

1 If you want to save onto a different location, touch the Select button and

open the Voice/Guitar Preset Select window. Choose a location as if you

were choosing a Voice/Guitar Preset. Blank locations are shown as a series

of dashes (‘–––’).

2 When back at the Write Voice/Guitar Preset dialog, you may change the

name of the preset. Touch the Text Edit (

) icon to open the virtual key-

board

and edit the name.

When done editing the name, conﬁrm by touching the OK button under the

virtual keyboard.

3 When back at the Write Voice/Guitar Preset dialog, conﬁrm the Write opera-

tion by touching the OK button.

Editing the Voice/Guitar Presets |533

Saving a Voice/Guitar Preset with a Keyboard Set, Style or Song

If you want to save the selected Voice/Guitar Preset together with the

Keyboard Sets, Styles or Songs, you can create a new SongBook Entry

based on them. Choose the Voice/Guitar Preset, together with the desired

Keyboard Sets, Style or Song, then keep the SONGBOOK button pressed for

about one second to create a new SongBook Entry.

534| Video Out and Audio IN

|535

PART IX:

EFFECTS FOR

THE SOUNDS,

VOICE, GUITAR

536| Effects for the Sounds, Voice, Guitar

The effects |537

45 The effects

Editing the effects

Editing the insert effects (IFX)

Go to the Style Play or Song Play > Mixer/Tuning > Insert FX page.

FX group

FX on/off

Selected FX

type

2 While in the Insert FX page, touch the name of the selected effect type, or

the ‘x’ symbol under the On/Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different

effect.

4 Edit the effect parameters, as described in the following pages.

5 When ﬁnished editing, press the EXIT button to return to the previous page.

538| Effects for the Sounds, Voice, Guitar

Editing the master effects (MFX)

Go to the Master Effects > FX A/B page containing the master effect you

want to edit.

2 While in the FX A or FX B page, touch the name of the assigned effects to

open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different

effect.

4 Edit the effect parameters, as described in the following pages.

5 When ﬁnished editing, press the EXIT button to return to the previous page.

The effects |539

Feeding the master effects back to the MFX1 input

Master effects are set in parallel, but you can set them in a serial chain by

sending the output of the MFX2 processor back to the input of the MFX1

processor. This is useful, for example, to send a delay into a reverb.

▪ While in the Master Effects > FX A/B page, use the FX2 to FX1 parameter

to set the amount of the MFX2 signal to be sent back to the MFX1 processor.

Mixing the dry (direct) signal and the effects

▪

While in the FX Edit page, use the Wet/Dry parameter to set the balance

between the Wet (effected) and Dry (direct) signal inside the corresponding

FX processor.

▪ With master effects, you can set this value directly from the W/D parameters

in the Master Effects > FX page.

We suggest not to change the insert effects’ internal mix, unless you are try-

ing to achieve a particular effect. Setting the direct signal of a modulating

effect too low could, for example, cause phasing.

We also suggest not to change the master effects’ internal mix, unless you

are ﬁne-tuning it, because this is a general setting for the effect. To set the

amount of effect applied to each Sound/channel, use the individual chan-

nels’ send level instead.

540| Effects for the Sounds, Voice, Guitar

Editing the voice/guitar effects (FX1, 2, 3)

Go to the Style Play or Song Play > Mic/Guitar pane.

FX on/off and type

2 Touch the abbreviation of the effect type (REV, DEL…) next to the FX on/off

button to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different

effect.

4 Edit the effect parameters, as described in the following pages.

5 When ﬁnished editing, press the EXIT button to return to the previous page.

The effects |541

Choosing a Dynamic Modulation Source (DMS)

You can modulate one of the effect parameters by using MIDI messages gen-

erated by the internal physical controllers or by MIDI data recorded in one of

the Style or Song tracks.

Choose the modulation track

▪ With insert effects, the modulation is always received from the Sound/part/

track they are assigned to. For example, if the insert effect is assigned to the

Upper 1 part, it will be modulated by the Upper 1 part.

▪ With master effects, you must choose a modulating track. Go to the Master

Effects > FX A/B page containing the master effect you want to edit, and

use the M.T. (Modulating Track) parameter to choose the modulating Sound/

part/track.

Choose the modulation source

▪ While in the FX Edit page (for both the insert or master effects), use the Src

(Source) parameter to choose the physical controller or the type of MIDI

data that will modulate the effect.

Pa700 uses the Dynamic Modulation Source (DMS) system, a highly ﬂexible

and powerful matrix of modulation. See below the list of available sources.

542| Effects for the Sounds, Voice, Guitar

DMS Note

Off No modulation

Gate1

Gate1+Dmpr Gate 1 + Damper

Gate2

Gate2+Dmpr Gate 2 + Damper

Note Nr Note Number

Velocity Note Velocity

Expo Velocity Exponential Note

Velocity

AfterTouch After Touch

JS X Joystick Left/Right

JS+Y: CC#01 Joystick Forward

JS-Y: CC#02 Joystick Backward

MIDI(CC#04)

MIDI(CC#12) FX MIDI Controller 1

MIDI(CC#13) FX MIDI Controller 2

Ribb.(CC#16) Ribbon Controller

MIDI(CC#18)

MIDI(CC#17)

MIDI(CC#19)

DMS Note

MIDI(CC#20)

MIDI(CC#21)

MIDI(CC#17+)

MIDI(CC#19+)

MIDI(CC#20+)

MIDI(CC#21+)

Damper: #64

Prta.SW: #65 Portamento Switch

Sostenu: #66 Sostenuto Pedal

MIDI(CC#67)

MIDI(CC#80)

MIDI(CC#81)

MIDI(CC#82)

MIDI(CC#83)

MIDI(CC#85)

MIDI(CC#86)

MIDI(CC#87)

MIDI(CC#88)

Tempo

The effects |543

Notes about the Gate sources

Gate 1+Dmpr is at maximum during note-on, and will stop when all keys are

released. The effect will remain at maximum even after the keys are re-

leased, as long as the damper (sustain) pedal is pressed.

Gate1,Gate1+Dmpr

Gate1

Note

Dmpr

Damper Pedal

Gate1+Dmpr

Time

Off

Gate2, Gate2+Dmpr (Gate2+Damper) is essentially the same as for Gate 1 or

Gate 1 + Dmpr. However when Gate 2 or Gate 2 + Dmpr are used as a dynamic

modulation source for the EG, a trigger will occur at each note-on. (In the

case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the ﬁrst note-

on.)

Gate2,Gate2+Dmpr

Gate2

Note

Dmpr

Damper Pedal

Gate2+Dmpr

Time

Off

Set the modulation intensity

▪ While in the FX Edit page (for both the insert or master effects), use the Amt

(Amount) parameter to set the intensity of modulation. This is an offset to

the normal value received from the source.

544| Effects for the Sounds, Voice, Guitar

Adapting the reverb to the room size

Pa700 includes a master offset for all the reverbs. Use it to adjust reverb

tails to the room where you are playing. Use negative values when you are in

a very reverberant room, positive values if the room is too dry.

1 Go to the Global > General Controls > Basic page.

2 Use the Reverb Offset parameter to change the reverb master.

Reverb Offset Meaning

-50 … +50 Value subtracted or added to the reverb length.

The effects |545

Effects list

The following list contains all the Factory Effects. Detailed information on each

effect’s parameter are contained in the following pages.

REV (Reverb)

O–verb

Reverb Hall

Reverb SmoothHall

Reverb Wet Plate

Reverb Dry Plate

Reverb Room

ReverbBrightRoom

Early Reﬂections

Early Reﬂections Hi Dens

Reverb Spring

Reverb - Gate

DEL (Delay)

L/C/R Delay

Stereo/CrossDelay

St. Multitap Delay

St. Mod Delay

St. Dynamic Delay

St. AutoPanningDly

Tape Echo

Sequence BPM Dly

L/C/R BPM Delay

Stereo BPM Delay

St.BPM Mtap Delay

St.BPM Mod. Delay

St.BPMAutoPanDly

Tape Echo BPM

Classic Tape Echo

Hold Delay

L/C/R Long Delay

St/Cross Long Dly

LCR BPM Long Dly

St. BPM Long Dly

MOD (Modulation)

Stereo Chorus

Black Chorus/Flanger

St.HarmonicChorus

Classic Chorus

Multitap Cho/Delay

Stereo Flanger

St. Random Flanger

St. Env. Flanger

Classic Flanger

Stereo Phaser

St. Random Phaser

St. Env. Phaser

Orange Phaser

Small Phaser

Phaser - Cho/Flng

St. Phaser + Trml

Stereo Tremolo

St. Env. Tremolo

Classic Tremolo

Ensemble

Polysix Ensemble

Stereo Vibrato

U-Vibe

St. Auto Fade Mod

St. Biphase Mod

Stereo Auto Pan

St. Ring Modulator

Organ Vib/Chorus

Rotary Speaker

Rotary SpeakerOD

DYN (Dynamics)

Stereo Compressor

Dyn. Compressor

Stereo Limiter

Multiband Limiter

St.Mltband Limiter

St.MasteringLimtr

Stereo Gate

AMP (Ampliﬁer)

GuitarAmp + P4EQ

GuitarAmp + Cabinet

Amp Clean Combo

Amp Clean Combo + Cab

Amp California

Amp California + Cab

Amp Tweed

Amp Tweed + Cab

Amp Modded OD

Amp Modded OD + Cab

St. Guitar Cabinet

Gtr. Cabinet + NR

OD/HG - Amp Sim

OD/Hi.Gain Wah

OD/HyperGain Wah

Comp - Amp Sim

Comp - OD/HiGain

Wah - Amp Sim

Decimator - Amp

AmpSim - Tremolo

BassTubeAmp+Cab

Bass Amp Model

Bass Amp+Cabinet

St. Bass Cabinet

Tube PreAmp Model

St. Tube PreAmp

MicModel+PreAmp

St. Mic + PreAmp

FILT (Filter)

St.Parametric4EQ

St. Graphic 7EQ

P4EQ - Exciter

P4EQ - Wah

St. Wah/Auto Wah

St. Vintage Wah

VOX Wah

546| Effects for the Sounds, Voice, Guitar

St.Exciter/Enhncr

Stereo Isolator

St. Random Filter

St. MultiModeFilter

Talking Modulator

2Voice Resonator

Vox Treble Booster

Vocoder

FREQ (Frequency)

St. Sub Oscillator

Grain Shifter

Detune

Pitch Shifter

Pitch Shifter BPM

Pitch Shift Mod

St. Pitch Shifter

St. PitchShift BPM

MISC (Miscellaneous)

Stereo Decimator

St. Analog Record

Doppler

Scratch

Auto Reverse

P4EQ - Cho/Flng

P4EQ - Phaser

P4EQ - Mt. Delay

Comp - Wah

Comp - P4EQ

Comp - Cho/Flng

Comp - Phaser

Comp - Mt. Delay

Limiter - P4EQ

Limiter-Cho/Flng

Limiter - Phaser

Limiter - Mt.Delay

Exciter - Comp

Exciter - Limiter

Exciter-Cho/Flng

Exciter - Phaser

Exciter - Mt.Delay

OD/HG - Cho/Flng

OD/HG - Phaser

OD/HG - Mt.Delay

Decimator - Comp

Cho/Flng - Mt.Dly

Multitap Cho/Delay

PianoBody/Damper

Note:

1: MFX A/B1 only

2: MFX A2, B2 only

3: MFX A2, B2, IFX only

Effect parameters |547

46 Effect parameters

REV (Reverbs)

O–verb

The O-verb features a high-quality, diffusion-based reverb core. In addition

to setting the size of the room, you can model its shape and materials by

adjusting the diffusion characteristics of both the initial reﬂections and the

main reverberant wash, and via separate controls for the high, mid, and low

decay times. The O-verb also includes randomization, for richer and smooth-

er reverb timbres.

Left

Right

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

EQ Trim

Pre Delay Input Diffuser

Pre EQ

Reverb

LFO: Sine

a Trim 0…100 Sets the EQ input level.

b Band1 Enable On, Off There are two fully parametric bands of peaking

EQ, for adjusting the reverb timbre. These af-

fect only the reverb, and not the dry signal. Both

bands have identical parameters.

Band1 Fc [Hz] 200…20.00k

Band1 Q 0.5…10.0

Band1 Gain [dB] -18.0…+18.0

c Band2 Enable On, Off

Band2 Fc [Hz] 200…20.00k

Band2 Q 0.5…10.0

Band2 Gain [dB] -18.0…+18.0

548| Effects for the Sounds, Voice, Guitar

d Rolloff 0…100 This controls a lowpass ﬁlter on the output of the

effect.

e Pre Delay [msec] 0…1360 Sets the delay time from the dry sound

Diffusion 1 0…100 Diffusion 1 and 2 soften the sound before it en-

ters the reverb core, shaping the timbre of the

initial reﬂections. Setting both diffusers to

around 50 generally produces sufﬁcient diffu-

sion for smooth reverbs; extremely high levels

may cause ringing.

Some source material, such as vocals, may also

beneﬁt from lower settings of diffusion, allowing

for more discrete echoes.

Diffusion1 and Diffusion2 differ in how the reﬂec-

tions are spaced, and the balance between these

two parameters will vary the character of the

reverb.

Diffusion 2 0…100

f Size 5…100 Sets the size of the space.

Diffusion 0…100 This sets the density of reﬂections within the

main reverb. Low settings will produce more

discrete echoes, and high settings will produce

a smoother reverb. Extremely high settings may

cause ringing.

Reverb Decay 0…100 This sets the main reverberation time. The

Damping and Bass Gain parameters, below, let

you adjust the decay times separately for the

high and low frequencies, respectively.

g Damping 0…100 This sets the cutoff of the high-frequency damp-

ing ﬁlter. If Damping is set to 100, the high fre-

quencies will decay at the same rate as the low

frequencies; at 0, the high frequencies will decay

almost instantly.

In real acoustic spaces, high frequencies gener-

ally delay somewhat faster than low frequencies,

so moderate amounts of damping will create a

more realistic sound.

Bass Crossover [Hz] 20…24.00k Sets the crossover frequency for the Bass Gain.

Bass Gain [dB] -12.0…+6.0 This lets you tailor the decay time of the reverb’s

low frequencies, using the frequency set by the

Bass Xover. Negative settings make the low fre-

quencies decay faster than the main reverb; posi-

tive settings make them decay more slowly.

h Modulation Rate [Hz] 0.10…5.00 Speed of modulation.

Modulation Depth 0…100 Depth of modulation.

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |549

e: Diffusion

Reverb Size, Time, and Diffusion:

Size: smal

arge

Diffusion: smal

arge

Size / Reverb Time / Diffusion

Reverb Time: smal

arge

Reverb Hall

This hall-type reverb simulates the reverberation of mid-size concert halls

or ensemble halls.

Reverb SmoothHall

This hall-type reverb simulates the reverberation of larger halls and stadi-

ums, and creates a smooth release.

Reverb Wet Plate

This plate reverb simulates warm (dense) reverberation.

550| Effects for the Sounds, Voice, Guitar

Reverb Dry Plate

This plate reverb simulates dry (light) reverberation.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

LEQ HEQ

Pre Delay

Reverb

Pre Delay Thru

a Reverb Time [sec] 0.1…10.0 Sets the reverberation time

High Damp [%] 0…100 Sets the damping amount in the high range

b Pre Delay [msec] 0…200 Sets the delay time from the dry sound

Pre Delay Thru [%] 0…100 Sets the mix ratio of non-delay sound

c EQ Trim 0…100 Sets the EQ input level

d Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low) of

the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high) of

the high-range equalizer

e Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Sets the gain of High EQ

f Wet/Dry Dry,

1:99…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

b: Pre Delay [msec]

b: Pre Delay Thru [%]

The “Pre Delay” sets the delay time to the reverb input, allowing you to con-

trol spaciousness.

Effect parameters |551

Using the “Pre Delay Thru” parameter, you can mix the dry sound without

delay, emphasizing the attack of the sound.

Time

Reverb - Hall / Plate Type

Level

Louder

Dry

Reverb

Pre Delay Thru

Pre Delay

Reverb Time

Reverb Room

This room-type reverb emphasizes the early reﬂections that make the sound

tighter. Changing the balance between the early reﬂections and reverb

sound allows you to simulate nuances, such as the type of walls of a room.

Reverb BrightRoom

This room-type reverb emphasizes the early reﬂections that make the sound

brighter.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

LEQ HEQ

Pre Delay

Reverb

Reverb Level

ER Level

Pre Delay Thru

ERs

a Reverb Time [sec] 0.1…3.0 Sets the reverberation time

High Damp [%] 0…100 Sets the damping amount in the high range

b Pre Delay [msec] 0…200 Sets the delay time from the dry sound

Pre Delay Thru [%] 0…100 Sets the mix ratio of non-delay sound

c ER Level 0…100 Sets the level of early reﬂections

d Reverb Level 0…100 Sets the reverberation level

552| Effects for the Sounds, Voice, Guitar

e EQ Trim 0…100 Sets the EQ input level

f Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low) of

the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

g Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Sets the gain of High EQ

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

c: ER Level

d: Reverb Level

These parameters set the early reﬂection level and reverb level.

Changing these parameter values allows you to simulate the type of walls

in the room. That is, a larger “ER Level” simulates a hard wall, and a larger

“Reverb Level” simulates a soft wall.

Reverb - Room Type

Time

Level

Louder

(Early Reflections)

Dry

Reverb

Pre Delay Thru

Pre Delay

Reverb Time

Effect parameters |553

Early Reﬂections

This effect is only the early reﬂection part of a reverberation sound, and

adds presence to the sound. You can select one of the four decay curves.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

Pre Delay

Early Reflections

LEQ HEQ

a Type Sharp, Loose,

Modulated,

Reverse

Selects the decay curve for the early reﬂection

b ER Time [msec] 10…800 Sets the time length of early reﬂection

c Pre Delay [msec] 0…200 Sets the time taken from the original sound to

the ﬁrst early reﬂection

d EQ Trim 0…100 Sets the input level of EQ applied to the effect

sound

e Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low)

of the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-

high) of the high-range equalizer

f Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Gain of the High EQ

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

554| Effects for the Sounds, Voice, Guitar

a: Type

This parameter selects the decay curve for the early reﬂection.

Sharp

Loose

Modulated

Early Reflections - Type

Reverse

Dry

Pre Delay

ER Time

Effect parameters |555

Early Reﬂections Hi Dens

This early reﬂection effect has more precise early reﬂections with twice the

maximum length of a normal-size effect (Early Reﬂections). You can create a

very smooth and dense sound.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

Pre Delay

Early Reflections

LEQ HEQ

a Type Sharp, Loose,

Modulated,

Reverse

Selects the decay curve for the early reﬂection

b ER Time [msec] 10…1600 Sets the time length of early reﬂection

c Pre Delay [msec] 0…200 Sets the time taken from the original sound to

the ﬁrst early reﬂection

d EQ Trim 0…100 Sets the input level of EQ applied to the effect

sound

e Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low)

of the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

f Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Sets the gain of High EQ

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

556| Effects for the Sounds, Voice, Guitar

Reverb Spring

The spring-type reverbs have a different sonic character than hall or room-

type reverbs. They model the spring reverb systems built into some amps.

Reverb – Gate

This effect combines a mono reverb and a gate.

Left

Right

FX Amt

Reverb

Balance

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

LEQ

HEQ

EQ Trim

Reverb

Pre Delay

Envelope - Control

D-mod

Input

Envelope Select

Gate

Input Reverb Mix

Reverb

Gate

Gate+Dmpr

REVERB

a [R]Reverb Time [sec] 0.1…10.0 Sets the reverberation time

High Damp [%] 0…100 Sets the damping amount in the high range

b [R]Pre Delay [msec] 0…200 Sets the delay time of the reverb sound and

gate control signal

c [R]EQ Trim 0…100 Sets the EQ input level

Reverb Balance 0…100 Sets the reverb effect balance

d [R]PreLEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low)

of the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

e [R]PreLEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Sets the gain of High EQ

GATE

f [G]Envelope Select D-mod, Input Switches between modulation source control

and input signal control

Src Off…Tempo Selects the modulation source that controls

the gate when Envelope Select is set to D-mod

Effect parameters |557

g [G]Input Reverb Mix 0…100 Sets the balance between the dry and reverb

sounds of the gate control signal

Threshold 0…100 Sets the gate threshold level

h [G]Polarity +, – Switches between non-invert and invert of the

gate on/off state

i [G]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

f: [G]Envelope Select

f: Src

g: [G]Input Reverb Mix

g: Threshold

The “[G]Envelope Select” parameter enables you to select whether turning

the gate on and off is triggered by the input signal level or controlled directly

by the modulation source. You can select from Off to Tempo for the Src pa-

rameter to specify the modulation source.

When “[G]Envelope Select” is set to Input, the gate is controlled by the level

of signals that are the combination of the dry sound and the reverb sound.

When the signal level exceeds the threshold, the gate opens and the reverb

sound is output.

Normally, set “[G]Input Reverb Mix” to Dry (the gate is controlled only by the

dry sound). If you wish to extend the gate time, set the “[G]Input Reverb Mix”

value higher and adjust the “Threshold” value.

558| Effects for the Sounds, Voice, Guitar

DEL (Delay)

L/C/R Delay

This multitap delay outputs three Tap signals to the left, right, and center

respectively. You can also adjust the left and right spread of the delay sound.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp

Low Damp

L Delay

Input Level D-mod

Level

a L Delay Time

[msec]

0…2730 Sets the delay time of TapL

Level 0…50 Sets the output level of TapL

b C Delay Time

[msec]

0…2730 Sets the delay time of TapC

Level 0…50 Sets the output level of TapC

c R Delay Time

[msec]

0…2730 Sets the delay time of TapR

Level 0…50 Sets the output level of TapR

d Feedback

(C Delay)

–100…+100 Sets the feedback amount of TapC

Src Off…Tempo Selects the modulation source of the TapC feedback

amount

Amt –100…+100 Sets the modulation amount of the TapC feedback

amount

e High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

f Input Level

Dmod [%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

g Spread 0…50 Sets the width of the stereo image of the effect sound

Effect parameters |559

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

e: High Damp [%]

e: Low Damp [%]

These parameters set the damping amount of high range and low range. The

tone of the delayed sound becomes darker and lighter as it feeds back.

g: Spread

This parameter sets the pan width of the effect sound. The stereo image is

widest with a value of 50, and the effect sound of both channels is output

from the center with a value of 0.

Stereo/CrossDelay

This is a stereo delay, and can by used as a cross-feedback delay effect in

which the delay sounds cross over between the left and right by changing

the feedback routing.

Delay

Stereo/Cross

Left

Right

Feedback

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp Low Damp

High Damp

Low Damp

Spread

Stereo/Cross

a Stereo/Cross Stereo, Cross Switches between stereo delay and cross-

feedback delay

b L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel

c R Delay Time [msec] 0.0…1360.0 Sets the delay time for the right channel

560| Effects for the Sounds, Voice, Guitar

d L Feedback –100…+100 Sets the feedback amount for the left chan-

nel

Src Off…Tempo Selects the modulation source of feedback

amount

Amt L –100…+100 Sets the modulation amount of the left chan-

nel feedback

e R Feedback –100…+100 Sets the feedback amount for the right chan-

nel

Amt R –100…+100 Sets the modulation amount of the right

channel feedback

f High Damp [%] 0…100 Sets the damping amount in the high range

g Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input

level

Src Off…Tempo Selects the modulation source for the input

level

i Spread –50…+50 Sets the width of the stereo image of the

effect sound

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |561

St. Multitap Delay (Stereo Multitap Delay)

The left and right Multitap Delays have two taps respectively. Changing the

routing of feedback and tap output allows you to create various patterns of

complex effect sounds.

Left

Right

Feedback

Spread

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp

Low Damp

High Damp

Low Damp

Delay

Feedback

Tap1 Level

Mode

(1)

(2)

(1)

(2)

Tap1=(1)

Tap2=(2)

a Mode Normal, Cross

Feedback, Cross

Pan1, Cross

Pan2

Switches the left and right delay routing

b Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

c Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

d Tap1 Level 0…100 Sets the Tap1 output level

e Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount

Src Off…Tempo Selects the modulation source of the Tap2 feed-

back amount

Amt –100…+100 Sets the modulation amount of the Tap2 feed-

back amount

f High Damp [%] 0…100 Sets the damping amount in the high range

g Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level Dmod

[%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

i Spread –100…+100 Sets the width of the stereo image of the effect

sound

Src Off…Tempo Selects the modulation source of the effect

sound’s stereo image width

Amt –100…+100 Sets the modulation amount of the effect

sound’s stereo image width

562| Effects for the Sounds, Voice, Guitar

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

a: Mode

You can change how the left and right delay signals are panned by modify-

ing the routing of the left and right delay as shown in the ﬁgure above. You

need to input different sounds to each channel in order for this parameter

to be effective.

d: Tap1 Level

This parameter sets the output level of Tap1. Setting a different level from

Tap2 will add a unique touch to a monotonous delay and feedback.

Effect parameters |563

St. Mod Delay (Stereo Modulation Delay)

This stereo delay uses an LFO to sweep the delay time. The pitch also varies,

creating a delay sound which swells and shimmers. You can also control the

delay time using a modulation source.

Left

Right

Feedback

LFO Phase

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine

Modulation Mode

D-mod

LFO

-mod

Delay

L/R: +/+ +/–

LFO Shape

Response

LFO Sync

a Modulation Mode LFO, D-mod Switches between LFO modulation control and

modulation source control

b D-mod Modulation L/R:+/+,

L/R:+/–

Reversed L/R control by modulation source

Src Off…Tempo Selects the modulation source that controls delay

time

Response 0…30 Sets the rate of response to the modulation

source

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

d LFO Sync Off, On Switches LFO reset off/on

Src Off…Tempo Selects the modulation source that resets the

LFO

e LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

564| Effects for the Sounds, Voice, Guitar

g L LFO Phase [deg] –180…+180 Sets the phase obtained when the left LFO is reset

L Depth 0…200 Sets the depth of the left LFO modulation

h R LFO Phase [deg] –180…+180 Sets the phase obtained when the right LFO is

reset

R Depth 0…200 Sets the depth of the right LFO modulation

i L Delay Time [msec] 0.0…1000.0 Sets the delay time for the left channel

L Feedback –100…+100 Sets the feedback amount of left delay

j R Delay Time [msec] 0.0…1000.0 Sets the delay time for the right channel

R Feedback –100…+100 Sets the feedback amount of right delay

k Wet/Dry -Wet, -1:99…

Dry…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

b: D-mod Modulation

When the modulation source is used for control, this parameter reverses the

left and right modulation direction.

d: LFO Sync

d: Src

g: L LFO Phase [deg]

h: R LFO Phase [deg]

If “LFO Sync” is On, the LFO will be reset by the modulation source that is

received.

The “Src” parameter sets the modulation source that resets the LFO. For ex-

ample, you can assign Gate as a modulation source so that the sweep always

starts from the speciﬁed point.

“L LFO Phase” and “R LFO Phase” set the phase obtained when the left and

right LFOs are reset. In this way, you can create changes in pitch sweep for

the left and right channels individually.

The effect is off when a value of the modulation source speciﬁed in the

“Src” parameter is 63 or smaller, and the effect is on when the value is 64

or higher. The LFO is triggered and reset to the “L LFO Phase” and “R LFO

Phase” settings when the value changes from 63 or smaller to 64 or higher.

Effect parameters |565

St. Dynamic Delay (Stereo Dynamic Delay)

This stereo delay controls the level of delay according to the input signal

level. You can use this as a ducking delay that applies delay to the sound only

when you play keys at a high velocity or only when the volume level is low.

Delay

Left

Right

Feedback

Spread

FX Amt

Stereo In - Stereo Out

High Damp Low Damp

High Damp

Low Damp

Threshold

Delay

Out

Control Target

Attack, Release

Envelope

a Control Target None, Out, FB Selects from no control, output, and feedback

Polarity +, – Reverses level control

b Threshold 0…100 Sets the level to which the effect is applied

Offset 0…100 Sets the offset of level control

c Attack 1…100 Sets the attack time of level control

d Release 1…100 Sets the release time of level control

e L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel

f R Delay Time [msec] 0.0…1360.0 Sets the delay time for the right channel

g Feedback –100…+100 Sets the feedback amount

h High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

i Spread –100…+100 Sets the width of the stereo image of the effect

sound

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

566| Effects for the Sounds, Voice, Guitar

a: Control Target

This parameter selects no level control, delay output control (effect bal-

ance), or feedback amount control.

a: Polarity

b: Threshold

b: Offset

c: Attack

d: Release

The “Offset” parameter speciﬁes the value for the “Control Target” pa-

rameter (that is set to None), expressed as the ratio relative to the param-

eter value (the “Wet/Dry” value with “Control Target”=Output level, or the

“Feedback” value with “Control Target”=Feedback).

When “Polarity” is positive, the “Control Target” value is obtained by multi-

plying the parameter value by the “Offset” value (if the input level is below

the threshold), or equals the parameter value if the input level exceeds the

threshold.

When “Polarity” is negative, Control Target value equals the parameter val-

ue if the input level is below the threshold, or is obtained by multiplying the

parameter value by the “Offset” value if the level exceeds the threshold.

The “Attack” and “Release” parameters specify attack time and release time

of delay level control.

Dynamic Delay

Threshold

Dry

Envelope

Wet

Target=Output Level

Polarity= (–)

Wet

Target=Output Level

Polarity= (+)

Delay Time

Time

(Ducking Delay)

Release

Attack

Level

Effect parameters |567

St. AutoPanningDly (Stereo Auto Panning Delay)

This stereo delay effect pans the delay sound left and right using the LFO.

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

LFO: Tri / Sin

Depth

Delay

High Damp Low Damp

High Damp

Low Damp

Feedback

a L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel

L Feedback –100…+100 Sets the feedback amount for the left channel

b R Delay Time [msec] 0.0…1360.0 Sets the delay time for the right channel

R Feedback –100…+100 Sets the feedback amount for the right channel

c High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

d LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

e Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

f Panning Freq [Hz] 0.02…20.00 Sets the panning speed

g MIDI Sync Off, On Switches between using the frequency of the

panning speed and using the tempo and notes

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes to specify the delay

time for the panning speed

Times x1…x32 Sets the number of notes to specify the delay

time for the panning speed

h Panning Depth 0…100 Sets the panning width

Src Off…Tempo Selects the modulation source for the panning

width

Amt –100…+100 Set the modulation amount of the panning width

568| Effects for the Sounds, Voice, Guitar

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Tape Echo

This effect simulates a tape echo unit with three playback heads. The distor-

tion and tonal change typical of magnetic tape are also reproduced.

Wah Flatter

-mod

Tap2/3

Position

Tape

Saturation

Left

Right

FX Amt

Trim

PanLevel

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Feedback

Feedback Amt

High / Low DampPre Tone

Delay

(1)

(2)

(3)

Delay Time

a Delay (Tap1) [msec] 0…2700 Sets the delay time (tap1)

Src Off…Tempo Selects the modulation source of the delay time

Amt –2700…

+2700

Sets the modulation amount of delay time

b Tap2 Position [%] 0…100 Sets the position of Tap 2 relative to the Tap 1 de-

lay time the depth of pitch variation

c Tap3 Position [%] 0…100 Sets the position of Tap 3 relative to the Tap 1 de-

lay time the depth of pitch variation

d Tap1 Level 0…100 Sets the Tap1 output level

Pan L, 1…99, R Sets the stereo image of tap1

FB Amt –100…+100 Sets the Tap1 feedback amount

e Tap2 Level 0…100 Sets the Tap2 output level

Pan L, 1…99, R Sets the stereo image of tap2

FB Amt –100…+100 Sets the Tap2 feedback amount

Effect parameters |569

f Tap3 Level 0…100 Sets the Tap3 output level

Pan L, 1…99, R Sets the stereo image of tap3

FB Amt –100…+100 Sets the Tap3 feedback amount

g Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3

Src Off…Tempo Selects the modulation source of feedback

amount

Amt –100…+100 Sets the feedback amount

h High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

i Saturation 0…100 Sets the distortion amount

j Input Trim 0…100 Sets the input gain

Pre Tone 0…100 Sets the tone of the input

k Wow Flutter [Hz] 0.02…1.00 Sets the frequency at which pitch variation will

occur

Wow Flutter depth 0…100 Sets the depth of pitch variation

l Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Delay (Tap1) [msec]

a: Src

a: Amt

b: Tap2 Position [%]

b: Tap3 Position [%]

The delay time for Tap 2 and 3 is speciﬁed as a proportion (%) relative to

“Delay (Tap1).” Even if you use dynamic modulation to control “Delay (Tap1),”

Tap 2 and 3 will change at the same proportion.

d: FB Amt

e: FB Amt

f: FB Amt

g: Feedback

The feedback output from Tap 1, 2, and 3 is mixed according to the “FB Amt,”

and then the ﬁnal amount of feedback is speciﬁed by “Feedback.”

570| Effects for the Sounds, Voice, Guitar

Sequence BPM Dly (Sequence BPM Delay)

This four-tap delay enables you to select a tempo and rhythm pattern to set

up each tap.

Delay

Left

Right

Feedback

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High DampLow Damp

Input Level D-mod

Tempo

BPM

Rythm Pattern

Pan

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

b Rhythm Pattern

x… eee3

Selects a rhythm pattern

c Tap1 Pan L, 1…99, R Sets the panning of Tap1

Tap2 Pan L, 1…99, R Sets the panning of Tap2

Tap3 Pan L, 1…99, R Sets the panning of Tap3

Tap4 Pan L, 1…99, R Sets the panning of Tap4

d Feedback –100…+100 Sets the feedback amount

Src Off…Tempo Selects the modulation source of feedback amount

Amt –100…+100 Sets the feedback amount

e High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

f Input Level

Dmod [%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |571

a: BPM

b: Rhythm Pattern

With the tempo speciﬁed by the “BPM” parameter (or the MIDI Clock tempo

if “BPM” is set to MIDI), the length of one beat equals the feedback delay

time, and the interval between taps becomes equal. Selecting a rhythm pat-

tern will automatically turn the tap outputs on and off. When “BPM” is set to

MIDI, the lower limit of the “BPM” is 44.

L/C/R BPM Delay

The L/C/R delay enables you to match the delay time with the song tempo.

You can also synchronize the delay time with the arpeggiator or sequencer.

If you program the tempo before performance, you can achieve a delay ef-

fect that synchronizes with the song in real-time. Delay time is set by notes.

C Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp

Low Damp

L Delay

Input Level D-mod

Level

Tempo

BPM

Base Note x Times

R Delay

572| Effects for the Sounds, Voice, Guitar

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the tempo

manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time exceeds

the upper limit

b L Delay Base

Note

…

Selects the type of notes to specify the delay time for

TapL

Times x1…x32 Sets the number of notes to specify the delay time for

TapL

Level 0…50 Sets the output level of TapL

c C Delay Base

Note

…

elects the type of notes to specify the delay time for

TapC

Times x1…x32 Sets the number of notes to specify the delay time for

TapC

Level 0…50 Sets the output level of TapC

d R Delay Base

Note

…

Selects the type of notes to specify the delay time for

TapR

Times x1…x32 Sets the number of notes to specify the delay time for

TapR

Level 0…50 Sets the output level of TapR

e Feedback

(C Delay)

–100…+100 Sets the feedback amount of TapC

Src Off…Tempo Selects the modulation source for the TapC feedback

Amt –100…+100 Sets the modulation amount of the TapC feedback

f High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

g Input Level

Dmod [%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

h Spread 0…50 Sets the width of the stereo image of the effect sound

i Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |573

a: Time Over?

You can set the delay time up to 5,460msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

Stereo BPM Delay

This stereo delay enables you to set the delay time to match the song tempo.

Left

Right

Feedback

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp Low Damp

High Damp

Low Damp

Tempo

BPM

Base Note x Times

Adjust [%]

Delay

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the tempo

manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel delay time

exceeds the upper limit

R ---, OVER! Display the error message if the right channel delay time

exceeds the upper limit

b L Delay Base

Note

…

Selects the type of notes to specify the left channel delay

time

Times x1…x32 Sets the number of notes to specify the left channel delay

time

Adjust [%] –2.50…

+2.50

Fine-adjust the left channel delay time

c R Delay Base

Note

…

Selects the type of notes to specify the right channel delay

time

Times x1…x32 Sets the number of notes to specify the right channel de-

lay time

Adjust [%] –2.50…

+2.50

Fine-adjust the right channel delay time

574 | Effects for the Sounds, Voice, Guitar

d L Feedback –100…+100 Sets the feedback amount for the left channel

Src Off…Tempo Selects the modulation source of feedback amount

Amt L –100…+100 Sets the modulation amount of the left channel feedback

e R Feedback –100…+100 Sets the feedback amount for the right channel

Amt R –100…+100 Sets the modulation amount of the right channel feedback

f High Damp [%] 0…100 Sets the damping amount in the high range

g Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level

Dmod [%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

i Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

a: Time Over? L, R

You can set the delay time up to 2,730msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

Effect parameters |575

St.BPM Mtap Delay (Stereo BPM Multi tap Delay)

This four-tap delay enables you to select a tempo and rhythm pattern to set

up each tap.

Tempo

BPM

Base Note x Times

Left

Right

Feedback

Spread

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp

Low Damp

High Damp

Low Damp

Delay

Feedback

Tap1 Level

Mode

(1)

(2)

(1)

(2)

Tap1=(1)

Tap2=(2)

a Mode Normal, Cross

Feedback, Cross

Pan1, Cross

Pan2

Switches the left and right delay routing

b BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Time Over? 1 ---, OVER! Displays an error message when the delay time

for Tap1 exceeds the upper limit

2 ---, OVER! Displays an error message when the delay time

for Tap2 exceeds the upper limit

c Tap 1 Base Note

…

Selects the type of notes to specify the delay time

for Tap1

Times x1…x32 Sets the number of notes to specify the delay

time for Tap1

d Tap 2 Base Note

…

Selects the type of notes to specify the delay time

for Tap2

Times x1…x32 Sets the number of notes to specify the delay

time for Tap2

e Tap1 Level 0…100 Sets the Tap1 output level

f Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount

Src Off…Tempo Selects the modulation source of the Tap2 feed-

back amount

Amt –100…+100 Sets the modulation amount of the Tap2 feedback

amount

576| Effects for the Sounds, Voice, Guitar

g High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level Dmod

[%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

i Spread –100…+100 Sets the width of the stereo image of the effect

sound

Src Off…Tempo Selects the modulation source of the effect

sound’s stereo image width

Amt –100…+100 Sets the modulation amount of the effect sound’s

stereo image width

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

St.BPM Mod. Delay (Stereo BPM Modulation Delay)

This is a stereo modulation delay that lets you synchronize the delay time to

the tempo of the song.

Tempo

BPM

Base Note x Times

Left

Right

Feedback

LFO Phase

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine

Modulation Mode

D-mod

LFO

-mod

Delay

L/R: +/+ +/–

LFO Shape

Response

LFO Sync

Effect parameters |577

a Modulation Mode LFO, D-mod Switches between LFO modulation control and

modulation source control

b D-mod Modulation L/R:+/+,

L/R:+/–

Reversed L/R control by modulation source

Src Off…Tempo Selects the modulation source that controls delay

time

Response 0…30 Sets the rate of response to the modulation

source

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

d LFO Sync Off, On Switches LFO reset off/on

Src Off…Tempo Selects the modulation source that resets the

LFO

e LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

g L LFO Phase [deg] –180…+180 Sets the phase obtained when the left LFO is reset

Depth 0…200 Sets the depth of the left LFO modulation

h R LFO Phase [deg] –180…+180 Sets the phase obtained when the right LFO is

reset

Depth 0…200 Sets the depth of the right LFO modulation

i BPM(Delay) MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel de-

lay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel de-

lay time exceeds the upper limit

j L Delay Base Note

…

Selects the type of notes to specify the left chan-

nel delay time

Times x1…x32 Sets the number of notes to specify the left chan-

nel delay time

Feedback –100…+100 Sets the feedback amount of left delay

578| Effects for the Sounds, Voice, Guitar

k R Delay Base Note

…

Selects the type of notes to specify the right

channel delay time

Times x1…x32 Sets the number of notes to specify the right

channel delay time

Feedback –100…+100 Sets the feedback amount of right delay

l Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

i: Time Over? L, R

You can set the delay time up to 2,550msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

Effect parameters |579

St.BPMAutoPanDly (Stereo BPM Auto Panning Delay)

This stereo auto panning delay enables you to set the delay time to match

the song tempo.

Tempo

BPM

Base Note x Times

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

LFO: Tri / Sin

Depth

Delay

High Damp Low Damp

High Damp

Low Damp

Feedback

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel de-

lay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel de-

lay time exceeds the upper limit

b L Delay Base Note

…

Selects the type of notes to specify the left chan-

nel delay time

Times x1…x32 Sets the number of notes to specify the left chan-

nel delay time

Feedback –100…+100 Sets the feedback amount for the left channel

c R Delay Base Note

…

Selects the type of notes to specify the right

channel delay time

Times x1…x32 Sets the number of notes to specify the right

channel delay time

Feedback –100…+100 Sets the feedback amount for the right channel

d High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

e LFO Waveform Triangle, Sine Selects the LFO Waveform

Shape –100…+100 Changes the curvature of the LFO Waveform

LFO Phase –180…+180 Sets the LFO phase difference between the left

and right

f Panning Freq [Hz] 0.02…20.00 Sets the panning speed

580| Effects for the Sounds, Voice, Guitar

g MIDI Sync Off, On When this is on, the pan LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes to specify the delay time

for the panning speed

Times x1…x32 Sets the number of notes to specify the delay

time for the panning speed

h Panning Depth 0…100 Sets the panning width

Src Off…Tempo Selects the modulation source for the panning

width

Amt –100…+100 Set the modulation amount of the panning width

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

Tape Echo BPM

This is a tape echo that lets you synchronize the delay time to the tempo of

the song.

Wah Flatter

-mod

Tap2/3 Position

Tape

Saturation

Left

Right

FX Amt

Trim

PanLevel

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Feedback

Feedback Amt

High / Low DampPre Tone

Delay

(1)

(2)

(3)

Delay Time

PM

ase ote  Times

Tempo

a BPM (Delay) MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Tap1 Dmod Src Off…Tempo Selects the modulation source of the delay time

Effect parameters |581

b Tap1 Delay Note

…

Selects the type of notes to specify the delay time

(tap1)

Times x1…x32 Sets the number of notes to specify the delay time

(tap1)

Time Over? ---, OVER! Displays an error message when the delay time ex-

ceeds the upper limit

c Tap1 Dmod Note

…

Selects the note value used to specify the delay time

when the modulation is at maximum

Times x1…x32 Speciﬁes the number of notes used to specify the de-

lay time when the modulation is at maximum

d Tap2 Position [%] 0…100 Sets the position of Tap 2 relative to the Tap 1 delay

time the depth of pitch variation

e Tap3 Position [%] 0…100 Sets the position of Tap 3 relative to the Tap 1 delay

time the depth of pitch variation

f Tap1 Level 0…100 Sets the Tap1 output level

Pan L, 1…99, R Sets the stereo image of tap1

FB Amt –100…+100 Sets the Tap1 feedback amount

g Tap2 Level 0…100 Sets the Tap2 output level

Pan L, 1…99, R Sets the stereo image of tap2

FB Amt –100…+100 Sets the Tap2 feedback amount

h Tap3 Level 0…100 Sets the Tap3 output level

Pan L, 1…99, R Sets the stereo image of tap3

FB Amt –100…+100 Sets the Tap3 feedback amount

i Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3

Src Off…Tempo Selects the modulation source of feedback amount

Amt –100…+100 Sets the depth by which feedback amount will be

modulated

j High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

k Saturation 0…100 Sets the distortion amount

l Input Trim 0…100 Sets the input gain

Pre Tone 0…100 Sets the tone of the input

m Wow Flutter [Hz] 0.02…1.00 Sets the frequency at which pitch variation will occur

Wow Flutter

depth

0…100 Sets the depth of pitch variation

582| Effects for the Sounds, Voice, Guitar

n Wet/Dry Dry,

1:99…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: Tap1 Dmod Src

b: Tap1 Delay Note

b: Times

c: Tap1 Dmod Note

c: Times

If “Tap1 Dmod Src” is Off or the selected modulation is at 0, the delay time

will be the length speciﬁed by “Tap1 Delay Note” and “Times.”

If “Tap1 Dmod Src” is other than Off, the delay time will change so that it

will be as speciﬁed by “Tap1 Dmod Note” and “Times” when the maximum

modulation is reached.

b: Time Over?

You can set the delay time up to 5,400msec. If the delay time exceeds

this limit, the error message “OVER!” appears in the display. Set the de

lay time parameters so that this message will not appear. “Time Over?”

is only a display parameter.

Classic Tape Echo

This models a famous analog tape echo unit. On the original device,

“echo” was created by a playback head, and the “delay time” was speci-

ﬁed by adjusting the speed of the motor. The warmth and subtlety of

Effect parameters |583

the echoes it generated made this “lo-ﬁ” unit a favorite with many pro

musicians.

Left

Right

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Delay

Feedback

Low Damp

Tone

Input Level

D-mod

a Time 0…2700 This parameter sets the delay time.

Src Off…Tempo Selects the modulation source of Time

Amt –100…+100 Sets the depth by which Time will be modulated

b Feedback 0…100 Sets the amount of feedback

Src Off…Tempo Selects the modulation source of feedback amount

Amt –100…+100 Sets the depth by which feedback amount will be

modulated

c Tone 0…99 Sets the tone of the input.

This models the reduced high frequencies of an

analog tape delay, before the saturation stage.

Lower settings create a darker tone.

This cuts the high frequencies in both the main

output and the feedback. Higher settings create a

brighter tone.

d Low Damp [%] 0…100 Sets the damping amount in the low range

e Input Level Dmod –100…+100 Amount of input level modulation

Src Off…Tempo Selects the modulation source of Input Level

Dmod. See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

584| Effects for the Sounds, Voice, Guitar

Hold Delay

This effect records the input signal and plays it back repeatedly. You can

control the start of recording and reset via a modulation source. Easy to use

for real-time performances.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Pan

Delay

-mod

Loop Time: Auto/ ...5400ms

Tempo

BPM

Base Note x Times

REC Control

RST Control

a Loop Time [msec] Auto, 1…10800 Sets Automatic loop time setup mode or

speciﬁes loop time

b Loop BPM Sync Off, On Speciﬁes whether delay time is set in millisec-

onds, or as a note value relative to tempo

c BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Time Over? ---, OVER! An error indication that appears if delay time

exceeds the upper limit when MIDI/Tempo

Sync=On

d Loop Base Note

…

Selects the type of notes to specify the delay

time

Times x1…x32 Sets the number of notes to specify the delay

time

e REC Control Src Off…Tempo Selects control source for recording

f RST Control Src Off…Tempo Selects control source for reset

g Manual REC Control REC Off,

REC On

Sets the recording switch

h Manual RST Control Off, RESET Sets the reset switch

i Pan L100…L1, C, R1…

R100

Sets the stereo image of the effect

Src Off…Tempo Selects the modulation source of stereo im-

age of the effect

Amt –100…+100 Sets the modulation amount of stereo image

of the effect

Effect parameters |585

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you can specify the

loop time.

When Auto is selected, the Loop Time is automatically set to the time it takes

for a performance recorded while the Modulation Source or “Manual REC

Control” is on. However, if the time length exceeds 10,800msec, the loop

time will be automatically set to 10,800msec.

c: Time Over?

You can set the delay time up to 10,800msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

b: Loop BPM Sync

c: BPM

d: Loop Base Note

d: Times

If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is

determined by “BPM,” “Loop Base Note,” and “Times.” Even in this case, the

delay time cannot exceed 10,800 msec.

“Hold” procedure (when Loop Time = Auto)

1 Select the following options for each parameter:

“Loop Time [msec]” = Auto

“REC Control Src” = JS +Y: #01

“RST Control Src” = JS –Y: #02

“Manual REC Control” = REC Off

“Manual RST Control” = RESET

“Loop BPM Sync” = Off

It should be noted that all recordings will be deleted while Reset is On.

586| Effects for the Sounds, Voice, Guitar

2 Set “Manual RST Control” = Off

Reset is cancelled and the unit enters Rec ready mode.

3 Push the joystick in the +Y direction (forward) and play a phrase you wish to

hold. When you pull the joystick to its original position, the recording will be

ﬁnished and the phrase you just played will be held.

Loop Time is automatically set only for the ﬁrst recording after resetting.

If the time length exceeds 10,800msec, Loop Time will be automatically

set to 10,800msec. (If you have set “Times” to 1–10,800msec, the speciﬁed

loop time will be used regardless of the time taken from pushing the joystick

forward until it is pulled back. However, the recording method remains the

same. The phrase being played while the joystick is pushed forward will be

held.)

4 If you made a mistake during recording, pull the joystick in the –Y direction

(back) to reset. In this way, the recording will be erased. Repeat step 4. again.

5 The recorded phrase will be repeated again and again. You can use this to

create an accompaniment.

6 By pushing the joystick in the +Y direction (forward), you can also overdub

performances over the phrase that is being held.

e: REC Control Src

g: Manual REC Control

“REC Control Src” selects the modulation source that controls recording.

If this modulation is on, or if “Manual REC Control” is set to On, you can re-

cord the input signal. If a recording has already been carried out, additional

signals will be overdubbed.

The effect is off when a value for the modulation source speciﬁed for

the “REC Control Src” parameter is 63 or smaller, and the effect is on when

the value is 64 or higher.

f: RST Control Src

h: Manual RST Control

The “RST Control Src” parameter speciﬁes the modulation source that con-

trols the reset operation.

When you set this modulation source to On, or “Manual RST Control” to RE-

SET, you can erase what you recorded. If the Loop Time parameter has been

set to Auto, the loop time is also reset.

The effect is off when a value for the modulation source speciﬁed for

the “RST Control Src” parameter is 63 or smaller, and the effect is on when

the value is 64 or higher.

Effect parameters |587

L/C/R Long Delay

This multitap delay outputs three Tap signals to left, right and center respec-

tively. You can set a maximum of 5,460msec for the delay time.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

L Delay

Input Level D-mod

Level

a L Delay Time [msec] 0…5460 Sets the delay time of TapL

Level 0…50 Sets the output level of TapL

b C Delay Time [msec] 0…5460 Sets the delay time of TapC

Level 0…50 Sets the output level of TapC

c R Delay Time [msec] 0…5460 Sets the delay time of TapR

Level 0…50 Sets the output level of TapR

d Feedback (C Delay) –100…+100 Sets the feedback amount of TapC

Src Off…Tempo Selects the modulation source for the TapC

feedback

Amt –100…+100 Sets the modulation amount of the TapC feed-

back

e High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

f Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input

level

g Spread 0…50 Sets the width of the stereo image of the ef-

fect sound

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

588| Effects for the Sounds, Voice, Guitar

St/Cross Long Delay (Stereo/Cross Long Delay)

This is a stereo delay, and can by used as a cross-feedback delay effect in

which the delay sounds cross over between left and right by changing the

feedback routing. You can set a maximum of 2,730msec for the delay time.

Delay

Stereo/Cross

Left

Right

Feedback

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp Low Damp

High Damp

Low Damp

Spread

Stereo/Cross

a Stereo/Cross Stereo, Cross Switches between stereo delay and cross-feed-

back delay

b L Delay Time [msec] 0.0…2730.0 Sets the delay time for the left channel

c R Delay Time [msec] 0.0…2730.0 Sets the delay time for the right channel

d L Feedback –100…+100 Sets the feedback amount for the left channel

Src Off…Tempo Selects the modulation source of feedback

amount

Amt –100…+100 Sets the modulation amount of the left channel

feedback

e R Feedback –100…+100 Sets the feedback amount for the right channel

Amt –100…+100 Sets the modulation amount of the right chan-

nel feedback

f High Damp [%] 0…100 Sets the damping amount in the high range

g Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input

level

i Spread –50…+50 Sets the width of the stereo image of the ef-

fect sound

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |589

LCR BPM Long Dly

The L/C/R delay enables you to match the delay time with the song tempo.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp

Low Damp

L Delay

Input Level D-mod

Level

Tempo

BPM

Base Note x Times

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time

exceeds the upper limit

b L Delay Base Note

…

Selects the type of notes to specify the delay

time for TapL

Times x1…x32 Sets the number of notes to specify the delay

time for TapL

Level 0…50 Sets the output level of TapL

c C Delay Base Note

…

elects the type of notes to specify the delay

time for TapC

Times x1…x32 Sets the number of notes to specify the delay

time for TapC

Level 0…50 Sets the output level of TapC

d R Delay Base Note

…

Selects the type of notes to specify the delay

time for TapR

Times x1…x32 Sets the number of notes to specify the delay

time for TapR

Level 0…50 Sets the output level of TapR

e Feedback

(C Delay)

–100…+100 Sets the feedback amount of TapC

Src Off…Tempo Selects the modulation source for the TapC

feedback

Amt –100…+100 Sets the modulation amount of the TapC feed-

back

590| Effects for the Sounds, Voice, Guitar

f High Damp [%] 0…100 Sets the damping amount in the high range

Low Damp [%] 0…100 Sets the damping amount in the low range

g Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input

level

h Spread 0…50 Sets the width of the stereo image of the ef-

fect sound

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Time Over?

You can set the delay time up to 10,920msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

Effect parameters |591

St. BPM Long Dly (Stereo BPM Long Delay)

The stereo delay enables you to match the delay time with the song tempo.

Left

Right

Feedback

FX Amt

Stereo In - Stereo Out

Input Level D-mod

High Damp Low Damp

High Damp

Low Damp

Tempo

BPM

Base Note x Times

Adjust [%]

Base Note x Times

Adjust [%]

Delay

a BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel

delay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel

delay time exceeds the upper limit

b L Delay Base Note

…

Selects the type of notes to specify the left

channel delay time

Times x1…x32 Sets the number of notes to specify the left

channel delay time

Adjust [%] –2.50…+2.50 Fine-adjust the left channel delay time

c R Delay Base Note

…

Selects the type of notes to specify the right

channel delay time

Times x1…x32 Sets the number of notes to specify the right

channel delay time

Adjust [%] –2.50…+2.50 Fine-adjust the right channel delay time

d L Feedback –100…+100 Sets the feedback amount for the left chan-

nel

Src Off…Tempo Selects the modulation source of feedback

amount

L Amt –100…+100 Sets the modulation amount of the left chan-

nel feedback

e R Feedback –100…+100 Sets the feedback amount for the right chan-

nel

R Amt –100…+100 Sets the modulation amount of the right

channel feedback

f High Damp [%] 0…100 Sets the damping amount in the high range

592| Effects for the Sounds, Voice, Guitar

g Low Damp [%] 0…100 Sets the damping amount in the low range

h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input

level

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Time Over? L, R

You can set the delay time up to 5,460msec. If the delay time exceeds this

limit, the error message “OVER!” appears in the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

Effect parameters |593

MOD (Modulation)

Stereo Chorus

This effect adds thickness and warmth to the sound by modulating the delay

time of the input signal. You can add spread to the sound by offsetting the

phase of the left and right LFOs from each other.

Chorus

Left

Right

LFO Phase

FX Amt

Stereo In - Stereo Out

EQ Trim

LEQ

HEQ

LEQ

HEQ

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

b LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

d L Pre Delay [msec] 0.0…50.0 Sets the delay time for the left channel

R Pre Delay [msec] 0.0…50.0 Sets the delay time for the right channel

594| Effects for the Sounds, Voice, Guitar

e Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source for the LFO

modulation depth

Amt –100…+100 Sets the modulation amount of the LFO modu-

lation depth

f EQ Trim 0…100 Sets the EQ input level

g Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low)

of the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

h Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Gain of the High EQ

i Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

d: L Pre Delay [msec]

d: R Pre Delay [msec]

Setting the left and right delay time individually allows you to control the

stereo image.

Effect parameters |595

Black Chorus/Flanger

This models a Danish-made stereo chorus + pitch modulator & ﬂanger.

Although this effect was originally intended for guitar, it was also used by

numerous keyboard players. Used with electric piano, it produces a distinc-

tive tone.

Left

Right

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Chorus

LFO

Input Gain

Mode & Intensity

Mono

Stereo

Output Mode

a Speed [Hz] 0.10…10.0 Sets the LFO speed

Src Off…Tempo Modulation for the LFO speed. See the list of

DMS (Dynamic Modulation Sources) at the begin-

ning of this part

Amt –10.00…

+10.00

Sets the modulation amount of the LFO speed

Intensity 1…100 Sets the intensity of LFO modulation

b Mode 0, 1, 2 Select a mode

0: Chorus

1: Pitch Modulation

2: Flanger

c Width 0…2 Sets the LFO modulation depth

d Input Gain 1…100 Sets the input gain

e Output Mode 0, 1 Select a output mode

0: Mono

1: Stereo

f Wet/Dry Dry, 1:99 … 99:1, Wet Balance between the wet and dry signal

Source Off…Tempo Selects a modulation source for Wet/Dry

Amount –100 … +100 Sets the modulation amount for Wet/Dry

596| Effects for the Sounds, Voice, Guitar

a: Intensity

b: Mode

Increasing the “Intensity” value will strengthen the modulation effect. This

controls the effect, direct, and feedback values. The values that are con-

trolled will depend on the “Mode” setting.

St.HarmonicChorus (Stereo Harmonic Chorus)

This effect applies chorus only to higher frequencies. This can be used to

apply a chorus effect to a bass sound without making the sound thinner. You

can also use this chorus block with feedback as a ﬂanger.

Left

Right

Feedback

LFO Phase

LFO: Tri / Sine

FX Amt

High Damp

Stereo In - Stereo Out

Low Level

High Level

High/Low Split Point

High Damp

Chorus/Flanger

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Phase [de-

gree]

–180…+180 Sets the LFO phase difference between the left

and right

b LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…+20.00 Sets the modulation amount of LFO speed

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

d Pre Delay [msec] 0.0…50.0 Sets the delay time from the original sound

Effect parameters |597

e Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source of the LFO modula-

tion depth

Amt –100…+100 Sets the modulation amount of the LFO modula-

tion depth

f High/Low Split

Point

1…100 Sets the frequency split point between the low and

high range

g Feedback –100…+100 Sets the feed back amount of the chorus block

High Damp [%] 0…100 Sets the high range damping amount of the chorus

block

h Low Level 0…100 Sets the low range output level

High Level 0…100 Sets the high range (chorus) output level

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

f: High/Low Split Point

This parameter sets the frequency that splits the high and low range. Only

the high range will be sent to the chorus block.

g: Feedback

Sets the feedback amount of the chorus block. Increasing the feedback will

allow you to use the effect as a ﬂanger.

598| Effects for the Sounds, Voice, Guitar

Classic Chorus

This models a famous chorus unit that was built into a guitar amp. Although

it does not provide a chorus and vibrato select switch, you can use the “Wet/

Dry” and “Bus” settings to produce their effect. The “Speed,” “Depth,” and

“Manual” parameters allow an even wider range of sounds than the original

unit.

Left

Right

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Chorus

LFO

Output Mode

Mono

Stereo

(L-D&R-W)

a Speed [Hz] 0.10…10.0 Sets the LFO speed

Src Off…Tempo Modulation for the chorus speed. See the list of

DMS (Dynamic Modulation Sources) at the begin-

ning of this part

Amt –10.00…

+10.00

Sets the modulation amount of the chorus speed

b Depth 1…100 Sets the depth of LFO modulation

Src Off…Tempo Modulation for the chorus depth. See the list of

DMS (Dynamic Modulation Sources) at the begin-

ning of this part

Amt –100 … +100 Sets the modulation amount of the chorus depth

c Manual 0…99 Sets the delay time for chorus. If Depth is set to

100, Manual will not function.

d Output Mode Mono, Stereo

( L- D r y & R - W e t )

The output mode switches between vibrato and

chorus. Mono is a vibrato, Stereo is a chorus.

e Wet/Dry Dry, 1:99 … 99:1, Wet Balance between the wet and dry signal

Src Off…Tempo Selects a modulation source for Wet/Dry

Amount –100 … +100 Sets the modulation amount for Wet/Dry

Effect parameters |599

Multitap Cho/Delay (Multitap Chorus/Delay)

This effect has four chorus blocks with a different LFO phase. You can cre-

ate a complex stereo image by setting each block’s delay time, depth, output

level, and pan individually. You can also ﬁx some of the chorus blocks to

combine the chorus and delay effects.

Left

Right

Feedback

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Level

Pan

LFO: Triangle

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

0 [degree]

180 [degree]

90 [degree]

270 [degree]

a LFO Frequency [Hz] 0.02…13.00 Sets the speed of the LFO

b Tap1 (000) [msec] 0…1000 Sets the Tap1 (LFO phase=0 degrees) delay time

Depth 0…30 Sets the Tap1 chorus depth

Level 0…30 Sets the Tap1 output level

Pan L6…L1, C, R1…

Sets the Tap1 stereo image

c Tap2 (180) [msec] 0…1000 Sets the Tap2 (LFO phase=180 degrees) delay

time

Depth 0…30 Sets the Tap2 chorus depth

Level 0…30 Sets the Tap2 output level

Pan L6…L1, C, R1…

Sets the Tap2 stereo image

d Tap3 (090) [msec] 0…1000 Sets the Tap3 (LFO phase=90 degrees) delay time

Depth 0…30 Sets the Tap3 chorus depth

Level 0…30 Sets the Tap3 output level

Pan L6…L1, C, R1…

Sets the Tap3 stereo image

e Tap4 (270) [msec] 0…1000 Sets the Tap4 (LFO phase=270 degrees) delay

time

Depth 0…30 Sets the Tap4 chorus depth

Level 0…30 Sets the Tap4 output level

Pan L6…L1, C, R1…

Sets the Tap4 stereo image

600| Effects for the Sounds, Voice, Guitar

f Tap1 Feedback –100…+100 Sets the Tap1 feedback amount

Src Off…Tempo Selects the modulation source of Tap1 feedback

amount and effect balance

Amt –100…+100 Sets the Tap1 feedback amount and modulation

amount

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |601

Stereo Flanger

This effect gives a signiﬁcant swell and movement of pitch to the sound. It

is more effective when applied to a sound with a lot of harmonics. This is a

stereo ﬂanger. You can add spread to the sound by offsetting the phase of

the left and right LFOs from each other.

Flanger

Left

Right

Feedback

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

High Damp

Stereo In - Stereo Out

a Delay Time [msec] 0.0…50.0 Sets the delay time from the original sound

b LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

c LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

d LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

f Depth 0…100 Sets the depth of LFO modulation

g Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the feedback damping amount in the high

range

602| Effects for the Sounds, Voice, Guitar

h Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

g: Feedback

h: Wet/Dry

The peak shape of the positive and negative “Feedback” value is different.

The harmonics will be emphasized when the effect sound is mixed with the

dry sound if you set a positive value for both “Feedback” and “Wet/Dry”, and

if you set a negative value for both “Feedback” and “Wet/Dry”.

g: High Damp [%]

This parameter sets the amount of damping of the feedback in the high

range. Increasing the value will cut high-range harmonics.

St. Random Flanger (Stereo Random Flanger)

The stereo effect uses a step-shape waveform and random LFO for modula-

tion, creating a unique ﬂanging effect.

LFO: Step-Tri/Random

Left

Right

Feedback

LFO Phase

FX Amt

High Damp

Stereo In - Stereo Out

Flanger

Effect parameters |603

a Delay Time [msec] 0.0…50.0 Sets the delay time from the original sound

b LFO Waveform Step-Tri,

Random

Selects the LFO Waveform

LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects the modulation source used for both

LFO speed and step speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d LFO Step Freq [Hz] 0.05…50.00 Sets the LFO step speed (speed that changes in

steps)

Step Amt –50.00…

+50.00

Sets the modulation amount of LFO step speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

f Step Base Note

…

Selects the type of notes to specify the LFO step

speed

Times x1…x32 Sets the number of notes to specify the LFO step

speed

g Depth 0…100 Sets the depth of LFO

modulation

h Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the feedback damping amount in the high

range

i Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

604| Effects for the Sounds, Voice, Guitar

St. Env. Flanger (Stereo Envelope Flanger)

This Flanger uses an envelope generator for modulation. You will obtain

the same pattern of ﬂanging each time you play. You can also control the

Flanger directly using the modulation source.

EG Attack/Decay

D-mod

Sweep Mode

-mod

Flanger

Left

Right

Feedback

FX Amt

High Damp

Stereo In - Stereo Out

a L Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the left-channel delay

time

L Dly Top [msec] 0.0…50.0 Sets the upper limit of the left-channel delay

time

b R Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the right-channel delay

time

R Dly Top [msec] 0.0…50.0 Sets the upper limit of the right-channel delay

time

c Sweep Mode EG, D-mod Determines whether the ﬂanger is controlled

by the envelope generator or by the modula-

tion source

Src Off…Tempo Selects the modulation source that triggers

the EG (when Sweep Mode = EG), or the modu-

lation source that causes the ﬂanger to sweep

(when Sweep Mode = D-mod)

d EG Attack 1…100 Sets the EG attack speed

EG Decay 1…100 Sets the EG decay speed

e Feedback –100…+100 Sets the feedback amount

f High Damp [%] 0…100 Sets the feedback damping amount in the high

range

g Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |605

c: Sweep Mode

c: Src

This parameter switches the ﬂanger control mode. With “Sweep Mode” = EG,

the ﬂanger will sweep using the envelope generator. This envelope genera-

tor is included in the envelope ﬂanger, and not related to the Pitch EG, Filter

EG, or Amp EG.

The “Src” parameter selects the source that starts the envelope generator.

If you select, for example, Gate, the envelope generator will start when the

note-on message is received.

When “Sweep Mode” = D-mod, the modulation source can control the ﬂang-

er directly. Select the modulation source using the “Src” parameter.

The effect is off when a value for the modulation source speciﬁed for

the “Src” parameter is smaller than 64, and the effect is on when the value

is 64 or higher. The Envelope Generator is triggered when the value changes

from 63 or smaller to 64 or higher.

d: EG Attack

d: EG Decay

Attack and Decay speed are the only adjustable parameters on this EG.

606| Effects for the Sounds, Voice, Guitar

Classic Flanger

This models a classic analog ﬂanger. It is highly effective for chording on

clavi-type keyboards or electric piano.

Left

Right

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Flanger

LFO

Feedback

LFO Sync

Reset Offset

a Speed [Hz] 0.10...10.0 Sets the speed of LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –10.00…

+10.00

Sets the modulation amount of ﬂanger speed

b Depth 0…100 Sets the depth of ﬂanger modulation

Src Off…Tempo Selects the modulation source of the ﬂanger

modulation depth

Amt –100…+100 Sets the modulation amount of the LFO modu-

lation depth

c Resonance 0…100 Sets the resonance amount

d Manual 0…100 Sets the sweep frequency. If Depth is set to

100, Manual will not function.

e LFO Reset Src Off...Tempo Selects a modulation source for LFO reset

Reset Offset 0…100 Sets the offset

f Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |607

Stereo Phaser

This effect creates a swell by shifting the phase. It is very effective on elec-

tric piano sounds. You can add spread to the sound by offsetting the phase

of the left and right LFOs from each other.

Left

Right

Resonance

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

High Damp

Stereo In - Stereo Out

Phaser

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

b LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

e Manual 0…100 Sets the frequency to which the effect is applied

Src Off…Tempo Selects the modulation source for the LFO modula-

tion

Amt –100…+100 Sets the modulation amount of the LFO modula-

tion

608| Effects for the Sounds, Voice, Guitar

f Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source for the LFO modula-

tion depth

Amt –100…+100 Sets the modulation amount of the LFO modula-

tion depth

h Resonance –100…+100 Sets the resonance amount

High Damp [%] 0…100 Sets the resonance damping amount in the high

range

j Wet/Dry -Wet, -1:99…

Dry…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

h: Resonance

i: Wet/Dry

The peak shape of the positive and negative Feedback value is different. The

harmonics will be emphasized when the effect sound is mixed with the dry

sound, if you set a positive value for both “Resonance” and “Wet/Dry”, and

if you set a negative value for both “Resonance” and “Wet/Dry”.

h: High Damp [%]

This parameter sets the amount of damping of the resonance in the high

range. Increasing the value will cut high-range harmonics.

Effect parameters |609

St. Random Phaser (Stereo Random Phaser)

This is a stereo phaser. The effect uses a step-shape waveform and random

LFO for modulation, creating a unique phasing effect.

LFO: Step-Tri/Random

Left

Right

Resonance

LFO Phase

FX Amt

High Damp

Stereo In - Stereo Out

Phaser

a LFO Waveform Step-Tri, Step-

Sin, Random

Selects the LFO Waveform

LFO Phase [de-

gree]

–180…+180 Sets the LFO phase difference between the left and

right

b LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects the modulation source commonly used for

LFO speed and step speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

c LFO Step Freq

[Hz]

0.05…50.00 Sets the LFO step speed

Amt –50.00…

+50.00

Sets the modulation amount of LFO step speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

e Step Base Note

…

Selects the type of notes to specify the LFO step

speed

Times x1…x32 Sets the number of notes to specify the LFO step

speed

610| Effects for the Sounds, Voice, Guitar

f Manual 0…100 Sets the frequency to which the effect is applied

Src Off…Tempo Selects the modulation source for the LFO modula-

tion

Amt –100…+100 Sets the modulation amount of the LFO modulation

g Depth 0…100 Sets the depth of LFO modulation

h Resonance –100…+100 Sets the resonance amount

High Damp [%] 0…100 Sets the resonance damping amount in the high

range

i Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |611

St. Env. Phaser (Stereo Envelope Phaser)

This stereo phaser uses an envelope generator for modulation. You will ob-

tain the same pattern of phasing each time you play. You can also control the

Phaser directly using the modulation source.

EG Attack/Decay

D-mod

Sweep Mode

-mod

Phaser

Left

Right

Resonance

FX Amt

High Damp

Stereo In - Stereo Out

a L Manu Bottom 0…100 Sets the lower limit of the frequency range for the ef-

fect on the left channel

L Manu Top 0…100 Sets the upper limit of the frequency range for the ef-

fect on the left channel

b R Manu Bottom 0…100 Sets the lower limit of the frequency range for the ef-

fect on the right channel

R Manu Top 0…100 Sets the upper limit of the frequency range for the ef-

fect on the right channel

c Sweep Mode EG, D-mod Determines whether the ﬂanger is controlled by the

envelope generator or by the modulation source

Src Off…Tempo Selects the modulation source that triggers the EG

(when EG is selected for Sweep Mode), or modula-

tion source that causes the ﬂanger to sweep (when

D-mod is selected for Sweep Mode). See the list of DMS

(Dynamic Modulation Sources) at the beginning of this

part

d EG Attack 1…100 Sets the EG attack speed

EG Decay 1…100 Sets the EG decay speed

e Resonance –100…+100 Sets the resonance amount

f High Damp [%] 0…100 Sets the resonance damping amount in the high range

g Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

612| Effects for the Sounds, Voice, Guitar

Orange Phaser

This phaser pedal is a favorite on many recordings. It’s useful for adding

sparkle, animating chord passages, and widening and fattening the sound.

The original had only a speed control; this version adds depth, control of the

center frequency, and more.

Left

Right

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Phaser

LFO

Resonance

a Speed 0.10…10.00 This controls the speed of the phaser’s LFO.

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

b Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source for the LFO modula-

tion depth

Amt –100…+100 Sets the modulation amount of the LFO modula-

tion depth

c Resonance –100…+100 This controls the intensity of the phaser effect.

The default is 26. Mixing the processed and dry

signals via Wet/Dry will enhance the effect.

d Manual 0…100 Sets the frequency to which the effect is applied

e Wet/Dry -Wet, -1:99…

Dry…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |613

Small Phaser

This classic phaser, made in New York City during the 70s, has a notably

warm and rich tone with liquid transparency.

Left

Right

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Phaser

LFO

Color

a Speed 0.10…10.00 This controls the speed of the phaser’s LFO. The

default is 1.00 Hz.

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

c Color Off, On This changes the sound of the phaser between a

full and round phase shift when set to Off, and a

more pronounced effect when set to On.

e Wet/Dry -Wet, -1:99…

Dry…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

614| Effects for the Sounds, Voice, Guitar

Phaser - Cho/Flng (Phaser - Chorus/Flanger)

This effect combines a mono phaser and a chorus/ﬂanger.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Chorus/Flanger

Cho/Flng

FX Amt

LEQ

HEQ

Trim

Chorus/Flanger

Feedback

Phaser

FX Amt

Phaser

Resonance

LFO: Tri / Sine

Normal

Wet Invert

Output Mode

–

PHASER

a [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

b [P]Manual 0…100 Sets the frequency to which the effect is

applied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

c [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

CHORUS/FLANGER

d [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

f [F]EQ Trim 0…100 Sets the EQ input level

g [F]PreLEQ Gain [dB] –15…+15 Sets the gain of Low EQ

PreHEQ Gain [dB] –15…+15 Sets the gain of High EQ

h [F]Cho/Flng Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/

ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source

for the chorus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for

the chorus/ﬂanger

Effect parameters |615

i [F]Output Mode Normal,

Wet Invert

Selects the output mode for the chorus/

ﬂanger

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

St. Phaser + Trml (Stereo Phaser + Tremolo)

This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling

phaser modulation and tremolo effects synchronize with each other, creat-

ing a soothing modulation effect particularly suitable for electric piano.

Phaser

Left

Right

Resonance

LFO Type

FX Amt

Stereo In - Stereo Out

Phaser FX Amt

LFO

LFO Phase

LFO Shape

Tremolo

a Type Phs - Trml,

…

Phs LR - Trml LR

Selects the type of the tremolo and phaser

LFOs

Phaser - Tremolo,

Phaser - Tremolo Spin,

Phaser - Tremolo LR,

Phaser LR - Tremolo,

Phaser LR - Tremolo Spin, Phaser LR -

Tremolo LR

LFO Phase [degree] –180…+180 Sets the phase difference between the trem-

olo and phaser LFOs

b LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the LFO speed modulation amount

616| Effects for the Sounds, Voice, Guitar

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the

LFO speed

Times x1…x32 Sets the number of notes that specify the

LFO speed

d Phaser Manual 0…100 Sets the phaser frequency range

Resonance –100…+100 Sets the phaser resonance amount

e Phaser Depth 0…100 Sets the phaser modulation depth

Src Off…Tempo Selects the modulation source for the phaser

modulation depth

Amt –100…+100 Sets the modulation amount for the phaser

modulation depth

f Phaser Wet/Dry –Wet, –2 : 98…

Dry… 2 : 98, Wet

Sets the balance between the phaser effect

and dry sounds

g Tremolo Shape –100…+100 Sets the degree of the tremolo LFO shaping

h Tremolo Depth 0…100 Sets the tremolo modulation depth

Src Off…Tempo Selects the modulation source for the tremo-

lo modulation depth

Amt –100…+100 Sets the modulation amount of the tremolo

modulation depth

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Type

a: LFO Phase [degree]

Select the type of phaser LFO and tremolo LFO for the “Type” parameter.

How the effect sound moves or rotates depends on the type of LFO. Select-

ing “LFO Phase” enables you to offset the timing of the phaser peak and

control a subtle movement and rotation of the sound.

f: Phaser Wet/Dry

i: Wet/Dry

PHASER Wet/Dry sets the balance between the phaser output and the dry

sound. OUTPUT Wet/Dry sets the balance between the ﬁnal phaser and

tremolo output level and the dry sound.

Effect parameters |617

Stereo Tremolo

This effect modulates the volume level of the input signal. The effect is ste-

reo, and offsetting the LFO of the left and right phases from each other

produces a tremolo effect between left and right.

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

Tremolo

a LFO Waveform Triangle, Sine,

Vintage, Up,

Down

Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

b LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

e Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source of the depth of

modulation

Amt –100…+100 Sets the modulation amount of the depth of

modulation

618| Effects for the Sounds, Voice, Guitar

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: LFO Waveform

This parameter sets the basic shape of the LFO. The Vintage waveform mod-

els classic guitar-amp tremolo.

Tremolo - LFO Waveform

TriangleSineVintage Up Down

b: LFO Phase [degree]

This parameter determines the difference between the left and right LFO

phases. A higher value will simulate the auto-pan effect in which the sound

is panned between left and right.

Effect parameters |619

St. Env. Tremolo (Stereo Envelope Tremolo)

This effect uses the input signal level to modulate a stereo tremolo (LFO

volume modulation). For instance, you can create a tremolo effect that be-

comes deeper and faster as the input gets more quiet.

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Envelope Sens

Envelope

LFO: Tri/Sin/Vintage

Envelope Shape

Tremolo

a Envelope Sens 0…100 Sets the envelope’s sensitivity to the input signal

Envelope Shape –100…+100 Sets the envelope’s curvature

b LFO Waveform Triangle, Sine,

Vintage

Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

c LFO Phase [de-

gree]

–180…+180 Sets the LFO phase difference between the left

and right

d LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Envelope Amount

[Hz]

–20.00…

+20.00

Sets the amount added to or subtracted from the

Frequency when the envelope is at maximum

e Depth 0…100 Sets the initial amount of tremolo

Envelope Amount –100…+100 Sets the amount added to or subtracted from the

Depth when the envelope is at maximum

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

620| Effects for the Sounds, Voice, Guitar

d: LFO Frequency [Hz]

d: Envelope Amount [Hz]

e: Depth

e: Envelope Amount

The graphic below shows an example of tremolo modulation with negative

modulation of both Depth and Frequency. At the start of the note, the input

is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but

also modulates the Depth to 0–so the tremolo doesn’t have any effect.

As the input volume dies down, the

Frequency speeds up; the Depth also in-

creases, making the tremolo effect increasingly audible. When the input vol-

ume approaches silence, the Depth is at its maximum (100) and Frequency

is at 8Hz.

Level

Louder

Time

Shimmer

LFO Frequency[Hz]=8.0

Envelope Amount[Hz]= –7.0Hz

Depth=100

Envelope Amount= –100

Dry Envelope

Effect parameters |621

Classic Tremolo

Vintage Tremolo effect.

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

Tremolo

a Speed 0.10…10.00 Sets the speed of the LFO

Src Off…Tempo Modulation for the tremolo speed. See the list of DMS

(Dynamic Modulation Sources) at the beginning of this

part

Amt –10.00…

+10.00

Sets the modulation amount of the tremolo speed

b Depth 0…100 Sets the initial amount of tremolo

Src Off…Tempo Modulation for the tremolo depth. See the list of DMS

(Dynamic Modulation Sources) at the beginning of this

part

Amt –10.00…

+10.00

Sets the modulation amount of the tremolo depth

c Spread 0…100 Sets the width of the stereo image of the effect sound

d Level Adjust 0…99 Level of the effect

e Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

622| Effects for the Sounds, Voice, Guitar

Ensemble

This Ensemble effect has three chorus blocks that use LFO to create subtle

shimmering, and gives three dimensional depth and spread to the sound,

because the signal is output from the left, right, and center.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

LFO

Shimmer

Ensemble

a Speed [Hz] 1…100 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –100…+100 Sets the modulation amount of LFO speed

b Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source of the LFO modulation

depth

Amt –100…+100 Sets the modulation amount of the LFO modulation depth

c Shimmer 0…100 Sets the amount of shimmering of the LFO waveform

d Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |623

c: Shimmer

This parameter sets the amount of shimmering of the LFO waveform.

Increasing this value adds more shimmering, making the chorus effect more

complex and richer.

Time

Level

Ensemble LFO

Shimmer

Polysix Ensemble

This models the ensemble effect built into the classic KORG

PolySix programmable polyphonic synthesizer.

Polysix

Ensemble

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

a Depth 0…100 Sets the depth of the effect

Src Off…Tempo Selects the modulation source that will control the ef-

fect depth

Amt –100…+100 Sets the amount by which the effect depth will be modu-

lated

b Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

624| Effects for the Sounds, Voice, Guitar

Stereo Vibrato

This effect causes the pitch of the input signal to shimmer. Using the

AutoFade allows you to increase or decrease the shimmering speed.

Vibrato

Left

Right

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine LFO Shape

Fade-In Delay LFO Frequency

AutoFade

a Autofade Src Off…Tempo Selects the modulation source that starts AutoFade

b Fade-In Delay

[msec]

00…2000 Sets the fade-in delay time

Fade-In Rate 1…100 Sets the rate of fade-in

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

d LFO Frequency

Mod

D-mod,

AUTOFADE

Switches between D-mod and AUTOFADE for the LFO

frequency modulation

e LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

Effect parameters |625

g Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source of the LFO modulation

depth

Amt –100…+100 Sets the modulation amount of the LFO modulation

depth

h Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: Autofade Src

b: Fade-In Delay [msec]

b: Fade-In Rate

d: LFO Frequency Mod

When “LFO Frequency Mod” is set to AUTOFADE, you can use the modula-

tion source selected in “AUTOFADE Src” as a trigger to automatically fade in

the modulation amount. When “MIDI Sync” is set to On, you cannot use this.

The “Fade-In Rate” parameter speciﬁes the rate of fade-in. The “Fade-In De-

lay” parameter determines the time from AutoFade modulation source On

until the fade-in starts.

The following is an example of fade-in where the LFO speed is increased

from “1.0Hz” to “4.0Hz” when a note-on message is received.

AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE, LFO Frequency

[Hz]=1.0, Amt=3.0

The effect is off when a value for the dynamic modulation source speci-

ﬁed for the “AUTOFADE Src” parameter is smaller than 64, and the effect is

on when the value is 64 or higher. The AutoFade function is triggered when

the value changes from 63 or smaller to 64 or higher.

AUTOFADE

AutoFade

Note On

All Note Off

Fade-In Rate

Source=Gate1

LFO Freq. Mod=AUTOFADE

LFO Frequency[Hz]=1.0

Amount=+3.0

LFO Frequency

=1.0+3.0=4.0Hz

LFO Frequency

=1.0Hz

Gate1 Signal

AUTOFADE

Fade-In Dealy

626| Effects for the Sounds, Voice, Guitar

U-Vibe

Modeled on the most famous chorus/vibrato pedal effect unit. This effect

simulates a rotating speaker and produces a wonderfully seductive and

‘watery’ tone. Interestingly enough, the guy responsible for this great ped-

al is also responsible for the birth of the KORG Nuvibe and Valve Reactor

Technology.

a Speed [Hz] 1…100 Sets the speed of the U-Vibe effect

Src Off…Tempo Selects a modulation source for the U-Vibe effect

Amt –10.00…

+10.00

Sets the modulation amount of the U-Vibe effect

b Depth 0…100 Sets the depth of the U-Vibe effect

Src Off…Tempo Selects the modulation source of the LFO modulation

depth

Amt –100…+100 Sets the modulation amount of the LFO modulation

depth

c Mix 0…100 Sets the effect mix level

Src Off…Tempo Selects the modulation source of the effect mix level

Amt –100…+100 Sets the modulation amount of the effect mix level

d Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |627

St. Auto Fade Mod. (Stereo Auto Fade Modulatiom)

This stereo chorus/ﬂanger effect enables you to control the LFO speed and

effect balance using auto fade, and you can spread the sound by offsetting

the phase of the left and right LFOs from each other.

AutoFade

LFO Frequency

FX Amt

Delay

Left

Right

Feedback

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

High Damp

Stereo In - Stereo Out

628| Effects for the Sounds, Voice, Guitar

a Autofade Src Off…Tempo Selects the modulation source that starts

AutoFade

Fade-In Delay [msec] 00…2000 Sets the fade-in delay time

Rate 1…100 Sets the rate of fade-in

b LFO Frequency Mod D-mod,

AUTOFADE

Switches between D-mod and AUTOFADE for

the LFO frequency modulation

Wet/Dry Mod D-mod,

AUTOFADE

Switches between D-mod and AUTOFADE for

the effect balance modulation

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

d LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

e LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

f L Delay Time [msec] 0.0…500.0 Sets the left channel delay time

R Delay Time [msec] 0.0…500.0 Sets the right channel delay time

g Depth 0…200 Sets the depth of LFO modulation

h Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the feedback damping amount in the high

range

i Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |629

St. Biphase Mod. (Stereo Biphase Modulation)

This stereo chorus effect adds two different LFOs together. You can set the

Frequency and Depth parameters for each LFO individually. Depending on

the setting of these LFOs, very complex waveforms will create an analog-

type, unstable modulated sound.

Chorus/Flanger

Left

Right

Feedback

180 [degree]

FX Amt

High Damp

Stereo In - Stereo Out

LFO1: Tri / Sine

LFO2: Tri / Sine

Chorus/Flanger

High Damp

a LFO1 Waveform Triangle, Sine Selects LFO1 waveform

LFO2 Triangle, Sine Selects LFO2 waveform

Phase Sw 0 deg,

180 deg

Switches the LFO phase difference between

left and right

b LFO1 Frequency [Hz] 0.02…30.00 Sets the LFO1 speed

Src Off…Tempo Selects the modulation source of LFO1&2

speed

LFO1 Amt –30.00…

+30.00

Sets the modulation amount of LFO1 speed

c LFO2 Frequency [Hz] 0.02…30.00 Sets the LFO2 speed

Amt –30.00…

+30.00

Sets the modulation amount of LFO2 speed

d Depth1 0…100 Sets the depth of LFO1

modulation

Src Off…Tempo Selects the modulation source of LFO1&2

modulation depth

Amt –100…+100 Sets the modulation amount of LFO1 modu-

lation depth

e Depth2 0…100 Sets the depth of LFO2

modulation

Amt –100…+100 Sets the modulation amount of LFO2 modu-

lation depth

f L Pre Delay [msec] 0.0…50.0 Sets the delay time for the left channel

R Pre Delay [msec] 0.0…50.0 Sets the delay time for the right channel

630| Effects for the Sounds, Voice, Guitar

g Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high range

h Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

LFO1

LFO2

Bi-Phase Modulation LFO

Depth1

Depth2

Stereo Auto Pan

This is a stereo-in, stereo-out auto-panner. The Phase and Shape param-

eters lets you create various panning effects, such as making the left and

right inputs seem to chase each other around the stereo ﬁeld.

Left

Right

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

LFO: Tri / Sin

Depth

Effect parameters |631

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

b LFO Phase [de-

gree]

–180…+180 Sets the LFO phase difference between the left and

right

c LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

e Depth 0…100 Sets the depth of LFO modulation

Src Off…Tempo Selects the modulation source of the depth of modu-

lation

Amt –100…+100 Sets the modulation amount of the depth of modula-

tion

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: LFO Shape

You can change the panning curve by modifying the LFO’s Shape.

b: LFO Phase [degree]

This determines the phase difference between the left and right LFOs. When

you gradually change the value away from 0, the sounds from the left and

right channels will seem to chase each other around. If you set the parame-

ter to +180 or –180, the sounds from each channel will cross over each other.

632| Effects for the Sounds, Voice, Guitar

You’ll only hear the effect of this parameter if the input is true stereo, with

different signals in the left and right channels.

L-In

Left

Center

Right

Output Stereo Image

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees

Stereo Auto Pan - LFO Phase

St. Ring Modulator (Stereo Ring Modulator)

This effect creates a metallic sound by applying the oscillators to the input

signal. Use the LFO or Dynamic Modulation to modulate the oscillator to cre-

ate a radical modulation. Matching the oscillator frequency with a note num-

ber will produce a ring modulation effect in speciﬁc key ranges.

Left

Right

FX Amt

Stereo In - Stereo Out

Pre LPF

Ring Modulator

Pre LPF

Ring Modulator

Note No.

OSC Mode

Fixed

Note (Key Follow)

Fixed Frequency

Pitch

Note Offset, Fine

Sine Oscillator

LFO

Effect parameters |633

a OSC Mode Fixed, Note (Key

Follow)

Switching between specifying the oscillator fre-

quency and using a note number

Pre LPF 0…100 Sets the damping amount of the high range input to

the ring modulator

b Fixed Frequency

[Hz]

0…12.00k Sets the oscillator frequency when OSC Mode is set

to Fixed

Src Off…Tempo Selects the modulation source for the oscillator

frequency when OSC Mode is set to Fixed

Amt –12.00k…

+12.00k

Sets the modulation amount of the oscillator fre-

quency when OSC Mode is set to Fixed

c Note Offset –48…+48 Sets the pitch difference from the original note

when OSC Mode is set to Note (Key Follow)

Note Fine –100…+100 Fine-adjusts the oscillator frequency

d LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

f LFO Depth 0…100 Sets the depth of LFO modulation for the oscillator

frequency

Src Off…Tempo Selects the modulation source of the depth of mod-

ulation

Amt –100…+100 Sets the modulation amount of the depth of modu-

lation

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

634| Effects for the Sounds, Voice, Guitar

a: OSC Mode

This parameter determines whether or not the oscillator frequency follows

the note number.

a: Pre LPF

This parameter enables you to set the damping amount of the high range

sound input to the ring modulator. If the input sound contains lots of har-

monics, the effect may sound dirty. In this case, cut a certain amount of high

range.

b: Fixed Frequency [Hz]

This parameter sets the oscillator frequency when “OSC Mode” is set to

Fixed.

c: Note Offset

c: Note Fine

These parameters for the oscillator are used when “OSC Mode” is set to Note

(Key Follow). The “Note Offset” sets the pitch difference from the original

note in semitone steps. The “Note Fine” parameter ﬁne-adjusts the pitch

in cent steps. Matching the oscillator frequency with the note number pro-

duces a ring modulation effect in the correct key.

Effect parameters |635

Organ Vib/Chorus (Organ Vibrato/Chorus)

This effect simulates the chorus and vibrato circuitry of a vintage organ. The

modulation speed and depth can be customized.

Vibrato/Chorus

Mode

Preset Setting

Custom Parameters

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

a Input Trim 0…100 Sets the input level

b Control Mode Preset,

Custom

Selects either preset or custom settings

c Preset Type V1, C1, V2, C2,

V3, C3

Selects the effect type when Mode=Preset

V1/V2/V3 are variations of vibrato, and C1/C2/C3 are

variations of chorus

Src Off…Tempo Selects the modulation source that will change the ef-

fect type

Amt –5…+5 Sets the modulation amount for changing the effect

type

d Custom Mix Vibrato,

1:99…99:1,

Chorus

Sets the mix level of the direct sound when

Mode=Preset

Src Off…Tempo Selects the modulation source that will control the mix

level of the direct sound

Amt –100…+100 Sets the modulation amount for controlling the mix

level of the direct sound

e Custom Depth 0…100 Sets the vibrato depth

Src Off…Tempo Selects the modulation source that will control vibrato

depth

Amt –100…+100 Sets the modulation amount for controlling the vibrato

depth

f Custom Speed

[Hz]

0.02…20.00 Sets the vibrato speed

Src Off…Tempo Selects the modulation source for controlling the vi-

brato speed

Amt –20.00…

+20.00

Sets the modulation amount for controlling the vibrato

speed

636| Effects for the Sounds, Voice, Guitar

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

b: Control Mode

c: Preset Type

d: Custom Mix

e: Custom Depth

f: Custom Speed [Hz]

If Control Mode=Preset, you can use c: Preset Type to select the effect.

In this case, the Custom Mix/Depth/Speed settings are ignored. If Control

Mode=Custom, the Custom Mix/Depth/Speed settings are valid, and the c:

Preset Type setting is ignored.

c: Amt

If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to

control the effect in the order of V1›C1›V2›C2›V3›C3.

Effect parameters |637

Rotary Speaker

This effect simulates a rotary speaker, and obtains a more realistic sound by

simulating the rotor in the low range and the horn in the high range sepa-

rately. The effect also simulates the stereo microphone settings.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

-mod

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Manual Speed Control

Speaker Simulation

Mic Distance

Mic Spread

Horn/Rotor

Balance

Horn

Rotary Speaker

Rotor

a Mode Switch Rotate, Stop Switches between speaker rotation and stop

Src Off…Tempo Selects a modulation source for Rotate/Stop

Mode Toggle,

Moment

Sets the switch mode for Rotate/Stop modulation

b Speed Switch Slow, Fast Switches the speaker rotation speed between slow

and fast

Src Off…Tempo Selects a modulation source for Slow/Fast

Mode Toggle,

Moment

Sets the switch mode for Slow/Fast modulation

c Manual Speed

Ctrl

Off…Tempo Sets a modulation source for direct control of rota-

tion speed

d Horn

Acceleration

0…100 How quickly the horn rotation speed in the high range

is switched

Horn Ratio Stop,

0.50…2.00

Adjusts the (high-range side) horn rotation speed.

Standard value is 1.00. Selecting “Stop” will stop the

rotation

e Rotor

Acceleration

0…100 Determines how quickly the rotor rotation speed in

the low range is switched

Rotor Ratio Stop,

0.50…2.00

Adjusts the (low-frequency) rotor speed. Standard

value is 1.00. Selecting “Stop” will stop the rotation

f Horn/Rotor

Balance

Rotor, 1…99,

Horn

Sets the level balance between the high-frequency

horn and low-frequency rotor

638| Effects for the Sounds, Voice, Guitar

g Mic Distance 0…100 Sets the distance between the microphone and rotary

speaker

Mic Spread 0…100 Sets the angle of left and right microphones

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: Mode

This parameter sets how the modulation source switches between rotation

and stop.

When

Mode = Toggle, the speaker rotates or stops alternately each time you

press the pedal or move the joystick. Via MIDI, rotation will switch between

start and stop each time the modulation amount exceeds 64.

When

Mode = Moment, the speaker rotates by default, and stops only when

you press the pedal or move the joystick. Via MIDI, modulation values above

64 make the speaker rotate, and values below 64 make it stop.

b: Speed Switch

This parameter controls how the rotation speed (slow and fast) is switched

via the modulation source.

When

Mode = Toggle, the speed will switch between slow and fast each time

you press the pedal or move the joystick. Via MIDI, the speed will switch each

time the modulation amount exceeds 64.

When

Mode = Moment, the speed is usually slow. It becomes fast only when

you press the pedal or move the joystick. Via MIDI, modulation values above

64 set the speed to Fast, and values below 64 set it to Slow.

c: Manual Speed Ctrl

If you wish to control the rotation speed manually, instead of switching be-

tween Slow and Fast, select a modulation source in the Manual Speed Ctrl

parameter. If you don’t want to use manual control, set this to Off.

Effect parameters |639

d: Horn Acceleration

e: Rotor Acceleration

On a real rotary speaker, the rotation speed accelerates or decelerates grad-

ually after you switch the speed. The Horn and Rotor Acceleration param-

eters set the transition times between fast and slow speeds.

g: Mic Distance

g: Mic Spread

This is a simulation of stereo microphone settings.

Mic Spread

Microphone

Mic Distance

Rotary Speaker (Top View)

Rotary Speaker - Mic Placement

640| Effects for the Sounds, Voice, Guitar

Rotary SpeakerOD (Rotary Speaker Overdrive)

This is a stereo rotary speaker effect. It has an internal speaker simulator

that simulates overdrive (recreating the amp distortion) and characteristics

of the rotary speaker, producing a very realistic rotary speaker sound.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Mic Distance

Mic Spread

Horn/Rotor

Balance

-mod

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Manual Speed Control

On/Off

Speaker Simulation

Overdrive

Horn

Rotary Speaker

Rotor

a Overdrive Off, On Switches overdrive on/off

Src Off…Tempo Selects a modulation source to switch over-

drive on/off

Sw Toggle, Moment Sets the switch mode for overdrive on/off

modulation

b Overdrive Gain 0…100 Determines the degree of distortion

Overdrive Level 0…100 Sets the overdrive output level

C Overdrive Tone 0…15 Sets the tonal quality of the overdrive

Speaker Simulator Off, On Switches the speaker simulation on/off

d Mode Switch Rotate, Stop Switches between speaker rotation and stop

Src Off…Tempo Selects a modulation source for Rotate/Stop

Sw Toggle, Moment Sets the switch mode for Rotate/Stop modu-

lation

e Speed Switch Slow, Fast Switches the speaker rotation speed be-

tween slow and fast

Src Off…Tempo Selects a modulation source for Slow/Fast

Sw Toggle, Moment Sets the switch mode for Slow/Fast modula-

tion

f Horn/Rotor Balance Rotor, 1…99, Horn Sets the volume balance between the high-

range horn and low-range rotor

Manual SpeedCtrl Off…Tempo Sets a modulation source for direct control of

rotation speed

Effect parameters |641

g Horn

Acceleration

0…100 Sets how quickly the horn rotation speed

changes

Horn Ratio Stop, 0.50…2.00 Adjusts the (high-frequency) horn rotation

speed. Standard value is 1.00. “Stop” stops

the rotation

h Rotor

Acceleration

0…100 Sets how quickly the rotor speed changes

Rotor Ratio Stop, 0.50…2.00 Adjusts the (low-frequency) rotor rotation

speed. Standard value is 1.0. “Stop” stops the

rotation

i Mic Distance 0…100 Distance between the microphone and rotary

speaker

Mic Spread 0…100 Angle of left and right microphones

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Sw

This parameter determines how to switch on/off the overdrive via a modula-

tion source.

When “Sw” = Toggle, overdrive is turned on/off each time the pedal or joy-

stick is operated.

Overdrive will be switched on/off each time the value of the modulation

source exceeds 64.

When “Sw” = Moment, overdrive is applied only when you press the pedal or

operate the joystick.

Only when the value for the modulation source is 64 or higher, the over-

drive effect is applied.

642| Effects for the Sounds, Voice, Guitar

DYN (Dynamics)

Stereo Compressor

This effect compresses the input signal to regulate the level and give a

“punchy” effect. It is useful for guitar, piano, and drum sounds. This is a

stereo compressor. You can link left and right channels, or use each channel

separately.

Left

Right

FX Amt

Stereo In - Stereo Out

EQ Trim

LEQ HEQ

LEQ

HEQ

Compressor

Envelope Select

Output Level

Envelope - Control

a Envelope Select L/R Mix,

L/R

Individually

Determines whether the left and right channels

are linked or used separately

b Sensitivity 1…100 Sets the sensitivity

c Attack 1…100 Sets the attack level

d EQ Trim 0…100 Sets the EQ input level

e Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low) of

the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

f Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of the Low EQ

Pre HEQ Gain [dB] –15.0…+15.0 Sets the gain of the High EQ

g Output Level 0…100 Sets the output level of the compressor

Src Off…Tempo Selects the modulation source for the compres-

sor output level

Amt –100…+100 Sets the modulation amount for the compressor

output level

Effect parameters |643

h Wet/Dry Dry, 1:99…99:1,

Wet

Sets the Balance between the wet and dry sig-

nal

Src Off…Tempo Selects a modulation source for Wet/Dry

Amt –100…+100 Sets the modulation amount for Wet/Dry

a: Envelope Select

This parameter selects whether the left and right channels are linked to

control both signals simultaneously, or whether each channel is controlled

independently.

b: Sensitivity

g: Output Level

The “Sensitivity” parameter sets the sensitivity of the compressor. If this

parameter is set to a higher value, lower level sounds will be boosted. With

a higher Sensitivity, the overall volume level is higher. To adjust the ﬁnal

volume level, use the “Output Level” parameter.

Sensitivity=100

Sensitivity=40

Dry

Wet

Time

Level

Compressor - Sensitivity

Louder

c: Attack

This parameter controls the attack level.

Dry

Wet

Time

Level

Attack=80

Attack=20

Compressor - Attack

644| Effects for the Sounds, Voice, Guitar

Dyn. Compressor (Dynamic Compressor)

This effect reduces the dynamic range of the input signal, to regulate the lev-

el and give a ‘punchy’ effect. It is useful for guitar, piano, and drum sounds.

This is a true stereo effect; you can link the left and right channels, or use

each channel separately.

Left

Right

FX Amt

Stereo In - Stereo Out

EQ Trim

LEQ HEQ

LEQ

HEQ

Compressor

Envelope Select

Output Level

Envelope - Control

a Sensitivity 1…100 This controls the amount of compression.

Increasing the value boosts lower level sounds,

and raises the overall volume.

To adjust the ﬁnal volume, use the Level param-

eter.

b Attack 1…100 Sets the attack level

c Level 0…100 Sets the output level of the compressor

Src Off…Tempo Selects the modulation source for the compres-

sor output level

Amt –100…+100 Sets the modulation amount for the compressor

output level

d Wet/Dry Dry, 1:99…99:1,

Wet

Sets the Balance between the wet and dry sig-

nal

Src Off…Tempo Selects a modulation source for Wet/Dry

Amt –100…+100 Sets the modulation amount for Wet/Dry

Effect parameters |645

Stereo Limiter

The Limiter regulates the input signal level. It is similar to the Compressor,

except that the Limiter compresses only signals that exceed the speciﬁed

level to lower unnecessary peak signals. The Limiter applies a peaking-type

EQ to the trigger signal (which controls the degree of the Limiter effect), al-

lowing you to set any band width to be covered. This effect is a stereo limiter.

You can link left and right channels, or use each channel individually.

Left

Right

FX Control BUS 1

FX Control BUS 2

FX Amt

Stereo In - Stereo Out

Limiter

Envelope Source

Gain Adjust

Side PEQ

Envelope - Control

Trigger Monitor

Envelope Select

a Envelope Select L/R Mix,

L Only, R Only,

L/R Individually

Selects from linking both channels, control-

ling only from left channel, only from the

right channel, or controlling each channel

individually

b Ratio 1.0 : 1…

50.0 : 1,

Inf : 1

Sets the signal compression ratio

c Threshold [dB] –40…0 Sets the level above which the compressor

is applied

v Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

e Gain Adjust [dB] –Inf, –38…+24 Sets the output gain

Src Off…Tempo Selects the modulation source for the out-

put gain

Amt –63…+63 Sets the modulation amount of the output

gain

f Side PEQ Insert Off, On Toggles between on/off of the trigger sig-

nal’s EQ

Trigger Monitor Off, On Switches between effect output monitor and

trigger signal monitor

646| Effects for the Sounds, Voice, Guitar

g Side PEQ Cutoff [Hz] 20…12.00k Sets the EQ center frequency for the trigger

signal

Q 0.5…10.0 Sets the EQ bandwidth for the trigger signal

Gain [dB] –18.0…+18.0 Sets the EQ gain for the trigger signal

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo Dynamic Modulation sources

Amt –100…+100 Amount of modulation source

a: Envelope Select

When L/R Mix is selected for this parameter, the left and right channels are

linked to control the Limiter using the mixed signal. If L Only (or R Only) is

selected, the left and right channels are linked, and the Limiter is controlled

via only the left (or right) channel.

With L/R individually, the left and right channels control the Limiter individu-

ally.

b: Ratio

c: Threshold [dB]

e: Gain Adjust [dB]

This parameter sets the signal compression “Ratio”. Compression is applied

only when the signal level exceeds the “Threshold” value.

Effect parameters |647

Adjust the output level using the “Gain Adjust” parameter, since compres-

sion causes the entire level to be reduced.

Input Level

Output Level

Threshold

Ratio=1.0 : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Ration=Inf : 1

Louder

Time

Level

Threshold

Ratio=Inf : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Dry

Ratio=1.0 : 1

Limiter - Threshold / Ratio

d: Attack

d: Release

These parameters set the attack time and release time. A higher attack time

will cause the compression to be applied more slowly.

Threshold

Ratio=Inf : 1

Attack=1

Release=1

Ratio=Inf : 1

Attack=100

Release=100

Dry

Wet

Release

Attack

Limiter - Attack / Release

648| Effects for the Sounds, Voice, Guitar

f: Trigger Monitor

Setting this parameter On will cause the trigger signal to be output, instead

of the effect sound. Use this parameter to check the trigger signal with EQ

applied.

Usually, set this to Off.

f: Side PEQ Insert

g: Side PEQ Cutoff [Hz]

g: Q

g: Gain [dB]

These parameters are used to set the EQ applied to the trigger signal.

The Limiter determines whether the compression is applied or not, based on

the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter

to respond to any frequency band.

Multiband Limiter

This effect applies the Limiter to the low range, mid range, and high range

of the input signal. You can control dynamics for each range to adjust the

sound pressure of the low range, mid range, and high range in a different

way from the EQ.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Gain Adjust

Mid Offset

Low Offset

High Offset

Envelope - Control

Low

Mid

High

Band-Pass Filters

Limiter

a Ratio 1.0 : 1…50.0 : 1,

Inf : 1

Sets the signal compression ratio

b Threshold [dB] –40…0 Sets the level above which the compressor is

applied

c Attack 1…100 Sets the attack time

d Release 1…100 Sets the release time

e Low Offset [dB] –40…0 Gain of the low-range trigger signal

f Mid Offset [dB] –40…0 Gain of the mid-range trigger signal

Effect parameters |649

g High Offset [dB] –40…0 Gain of the high-range trigger signal

h Gain Adjust [dB] –Inf,

–38…+24

Sets the output gain

Src Off…Tempo Selects the modulation source for the output

gain

Amt –63…+63 Sets the modulation amount of the output

gain

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

e: Low Offset [dB]

f: Mid Offset [dB]

g: High Offset [dB]

These parameters set the gain of the trigger signal.

For example, if you do not want to apply compression to the high range, re-

duce the “High Offset” value down below the “Threshold” level. In this way,

the high range limiter will not respond, and compression will not be applied.

St. Mltband Limiter (Stereo Multiband Limiter)

This is a stereo multiband limiter.

Left

Right

FX Amt

Stereo In - Stereo Out

Gain Adjust

Limiter

Envelope - Control

Gain Adjust

Limiter

Low

Mid

High

Envelope - Control

Low

Mid

High

Offset

and-ass Filters

Limiter

a Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

b Threshold [dB] –40…0 Sets the level above which the compressor is ap-

plied

c Attack 1…100 Sets the attack time

650| Effects for the Sounds, Voice, Guitar

d Release 1…100 Sets the release time

e Low Offset [dB] –40…0 Sets the low range gain of trigger signal

f Mid Offset [dB] –40…0 Sets the mid range gain of trigger signal

g High Offset [dB] –40…0 Sets the high range gain of trigger signal

h Gain Adjust [dB] –Inf,

–38…+24

Sets the output gain

Src Off…Tempo Selects the modulation source for the output

gain

Amt –63…+63 Sets the modulation amount of the output gain

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

St.Mastering Limitr (Stereo Mastering Limiter)

This is a stereo limiter that is optimized for mastering songs.

Left

Right

FX Amt

Stereo In - Stereo Out

Limiter

Out Ceiling

Envelope - Control

a Threshold [dB] –30.0…0.0 Sets the level above which the compressor is

applied

b Out Ceiling [dB] –30.0…0.0 Sets the output gain

c Release [msec] 0.50…1000.0 Sets the release time

d Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |651

Stereo Gate

This effect mutes the input signal when it falls below a speciﬁed level. You

can also invert the on/off status of the gate, or use note-on/off messages to

turn the gate on/off directly.

Left

Right

FX Control BUS 1

FX Control BUS 2

FX Amt

Stereo In - Stereo Out

Envelope Source

Gain Adjust

Side PEQ

Envelope - Control

Trigger Monitor

Envelope Select

Gate

Delay

Gate

Delay

-mod

a Envelope Source D-mod, Input Selects the source to control the gate: D-mod

control, or use the input signal as a trigger

b Envelope Select L/R Mix,

L Only,

R Only

Selects the control signal: left and right linked,

left only, or right only

Src Off…Tempo Selects the source that will control the gate

when Envelope Src = D-mod

c Threshold 0…100 Sets the level at which gating is applied

Polarity +, – Switches the polarity of gating

d Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

e Delay Time [msec] 0…100 Sets the delay time for the gate input

f Side PEQ Insert Off, On Switches the trigger signal equalizer on/off

Trigger Monitor Off, On Switches between monitoring the effect output

and the trigger signal

g Side PEQ Cutoff [Hz] 20…12.00k Sets the center frequency of the equalizer for

the trigger signal

Q 0.5…10.0 Sets the bandwidth of the equalizer for the trig-

ger signal

Gain [dB] –18.0…+18.0 Sets the gain of the equalizer for the trigger

signal

652| Effects for the Sounds, Voice, Guitar

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

c: Threshold

d: Attack

d: Release

“Threshold” speciﬁes the level at which gating occurs when “Envelope

Select” is set to L/R Mix, L Only, or R Only.

“Attack” and “Release” specify the attack time and release time of the gate.

Input Level

Output Level

Threshold

Louder

Threshold

Attack=1

Release=1

Attack=100

Release=100

Dry

Wet

Attack

Release

Gate - Attack / Release

Gate - Threshold

Effect parameters |653

c: Polarity

This inverts the polarity of the gate on/off operation. With the

“–” setting, the gate will close when the input signal exceeds the speciﬁed

level. The direction in which the modulation source opens or closes the gate

will also be reversed.

e: Delay Time [msec]

This sets the delay time for the input to the gate. When using shorter Attack

Time settings, you can lengthen the Delay Time so that the sound is input

after the gate opens.

654| Effects for the Sounds, Voice, Guitar

AMP (Ampliﬁer)

Pa700 includes accurate guitar and bass ampliﬁer and cabinet modeling.

Some of the effects combine an ampliﬁer and a cabinet model.

Modelling ampliﬁers

Pa700 comes with a wide selection of the best amps, that offer the wid-

est possible array of great tones. The operating mode of the preamp and

power amp, the response of the tone controls, and their placement within

the circuit will change depending on the type of amp you select, precisely

replicating the exact gain and tonal character of the original amp. The all-

important power amp stage (class A or AB) and negative-feedback circuit (or

lack thereof) are also carefully simulated.

The volume controls

Two main controls affect the volume (or gain) and at the same time the tone

of the amp: Drive Gain (controlling the preamp gain and the amount of pre-

amp distortion) and Volume (controlling the preamp output level). Each con-

trol has its own speciﬁc job, and the sound of a particular amp model can

vary over a very wide range just depending on the settings of these controls.

In addition, the

Cabinet Trim control (a power attenuator) is placed between

the output of your amp and the input of your speaker cabinet. At the end of

the signal path, the Wet/Dry parameter in the FX Edit page, and the Master

knob in the Mixer/Tuning > FX Send page, control the level of the ﬁnal mix

and allows you to balance all your presets to each other.

We have made the relationship between preamp and power amp work in the

same way as in the original amps. Therefore, to obtain truly authentic tones,

please use the Pre/Drive Gain parameter to control the preamp distortion,

and the Volume parameter to control the distinctive distortion and warmth

of the power amp stage.

Be advised that setting the Drive Gain too high will result in heavy distortion,

and is not recommended.

Tube talk

‘Tubes’ is the name adopted in the USA, while ‘valves’ is the British equiva-

lent. As all the amps we’ve modelled come from one of the two countries just

mentioned, we will use the corresponding term in the following descriptions.

Also, please note that an ECC83 preamp valve is the British version of a

12AX7 preamp tube used in the USA.

Effect parameters |655

Modelling speaker cabinets

The accurate amp models can be paired with speaker cabinet models of the

same quality. The output stage of a tube amp works in close harmony with

the varying impedance curve of the speaker(s) it is driving. This intimate and

vital relationship plays a major role in producing the warm, punchy sound

and pleasing feel of tube amps.

Modelling a speaker cabinet is not just a case of frequency response, but is

a combination of frequency response, transient response (how a speaker

reacts to the strength of how a note is played), and the all-important interac-

tion of the amps output to the speaker’s impedance curve. In addition, other

vitally important factors that have to be taken into account when modelling

a cabinet are the actual physical dimensions of the enclosure (cabinet), the

unique tonality of said enclosure (which will be affected by both the type and

thickness of the wood it is made of) and whether it boasts an open, semi-

open or closed-back design.

656| Effects for the Sounds, Voice, Guitar

Ampliﬁer types

These are the available ampliﬁer types.

Amp Type Meaning

VOX AC15 VOX AC15 manufactured in 1962

VOX AC15TB VOX AC15TB (an AC15 modiﬁed by the addition of a top boost cir-

cuit).

VOX AC30 Normal channel of a VOX AC30TB

VOX AC30TB Brilliant channel of a VOX AC30TB

UK BLUES UK-manufactured vintage stack amp head

UK 70’S High treble channel of a UK-manufactured 100W amp head from

1969

UK 80’S UK-manufactured 100 Watt head from 1983

UK 90’S Lead channel of a 100W dual channel head

UK MODERN UK-manufactured 100W modern amp

US MODERN High-gain amp with metal plate

US HIGAIN 1991 model 100W amp head covered in snake-skin

BOUTIQUE OD Overdrive channel of a high-end 100W hand made amp

BOUTIQUE CL Clean channel of a high-end, hand-made 100W amp

BLACK 2x12 2x12 combo amp indispensable for country or blues players

TWEED - 1x12 Combo amp covered in tweed cloth

TWEED - 4x10 4x10 combo amp designed for bass guitar

Effect parameters |657

Cabinet types

When a cabinet can be chosen, these are the available types.

Cabinet Type Meaning

TWEED - 1x12 Open-back cabinet with one 12” Alnico magnet speaker, typically

used for blues. It is usually paired with the Tweed Amp.

TWEED - 4x10 Open-back cabinet with four 10” 8 Ohm Alnico magnet speakers,

wired in parallel for a total of 2 Ohms impedance.

BLACK - 2x10 Open-back cabinet with two 10” ceramic magnet 35 Watt speak-

ers.

BLACK - 2x12 American open-back cabinet with two 12” ceramic magnet speak-

ers. They are 8 Ohm units wired in parallel for a 4 Ohm total load.

VOX AC15 - 1x12 Vox AC15 open-back cabinet with one 12” VOX Blue Alnico speak-

er, manufactured by Celestion in Ipswich, England.

VOX AC30 - 2x12 Vox AC30 open-back cabinet with two 12” VOX Blue Alnicos,

wired in series for 16 Ohms.

VOX AD412 - 4x12 VOX AD412 closed-back cabinet with four 12” custom-designed

Celestion speakers with Neodymium magnets.

UK H30 - 4x12 Closed-back classic cabinet with four 30W 12” speakers. Made

in the late ’60s by the same famous UK amp company as the UK

T75 4x12.

UK T75 - 4x12 Closed-back cabinet loaded with four modern 75W 12” British

speakers.

US V30 - 4x12 Closed-back cabinet with four 30W 12” speakers. This big cabinet

uses four UK made Vintage named speakers and is known for its

deep bass and high end detail.

658| Effects for the Sounds, Voice, Guitar

Amp + Cabinet combinations

These are the recommended combinations of guitar amp models and cabi-

net simulators:

Amp Type Cabinet Type

VOX AC15 VOX AC15 - 1x12

VOX AC15TB VOX AC15 - 1x12

VOX AC30 VOX AC30 - 2x12

VOX AC30TB VOX AC30 - 2x12

UK BLUES UK H30 - 4x12

UK 70’S UK H30 - 4x12

UK 80’S UK T75 - 4x12

UK 90’S UK T75 - 4x12

UK MODERN UK T75 - 4x12, US V30 - 4x12

US MODERN US V30 - 4x12

US HIGAIN US V30 - 4x12, UK T75 - 4x12

BOUTIQUE OD UK H30 - 4x12

BOUTIQUE CL UK H30 - 4x12

BLACK 2x12 BLACK - 2x12

TWEED - 1x12 TWEED - 1x12

TWEED - 4x10 TWEED - 4x10

Effect parameters |659

GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ)

This combines a guitar amp simulation (which even faithfully replicates the

distortion and tone control circuitry) with a four-band equalizer.

By using this in conjunction with St. Guitar Cabinet (Stereo Guitar Cabinet),

you can obtain an even more realistic guitar sound that simulates a guitar

amp + speaker cabinet.

In alternative, you can use the combined Guitar Amp + Cabinet effect, that

does not include an EQ, but only takes a single FX slot.

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Parametric 4Band EQ

-mod

Guitar Amp Model

a Amp Type VOX AC15, VOX AC15TB,

VOX AC30, VOX

AC30TB,

UK BLUES, UK 70’S,

UK 80’S, UK 90’S,

UK MODERN,

US MODERN,

US HIGAIN,

BOUTIQUE OD,

BOUTIQUE CL,

BLACK 2x12,

TWEED - 1x12,

TWEED - 4x10

Selects the type of the ampliﬁer

Drive Gain 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

660| Effects for the Sounds, Voice, Guitar

d Treble 0…100 Sets the treble (high range) level

Presence/Cut 0…100

Sets the presence (high-frequency tone).

With

VOX amps, it simulates the Top Cut on the

original AC30; with higher values, it cuts

the high frequencies more.

e Post P4EQ Thru, On Selects through or on for the equalizer

f Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of

Band 1

Q 0.5…10.0 Sets Band 1’s bandwidth

Gain [dB] –18…+18 Sets the gain of Band 1

g Band2 Cutoff [Hz] 50…5.00k Sets the center frequency of

Band 2

Q 0.5…10.0 Sets Band 2’s bandwidth

Gain [dB] –18…+18 Sets the gain of Band 2

h Band3 Cutoff [Hz] 300…10.00k Sets the center frequency of

Band 3

Q 0.5…10.0 Sets Band 3’s bandwidth

Gain [dB] –18…+18 Sets the gain of Band 3

i Band4 Cutoff [Hz] 500…20.00k Sets the center frequency of

Band 4

Q 0.5…10.0 Sets Band 4’s bandwidth

Gain [dB] –18…+18 Sets the gain of Band 4

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Amp Type

d: Presence/Cut

If the Amp Type is VOX AC15…VOX AC30TB, this sets the attenuation of the

high-frequency range. For other types, this sets the boost of the high-fre-

quency range. This corresponds to the Cut knob control of amps made by

the VOX Corporation.

e: Post P4EQ

By chaining this with 19: St.Guitar Cabinet you can simulate the combination

of a guitar amp and speaker cabinet. In this case, we recommend that you

set Post P4EQ to “Thru,” but if necessary you can turn it “On” and adjust

the tone.

Effect parameters |661

GuitarAmp + Cabinet

As the above, minus the EQ, plus the cabinet.

Guitar Amp Model

Left

Right

Wet / Dry

Volume

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

-mod

Cabinet Simulator

a Amp Type VOX AC15, VOX AC15TB,

VOX AC30, VOX

AC30TB,

UK BLUES, UK 70’S,

UK 80’S, UK 90’S,

UK MODERN,

US MODERN,

US HIGAIN,

BOUTIQUE OD,

BOUTIQUE CL,

BLACK 2x12,

TWEED - 1x12,

TWEED - 4x10

Selects the type of the ampliﬁer

b Drive Gain 0…100 Sets the input gain

c Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

d Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

Treble 0…100 Sets the treble (high range) level

Presence/Cut 0…100 Sets the presence (high-frequency tone).

With VOX amps, it simulates the Top Cut

on the original AC30; with higher values,

it cuts the high frequencies more.

662| Effects for the Sounds, Voice, Guitar

e Cabinet Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

Cabinet Trim 0…100 Sets the input level

Cabinet Air 0…100 Sets the mic position

f Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0…100 Sets the level at which gating is applied

Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |663

Amp Clean Combo

This models the clean channel of a amp that went on sale in 1975 and con-

tained two 12” speakers. As the name suggests, it produces a clean tone with

a tight sounding character, and a deep and compact low-end. When pushed

hard the bass tends to crumble. The original amp doesn’t have a Presence

control but does have a Bright Switch. The Presence control on your Pa700

emulates this switch when Off and On, plus all points in-between.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Boosts the upper frequencies above the

normal treble control range for added

high-end

e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

664| Effects for the Sounds, Voice, Guitar

Amp Clean Combo + Cab

As the above, plus cabinet.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0…100 Sets the input level

g Cabinet Air 0…100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0…100 Sets the level at which gating is applied

Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |665

Amp California

This 45W American combo amp with four 10” speakers, produced in South

California during the years 1963–1968, was known for its big, clean sound

and its warm and husky sound when driven heavily. This amp’s medium out-

put and powerful sound was a favorite in clubs.

Original’s tube compliment: 4 x 12AX7 in the preamp, 1 x 5AR4 rectiﬁer tube,

2 x 6L6 tubes in the power amp, plus 2 x 12AT7 tubes.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

666| Effects for the Sounds, Voice, Guitar

Amp California + Cab

As the above, plus cabinet.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0…100 Sets the input level

g Cabinet Air 0…100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0…100 Sets the level at which gating is applied

Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |667

Amp Tweed

This 40W American-made tweed-covered 1957 model combo amp with two

12” speakers is known for its rich, clean tone that is ideal for classic rock,

blues, and country. By raising the volume you can also produce a powerful

and punchy overdrive sound. It quickly became a favorite of the greatest

bands of the ’60s, and is what you can call ‘the classic tone’. Its nickname

came from the use of lacquered tweed fronted with vintage brown/gold grille

cloth, that gave it that sophisticated look.

Original’s tube compliment: 4 x 12AX7 in the preamp, 2 x 5U4 rectiﬁer tube,

2 x GT6L6 tubes in the power amp.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

668| Effects for the Sounds, Voice, Guitar

Amp Tweed + Cab

As the above, plus cabinet.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0…100 Sets the input level

g Cabinet Air 0…100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0…100 Sets the level at which gating is applied

Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |669

Amp Modded OD

This models the Overdrive channel of a 100W boutique amp head produced

in North Hollywood. Its beautifully deep and rounded low-end, delightfully

transient midrange attack and sweet treble, with an harmonically rich over-

drive, the lushest clean tone, woody attack and blooming sustain, make it an

instant pleasure to play.

Original’s tube compliment: 2 x 12AX7s in the preamp, 1 x 12AX7s rectiﬁer, 4

x EL34s (or 6L6s) in the power amp.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

670| Effects for the Sounds, Voice, Guitar

Amp Modded OD + Cab

As the above, plus cabinet.

a Drive 0…100 Sets the input gain

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the out-

put level

Amt –100…+100 Sets the modulation amount of the output

level

c Bass 0…100 Sets the bass (low range) level

Middle 0…100 Sets the middle (mid range) level

d Treble 0…100 Sets the treble (high range) level

Presence 0…100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0…100 Sets the input level

g Cabinet Air 0…100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0…100 Sets the level at which gating is applied

Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |671

St. Guitar Cabinet (Stereo Guitar Cabinet)

This simulates the acoustical character of a guitar amp’s speaker cabinet.

Left

Trim

Right

FX Amt

Stereo In - Stereo Out

Cabinet Simulator

a Trim 0…100 Sets the input level

b Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

c Air 0…100 Sets the mic position

d Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

672| Effects for the Sounds, Voice, Guitar

Gtr. Cabinet + NR (Guitar Cabinet + Noise Reduction)

Guitar cabinet and Noise Reduction.

NR Sens Off, 1…100 Noise Reduction sensitivity

a Trim 0…100 Sets the input level

b Type TWEED - 1x12,

TWEED - 4x10,

BLACK - 2x10,

BLACK - 2x12,

VOX AC15 - 1x12,

VOX AC30 - 2x12,

VOX AD412 - 4x12,

UK H30 - 4x12,

UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

c Air 0…100 Sets the mic position

d Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

OD/HG - Amp Sim (Overdrive/Hi.Gain - Amp Simulation)

This effect combines a mono overdrive/high-gain distortion and an amp sim-

ulation. You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Amp Simulation

Amp Simulation Filter

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain

Drive

Driver

Effect parameters |673

OD/HI-GAIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain

distortion

Drive 1…100 Sets the degree of distortion

b [O]Output Level 0…50 Sets the overdrive output level

Src Off…Tempo Selects the modulation source for the

overdrive output level

Amt –50…+50 Sets the modulation amount of the over-

drive output level

c [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ

(shelving type)

Gain [dB] –18…+18 Sets the gain of Low EQ

d [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ

1 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

e [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ

2 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

AMP SIM

f [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁe

g Routing OD/HG › Amp, Amp ›

OD/HG

Switches the order of the overdrive and

amp

h Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

674 | Effects for the Sounds, Voice, Guitar

OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah)

This distortion effect utilizes an Overdrive mode and a Hi-Gain mode.

Controlling the wah effect, the 3-band EQ, and the amp simulation will allow

you to create versatile distortion sounds. This effect is suitable for guitar

and organ sounds.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Amp Simulation

3 Band PEQ

Output Level

Direct Mix

Pre Low-cut

-mod

Wah

Mode: Overdrive / Hi-Gain

Drive

Driver

a Wah Off, On Switches Wah on/off

Src Off…Tempo Selects the modulation source that switches the

Wah on and off

Sw Toggle,

Moment

Selects the switching mode for the modulation

source that switches the Wah on and off

b Wah Sweep Range –10…+10 Sets the range of Wah

Wah Sweep Src Off…Tempo Selects the modulation source that controls the

Wah

c Drive Mode Overdrive,

Hi-Gain

Switches between overdrive and hi-gain distor-

tion

d Drive 1…100 Sets the degree of distortion

Pre Low-cut 0…10 Sets the low range cut amount of the distortion

input

e Output Level 0…50 Sets the output level

Src Off…Tempo Selects the modulation source for the output

level

Amt –50…+50 Sets the modulation amount of the output level

f Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving

type)

Gain [dB] –18…+18 Sets the gain of Low EQ

g Mid1Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

Effect parameters |675

h Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

i Direct Mix 0…50 Sets the amount of the dry sound mixed to the

distortion

Speaker Simulation Off, On Switches the speaker simulation on/off

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Wah

The Wah parameter switches the wah effect on/off.

a: Sw

This parameter sets how the wah effect is switched on and off via the modu-

lation source.

When “Sw” = Moment, the wah effect is usually turned off. It is turned on

only when you press the pedal or operate the joystick.

When a value for the modulation source is less than 64, “off” speed is

selected, and when the value is 64 or higher, “on” is selected.

When “Sw” = Toggle, the wah effect is switched between on and off each

time you press the pedal or operate the joystick.

The switch will be turned on/off each time the value of the modulation

source exceeds 64.

b: Wah Sweep Range

b: Wah Sweep Src

This parameter sets the sweep range of the wah center frequency. A nega-

tive value will reverse the direction of sweep. The wah center frequency can

be controlled by the modulation source speciﬁed in the “Wah Sweep Src”

parameter.

676| Effects for the Sounds, Voice, Guitar

d: Pre Low-cut

Cutting the signal in the low range before it is input to the Distortion will cre-

ate a sharp distortion.

d: Drive

e: Output Level

The degree of distortion is determined by the level of input signal and the

setting of “Drive”. Raising the “Drive” setting will cause the entire volume

level to increase. Use the “Output Level” parameter to adjust the volume

level. The “Output Level” parameter uses the signal level input to the 3-Band

EQ. If clipping occurs at the 3-Band EQ, adjust the “Output Level” parameter.

OD/HyperGain Wah (Overdrive/Hyper Gain Wah)

This distortion effect has two modes: overdrive and hyper-gain that produc-

es a strong distortion. A higher high-gain setting is required for this effect

relative to a normal-size effect.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Amp Simulation

3 Band EQ

Output Level

Direct Mix

Pre Low-cut

-mod

Wah

Mode: Overdrive / Hyper-Gain

Drive

Driver

a Wah Off, On Switches Wah on/off

Src Off…Tempo Selects the modulation source that

switches the Wah on and off

Sw Toggle, Moment Selects the switching mode for the

modulation source that switches the

Wah on and off

b Wah Sweep Range –10…+10 Sets the range of Wah

Wah Sweep Src Off…Tempo Selects the modulation source that

controls the Wah

c Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hi-

gain distortion

Effect parameters |677

d Drive 1…120 Sets the degree of distortion

Pre Low-cut 0…10 Sets the low range cut amount of the

distortion input

e Output Level 0…50 Sets the output level

Src Off…Tempo Selects the modulation source for the

output level

Amt –50…+50 Sets the modulation amount of the out-

put level

f Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ

(shelving type)

Gain [dB] –18…+18 Sets the gain of Low EQ

g Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High

EQ 1 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

h Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High

EQ 2 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

i Direct Mix 0…50 Sets the amount of the dry sound

mixed to the distortion

Speaker Simulation Off, On Switches the speaker simulation on/off

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the beginning

of this part

Amt –100…+100 Amount of modulation source

678| Effects for the Sounds, Voice, Guitar

Comp - Amp Sim (Compressor - Amp Simulation)

This effect combines a mono compressor and an amp simulation. You can

change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Compressor

Routing

Amp Simulation

Amp Simulation Filter

LEQ HEQ

EQ Trim

Output Level

Envelope - Control

Comp

COMPRESSOR

a [C]

Sensitivity

1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

c [C]EQ Trim 0…100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

AMP SIM

e [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

f Routing Comp › Amp,

Amp › Comp

Switches the order of the compressor and amp

simulation

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |679

Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain)

This effect combines a mono compressor and an overdrive/high-gain distor-

tion. You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain

Drive

Driver

Compressor

Output Level

Envelope - Control

Comp

FX Amt

COMPRESSOR

a [C] Sensitivity 1…100 Sets the sensitivity

b [C] Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

OD/HI-GAIN

c [O] Drive Mode Overdrive,

Hi-Gain

Switches between overdrive and high-gain dis-

tortion

Drive 1…100 Sets the degree of distortion

d [O]Output Level 0…50 Sets the overdrive output level

Src Off…Tempo Selects the modulation source for the overdrive

output level

Amt –50…+50 Sets the modulation amount of the overdrive

output level

e [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving

type)

Gain [dB] –18…+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

680| Effects for the Sounds, Voice, Guitar

h [O]Wet/Dry Dry,

1 : 99…99 : 1,

Wet

Sets the overdrive effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for the

overdrive

Amt –100…+100 Sets the Wet/Dry modulation amount for the

overdrive

i Routing Comp › OD/HG,

OD/HG › Comp

Switches the order of the compressor and over-

drive

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Wah - Amp Sim (Wah - Amp Simulation)

This effect combines a mono wah and an amp simulation. You can change

the order of the effects.

FX Amt

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Amp Simulation

Amp Simulation Filter

Wah/Auto Wah

Wah

-mod

Envelope

Sweep Mode

D-mod

Auto

LFO

WAH

a [W]Frequency Bottom 0…100 Sets the lower limit of the wah center fre-

quency

Frequency Top 0…100 Sets the upper limit of the wah center fre-

quency

b [W]Sweep Mode Auto,

D-mod,

LFO

Selects the control from auto-wah, modu-

lation source, and LFO

Src Off…Tempo Selects the modulation source for the wah

when Sweep Mode=D-mod

Effect parameters |681

c [W]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Resonance 0…100 Sets the resonance amount

LPF Off, On Switches the wah low pass ﬁlter on and off

d [W]Wet/Dry Dry, 1:99…99:1,

Wet

Sets the wah effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the wah

Amt –100…+100 Sets the Wet/Dry modulation amount for

the wah

AMP SIM

e [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

f Routing Wah › Amp, Amp

› Wah

Switches the order of the wah and amp

simulation

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Decimator - Amp (Decimator - Amp Simulation)

This effect combines a mono decimator and an amp simulation. You can

change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Decimator

Routing

Amp Simulation

Amp Simulation Filter

Pre LPF

High Damp

Output Level

Decimator

Resolution

DECIMATOR

a [D]Pre LPF Off, On Turn the harmonic noise caused by low-

ered sampling on and off

High Damp [%] 0…100 Sets the ratio of high-range damping

682| Effects for the Sounds, Voice, Guitar

b [D]Sampling Freq [Hz] 1.00k…48.00k Sets the sampling frequency

Resolution 4…24 Sets the data bit length

c [D]Output Level 0…100 Sets the decimator output level

AMP SIM

d [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

e Routing Decimator › Amp,

Amp › Decimator

Switches the order of the decimator and

amp simulation

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

AmpSim - Tremolo (Amp Simulation- Tremolo)

This effect combines a mono amp simulation and a tremolo.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Amp Simulation Tremolo

Amp Simulation Filter

Tremolo

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

AMP SIM

a [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

TREMOLO

b [T]LFO Waveform Triangle, Sine,

Vintage, Up, Down

Selects the LFO Waveform

LFO Shape –100…+100 Changes the curvature of the LFO Waveform

c [T]LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

d [T]Depth 0…100 Sets the depth of LFO modulation

Effect parameters |683

e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet)

This simulates a bass amp (with gain and drive) and speaker cabinet.

Left

Right

FX Amt

Volume

Drive

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

-mod

Bass Amp Model2

Cabinet Simulator

a Amp Type Selects the type of the ampliﬁer

STUDIO COMBO A tube combo ideal for the Motown

sound

VOX AC100 A 100W tube amp AC100 made by

Vox

UK MAJOR A 200W tube amp made in the UK

b Drive Gain 0…100 Sets the input gain

c Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for

the output level

Amt –100…+100 Sets the modulation amount of the

output level

d Bass 0…100 Sets the bass (low range) level

e Middle 0…100 Sets the middle (mid range) level

f Treble 0…100 Sets the treble (high range) level

g Presence 0…100 Sets the presence (high-frequency

tone)

h Cabinet Simulator Off, On Switches the cabinet simulator on/

off

684| Effects for the Sounds, Voice, Guitar

i Cabinet Type LA - 4x10, MODERN - 4x10,

METAL - 4x10, CLASSIC

-8x10,

UK - 4x12, STUDIO - 1x15,

JAZZ - 1x15, VOX AC100 -

2x15,

US - 2x15,

UK - 4x15,

LA - 1x18, COMBI - 1x12 & 1x18

Selects the cabinet type

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry

signal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the begin-

ning of this part

Amt –100…+100 Amount of modulation source

a: Amp Type

i: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

STUDIO COMBO STUDIO - 1x15

AC100 VOX AC100 - 2x15

UK MAJOR UK - 4x15, UK - 4x12

Effect parameters |685

Bass Amp Model

This simulates a bass amp.

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

-mod

Bass Amp Model

a Amp Type Selects the ampliﬁer type

LA STUDIO An amp that is typical of the LA sound.

JAZZ A combo amp favored by jazz bassists.

GOLD PANEL An amp distinctive for its eye-catching gold panel and

clean sound.

SCOOPED An amp typical of 80’s sounds.

VALVE2 A tube amp suitable for rock.

VALVE A tube amp with the ULTRA LO switch turned ON.

CLASSIC A tube amp whose basic character changes according to

the setting of the value dial.

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the output level

Amt –100…+100 Sets the modulation amount of the output level

c Bass 0…100 Sets the bass (low range) level

d Middle 0…100 Sets the middle (mid range) level

Mid Range 0…4 Sets the mid-frequency range

e Treble 0…100 Sets the treble (high range) level

f Presence 0…100 Sets the presence (high-frequency tone)

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at the

beginning of this part

Amt –100…+100 Amount of modulation source

686| Effects for the Sounds, Voice, Guitar

Bass Amp+Cabinet (Bass Amp Model+Cabinet)

This simulates a bass amp and speaker cabinet.

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

-mod

Bass Amp Model1

Cabinet Simulator

a Amp Type LA STUDIO, JAZZ ,

GOLD PANEL, SCOOPED, VALVE2,

VALVE, CLASSIC

Selects the type of the ampliﬁer

b Volume 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for

the output level

Amt –100…+100 Sets the modulation amount of the

output level

c Bass 0…100 Sets the bass (low range) level

d Middle 0…100 Sets the middle (mid range) level

Mid Range 0…4 Sets the mid-frequency range

e Treble 0…100 Sets the treble (high range) level

f Presence 0…100 Sets the presence (high-frequency

tone)

g Cabinet

Simulater

Off, On Switches the cabinet simulator on/

off

h Cabinet Type LA - 4x10, MODERN - 4x10,

METAL - 4x10, CLASSIC - 8x10,

UK - 4x12, STUDIO - 1x15,

JAZZ - 1x15, VOX AC100 - 2x15,

US - 2x15,

UK - 4x15,

LA - 1x18, COMBI - 1x12 & 1x18

Selects the cabinet type

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry

signal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the beginning

of this part

Amt –100…+100 Amount of modulation source

Effect parameters |687

a: Amp Type

h: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

LA STUDIO LA - 4x10, LA - 1x18

JAZZ JAZZ - 1x15

GOLD PANEL MODERN - 4x10

SCOOPED METAL - 4x10

VALVE2 CLASSIC - 8x10

VALVE CLASSIC - 8x10

CLASSIC COMBI - 1x12 & 1x18

688| Effects for the Sounds, Voice, Guitar

St. Bass Cabinet (Stereo Bass Cabinet)

This simulates the acoustical character of a bass amp’s speaker cabinet.

Left

Trim

Right

FX Amt

Stereo In - Stereo Out

Cabinet Simulator

a Trim 0…100 Sets the input level

b Cabinet Type Selects the cabinet type

LA - 4x10 Four 10” speakers / LA sound cabinet

MODERN - 4x10 Four 10” aluminum-cone speakers / mod-

ern cabinet

METAL - 4x10 Four 10” aluminum-cone speakers / mod-

ern cabinet

CLASSIC - 8x10 Eight 10” speakers / classic cabinet

UK - 4x12 Four 12” speakers / UK-manufactured

cabinet

STUDIO - 1x15 One 15” speaker / studio combo cabinet

JAZZ - 1x15 One 15” speaker / jazz combo cabinet

VOX AC100 - 2x15 Two 15” speakers / cabinet for Vox AC100

US - 2x15 Two 15” speakers / US-manufactured

cabinet

UK - 4x15 Four 15” speakers / UK-manufactured

cabinet

LA - 1x18 One 18” speaker /

LA sound cabinet

COMBI - 1x12 & 1x18 One 12” and one 18” speaker combination

cabinet

c Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |689

Tube PreAmp Model (Tube PreAmp Modeling)

This effect simulates a two-stage vacuum tube preamp. You can make indi-

vidual settings for two vacuum tubes connected in series. This lets you cre-

ate the warm sound typical of vacuum tubes.

Tube Pre Amp1 Tube Pre Amp2

Left

Right

FX Amt

Output Level

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

–

Invert

a Tube1 Low Cut

[Hz]

Thru, 21…8.00k Sets the cutoff frequency for the low cut ﬁlter

of stage 1

High Cut [Hz] 53…20.00k, Thru Sets the cutoff frequency for the high cut ﬁl-

ter of stage 1

b Tube1 Gain [dB] –24.0…+24.0 Sets the input gain for stage 1

Saturation [%] 0…100 Sets the input/output response for stage 1

c Tube1 Bias 0…100 Sets the bias voltage for stage 1

d Tube1 Phase Normal,

Wet Invert

Turns phase reversal on/off

e Tube2 Low Cut

[Hz]

Thru, 21…8.00k Sets the cutoff frequency for the low cut ﬁlter

of stage 2

High Cut [Hz] 53…20.00k, Thru Sets the cutoff frequency for the high cut ﬁl-

ter of stage 2

f Tube2 Gain [dB] –24.0…+24.0 Sets the input gain for stage 2

Saturation [%] 0…100 Sets the input/output response for stage 2

g Tube2 Bias 0…100 Sets the bias voltage for stage 2

h Tube2 Output

Level [dB]

–48.0…+0.0 Sets the output level

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

690| Effects for the Sounds, Voice, Guitar

b, f: Saturation [%]

With higher settings of this value, the waveform will change at high gain

levels, tending to cause distortion. Lower settings of this value will produce

linear response.

Mic/Pre Amp - Saturation

Out

Saturation = 0

Saturation = 50

Saturation = 100

Bias = 0

c: Tube1 Bias

This expresses the effect that changes in vacuum tube bias have on the dis-

tortion of the waveform. Higher settings of this value will produce distortion

even at low gain levels. Since this will also change the overtone structure,

you can use it to control the tonal character.

Out

Satulation = 50

Bias = 0

Bias = 50

Bias = 100

Mic/Pre Amp - Bias

d: Tube1 Phase

With the Wet Invert setting, the phase of the signal will be inverted between

stage 1 and stage 2. Since “Bias” is applied to the inverted signal in stage 2,

this will change the tonal character.

Effect parameters |691

St. Tube PreAmp (Stereo Tube PreAmp Modeling)

This is a stereo vacuum tube preamp simulator (Tube PreAmp Model

(Tube PreAmp Modeling)).

Left

Right

FX Amt

Output Level

FX Amt

Stereo In - Stereo Out

Tube Pre Amp1 Tube Pre Amp2

Left

Right

FX Amt

–

Invert

Mic Model+PreAmp (Mic Modeling + PreAmp)

This effect simulates a mic and vacuum tube preamp. You can choose from

various types of mic and positions to create differing sonic characters.

Tube Pre AmpMic Simulation

Left

Right

FX Amt

Output Level

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

692| Effects for the Sounds, Voice, Guitar

a Mic Type Vintage Dynamic, Multi

Condenser, Percussion

Condenser, Drums

Dynamic,

Vocal Dynamic,

Multi Dynamic, Vocal

Condenser, Vocal Tube,

Kick Dynamic

Selects the type of mic

b Mic Position Close, On, Off, Far Sets the mic placement distance

c Tube Low Cut [Hz] Thru, 21…8.00k Sets the frequency of the low cut ﬁl-

ter

High Cut [Hz] 53…20.00k, Thru Sets the frequency of the high cut

ﬁlter

d Tube Gain [dB] –24.0…+24.0 Sets the input gain to the vacuum

tube preamp

Saturation [%] 0…100 Sets the input/output response of the

preamp

e Tube Bias 0…100 Sets the bias level of the preamp

f Tube Output Level [dB] –48.0…+0.0 Sets the output level of the preamp

g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry sig-

nal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the beginning

of this part

Amt –100…+100 Amount of modulation source

b: Mic Position

This expresses the effect that the mic position has on the sound. The Close

setting is the closest mic position, and the Far setting is the farthest.

Effect parameters |693

St. Mic + PreAmp (Stereo Mic Modeling + PreAmp)

This is a stereo mic and preamp simulator (Mic Model+PreAmp

(Mic Modeling + PreAmp)). For example you might use this to simulate micing

of a stereo source such as a rotary speaker.

Tube Pre AmpMic Simulation

Left

Right

FX Amt

Output Level

FX Amt

Stereo In - Stereo Out

694| Effects for the Sounds, Voice, Guitar

FILT (EQ and Filters)

St.Parametric4EQ (Stereo Parametric 4-Band EQ)

This is a stereo 4-band parametric equalizer. You can select peaking type

or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by

dynamic modulation.

Left

Right

FX Amt

Stereo In - Stereo Out

Band1 Band2 Band3 Band4

PEQ PEQ PEQPEQ

LEQ

HEQ

PEQ PEQ PEQPEQ

Trim

-mod

a Trim 0…100 Sets the input level

b Band1 Type Peaking,

Shelving-Low

Selects the type of Band 1

c Band4 Type Peaking,

Shelving-High

Selects the type of Band 4

d Band2 Dynamic Gain

Src

Off…Tempo Selects the modulation source of the Band 2

gain

Amt [dB] –18.0…+18.0 Sets the modulation amount of Band 2 gain

e Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18.0…+18.0 Sets the gain of Band 1

f Band2 Cutoff [Hz] 50…10.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18.0…+18.0 Sets the gain of Band 2

g Band3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18.0…+18.0 Sets the gain of Band 3

Effect parameters |695

h Band4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18.0…+18.0 Sets the gain of Band 4

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

b: Band1 Type

c: Band4 Type

Selects a ﬁlter type for Band 1 and 4.

3dB

Band1 Cutoff

Band4 Cutoff

0dB

+Gain

–Gain

Band1 Type=Peaking

Band1 Type=Shelving Low

Band4 Type=Peaking

Band4 Type=Shelving High

Parametric 4EQ - Band1, Band4 Type

Band2 Cutoff

0dB

+6dB

+15dB

Band2 Gain[dB]= +6.0

Band2 Gain Mod Amount[dB]= +9.0

-mod

0dB

+6dB

–9dB

Band2 Gain[dB]= +6.0

Band2 Gain Mod Amount[dB]= –15.0

-mod

Parametric 4EQ - Band2 Gain Mod

e, f, g, h: Q

These parameters set the bandwidth of each equalizer. The higher the value,

the narrower the band becomes.

d: Band2 Dynamic Gain Src

d: Amt [dB]

You can control the gain of Band 2 using the modulation source.

696| Effects for the Sounds, Voice, Guitar

St. Graphic 7EQ (Stereo Graphic 7-Band EQ)

This is a stereo 7-band graphic equalizer. The bar graph of the gain setting

for each band gives you a clear, visual idea of frequency responses. You can

select a center frequency setting for each band from twelve types, accord-

ing to the sound.

Left

Right

FX Amt

Stereo In - Stereo Out

Band1 Band2 Band3 Band4

Trim

Band5 Band6 Band7

Band1 Band2 Band3 Band4Band5 Band6 Band7

a Type

1:Wide 1, 2:Wide 2, 3:Wide

3, 4:Half Wide 1, 5:Half

Wide 2, 6:Half Wide 3,

7:Low,

8:Wide Low, 9:Mid,

10:Wide Mid, 11:High,

12:Wide High

Selects a combination of center frequencies for

each band

b Trim 0…100 Sets the input level

c Band1 [dB] –18.0…+18.0 Sets the gain of Band 1

d Band2 [dB] –18.0…+18.0 Sets the gain of Band 2

e Band3 [dB] –18.0…+18.0 Sets the gain of Band 3

f Band4 [dB] –18.0…+18.0 Sets the gain of Band 4

g Band5 [dB] –18.0…+18.0 Sets the gain of Band 5

h Band6 [dB] –18.0…+18.0 Sets the gain of Band 6

i Band7 [dB] –18.0…+18.0 Sets the gain of Band 7

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Type

This parameter selects a combination of center frequencies for each band.

The center frequency of each band is shown in the right of the screen.

You can conﬁgure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if

you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low,

9:Mid, and 11:High for each EQ.

Effect parameters |697

P4EQ – Exciter (Parametric 4-Band EQ - Exciter)

This effect combines a mono four-band parametric equalizer and an exciter.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim

Exciter

Parametric 4Band EQ Exciter

P4EQ

a [E]Trim 0…100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

EXCITER

f [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect

g [X]Emphasis Freq 0…70 Sets the frequency range to be emphasized

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

698| Effects for the Sounds, Voice, Guitar

P4EQ - Wah (Parametric 4-Band EQ – Wah/Auto Wah)

This effect combines a mono four-band parametric equalizer and a wah. You

can change the order of the connection.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim

Parametric 4Band EQ

Routing

Wah/Auto Wah

-mod

Envelope

Sweep Mode

D-mod

Auto

LFO

Wah

P4EQ

a [E]Trim 0…100 Sets the parametric EQ input level

Routing P4EQ › Wah,

Wah › P4EQ

Changes the order of the parametric equal-

izer and wah connection

b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

WAH

f [W]Frequency Bottom 0…100 Sets the lower limit of the wah center fre-

quency

Frequency Top 0…100 Sets the upper limit of the wah center fre-

quency

Effect parameters |699

g [W]Sweep Mode Auto,

D-mod,

LFO

Selects the control from auto-wah, modula-

tion source, and LFO

Src Off…Tempo Selects the modulation source for the wah

when Sweep Mode=D-mod

h [W]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Resonance 0…100 Sets the resonance amount

LPF Off, On Switches the wah low pass ﬁlter on and off

i [W] Wet/Dry Dry,1 : 99… 99

: 1, Wet

Sets the wah effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the wah

Amt –100…+100 Sets the Wet/Dry modulation amount for

the wah

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

St. Wah/Auto Wah (Stereo Wah/Auto Wah)

This stereo wah effect allows you to create sounds from vintage wah pedal

simulation to auto-wah simulation, and much broader range settings.

Stereo In - Stereo Out

-mod

Envelope Sens

Envelope Shape

Response

FX Amt

Wah

Sweep Mode

D-mod

Auto

Left

Right

FX Amt

LFO

Wah

700| Effects for the Sounds, Voice, Guitar

a Frequency Bottom 0…100 Sets the lower limit of the wah center frequency

Frequency Top 0…100 Sets the upper limit of the wah center frequen-

b Sweep Mode Auto, D-mod,

LFO

Selects the control from auto-wah, modulation

source, and LFO

Src Off…Tempo Selects the modulation source for the wah

when Sweep Mode=D-mod

Respon 0…100 Sets the response speed when Sweep Mode =

Auto or D-mod

c Envelope Sens 0…100 Sets the sensitivity of auto-wah

Envelope Shape –100…+100 Sets the sweep curve of auto-wah

d LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

f Resonance 0…100 Sets the resonance amount

Low Pass Filter Off, On Switches the wah low pass ﬁlter on and off

g Output Level 0…100 Sets the output level of the effect sound

Src Off…Tempo Selects the modulation source that will control

the effect output level

Amt –100…+100 Sets the modulation amount of the effect out-

put level

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |701

a: Frequency Bottom

a: Frequency Top

The sweep width and direction of the wah ﬁlter are determined by the

“Frequency Top” and “Frequency Bottom” settings.

Max

-mod

Frequency

Bottom=25

Top=75

Higher

Max

Zero

Higher

-mod

Frequency

Bottom=60

Top=30

Higher

Zero

Higher

Frequency

Bottom=25

Top=75

Higher

Frequency

Bottom=75

Top=25

Higher

Sweep Mode=Auto

Envelope

Time

Wah

Woo

Envelope

Wah Wah

Time

Woo

Wah

Sweep Mode=D-mod

b: Sweep Mode

This parameter changes the wah control mode. Setting “Sweep Mode” to

Auto will select an auto-wah that sweeps according to envelope changes in

the input signal level. Auto-wah is frequently used for funk guitar parts and

clav sounds.

When “Sweep Mode” is set to D-mod, you can control the ﬁlter directly via

the modulation source in the same way as a wah pedal.

When “Sweep Mode” is set to LFO, the effect uses LFO to sweep in cycle.

c: Envelope Sens

This parameter sets the sensitivity of auto-wah. Increase the value if the in-

put signal is too low to sweep. Reduce the value if the input signal is so high

that the ﬁlter is stopped temporarily.

702| Effects for the Sounds, Voice, Guitar

c: Envelope Shape

This parameter determines the sweep curve for auto-wah.

Time

Level

Envelope

value = 0...–100

value = 0...+100

Envelope Shape

d: LFO Frequency [Hz]

e: MIDI Sync

When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO Frequency pa-

rameter setting. When “MIDI/Tempo Sync”=On, the LFO speed follows the

“BPM”, “Base Note”, and “Times” settings.

e: BPM

e: Base Note

e: Times

One cycle of LFO sweep is obtained by multiplying the length of a note (

… )

(selected for “Base Note”, in relation to the tempo speciﬁed in “BPM”, or

the MIDI Clock tempo if “BPM” is set to MIDI) by the number speciﬁed in the

Times parameter.

Effect parameters |703

St. Vintage Wah (Stereo Vintage/Custom Wah)

This effect simulates the tonal character of a vintage wah pedal. You can

customize the tone and range settings.

Mode

Preset Setting

Custom Parameters

Stereo In - Stereo Out

-mod

Envelope Sens

Shape / Invert

Response

FX Amt

Wah

Sweep Mode

D-mod

Auto

Left

Right

FX Amt

LFO

Wah

a Mode Preset,

Custom

Selects either preset or custom settings

Shape –100…+100 Sets the curve of the sweep

Invert Off, On Inverts the polarity of the sweep

b Frequency Bottom 0…100 Sets the lower limit of the wah center frequency

when Mode = Custom

Frequency Top 0…100 Sets the upper limit of the wah center frequency

when Mode = Custom

c Resonance Bottom 0…100 Sets the lower limit of resonance amount when

Mode=Custom

Resonance Top 0…100 Sets the upper limit of resonance amount when

Mode=Custom

d Sweep Mode Auto,

D-mod,

LFO

Selects the control from auto-wah, modulation

source, and LFO

Src Off…Tempo Selects the modulation source for the wah when

Sweep Mode=D-mod

Manual 0…100 Sets the center frequency when Sweep Mode=D-

mod and Source=Off

e Envelope Sens 0…100 Sets the auto-wah sensitivity

Response 0…100 Sets the speed of response when Sweep

Mode=Auto or D-mod

f LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

704| Effects for the Sounds, Voice, Guitar

g MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

h Output Level 0…100 Sets the output level of the effect sound

Src Off…Tempo Selects the modulation source that will control

the effect output level

Amt –100…+100 Sets the modulation amount of the effect out-

put level

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Shape

This parameter speciﬁes the sweep curve of the wah. It applies to all control

via auto-wah, modulation source, and LFO, and lets you adjust subtle nu-

ances of the wah effect.

a: Mode

b: Frequency Bottom

b: Frequency Top

c: Resonance Bottom

c: Resonance Top

If Mode=Preset, this simulates a vintage wah pedal. In this case, internally

ﬁxed values are used for Frequency Bottom/Top and Resonance Bottom/

Top, and these settings will be ignored. The settings for Frequency Bottom/

Top and Resonance Bottom/Top are valid if Mode=Custom.

Effect parameters |705

VOX Wah

This effect is modeled on two legendary VOX wah pedals: the V847 and the

V848 Clyde McCoy model. Thanks to their unique ‘throaty’ tone, these are

the only wah pedals that many professionals will consider putting under their

feet. Played musically, they can make your melody lines cry like a baby—or

howl like a man possessed!

A great tonal trick is to ﬁnd a ‘sweet spot’ within the range of the Wah pedal

and then leave it there. This ‘stuck-Wah’ can be very effective when used

tastefully, producing a distinctive sound that will cut through any mix.

-mod

Auto Sensitivity

Envelope

Mode

Pedal

Auto

Wet / Dry

Left

Right

Wet / Dry

Wah

Attack / Polarity

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

a Type V847, V848 Effect model

b Open 0…99 Level when open

Close 0…99 Level when close

c Mode Auto, Pedal Selects either auto or pedal mode

d Pedal Source Off…Tempo Selects the modulation source when in pedal

mode

Pedal Manual 0…99 Level when in pedal mode

e Auto Sensivity 0…100 Sensitivity when in auto mode

Auto Polarity Up, Down Polarity when in auto mode

Auto Attack 0…99 Attack time

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

706| Effects for the Sounds, Voice, Guitar

St.Exciter/Enhncr (Stereo Exciter/Enhancer)

This effect is a combination of the Exciter, which adds a punch to the sound

and the Enhancer, which adds spread and presence.

Left

Right

FX Amt

Stereo In - Stereo Out

EQ Trim

LEQ HEQ

EQ Trim

Delay

Depth

-mod

Exciter

Enhancer

a Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect

Src Off…Tempo Selects the modulation source of the Exciter

intensity

Amt –100…+100 Sets the modulation amount of the Exciter in-

tensity

b Emphasis Freq 0…70 Sets the frequency to be emphasized

Src Off…Tempo Selects the modulation source of the frequency

to be emphasized

Amt –70…+70 Sets the amount of modulation of the frequency

to be emphasized

c Enhancer Delay L

[msec]

0.0…50.0 Sets the delay time for the Enhancer left chan-

nel

d Enhancer Delay R

[msec]

0.0…50.0 Sets the delay time for the Enhancer right chan-

nel

e Enhancer Depth 0…100 Sets the determines to what degree the

Enhancer effect is applied

Src Off…Tempo Selects the modulation source of the Enhancer

width

Amt –100…+100 Sets the modulation amount of the Enhancer

width

f EQ Trim 0…100 Sets the 2-band EQ input level

g Pre LEQ Fc Low,

Mid-Low

Selects the cutoff frequency (low or mid-low) of

the low-range equalizer

Pre HEQ Fc High,

Mid-High

Selects the cutoff frequency (high or mid-high)

of the high-range equalizer

h Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Lo EQ

Pre HEQ Gain [dB] –15.0…+15.0 Gain of the High EQ

Effect parameters |707

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Exciter Blend

This parameter sets the depth (intensity) of the Exciter effect. Positive values

give a frequency pattern (to be emphasized) different from negative values.

b: Emphasis Freq

This parameter sets the frequency to be emphasized. Higher values will em-

phasize lower frequencies.

c: Enhancer Delay L [msec]

d: Enhancer Delay R [msec]

These parameters set the delay time for the Enhancer left and right channel.

Specifying a slightly different delay time for the left and right channel will

add a stereo image, depth, and width to the sound.

708| Effects for the Sounds, Voice, Guitar

Stereo Isolator

This is a stereo effect that separates the input signal into low, mid, and high-

frequency bands, and controls the volume of each band independently. For

example you can separately boost or cut the kick, snare, and hi-hat sounds

from a drum signal in realtime.

-mod

Left

Right

FX Amt

Stereo In - Stereo Out

Trim

Isolator

Low

Mid

High

Trim

Low

Mid

High

a Trim 0…100 Sets the input level

b Low/Mid [Hz] 100…500 Sets the frequency at which the low and mid

bands are divided

c Mid/High [Hz] 2000…6000 Sets the frequency at which the mid and high

bands are divided

d Low Gain [dB] –Inf,

–59…+12

Sets the low-frequency gain

Src Off…Tempo Selects the source that will modulate low-

frequency gain

Amt –72…+72 Sets the amount by which the low-frequency

gain will be modulated

e Mid Gain [dB] –Inf, –59…+12 Sets the mid-frequency gain

Src Off…Tempo Selects the modulation source for mid-fre-

quency gain

Amt –72…+72 Sets the amount by which the mid-frequency

gain will be modulated

f High Gain [dB] –Inf, –59…+12 Sets the high-frequency gain

Src Off…Tempo Selects the modulation source for high-fre-

quency gain

Amt –72…+72 Sets the amount by which the high-frequency

gain will be modulated

Effect parameters |709

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

St. Random Filter (Stereo Random Filter)

This stereo band pass ﬁlter uses a step-shape waveform and random LFO for

modulation. You can create a special effect from ﬁlter oscillation.

Filter

Left

Right

FX Amt

Stereo In - Stereo Out

Filter

LFO Phase

LFO: Step-Tri/Random

a LFO Waveform Step-Tri,

Random

Selects the LFO Waveform

LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

b LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects the modulation source used for both

LFO speed and step speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

c LFO Step Freq [Hz] 0.05…50.00 Sets the LFO step speed (speed that changes in

steps

Amt –50.00…

+50.00

Sets the modulation amount of LFO step speed

710| Effects for the Sounds, Voice, Guitar

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

e Step Base Note

…

Selects the type of notes to specify the LFO step

speed

Times x1…x32 Sets the number of notes to specify the LFO

step speed

f Manual 0…100 Sets the ﬁlter center frequency

Src Off…Tempo Selects the modulation source for the ﬁlter cen-

ter frequency

Amt –100…+100 Sets the modulation amount for the ﬁlter center

frequency

g Depth 0…100 Sets the modulation depth of ﬁlter center fre-

quency

Src Off…Tempo Selects the modulation source of ﬁlter modula-

tion

Amt –100…+100 Sets the modulation amount of ﬁlter modula-

tion

h Resonance 0…100 Sets the resonance amount

i Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |711

a: LFO Phase [degree]

Offsetting the left and right phases alters how modulation is applied to the

left and right channels, creating a swelling affect.

0 +90

+180 [degree]

0 [degree]

–90

–180

LFO Phase

a: LFO Waveform

b: LFO Frequency [Hz]

c: LFO Step Freq [Hz]

When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, triangle wave-

form. The “LFO Frequency” parameter sets the original triangle waveform

speed. Changing the “LFO Step Freq” parameter enables you to adjust the

width of the steps.

When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter

uses a random LFO cycle.

Step Frequency

LFO Frequency

Step Frequency

Step-Tri

Random

Random Filter LFO

d: BPM

e: Step Base Note

e: Times

The width of an LFO step, or a cycle of random LFO, is obtained by multiply-

ing the length of a note (

… ) (selected for “Step Base Note”, in relation to

the tempo speciﬁed in “BPM,” or the MIDI Clock tempo if “BPM” is set to

MIDI) by the number speciﬁed in the “Times” parameter.

i: Wet/Dry

The effect sound’s phase will be reversed when you set this parameter in the

negative range of values.

712| Effects for the Sounds, Voice, Guitar

St. MultiModeFilter (Stereo Multi Mode Filter)

This is a multi-mode ﬁlter with four types; low pass, high pass, band pass,

and band reject. You can use LFO or dynamic modulation to vary the cutoff

frequency or resonance.

Left

Right

FX Amt

Stereo In - Stereo Out

Multimode Filter Driver

Driver

Trim Output

OutputTrim

LFO Phase

LFO: Tri / Sine

LFO Shape

LPF

HPF

BPF

BRF

Filter Type

Multimode Filter

a Type L P F, H PF, B P F,

BRF

Selects the type of ﬁlter

Trim 0…100 Sets the input level

b Cutoff 0…100 Sets the cutoff frequency (center frequency)

Src Off…Tempo Selects the modulation source of the cutoff

Amt –100…+100 Sets the modulation amount of the cutoff

c Resonance 0…100 Sets the resonance amount

Src Off…Tempo Selects the source that will modulate the

amount of resonance

Amt –100…+100 Sets the amount by which the resonance will be

modulated

d LFO Waveform Triangle, Sine Selects the LFO Waveform

Phase [degree] –180…+180 Sets the LFO phase difference between the left

and right

Depth 0…100 Sets the depth to which the LFO will modulate

the cutoff frequency

e LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

Effect parameters |713

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

g Drive SW Off, On Switches distortion on/off within the ﬁlter

Output Level 0…100 Sets the output level

h Drive Gain 0…100 Sets the distortion amount

Low Boost 0…100 Sets the amount of low-range boost

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Talking Modulator

This effect adds an unusual character, like a human voice, to the input signal.

Modulating the tone via dynamic modulation, you can create an interesting

effect that sounds as if the guitar or synthesizer is talking.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Left

Right

FX Amt

-mod

Voice Top: A

Voice Center: I

Voice Bottom: U

A - I - U - E - O

Talking Modulator

LFO

D-mod

LFO

Sweep Mode

714| Effects for the Sounds, Voice, Guitar

a Sweep Mode D-mod, LFO Switches between modulation source control

and LFO control

b Manual Voice Control Bottom, 1…49,

Center, 51…99,

Top

Voice pattern control

Src Off…Tempo Selects the modulation source that controls the

voice pattern

c Voice Top A, I, U, E, O Selects a vowel sound at the top end of control

d Voice Center A, I, U, E, O Selects a vowel sound in the center of control

e Voice Bottom A, I, U, E, O Selects a vowel sound at the bottom end of con-

trol

f Formant Shift –100…+100 Sets the frequency to which the effect is applied

Resonance 0…100 Sets the Level of resonance of the voice pattern

g LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

h MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

c: Voice Top

d: Voice Center

e: Voice Bottom

These parameters assign vowels to the top, center, and bottom position of

the controller.

E.g.: When “Voice Top”=A, “Voice Center”=I, and

“Voice Bottom”=U:

Effect parameters |715

If “Sweep Mode”is set to D-mod and Ribbon is selected as the modulation

source, moving your ﬁnger from the right to left of the ribbon controller will

change the sound from “a” to “i,” then “u.”

If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,”

“u,” “i,” then “a.”

+ Max

Zero

-mod

– Max

Voice Bottom Voice Center Voice Top

JS X

Ribbon

JS +Y

JS –Y

etc…

Zero

+ Max

Talking Modulator Control

f: Formant Shift

This parameter adjusts the frequency level to which the effect is applied. If

you wish to apply the effect to a higher-range sound, set this parameter to a

higher value; to apply the effect to a lower-range sound, set this to a lower

value.

f: Resonance

This parameter sets the intensity of resonance for the voice pattern. A larger

value will add more character to the sound.

716| Effects for the Sounds, Voice, Guitar

2Voice Resonator (2-Voice Resonator)

This effect resonates the input signal at a speciﬁed pitch. You can set the

pitch, output level, and pan settings for two resonators individually. You can

control the resonance intensity via an LFO.

Left

Right

Resonance

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

High Damp

Trim

Level

Pan

Control Mode

-mod

LFO

Manual

Invert: On/Off

Resonator

Pitch, Fine [cents]

a Control Mode Manual, LFO,

D-mod

Switches the controls of resonance intensity

LFO/D-mod

Invert

Off, On Reverses the Voice 1 and 2 control when LFO/D-mod

is selected

b LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

D-mod Src Off…Tempo Selects the modulation source that controls reso-

nance intensity

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

d Mod. Depth –100…+100 Sets the amount of resonance intensity control via

LFO/D-mod

Trim 0…100 Sets the input level at the resonator

e Voice1: Pitch C0…B8 Sets the voice1 Pitch for resonance

Fine [cents] –50…+50 Fine-adjusts the voice 1 pitch for resonance

Level 0…100 Sets the Voice1 output level

Effect parameters |717

f Voice1:

Resonance

–100…+100 Sets the intensity of resonance when Control Mode

= Manual

High Damp [%] 0…100 Sets the damping amount of resonant sound in the

high range

Pan L6…L1, C, R1…R6 Sets the Voice1 stereo image

g Voice2: Pitch C0…B8 Sets the voice 2 Pitch for resonance

Fine [cents] –50…+50 Fine-adjusts the voice 2 pitch for resonance

Level 0…100 Sets the Voice2 output level

h Voice2:

Resonance

–100…+100 Sets the intensity of resonance when Control Mode

= Manual

High Damp [%] 0…100 Sets the damping amount of resonant sound in the

high range

Pan L6…L1, C, R1…R6 Sets the Voice2 stereo image

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Control Mode

f: Voice 1: Resonance

h: Voice 2: Resonance

This parameter determines the resonance intensity.

When “Control Mode” = Manual, the “Resonance” parameter sets the inten-

sity of resonance. If the “Resonance” parameter has a negative value, har-

monics will be changed, and resonance will occur at a pitch one octave lower.

When “Control Mode” = LFO, the intensity of resonance varies according to

the LFO. The LFO sways between positive and negative values, causing reso-

nance to occur between speciﬁed pitches an octave apart in turn.

When “Control Mode” = D-mod, the resonance is controlled by the dynamic

modulation source. If JS X or Ribbon is assigned as the modulation source,

the pitch an octave higher and lower can be controlled, similar to when LFO

is selected for Control Mode.

718| Effects for the Sounds, Voice, Guitar

a: LFO/D-mod Invert

When “Control Mode” = LFO or D-mod, the controlled phase of either Voice 1

or 2 will be reversed. When the resonance pitch is set for Voice 1 (Resonance

has a positive value), Voice 2 will resonate at a pitch an octave below (Reso-

nance has a negative value).

f: Voice 1: Pitch

f: Fine [cents]

h: Voice 2: Pitch

h: Fine [cents]

The Pitch parameter speciﬁes the pitch of resonance by note name. The

“Fine” parameter allows for ﬁne adjustment in steps of cents.

g: High Damp [%]

i: High Damp [%]

This sets the amount of damping amount for the high frequencies of the

resonant sound. Lower values create a metallic sound with a higher range

of harmonics.

VOX Treble Booster

Vintage booster of high frequencies.

a Drive 0...99 Amount of the boost effect

b Level 0...99 General level

c Tone 0…100 Tone of the effect

d Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |719

Vocoder

This effect applies the timbral character of a different signal (the modulator)

to the input signal (the carrier).

A common use of this effect is to produce the sound of various instruments

by inputting a voice to the Modulator via a microphone. A special effect is

also achieved by using rhythm or effect sounds. Strings or distortion guitar

sounds with a lot of harmonics are suitable as Carrier signals.

When this effect is selected, the microphone input no longer goes to the

Voice Processor, but is routed to this FX processor.

Left

Right

FX Amt

FX Amt = 100: Stereo In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Band Pass Filter

Envelope

Carrier Trim

Modulator Trim

Modulator High Mix

Noise

Generator

Noise Level

FX Control BUS 1

FX Control BUS 2

Modulator Source

Modulator Select

a Carrier Trim 0...100 Sets the carrier input level

b Modulator Trim 0...100 Sets the modulator input level

c Modulator

Source

Input, FX Control

1, FX Control 2

Choose either FX Control 1 or 2 to select the micro-

phone input as the modulator.

Choose FX Control 1 for the Left Line input, or FX

Control 2 for the Right Line input.

Choose Input to use the Sound as the modulator. If

you want to use the keyboard as the modulator, ap-

ply the Vocoder effect to one of the Upper Sounds.

d Modulator

Select

L/R Mix, L Only,

R Only

Selects whether to use the left/right mix, only left,

or only right of the modulator input

e Formant Shift –2...+2 Sets the height of the frequency for the vocoder ef-

fect

f Response 0...100 Sets the speed of the response to the modulator

input

g Noise Level 0...100 Sets the noise mix level to the Carrier

Src Off...Tempo Selects the modulation source for the noise mix

level

Amt –100...+100 Sets the modulation amount for the noise mix level

h Modulator High

Mix

0...100 Sets the high-range output level of the modulator

720| Effects for the Sounds, Voice, Guitar

i Low Gain [dB] –12...+12 Sets the low-range output level of the vocoder

High Gain [dB] –12...+12 Sets the high-range output level of the vocoder

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

e: Formant Shift

By offsetting the Carrier ﬁlter, you can adjust the height of the frequency

range to which the vocoder effect is applied. The tonal quality will change

signiﬁcantly.

g: Noise Level

This parameter enables you to mix white noise with the Carrier.

h: Modulator High Mix

This parameter sets the high-range output level of the modulator sound. If

the modulator is a human voice, it will make the words more clear.

Using the vocoder with the microphone input

When programming the Vocoder, you can start from one of the specially pro-

grammed Vocoder Keyboard Sets (in the Synth group) as templates.

To use a voice from a microphone as a modulator:

1 Press the AUDIO IN > MUTE button to turn the microphone channel off.

2 Connect a microphone to the microphone input.

3 Set Modulator Source to FX Control1.

4 Speak into the microphone while you use the MIC/GTR GAIN knob next to

the LEFT audio input to adjust the level as high as possible without allowing

distortion to occur. Check the level by watching at the AUDIO IN > LEVEL

indicator.

With these settings, the sound from the microphone will be used as the mod-

ulator. While you play, speak into the mic; it will sound as though the instru-

ment is talking.

If the effect sound is distorted, adjust the

Carrier Trim and Modulator Trim.

Effect parameters |721

Please remember to set the Carrier track’s Dry parameter to Off, and the

Send value to 127.

You can add reverb to the Vocoder, by way of the

to MFX1 parameter.

To create a new Song making use of the Vocoder, enter the

Sequencer >

Backing Sequence mode with a Keyboard Set including the Vocoder effect.

Please note that the voice and effect will not be recorded in the Song.

722| Effects for the Sounds, Voice, Guitar

FREQ (Frequency)

St. Sub Oscillator (Stereo Sub Oscillator)

This effect adds very low frequencies to the input signal. It is very useful

when simulating a roaring drum sound or emphasizing powerful low range.

This effect is different from the equalizer in that you can add very low range

harmonics. You can also adjust the oscillator frequency to match a particular

note number, for use as an octaver.

FX Amt

Note No.

OSC Mode

Fixed

Note (Key Follow)

Sine Oscillator

Fixed Frequency

Pitch

Note Interval, Fine

Stereo In - Stereo Out

Left

Right

FX Amt

Envelope Sens

Envelope Shape

-mod

Pre LPF

Envelope Sens

Pre LPF

a OSC Mode Note (Key

Follow), Fixed

Determines whether the oscillator frequency

follows the note number or whether it is ﬁxed

b Note Interval –48…0 Sets the pitch difference from the note number

when OSC Mode=Note (Key Follow)

Note Fine –100…+100 Fine adjustment of the oscillator frequency

c Fixed Frequency [Hz] 10.0…80.0 Sets the oscillator frequency when OSC

Mode=Fixed

Src Off…Tempo Selects the modulation source for the oscillator

frequency when OSC Mode=Fixed

Amt –80…+80 Sets the oscillator frequency modulation

amount when OSC Mode=Fixed

d Envelope Pre LPF 1…100 Sets the upper limit of the frequency range for

which very low harmonics are added

e Envelope Sens 0…100 Sets the sensitivity with which very low harmon-

ics are added

Envelope Shape –100…+100 Sets the oscillator’s volume envelope curve

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |723

a: OSC Mode

b: Note Interval

b: Note Fine

The “OSC Mode” parameter selects the oscillator operation mode. When

Note (Key Follow) is selected, the oscillator’s frequency is determined based

on the note number, allowing you to use it as an octaver. The “Note Interval”

parameter sets the pitch offset from the original note number by semitone

steps. The “Note Fine” parameter allows you to ﬁne-tune in steps of cents.

d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to which very low

harmonics are added. Adjust this parameter if you do not want to add lower

harmonics to the higher range.

Grain Shifter

This effect cuts extremely short samples (‘grains’) from the input signal

waveform and plays them repeatedly, giving a mechanical character to the

sound.

Left

Right

Sample Cycle

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

LFO

-mod

Trigger

Grain Shifter

a Duration 0…100 Sets the duration of the grain

Src Off…Tempo Selects the source that will modulate the duration of

the grain

Amt –100…+100 Sets the amount by which the grain duration will be

modulated

b LFO Sync Src Off…Tempo Selects the modulation source that will reset the LFO

724| Effects for the Sounds, Voice, Guitar

c LFO Sample

Cycle [Hz]

0.02…20.00 Sets the frequency at which the grain will be switched

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

e Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: Duration

c: LFO Sample Cycle [Hz]

Duration sets the length of the sampled grain, and the LFO Sample Cycle

controls how often a new grain is sampled. In between Sample Cycles, the

current grain is repeated continuously.

Out

Sample Cycle / Duration

Sample Cycle

Duration

Effect parameters |725

Detune

Using this effect, you can obtain a detune effect that offsets the pitch of

the effect sound slightly from the pitch of the input signal. Compared to the

chorus effect, a more natural sound thickness will be created.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

High Damp

Delay

Feedback

Detune

a Pitch Shift [cents] –100…+100 Sets the pitch difference from the input signal

Src Off…Tempo Selects a modulation source for pitch shift

Amt –100…+100 Sets the modulation amount for pitch shift

b Delay Time [msec] 0…1000 Sets the delay time

c Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high range

d Input Level Dmod

[%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

e Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

d: Input Level Dmod [%]

d: Src

This parameter sets the dynamic modulation of the input level.

Input Level

Louder

Max

Zero

Higher

-mod

Input Level

Max

Zero

Higher

-mod

x1.0

x0.5

Input Level Dmod= +100

Input Level Dmod= +50

Louder

x1.0

x0.5

Input Level Dmod= –100

Input Level Dmod= –50

Input Level Dmod

726| Effects for the Sounds, Voice, Guitar

Pitch Shifter

This effect changes the pitch of the input signal. You can select from three

types: Fast (quick response), Medium, and Slow (preserves tonal quality). You

can also create an effect in which the pitch is gradually raised (or dropped)

using the delay with feedback.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

High Damp

Delay

Feedback

Pitch Shifter

Feedback Position

Pre

Post

a Mode Slow, Medium,

Fast

Switches Pitch Shifter mode

b Pitch Shift

[1/2tone]

–24…+24 Sets the pitch shift amount by steps of a semitone

Src Off…Tempo Selects the modulation source of pitch shift amount

Amt –24…+24 Sets the modulation amount of pitch shift amount

c Fine [cents] –100…+100 Sets the pitch shift amount by steps of a cent

Amt –100…+100 Sets the modulation amount of pitch shift amount

d Delay Time

[msec]

0…2000 Sets the delay time

e Feedback

Position

Pre, Post Switches the feedback connection

f Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high range

g Input Level Dmod

[%]

–100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |727

a: Mode

This parameter switches the pitch shifter operating mode. With Slow, tonal

quality will not be changed too much. With Fast, the effect becomes a Pitch

Shifter that has a quick response, but may change the tone. Medium is in-

between these two. If you do not need to set too much pitch shift amount, set

this parameter to Slow. If you wish to change the pitch signiﬁcantly, use Fast.

b: Pitch Shift [1/2tone]

b: Src

b: Amt

c: Fine [cents]

c: Amt

The amount of pitch shift will use the value of the Pitch Shift plus the Fine

value. The amount of modulation will use the b: Amt value plus the c: Amt.

The same Modulation Source is used for both

Pitch Shift and Fine.

e: Feedback Position

f: Feedback

When Feedback Position is set to Pre, the pitch shifter output is again input

to the pitch shifter. Therefore, if you specify a higher value for the Feedback

parameter, the pitch will be raised (or lowered) more and more each time

feedback is repeated.

Feedback Position is set to Post, the feedback signal will not pass through

the pitch shifter again. Even if you specify a higher value for the Feedback

parameter, the pitch-shifted sound will be repeated at the same pitch.

728| Effects for the Sounds, Voice, Guitar

Pitch Shifter BPM

This pitch shifter enables you to set the delay time to match the song tempo.

BPM

Base Note x Times

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

High Damp

Delay

Feedback

Pitch Shifter

Feedback Position

Pre

Post

Tempo

a Mode Slow,

Medium, Fast

Switches Pitch Shifter mode

b Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount in steps of a semitone

Src Off…Tempo Selects the modulation source of pitch shift

amount

Amt –24…+24 Sets the modulation amount of pitch shift amount

c Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent

Amt –100…+100 Sets the modulation amount of pitch shift amount

d BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time

exceeds the upper limit

e Delay Base Note

…

Selects the type of notes to specify the delay time

Times x1…x32 Sets the number of notes to specify the delay

time

f Feedback Position Pre, Post Switches the feedback

connection

g Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high range

h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

Effect parameters |729

i Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

d: BPM

e: Delay Base Note

e: Times

The delay time is the duration of “Times” number of “Delay Base Note” note

values at the “BPM” tempo (or if “BPM” is set to MIDI, the tempo determined

by MIDI Clock).

d: Time Over?

You can set the delay time up to 5,290msec. If the delay time exceeds this

limit, the error message “OVER!” appears on the display. Set the delay time

parameters so that this message will not appear. “Time Over?” is only a

display parameter.

730| Effects for the Sounds, Voice, Guitar

Pitch Shift Mod (Pitch Shift Modulation)

This effect modulates the detuned pitch shift amount using an LFO, adding

a clear spread and width to the sound by panning the effect sound and dry

sound to the left and right. This is especially effective when the effect sound

and dry sound output from stereo speakers are mixed.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

LFO: Tri / Sqr

Pan

Pitch Shifter

a Pitch Shift [cents] –100…+100 Sets the pitch difference from the input signal

b LFO Waveform Triangle, Square Selects the LFO Waveform

c LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

e Depth –100…+100 Sets the LFO modulation depth for pitch shift

amount

Src Off…Tempo Selects the modulation source of the depth of

modulation

Amt –100…+100 Sets the modulation amount of the depth of mod-

ulation

f Pan L, 1 : 99…99 : 1, R Sets the panning effect sound and dry sound

separately

Effect parameters |731

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Pitch Shift [cents]

e: Depth

These parameters set the amount of pitch shift and amount of modulation

by means of the LFO.

Pitch

Higher

Pitch Shift Mod - Pitch Shift / Depth

Lower

Original Pitch

Pitch Shift (+ value)

LFO Waveform=Triangle

Depth (+value)

LFO Waveform=Square

Depth (–value)

g: Pan

h: Wet/Dry

The Pan parameter pans the effect sound and dry sound to the left and right.

With L, the effect sound is panned left, and the dry sound is panned right.

With a Wet/Dry = Wet setting, the effect and dry sound will be output in a

proportion of 1:1.

732| Effects for the Sounds, Voice, Guitar

St. Pitch Shifter (Stereo Pitch Shifter)

This is a stereo pitch shifter. The pitch shift amount for the left and right

channels can be reversed from each other.

Left

Right

Feedback

Spread

FX Amt

Stereo In - Stereo Out

High Damp

Input Level

Feedback Position

Pre

Post

Delay

Pitch Shifter

Delay

Pitch Shifter

a Mode Slow, Medium,

Fast

Switches Pitch Shifter mode

L/R Pitch Normal,

Up/Down

Determines whether or not the L/R pitch shift

amount is inverted

b Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount in steps of a semitone

Src Off…Tempo Selects the modulation source of pitch shift

amount

Amt –24…+24 Sets the modulation amount of pitch shift amount

c Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent

Amt –100…+100 Sets the modulation amount of pitch shift amount

d L Delay [msec] 0…2000 Sets the delay time for the left channel

e R Delay [msec] 0…2000 Sets the delay time for the right channel

f Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high range

g Feedback Position Pre, Post Switches the feedback connection

Spread –100…+100 Sets the width of the stereo image of the effect

sound

h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level

Src Off…Tempo Selects the modulation source for the input level

Effect parameters |733

i Wet/Dry Dry,

1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

a: L/R Pitch

When you select Up/Down for this parameter, the pitch shift amount for the

right channel will be reversed. If the pitch shift amount is positive, the pitch

of the left channel is raised, and the pitch of the right channel is lowered.

St. PitchShift BPM (Stereo Pitch Shifter BPM)

This stereo pitch shifter enables you to set the delay time to match the song

tempo.

Tempo

BPM

Base Note x Times

Left

Right

Feedback

Spread

FX Amt

Stereo In - Stereo Out

High Damp

Input Level

Feedback Position

Pre

Post

Delay

Pitch Shifter

Delay

Pitch Shifter

a Mode Slow, Medium, Fast Switches Pitch Shifter mode

L/R Pitch Normal,

Up/Down

Determines whether or not the L/R pitch

shift amount is inverted

b Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount in steps of a

semitone

Src Off…Tempo Selects the modulation source of pitch

shift amount

Amt –24…+24 Sets the modulation amount of pitch shift

amount

734| Effects for the Sounds, Voice, Guitar

c Fine [cents] –100…+100 Sets the pitch shift amount in steps of one

cent

Amt –100…+100 Sets the modulation amount of pitch shift

amount Sets the modulation amount of

pitch shift amount

d BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300

sets the tempo manually for this individual

effect

Time Over? L ---, OVER! Display the error message if the left chan-

nel delay time exceeds the upper limit

R ---, OVER! Display the error message if the right

channel delay time exceeds the upper limit

e L Delay Base Note

…

Selects the type of notes to specify the

left channel delay time

Times x1…x32 Sets the number of notes to specify the

left channel delay time

f R Delay Base Note

…

Selects the type of notes to specify the

right channel delay time

Times x1…x32 Sets the number of notes to specify the

right channel delay time

g Feedback Position Pre, Post Switches the feedback connection

Spread –100…+100 Sets the width of the stereo image of the

effect sound

h Feedback –100…+100 Sets the feedback amount

High Damp [%] 0…100 Sets the damping amount in the high

range

i Input Level Dmod

[%]

–100…+100 Sets the modulation amount of the input

level

Src Off…Tempo Selects the modulation source for the in-

put level

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |735

MISC (Miscellaneous)

Stereo Decimator

This effect creates a rough sound like a cheap sampler by lowering the sam-

pling frequency and data bit length. You can also simulate noise unique to a

sampler (aliasing).

Left

Right

FX Amt

Stereo In - Stereo Out

Pre LPF

High Damp Output Level

High DampOutput Level

Sampling Frequency

Decimator

-mod

LFO

Resolution

a Pre LPF Off, On Selects whether the harmonic noise caused by

a decrease in sampling frequency is generated

or not

High Damp [%] 0…100 Sets the ratio of cut of the high range

b Sampling Freq [Hz] 1.00k…

48.00k

Sets the sampling frequency

Src Off…Tempo Selects the modulation source of the sampling

frequency

Amt –48.00k…

+48.00k

Sets the modulation amount of the sampling

frequency

c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM,

Base Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets

the tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO

speed

Times x1…x32 Sets the number of notes that specify the LFO

speed

736| Effects for the Sounds, Voice, Guitar

e Depth 0…100 Sets the depth of the sampling frequency LFO

modulation

Src Off…Tempo Selects the LFO modulation source of the sam-

pling frequency

Amt –100…+100 Sets the LFO modulation amount of the sam-

pling frequency

f Resolution 4…24 Sets the data bit length

g Output Level 0…100 Sets the output level

Src Off…Tempo Selects the modulation source for the output

level

Amt –100…+100 Sets the modulation amount of the output level

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: Pre LPF

If a sampler with a very low sampling frequency receives very high-pitched

sound that could not be heard during playback, it could generate pitch noise

that is unrelated to the original sound. Set “Pre LPF” to On to prevent this

noise from being generated.

If you set the “Sampling Freq” to about 3 kHz and set “Pre LPF” to Off, you

can create a sound like a ring modulator.

f: Resolution

g: Output Level

If you set a smaller value for the “Resolution” parameter, the sound may

be distorted. The volume level may also be changed. Use “Output Level” to

adjust the level.

Effect parameters |737

St. Analog Record (Stereo Analog Record)

This effect simulates the noise caused by scratches and dust on analog re-

cords. It also reproduces some of the modulation caused by a warped turn-

table.

Left

Right

FX Amt

Stereo In - Stereo Out

Analog Record

Simulation

Pre EQ

EQ Trim

a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m. of a record

b Flutter 0…100 Sets the modulation depth

c Noise Density 0…100 Sets the noise density

Noise Tone 0…100 Sets the noise tone

d Noise Level 0…100 Sets the noise level

Src Off…Tempo Selects the modulation source for the noise

level

Amt –100…+100 Sets the modulation amount of the noise level

e Click Level 0…100 Sets the click noise level

Src Off…Tempo Selects the modulation source for the click

noise level

Amt –100…+100 Sets the modulation amount of the click noise

level

f EQ Trim 0…100 Sets the EQ input level

g Pre EQ Cutoff [Hz] 300…10.00k Sets the EQ center frequency

Q 0.5…10.0 Sets the EQ band width

Gain [dB] –18.0…+18.0 Sets the EQ gain

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

738| Effects for the Sounds, Voice, Guitar

b: Flutter

This parameter enables you to set the depth of the modulation caused by a

warped turntable.

e: Click Level

This parameter enables you to set the level of the click noise that occurs once

every rotation of the turntable. This simulation reproduces record noise, and

the noise generated after the music on a vinyl record ﬁnishes.

Doppler

This effect simulates the “Doppler effect” of a moving sound with a changing

pitch, similar to the siren of an passing ambulance. Mixing the effect sound

with the dry sound will create a unique chorus effect.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Pan Depth

-mod

Trigger

LFO Mode = 1-Shot

Doppler

LFO

Effect parameters |739

a LFO Mode Loop, 1-Shot Switches LFO operation mode

Src Off…Tempo Selects the modulation source of LFO reset

b LFO Sync Off, On Switches between LFO reset on and off when LFO

Mode is set to Loop

c LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

Src Off…Tempo Selects a modulation source for LFO speed

Amt –20.00…

+20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base

Note, and Times, instead of Frequency

BPM MIDI,

40.00…

300.00

MIDI syncs to the system tempo; 40–300 sets the

tempo manually for this individual effect

Base Note

…

Selects the type of notes that specify the LFO speed

Times x1…x32 Sets the number of notes that specify the LFO speed

e Pitch Depth 0…100 Sets the pitch variation of the moving sound

Src Off…Tempo Selects the modulation source of pitch variation

Amt –100…+100 Sets the modulation amount of pitch variation

f Pan Depth –100…+100 Sets the panning of the moving sound

Src Off…Tempo Selects the modulation source of panning

Amt –100…+100 Sets the modulation amount of panning

g Wet/Dry Dry,

1:99…99:1, Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: LFO Mode

a: Src

b: LFO Sync

The “LFO Mode” parameter switches LFO operation mode. When Loop is

selected, the Doppler effect will be created repeatedly. If “LFO Sync” is set

to On, the LFO will be reset when the modulation source speciﬁed with the

“Src” parameter is turned on.

When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once

when the modulation source speciﬁed in the “Src” ﬁeld is turned on. At this

74 0 | Effects for the Sounds, Voice, Guitar

time if you do not set the “Src” parameter, the Doppler effect will not be cre-

ated, and no effect sound will be output.

The effect is off when a value for the modulation source speciﬁed for

the “Src” parameter is smaller than 64, and the effect is on when the value

is 64 or higher. The Doppler effect is triggered when the value changes from

63 or smaller to 64 or higher.

e: Pitch Depth

With the Doppler effect, the pitch is raised when the sound approaches, and

the pitch is lowered when the sound goes away. This parameter sets this

pitch variation.

f: Pan Depth

This parameter sets the width of the stereo image of the effect sound. With

larger values, the sound seems to come and go from much further away.

With positive values, the sound moves from left to right; with negative val-

ues, the sound moves from right to left.

Pitch

Higher

Doppler - Pitch / Pan Depth

Lower

Original Pitch

Left

Center

Right

Pitch Depth

Pan Depth

< < < < < <<<<<< >>>>>> > > > > >

VolumeLouder

Louder

Pan Depth

= (–) value

Pan Depth

= (+) value

Effect parameters |74 1

Scratch

This effect is applied by recording the input signal and moving the modula-

tion source. It simulates the sound of scratches you can make using a turn-

table.

Input

D-mod

Envelope Select

-mod

Envelope Control

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Scratch

Direct

Mix

-mod

Rec Control

Scratch

a Scratch Source Off…Tempo Selects the modulation source for simulation control

b Response 0…100 Sets the speed of the response to the Scratch Src

c Envelope Select D-mod, Input Selects whether the start and end of recording is

controlled via the modulation source or the input

signal level

Src Off…Tempo Selects the modulation source that controls record-

ing when Envelope Select is set to D-mod

d Threshold 0…100 Sets the recording start level when Envelope Select

is set to Input

e Response 0…100 Sets the speed of the response to the end of record-

ing

f Direct Mix Always On,

Always Off,

Cross Fade

Selects how a dry sound is mixed

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

742 | Effects for the Sounds, Voice, Guitar

a: Scratch Source

b: Response

The Scratch Source parameter enables you to select the modulation source

that controls simulation. The value of the modulation source corresponds to

the playback position. The Response parameter enables you to set the speed

of the response to the modulation source.

+ Max

Zero

Scratch!

-mod

– Max

JS X

Ribbon

JS+Y

JS–Y

etc…

Zero

+ Max

Scratch Source

Recorded Sound

Scratch Source

Startabac oition nd

c: Envelope Select

c: Src

d: Threshold

When “Envelope Select” is set to D-mod, the input signal will be recorded

only when the modulation source value is 64 or higher.

When “Envelope Select” is set to Input, the input signal will be recorded only

when its level is over the Threshold value.

The maximum recording time is 2,730msec. If this is exceeded, the recorded

data will start being erased from the top.

e: Response

This parameter enables you to set the speed of the response to the end of

recording. Set a smaller value when you are recording a phrase or rhythm

pattern, and set a higher value if you are recording only one note.

f: Direct Mix

With Always On, a dry sound is usually output. With Always Off, dry sounds

are not output. With Cross Fade, a dry sound is usually output, and it is muted

only when scratching.

Set Wet/Dry to 100 to use this parameter effectively.

Effect parameters |74 3

Auto Reverse

This effect records the input signal and automatically plays it in reverse (the

effect is similar to a tape reverse sound).

Input

D-mod

Envelope Select

-mod

Envelope Control

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Auto Reverse

Direct

Mix

Rec/Reverse Play

Control

a Rec Mode Single, Multi Sets the recording mode

b Reverse Time

[msec]

20…2640 Sets the maximum duration of the reverse playback

c Envelope Select D-mod, Input Selects whether the start and end of recording is con-

trolled via the modulation source or the input signal

level

Src Off…Tempo Selects the modulation source that controls record-

ing when Envelope Select is set to D-mod

d Threshold 0…100 Sets the recording start level when Envelope Select

is set to Input

e Response 0…100 Sets the speed of the response to the end of recording

f Direct Mix Always On,

Always Off,

Cross Fade

Selects how a dry sound is mixed

g Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources) at

the beginning of this part

Amt –100…+100 Amount of modulation source

a: Rec Mode

b: Reverse Time [msec]

When “Rec Mode” is set to Single, you can set up to 2,640msec for “Reverse

Time.” If recording starts during the reverse playback, the playback will be

interrupted.

74 4 | Effects for the Sounds, Voice, Guitar

When “Rec Mode” is set to Multi, you can make another recording during

the reverse playback. However, the maximum Reverse Time is limited to

1,320msec.

If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single.

If you record only one note, set “Rec Mode” to Multi.

The “Reverse Time” parameter speciﬁes the maximum duration of the re-

verse playback. The part in excess of this limit will not be played in reverse.

If you wish to add short pieces of the reverse playback of single notes, make

the “Reverse Time” shorter.

RecRec

Mode/Reverse Time

Input

Mode = Single

Mode = Multi

Time

Reverse Time Reverse Time

Envelope Select = Input

Reverse Reverse

c: Envelope Select

c: Src

d: Threshold

These parameters select the source to control the start and end of record-

ing.

When “Envelope Select” is set to D-mod, the input signal will be recorded

only when the value of the modulation source selected by the Src parameter

is 64 or higher.

When “Envelope Select” is set to Input, the input signal will be recorded only

when its level exceeds the Threshold level.

When recording is completed, reverse playback starts immediately.

Effect parameters |74 5

P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger)

This effect combines a mono four-band parametric equalizer and a chorus/

ﬂanger.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Trim

Parametric 4Band EQ

Chorus/Flanger

FX Amt

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert

Output Mode

–

P4EQ

a [E]Trim 0…100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

CHORUS/FLANGER

f [F]LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

g [F]Delay Time

[msec]

0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

74 6 | Effects for the Sounds, Voice, Guitar

h [F]Cho/Flng Wet/

Dry

-Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source for the cho-

rus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for the cho-

rus/ﬂanger

i [F]Output Mode Normal,

Wet Invert

Selects the output mode for the chorus/ﬂanger

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

i: Output Mode

When Wet Invert is selected, the right channel phase of the chorus/ﬂanger

effect sound is inverted. This creates pseudo-stereo effects and adds spread.

However, if a mono-input type effect is connected after this effect, the left

and right sounds may cancel each other, eliminating the chorus/ﬂanger ef-

fects.

P4EQ - Phaser (Parametric 4-Band EQ - Phaser)

This effect combines a mono four-band parametric equalizer and a phaser.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Trim

Parametric 4Band EQ Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert

Output Mode

–

Effect parameters |747

P4EQ

a [E]Trim 0…100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

PHASER

f [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

g [P]Manual 0…100 Sets the frequency to which the effect is ap-

plied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

h [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the phaser

Amt –100…+100 Sets the Wet/Dry modulation amount for the

phaser

i [P]Output Mode Normal,

Wet Invert

Selects the phaser output mode

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

748 | Effects for the Sounds, Voice, Guitar

P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay)

This effect combines a mono four-band parametric equalizer and a multitap

delay.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim

Parametric 4Band EQ Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Mt.Dly FX Amt

P4EQ

a [E]Trim 0…100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

MULTITAP DELAY

f [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

g [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount

h [D]High Damp [%] 0…100 Sets the damping amount in the high range

Effect parameters |749

i [D]Mt.Delay Wet/Dry Dry, 1:99…99:1,

Wet

Sets the multitap delay effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for the

multitap delay

Amt –100…+100 Sets the Wet/Dry modulation amount for the

multitap delay

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Comp - Wah (Compressor - Wah/Auto Wah)

This effect combines a mono compressor and a wah. You can change the

order of the connection.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Compressor

Routing

Wah/Auto Wah

Wah

-mod

Envelope

Sweep Mode

D-mod

Auto

LFO

LEQ HEQ

EQ Trim

Output Level

Envelope - Control

Comp

750| Effects for the Sounds, Voice, Guitar

COMPRESSOR

a [C]

Sensitivity

1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

c [C]EQ Trim 0…100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

WAH

e [W]Frequency Bottom 0…100 Sets the lower limit of the wah center frequen-

Frequency Top 0…100 Sets the upper limit of the wah center frequen-

f [w]Sweep Mode Auto,

D-mod,

LFO

Selects the control from auto-wah, modulation

source, and LFO

Src Off…Tempo Selects the modulation source for the wah

when Sweep Mode=D-mod

g [W]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

Resonance 0…100 Sets the resonance amount

LPF Off, On Switches the wah low pass ﬁlter on and off

h [W]Wet/Dry Dry,

1 : 99…99 : 1,

Wet

Sets the wah effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for the

wah

Amt –100…+100 Sets the Wet/Dry modulation amount for the

wah

i Routing Comp › Wah,

Wah › Comp

Switches the order of the compressor and wah

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |751

Comp - P4EQ (Compressor - Parametric 4-Band EQ)

This effect combines a mono compressor and a four-band parametric equal-

izer. You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Compressor

Trim

Parametric 4Band EQ

Output Level

Envelope - Control

Comp

COMPRESSOR

a [C]Sensitivity 1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

P4EQ

c [E]Trim 0…100 Sets the parametric EQ input level

d [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

e [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

f [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

g [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

h Routing Comp › P4EQ,

P4EQ › Comp

Switches the order of the compressor and para-

metric EQ

752| Effects for the Sounds, Voice, Guitar

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation Sources)

at the beginning of this part

Amt –100…+100 Amount of modulation source

Comp - Cho/Flng (Compressor - Chorus/Flanger)

This effect combines a mono compressor and a chorus/ﬂanger. You can

change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Compressor

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert

Output Mode

–

LEQ HEQ

EQ Trim

Comp

Output Level

Envelope - Control

COMPRESSOR

a [C]

Sensitivity

1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

c [C]EQ Trim 0…100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

CHORUS/FLANGER

e [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

Effect parameters |753

g [F]Cho/Flng Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/

ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source

for the chorus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for

the chorus/ﬂanger

h [F]Output Mode Normal,

Wet Invert

Selects the output mode for the chorus/

ﬂanger

i Routing Comp › Flanger,

Flanger › Comp

Switches the order of the compressor

and chorus/ﬂanger

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

h: [F]Output Mode

i: Routing

When Wet Invert is selected, the right channel phase of the chorus/ﬂanger

effect sound is inverted. This creates pseudo-stereo effects and adds spread.

However, if a mono-input type effect is connected after this effect, the left

and right sounds may cancel each other, eliminating the chorus/ﬂanger ef-

fects.

When “Routing” is set to Flanger/Comp, “[F]Output Mode” will be set to Nor-

mal.

754| Effects for the Sounds, Voice, Guitar

Comp - Phaser (Compressor - Phaser)

This effect combines a mono compressor and a phaser. You can change the

order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Compressor

LEQ HEQ

EQ Trim

Comp

Output Level

Envelope - Control

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert

Output Mode

–

COMPRESSOR

a [C]

Sensitivity

1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

c [C]EQ Trim 0…100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

PHASER

e [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [P]Manual 0…100 Sets the frequency to which the effect is ap-

plied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

g [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the phaser

Amt –100…+100 Sets the Wet/Dry modulation amount for the

phaser

h [F]Output Mode Normal,

Wet Invert

Selects the phaser output mode

i Routing Comp › Phaser,

Phaser › Comp

Switches the order of the compressor and

phaser

Effect parameters |755

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Comp - Mt. Delay (Compressor - Multitap Delay)

This effect combines a mono compressor and a multitap delay. You can

change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Compressor

LEQ HEQ

EQ Trim

Output Level

Envelope - Control

Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Mt.Dly FX Amt

Comp

COMPRESSOR

a [C]Sensitivity 1…100 Sets the sensitivity

b [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

c [C]EQ Trim 0…100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

MULTITAP DELAY

e [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

f [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback

(Tap2)

–100…+100 Sets the Tap2 feedback amount

g [D]High Damp [%] 0…100 Sets the damping amount in the high range

756| Effects for the Sounds, Voice, Guitar

h [D]Mt.Delay Wet/Dry Dry,

1 : 99…99 : 1, Wet

Sets the multitap delay effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for the

multitap delay

Amt –100…+100 Sets the Wet/Dry modulation amount for the

multitap delay

i Routing Comp › Mt.Delay,

Mt.Delay › Comp

Switches the order of the compressor and mul-

titap delay

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Limiter - P4EQ (Limiter - Parametric 4-Band EQ)

This effect combines a mono limiter and a four-band parametric equalizer.

You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Limiter

Trim

Parametric 4Band EQ

Limiter

Gain Adjust

Envelope - Control

LIMITER

a [L]Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] –40…0 Sets the level above which the compressor is ap-

plied

b [L]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

c [L]Gain Adjust [dB] –Inf,

–38…+24

Sets the limiter output gain

Effect parameters |757

P4EQ

d [E]Trim 0…100 Sets the parametric EQ input level

e [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1

Q 0.5…10.0 Sets the bandwidth of Band 1

Gain [dB] –18…+18 Sets the gain of Band 1

f [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2

Q 0.5…10.0 Sets the bandwidth of Band 2

Gain [dB] –18…+18 Sets the gain of Band 2

g [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3

Q 0.5…10.0 Sets the bandwidth of Band 3

Gain [dB] –18…+18 Sets the gain of Band 3

h [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4

Q 0.5…10.0 Sets the bandwidth of Band 4

Gain [dB] –18…+18 Sets the gain of Band 4

i Routing Limiter › P4EQ,

P4EQ › Limiter

Switches the order of the limiter and parametric

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

a: [L]Ratio

a: Threshold [dB]

c: [L]Gain Adjust [dB]

This parameter sets the signal compression “[L]Ratio”. Compression is ap-

plied only when the signal level exceeds the “Threshold” value.

758| Effects for the Sounds, Voice, Guitar

Adjust the output level using the “Gain Adjust” parameter, since compres-

sion causes the entire level to be reduced.

Input Level

Output Level

Threshold

Ratio=1.0 : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Ration=Inf : 1

Louder

Time

Level

Threshold

Ratio=Inf : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Dry

Ratio=1.0 : 1

Limiter - Threshold / Ratio

Limiter - Cho/Flng (Limiter - Chorus/Flanger)

This effect combines a mono limiter and a chorus/ﬂanger. You can change

the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Chorus/Flanger

Feedback

Cho/Flng FX Amt

Normal

Wet Invert

Output Mode

–

Limiter

Gain Adjust

Envelope - Control

LEQ

HEQ

EQ Trim

Chorus/Flanger

LFO: Tri / Sine

LIMITER

a [L]Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] –40…0 Sets the level above which the compressor is

applied

b [L]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

Effect parameters |759

c [L]Gain Adjust [dB] –Inf,

–38…+24

Sets the limiter output gain

CHORUS/FLANGER

d [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

f [F]EQ Trim 0…100 Sets the EQ input level

g [F]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

h [F]Cho/Flng Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source for

the chorus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for the

chorus/ﬂanger

i [F]Output Mode Normal,

Wet Invert

Selects the output mode for the chorus/

ﬂanger

Routing Limiter ›

Flanger,

Flanger ›

Limiter

Switches the order of the limiter and chorus/

ﬂanger

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

760| Effects for the Sounds, Voice, Guitar

Limiter - Phaser

This effect combines a mono limiter and a phaser. You can change the order

of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Limiter

Gain Adjust

Envelope - Control

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert

Output Mode

–

LIMITER

a [L]Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] –40…0 Sets the level above which the compressor

is applied

b [L]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

c [L]Gain Adjust [dB] –Inf,

–38…+24

Sets the limiter output gain

PHASER

d [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [P]Manual 0…100 Sets the frequency to which the effect is

applied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

f [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

Src Off…Tempo Selects the phaser’s Wet/Dry modulation

source

Amt –100…+100 Sets the phaser’s Wet/Dry modulation

amount

g [P]Output Mode Normal,

Wet Invert

Selects the phaser output mode

h Routing Limiter › Phaser,

Phaser › Limiter

Switches the order of the limiter and phas-

Effect parameters |761

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Limiter - Mt.Delay (Limiter - Multitap Delay)

This effect combines a mono limiter and a multitap delay. You can change

the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Mt.Dly FX Amt

Limiter

Gain Adjust

Envelope - Control

762| Effects for the Sounds, Voice, Guitar

LIMITER

a [L]Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] –40…0 Sets the level above which the compressor is ap-

plied

b [L]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

c [L]Gain Adjust [dB] –Inf,

–38…+24

Sets the limiter output gain

MULTITAP DELAY

d [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

e [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback –100…+100 Sets the Tap2 feedback amount

f [D]High Damp [%] 0…100 Sets the damping amount in the high range

g [D]Mt.Delay Wet/Dry Dry, 1:99…99:1,

Wet

Sets the multitap delay effect balance

Src Off…Tempo Selects the multitap delay’s Wet/Dry modula-

tion source

Amt –100…+100 Sets the multitap delay’s Wet/Dry modulation

amount

h Routing Limiter ›

Mt.Delay,

Mt.Delay ›

Limiter

Switches the order of the limiter and multitap

delay

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |763

Exciter - Comp (Exciter – Compressor)

This effect combines a mono exciter and a compressor. You can change the

order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Compressor

LEQ HEQ

EQ Trim

Comp

Output Level

Envelope - Control

Exciter

EXCITER

a [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect

b [X]Emphasis

Frequency

0…70 Sets the frequency range to be emphasized

c [X]EQ Trim 0…100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

COMPRESSOR

e [C]

Sensitivity

1…100 Sets the sensitivity

f [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

g Routing Exciter › Comp,

Comp › Exciter

Switches the order of the exciter and compres-

sor

h Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

764| Effects for the Sounds, Voice, Guitar

Exciter – Limiter

This effect combines a mono exciter and a limiter. You can change the order

of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Routing

LEQ HEQ

EQ Trim

Exciter

Limiter

Gain Adjust

Envelope - Control

EXCITER

a [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter

effect

b [X]Emphasis Frequency 0…70 Sets the frequency range to be empha-

sized

c [X]Trim 0…100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

LIMITER

e [L]Ratio 1.0 : 1…

50.0 : 1, Inf : 1

Sets the signal compression ratio

f [L]Threshold [dB] –40…0 Sets the level above which the compres-

sor is applied

g [L]Attack 1…100 Sets the attack time

Release 1…100 Sets the release time

h [L]Gain Adjust [dB] –Inf,

–38…+24

Sets the limiter output gain

i Routing Exciter › Limiter,

Limiter › Exciter

Switches the order of the exciter and lim-

iter

j Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |765

Exciter - Cho/Flng (Exciter – Chorus/Flanger)

This effect combines a mono limiter and a chorus/ﬂanger.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert

Output Mode

–

LEQ HEQ

EQ Trim

Exciter

EXCITER

a [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter

effect

b [X]Emphasis Frequency 0…70 Sets the frequency range to be empha-

sized

c [X]Trim 0…100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

CHORUS/FLANGER

e [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

g [F]Cho/Flng Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/

ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source

for the chorus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for

the chorus/ﬂanger

h [F]Output Mode Normal,

Wet Invert

Selects the output mode for the chorus/

ﬂanger

766| Effects for the Sounds, Voice, Guitar

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Exciter - Phaser

This effect combines a mono limiter and a phaser.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

LEQ

HEQ

EQ Trim

Exciter

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert

Output Mode

–

EXCITER

a [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter

effect

b [X]Emphasis Frequency 0…70 Sets the frequency range to be empha-

sized

c [X]Trim 0…100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

PHASER

e [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [P]Manual 0…100 Sets the frequency to which the effect is

applied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

Effect parameters |767

g [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

Src Off…Tempo Selects the Wet/Dry modulation source

for the phaser

Amt –100…+100 Sets the Wet/Dry modulation amount for

the phaser

h [P]Output Mode Normal,

Wet Invert

Selects the phaser output mode

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Exciter - Mt.Delay (Exciter – Multitap Delay)

This effect combines a mono exciter and a multitap delay.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Mt.Dly FX Amt

LEQ HEQ

EQ Trim

Exciter

EXCITER

a [X]Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter ef-

fect

b [X]Emphasis Frequency 0…70 Sets the frequency range to be emphasized

c [X]Trim 0…100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ

MULTITAP DELAY

e [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

768| Effects for the Sounds, Voice, Guitar

f [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount

g [D]High Damp [%] 0…100 Sets the damping amount in the high range

h [D]Mt.Delay Wet/Dry Dry, 1:99…99:1,

Wet

Sets the multitap delay effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the multitap delay

Amt –100…+100 Sets the Wet/Dry modulation amount for the

multitap delay

i Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

OD/HG - Cho/Flng (Overdrive/Hi.Gain – Chorus/Flanger)

This effect combines a mono overdrive/high-gain distortion and a chorus/

ﬂanger. You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert

Output Mode

–

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain

Drive

Driver

OD/HI-GAIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain

distortion

Drive 1…100 Sets the degree of distortion

Effect parameters |769

b [O]Output Level 0…50 Sets the overdrive output level

Src Off…Tempo Selects the modulation source for the over-

drive output level

Amt –50…+50 Sets the modulation amount of the overdrive

output level

e [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelv-

ing type)

Gain [dB] –18…+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2

(peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

CHORUS/FLANGER

h [F]LFO Frequency

[Hz]

0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

i [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

j [F]Cho/Flng Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the effect balance of the chorus/ﬂanger

Src Off…Tempo Selects the Wet/Dry modulation source for

the chorus/ﬂanger

Amt –100…+100 Sets the Wet/Dry modulation amount for the

chorus/ﬂanger

k [F]Output Mode Normal, Wet

Invert

Selects the output mode for the chorus/

ﬂanger

Routing OD/HG › Flanger,

Flanger › OD/HG

Switches the order of the overdrive and cho-

rus / ﬂanger

l Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

770| Effects for the Sounds, Voice, Guitar

OD/HG - Phaser (Overdrive/Hi.Gain - Phaser)

This effect combines a mono overdrive/high-gain distortion and a phaser.

You can change the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Routing

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain

Drive

Driver

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert

Output Mode

–

OD/HI-GAIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-

gain distortion

Drive 1…100 Sets the degree of distortion

b [O]Output Level 0…50 Sets the overdrive output level

Src Off…Tempo Selects the modulation source for the

overdrive output level

Amt –50…+50 Sets the modulation amount of the

overdrive output level

e [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ

(shelving type)

Gain [dB] –18…+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High

EQ 1 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High

EQ 2 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

PHASER

h [P]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

Effect parameters |771

i [P]Manual 0…100 Sets the frequency to which the effect

is applied

Depth 0…100 Sets the depth of LFO modulation

Resonance –100…+100 Sets the resonance amount

j [P]Phaser Wet/Dry -Wet, -1:99…

Dry…99:1, Wet

Sets the phaser effect balance

Src Off…Tempo Selects the Wet/Dry modulation source

for the phaser

Amt –100…+100 Sets the Wet/Dry modulation amount

for the phaser

k [P]Output Mode Normal,

Wet Invert

Selects the phaser output mode

Routing OD/HG › Phaser,

Phaser › OD/HG

Switches the order of the overdrive and

phaser

l Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay)

This effect combines a mono overdrive/high-gain distortion and a multitap

delay.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Mt.Dly FX Amt

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain

Drive

Driver

OD/HI-GAIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain

distortion

Drive 1…100 Sets the degree of distortion

772| Effects for the Sounds, Voice, Guitar

b [O]Output Level 0…50 Sets the overdrive output level

Src Off…Tempo Selects the modulation source for the

overdrive output level

Amt –50…+50 Sets the modulation amount of the over-

drive output level

e [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ

(shelving type)

Gain [dB] –18…+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ

1 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 1

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ

2 (peaking type)

Q 0.5…10.0 Sets the band width of Mid/High EQ 2

Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2

MULTITAP DELAY

h [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

i [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback –100…+100 Sets the Tap2 feedback amount

j [D]High Damp [%] 0…100 Sets the damping amount in the high range

k [D]Mt.Delay Wet/Dry Dry, 1:99…99:1,

Wet

Sets the multitap delay effect balance

Src Off…Tempo Selects the Wet/Dry modulation source for

the multitap delay

Amt –100…+100 Sets the Wet/Dry modulation amount for

the multitap delay

l Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |773

Decimator - Comp (Decimator - Compressor)

This effect combines a mono decimator and a compressor. You can change

the order of the effects.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Decimator

Routing

Pre LPF

High Damp

Output Level

Decimator

Resolution

Compressor

Comp

Output Level

Envelope - Control

DECIMATOR

a [D]Pre LPF Off, On Turn the harmonic noise caused by low-

ered sampling on and off

High Damp [%] 0…100 Sets the ratio of high-range damping

b [D]Sampling Freq [Hz] 1.00k…48.00k Sets the sampling frequency

Resolution 4…24 Sets the data bit length

c [D]Output Level 0…100 Sets the decimator output level

COMPRESSOR

d [C]

Sensitivity

1…100 Sets the sensitivity

e [C]Attack 1…100 Sets the attack level

Output Level 0…100 Sets the compressor output level

f Routing Decimator › Comp,

Comp › Decimator

Switches the order of the decimator and

compressor

g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

774 | Effects for the Sounds, Voice, Guitar

Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay)

This effect combines a mono chorus/ﬂanger and a multitap delay.

Left

Right

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

LEQ HEQ

Trim

Multitap Delay

Feedback

High Damp

Delay

(2)

(1)

Chorus/Flanger

Cho/Flng

FX Amt

Mt.Dly

FX Amt

Chorus/Flanger

Feedback

LFO: Tri / Sine

CHORUS/FLANGER

a [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

b [F]Delay Time [msec] 0.0…1350.0 Sets the delay time

Depth 0…100 Sets the depth of LFO modulation

Feedback –100…+100 Sets the feedback amount

c [F]EQ Trim 0…100 Sets the EQ input level

d [F]PreLEQ Gain [dB] –15…+15 Sets the gain of Low EQ

PreHEQ Gain [dB] –15…+15 Sets the gain of High EQ

e [F]Cho/Flng Wet/Dry –Wet…–1 : 99, Dry,

1 : 99…Wet

Sets the effect balance of the cho-

rus/ﬂanger

MULTITAP DELAY

f [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time

Tap1 Level 0…100 Sets the Tap1 output level

g [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time

Feedback –100…+100 Sets the Tap2 feedback amount

h [D]High Damp [%] 0…100 Sets the damping amount in the high

range

i [D]Mt.DelayWet/Dry Dry, 1:99…99:1, Wet Sets the multitap delay effect bal-

ance

Src Off…Tempo Selects the Wet/Dry modulation

source for the multitap delay

Amt –100…+100 Sets the Wet/Dry modulation amount

for the multitap delay

Effect parameters |775

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry

signal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the beginning

of this part

Amt –100…+100 Amount of modulation source

Multitap Cho/Delay (Multitap Chorus/Delay)

This effect has six chorus blocks with different LFO phases. You can produce

a complex stereo image by setting a different delay time and depth for each

block. You can control the delay output level via a modulation source.

Left

Right

Feedback

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

LFO: Triangle

0 [degree]

180 [degree]

60 [degree]

240 [degree]

120 [degree]

300 [degree]

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap5 Delay

Tap6 Delay

Tap4 Delay

-mod

On/Off Control

Panning Preset

a LFO Frequency [Hz] 0.02…13.00 Sets the speed of the LFO

b Tap1 (000) [msec] 0…2000 Sets the Tap1 (LFO phase=0 degrees)

delay time

Depth 0…30 Sets the Tap1 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap1 output

c Tap2 (180) [msec] 0…2000 Sets the Tap2 (LFO phase=180 de-

grees) delay time

Depth 0…30 Sets the Tap2 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap2 output

776| Effects for the Sounds, Voice, Guitar

d Tap3 (060) [msec] 0…2000 Sets the Tap3 (LFO phase=60 degrees)

delay time

Depth 0…30 Sets the Tap3 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap3 output

e Tap4 (240) [msec] 0…2000 Sets the Tap4 (LFO phase=240 de-

grees) delay time

Depth 0…30 Sets the Tap4 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap4 output

f Tap5 (120) [msec] 0…2000 Sets the Tap5 (LFO phase=120 de-

grees) delay time

Depth 0…30 Sets the Tap5 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap5 output

g Tap6 (300) [msec] 0…2000 Sets the Tap1 (LFO phase=300 de-

grees) delay time

Depth 0…30 Sets the Tap6 chorus depth

Status Always On, Always Off,

On›Off (Dm), Off›On

(Dm)

Selects on, off, or modulation source

for the control of Tap6 output

h Panning Preset 1 : L 1 2 3 4 5 6 R,

2 : L 135 246 R,

3 : L 1 3 5 2 4 6 R,

4 : L 1 4 5 6 3 2 R

Selects the stereo panning pattern for

each tap

i Tap1 Feedback –100…+100 Sets the Tap1 feedback amount

Src Off…Tempo Selects the modulation source for the

Tap output level, feedback amount, and

effect balance

Amt –100…+100 Sets the modulation amount of Tap1

feedback amount

j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry

signal

Src Off…Tempo See the list of DMS (Dynamic

Modulation Sources) at the beginning

of this part

Amt –100…+100 Amount of modulation source

Effect parameters |777

b, c, d, e, f, g: Status

These parameters set the output status of each Tap.

Always On: Output is always on. (No modulation)

Always Off: Output is always off. (No modulation)

On/Off (dm): Output level is switched from on to off depending on the modu-

lation source.

Off/On (dm): Output level is switched from off to on depending on the modu-

lation source.

Combining these parameters, you can change from 4-phase chorus to two-

tap delay by crossfading them gradually via the modulation source during a

performance.

h: Panning Preset

This parameter selects combinations of stereo images of the tap outputs.

778| Effects for the Sounds, Voice, Guitar

PianoBody/Damper (PianoBody/Damper Simulation)

This effect simulates the resonance of the piano sound board caused by the

string vibration, and also simulates the resonance of other strings that are

not being played when you press the damper pedal. It will create a very real-

istic sound when applied to acoustic piano sounds.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

-mod

Piano

Body/Damper

Simulation

Damper

a Sound Board Depth 0…100 Sets the intensity of resonance of the sound

board

b Damper Depth 0…100 Sets the intensity of the string resonance

created when the damper pedal is pressed

Src Off…Tempo Selects the modulation source of damper

effect

c Tone 1…100 Sets tonal quality of effect sound

d Mid Shape 0…36 Sets the mid range of tonal quality

e Tune –50…+50 Fine tuning

f Wet/Dry Dry, 1:99…99:1,

Wet

Balance between the wet and dry signal

Src Off…Tempo See the list of DMS (Dynamic Modulation

Sources) at the beginning of this part

Amt –100…+100 Amount of modulation source

Effect parameters |779

a: Sound Board Depth

This parameter sets the intensity of resonance of the piano sound board.

b: Damper Depth

b: Src

This parameter sets the resonance intensity of the other strings created

when the damper pedal is pressed. The “Src” parameter selects the modula-

tion source from which the damper effect is applied. Usually, select Damper

#64 Pdl (Damper pedal).

The effect is off when a value for the modulation source speciﬁed for

the “Src” parameter is 63 or smaller, and the effect is on when the value is

64 or higher.

c: Tone

d: Mid Shape

These parameters control the tonal quality of the effect sound.

e: Tune

Since this effect simulates the resonance of the strings, the sound varies de-

pending on the pitch. If you have changed tuning using the “Master Tuning”

(Global > General Controls > Basic), adjust this parameter value.

780|

|781

PART X: KAOSS

EFFECTS

782| KAOSS Effects

Using the KAOSS effects |783

47 Using the KAOSS effects

The KAOSS page

What are the KAOSS effects?

KAOSS is a KORG technology, allowing for live generation of MIDI events

and simultaneous control of multiple parameters via a control surface. In

Pa700, it lets you transform the music ﬂow, or do creative and interactive

‘liquid mixing’.

For example, you can smoothly morph between Variations and Drum Kit

types, to create an evolving and always renewed arrangement. You can let

KAOSS help you improvise on pre-recorded music, by reshaping rhythm,

pitch inversion or changing note density. You can make the mix sparser, to

leave a solo player be heard better or let you interact with your audience.

There are also DJ-style note-crunching effects, for more radical changes.

And you can use the KAOSS as a sophisticated arpeggiator, or an old tape

delay machine.

You can choose between several preset KAOSS effects. You will then con-

trol the effects’ parameters on an XY surface, called the KAOSS pad.

784| KAOSS Effects

Going to the KAOSS page

You can go to the KAOSS page by touching the KAOSS tab in the main page

of the Style Play or Song Play mode.

▪ In Style Play mode:

Recognized chord KAOSS pad

Selected

Preset

Selected

Favorite

Preset

Effects parameters

Tabs recalling

other panes

▪ In Song Play mode:

Song’s Tempo and Beat KAOSS pad

Selected

Preset

Selected

Favorite

Preset

Effects parameters

Tabs recalling

other panes

When you leave this page, the KAOSS is automatically stopped.

Using the KAOSS effects |785

Choosing the KAOSS Presets

Choosing a KAOSS Preset or Favorite Presets

A series or KAOSS Presets is already supplied with the instrument. You can

choose a separate KAOSS Preset for the Style Play and the Song Play mode.

Choose a KAOSS Preset from the library

▪ Use the pop-up menu in the top left corner of the page to choose one of the

presets from the library containing all the presets.

Choose a KAOSS Favorite Presets from the dedicated buttons

▪ Touch one of the Favorite Presets to choose the corresponding preset.

The selected presets for each mode will remain selected.

786| KAOSS Effects

Assigning a KAOSS Preset to one of the Favorite Preset buttons

You can assign any of the presets from the library to one of the Favorite

Preset buttons. This way, you will have a set of favorite presets always ready.

The Favorites can be different for the Style Play and Song Play mode.

1 Choose one of the KAOSS Presets by using the pop-up menu in the top left

corner of the page.

2 Touch the Assign button under the Favorite Preset buttons.

3 When the Select Destination dialog appears, touch one of the buttons to

choose a destination.

Using the KAOSS effects |787

KAOSS Preset list

The following table contains all the Factory KAOSS Presets. Some of the pre-

sets can be chosen both in Style Play and Song Play mode. Some can only be

chosen in Style Play mode.

Please note that time-based effects can require a few moments, before

starting to work.

Preset for the Style Play and Song Play modes

KAOSS Preset X-Axis Y-Axis Works on

Repeater1&Filter Loop Length Cutoff&Resonance Style, Song

Tracks

Repeater1&Bending Loop Length Bending&Cutoff

Repeater2&LFO Loop Length LFO Depth

Repeater2&Transp Loop Length Transpose

Repeater Filt&Trps Cutoff&Resonance Transpose

Repeater Halo&Bend FX&Release Bending&Cutoff

Repeater Filt&Tape Cutoff&Resonance Tape Speed

Ending Rep&Shift Loop Length Note Shift

Ending Rep&LFO Loop Length LFO Depth

Ending Halo&Bend FX&Release Bending&Cutoff

Tape Machine BPM Bending

Tape & Filter Tape Speed Cutoff&Resonance

Tape & Balance Tape Speed D&B Balance

Bending & LFO Bending LFO Depth

Delay & Balance Delay Length D&B Balance

Delay & LFO Delay Length LFO Depth

Tripletizer&Filter Tripletizer Cutoff&Resonance

Tripletizer&Envelope Tripletizer Attack&Decay

Tripletizer&Balance Tripletizer D&B Balance

RhythmRig&Halo Rig Set FX&Release

RhythmRig&Balance Rig Set D&B Balance

TimeMirror&Envelope Time Mirror Attack&Decay

TimeMirror&Filter Time Mirror Cutoff&Resonance

788| KAOSS Effects

KAOSS Preset X-Axis Y-Axis Works on

HalfDouble&Bending D&B Speed Attack&Decay Style, Song

Tracks

HalfDouble&Halo D&B Speed FX&Release

HalfDouble&Filter D&B Speed Cutoff&Resonance

RhytSpeed&Balance D&B Speed D&B Balance

DrumDecim&Filter Drum Decimator Cutoff&Resonance

DrumDecim&Envelope Drum Decimator Attack&Decay

Decimator&Halo Decimator FX&Release

Decimator&Balance Decimator D&B Balance

Decimator&Transp Decimator Transpose

NoteMirror&Transp Mirror Note Transpose

NoteMirror&Balance Mirror Note D&B Balance

Arpeggio 2/Beat ARP Shape ARP Expression Upper Sounds

Arpeggio 3/Beat ARP Shape ARP Expression

Arpeggio 4/Beat ARP Shape ARP Expression

Arpeggio 6/Beat ARP Shape ARP Expression

Arpeggio UpCycle ARP Speed ARP Expression

Arpeggio DownCycle ARP Speed ARP Expression

Arpeggio UpOneBeat ARP Speed ARP Expression

Arpeggio Random ARP Speed ARP Expression

Arpeggio WeirdShift ARP Shift ARP Expression

Using the KAOSS effects |789

Preset for the Style Play only

KAOSS Preset X-Axis Y-Axis Works on

Density1&Filter Density Cutoff&Resonance Style Tracks

Density1&RhythmRig Density Rig Set

Density1&HalfDouble Density D&B Speed

Density2&DrumDecim Density Drum Decimator

Density2&Halo Density FX&Release

Density2&Repeater2 Density Loop Length

Density3&Filter Density Cutoff&Resonance

Density3&Balance Density D&B Balance

Density4&Halo Density FX&Release

Ending Den1&Rep Density Loop Length

Repeater Den1&Bend Density Bending&Cutoff

Var & DrumDecim Variation Drum Decimator

Var & HalfDouble Variation D&B Speed

Var & Mute1 Variation Muting

Var & Mute2 Variation Muting

VarPad1 & DrumDecim Variation&Pad Drum Decimator

VarPad1 & Mute1 Variation&Pad Muting

VarPad2 & Decimator Variation&Pad Decimator

Double Var&Balan Variation D&B Balance

Half Var&Halo Variation FX&Release

DrumDecim&Mute1 Drum Decimator Muting

Decimator&Mute2 Decimator Muting

RhythmRig&Mute1 Rig Set Muting

RhythmRig&Mute2 Rig Set Muting

790| KAOSS Effects

Using the KAOSS effects

Using the KAOSS effects is just a matter of letting the instrument play,

or playing some notes, and swiping your ﬁnger in the KAOSS pad area to

change the music ﬂow.

Starting the original music ﬂow

Transformation vs. Arpeggiator

There are two general categories of KAOSS effects:

▪ Transformation effects, where the music ﬂow generated by the Arranger or

Player is processed to create new music.

▪ Arpeggiator effects, where the latest recognized chord, or the notes you

play on the Upper part of the keyboard, are used to generate an arpeggio.

The name of these presets begin with Arpeggio.

Choose the original music ﬂow

▪ Go to the Style Play or Song Play mode, and either choose a Style or a MIDI

Song.

▪ If you want to play an arpeggio, choose a Keyboard Set including the Sounds

you want to arpeggiate.

Choose a KAOSS preset

▪ Choose a KAOSS Preset or Favorite Preset, as seen above.

▪ If you want to play an arpeggio, choose a preset whose name begins with

Arpeggio.

Start the accompaniment or the Song

▪ Depending on whether you are in Style Play or Song Play mode, start the

accompaniment or the Song as usual.

▪ If you are using an Arpeggiator preset, play a chord or some notes on the

Upper part of the keyboard and touch the pad. You do not need to start the

accompaniment or Song.

Using the KAOSS effects |791

Using the KAOSS pad

Check the effect’s parameters assigned to the X/Y axis

▪ See the name of the parameters under the pad.

Axis Meaning

X Finger movement from left to right, right to left.

Y Finger movement from top to bottom, bottom to top.

Change the parameters’ value

▪ To change the parameters’ value, move your ﬁnger in the KAOSS pad.

Touch the

pad area

Parameters

value

Depending on the selected preset, the grid in the KAOSS pad will change.

Each cell corresponds to a block of values (also called a step). The lighter

grey cells are the default value for the corresponding parameter.

When no grid lines appear in the pad, values are continual, without interme-

diate steps, changing with a ﬁner detail.

▪ When you release your ﬁnger, the default values are reset.

792| KAOSS Effects

Freeze the current values

Do one of the following:

▪ Keep the SHIFT button pressed, and touch an area of the KAOSS pad, then

release the SHIFT button and ﬁnally raise your ﬁnger.

You are free to continue moving your ﬁnger, or to release it to freeze the

current values.

▪ Press the SHIFT button while the ﬁnger is touching the KAOSS pad, then

raise your ﬁnger and ﬁnally release the SHIFT button.

The values of the latest position of your ﬁnger will be frozen. The processed

music ﬂow will go on by following those values.

When the values are frozen, an ‘F’ appears in the point of freezing.

Using the Damper pedal to hold notes

When you are using an Arpeggio preset, pressing down the Damper pedal

will not sustain the generated notes, but will hold the notes or chord you

played. You are free, therefore, to lift your hand from the keyboard, and let

the arpeggiator go on.

|793

PART XI:

CONTROLLERS

794| Controllers

Hand controllers |795

48 Hand controllers

Programming the joystick

Assigning functions to the joystick

The left/right (X-, X+) movement of the joystick usually controls Pitch Bend.

It can however controls a Sound parameter, depending on the Sound pro-

gramming.

The

up/forward movement (Y+) is usually Modulation, and sometimes a dif-

ferent Sound parameter, depending on the Sound programming. The down/

backward movement (Y-) can be assigned to various controls, or is left unused.

Assigning Sound parameters to the joystick can be done in

Sound Edit.

Assigning the joystick to the Sounds

You can activate/deactivate the Joystick on each Keyboard Sound.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Joystick X checkbox to turn the left/right Joystick movements on/

off on each Sound.

3 Use the Joystick Y checkbox to turn the up/down Joystick movements on/

off on each Sound.

4 Write the changes to a Keyboard Set.

796| Controllers

Setting the Pitch Bend range

Pitch Bend range is deﬁned for each Sound set, and can change with differ-

ent Keyboard Sets, SongBook Entries or Styles.

1 Go to the Mixer/Tuning > Tuning page.

2 Use the Pitch Bend Sens(itivity) knobs to set the Pitch Bend range for each

Sound.

PB Sensitivity Meaning

0 No pitch bend allowed.

1 … 12 Maximum up/down pitch bend range (in semitones). 12 = ±1 octave.

3 Write the changes to a Sound set (Keyboard Set, Style Settings).

Hand controllers |797

Programming the keyboard’s velocity and

aftertouch

Assigning functions to velocity and aftertouch

Velocity usually controls the Sound’s loudness. However, it can be assigned

to other roles by each individual Sound. Assigning Sound parameters can be

done in Sound Edit.

Adjusting the velocity sensitivity

You can deﬁne how the keyboard responds to your striking velocity.

1 Go to the Global > Controllers > Hand page.

2 Use the Velocity Curve parameter to set the sensitivity of the keyboard to

your playing strength.

Velocity Curve Meaning

Fixed No dynamic control available. Dynamic values are ﬁxed, as in classic

organs. When this option is chosen, you can set the ﬁxed velocity

value.

Soft1 … Hard3 Curves, from the lightest one to the hardest one.

798| Controllers

Programming the assignable knobs

Assigning a function to the assignable knobs

You can program the ASSIGNABLE KNOBS as a global setting.

1 Go to the Global > Controllers > Hand page.

2 Choose a function for each of the knobs.

Functions assignable to the knobs

Knob function Meaning

Off No function assigned.

Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds

will not be varied.

Style Drum&Perc.Vol.(Gbl) The same as the Style Volume sliders in the Global > Mode

Preferences > Style 2 page.

Style Bass Vol.(Gbl)

Style Accomp.Vol.(Gbl)

Kbd Upper 1 Volume Volume of the corresponding Keyboard Sound.

Kbd Upper 2 Volume

Kbd Upper 3 Volume

Kbd Lower Volume

Pad Volume General volume of the Pads.

MP3 Volume Volume of the MP3 Song.

Upper VDF Cutoff Filter cutoff (for Sounds assigned to the Upper parts).

Upper VDF Resonance Filter resonance (for Sounds assigned to the Upper parts).

Audio In Volume Volume of the Audio In inputs.

Hand controllers |799

Knob function Meaning

Mic FX Level General volume of the Mic FXs.

Mic/Guitar Preset FX1

Level

Volume of the corresponding FX.

Mic/Guitar Preset FX2

Level

Guitar Preset FX3 Level

FX CC12 Ctrl Standard FX controllers, used as DMS modulations. How they

work depends on the Effects programming.

FX CC13 Ctrl

800| Controllers

Programming the assignable switches

Assigning a function to the assignable switches

You can program the ASSIGNABLE SWITCHES in a different way for each

Keyboard Set. Choosing a different set of Sounds may therefore change the

controls assigned to these switches, to match the different types of Sounds.

1 Go to the Style Play/Song Play > Pad/Switch > Switch page.

2 Use one of the Switch 1…3 menus to choose a command to be assigned to

the corresponding switch.

3 Write the changes to a Keyboard Set.

Functions assignable to the assignable switches

Switch function Meaning

Off No function assigned.

Ritardando Slowing down or making the Tempo faster, according to the

curves programmed in the Global > General Controls > Basic

page.

Accelerando

Chord Seq. Record Makes Chord Sequence recording start.

Style Up Selects the next Style.

Style Down Selects the previous Style.

Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET

LIBRARY.

Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET

LIBRARY.

Sound Up Selects the next Sound.

Hand controllers |801

Switch function Meaning

Sound Down Selects the previous Sound.

Synchro Start Same functions as the control panel buttons with the same

name.

Synchro Stop

Kbd Upper 1 Mute Mute of the corresponding Keyboard Sound.

Kbd Upper 2 Mute

Kbd Upper 3 Mute

Kbd Lower Mute

Style Drum Mute Mute of the corresponding Style’s Accompaniment Sound.

Style Perc Mute

Style Bass Mute

Style Acc1…5 Mute

Style Acc 1-5 Mute Mute/Unmute all the Acc tracks at once.

Song Melody Mute Mutes the MIDI Song’s track set as the Melody track (Global >

Mode Preference > Song & Seq.)

Vocal Remover Removes the lead voice from the MP3 Song.

Song Drum&Bass Mode Mute of all the MIDI Song tracks, except for the Bass and Drum

tracks (as set in the Global > Mode Preference > Song & Seq.

page). It doesn’t work on MP3 Songs.

Solo Selected Track Turns track solo on/off.

Bass&Lower Backing When the accompaniment is not playing and the keyboard is in

Split mode, you can play the Lower Sound with your left hand,

while the Bass still plays the chord root.

QuarterTone Turns Quarter Tone on/off.

Retune Style Makes the instrument wait for a chord. The root of the chord will

be the new root of the scale used by some of the Accompaniment

tracks.

Global-Scale When the switch or footswitch is pressed, the Global > Tuning >

Scale page is recalled.

SubScale Preset 01…04 Same functions as the Scale Preset buttons in the display (or the

buttons in the Scale keyboard of Pa700 ORIENTAL).

Mic Talk Talkback switch.

Audio In Mute Mute of the Audio In input.

FX CC12 Switch Standard FX switches. How they work depends on the Effects

programming.

FX CC13 Switch

Rotary Spkr On/Off Rotary Speaker effect controls.

Rotary Spkr Fast/Slow

Drawbar Perc On/Off Turns Drawbar Percussion on/off.

802| Controllers

Switch function Meaning

Text Page Next These options let you move to the previous or next page, when

reading a text ﬁle automatically loaded with a Song or SongBook

Entry, or manually loaded from the Lyrics page.

Text Page Prev

Set List Next Moves to the next SongBook Entry in the selected Set List.

Set List Prev Moves to the previous SongBook Entry in the selected Set List.

Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the

function assigned in Sound Edit in DNC Sounds.

Sound Controller 2

Setting the Accelerando/Ritardando times

Accelerando and Ritardando are controls you can assign to an assignable

switch or footswitch. While the switch is kept pressed, Tempo will start grad-

ually speeding up or down.

1 Go to the Global > General Controls > Basic page.

2 Use the Accelerando/Ritardando > Step parameter to set the speed of

Tempo change (from 1 to 6).

With higher values, the step change will be greater, and the speed will change

faster. With lower values, the step change will be smaller, and the speed will

change more slowly.

3 Use the Accelerando/Ritardando > Curve parameter to set the curve of

Tempo change (from 1 to 3).

Experiment the various options, to see the one that best ﬁts your taste.

Foot controllers |803

49 Foot controllers

Programming the damper pedal

You can connect a footswitch, or a dedicated damper pedal, to the PEDAL >

DAMPER connector on the back of the instrument. This pedal always works

as a Damper pedal.

Assigning the Damper pedal to the Sounds

You can activate/deactivate the damper pedal on each Keyboard Sound.

This is useful, for example, to only sustain some Upper Sounds and not the

others.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Damper checkbox to turn the Damper pedal on/off on each Keyboard

Sound.

3 Write the changes to a Keyboard Set.

804| Controllers

Programming the assignable pedal/

footswitch

Assigning a function to the pedal/footswitch

You can connect a footswitch or expression pedal to the PEDAL >

ASSIGNABLE connector on the back of the instrument. Depending on the

connected type of pedal, you will choose a suitable function.

1 Connect the pedal or footswitch to the PEDAL > ASSIGNABLE connector.

2 Go to the Global > Controllers > Foot page.

3 Use the Function pop-up menu to choose a control function.

Foot controllers |805

Functions assignable to a footswitch

Footswitch function Meaning

Off No function assigned.

Style Start/Stop Same functions as the control panel buttons with the same

name.

Play/Stop Player

Go to Beginning - Player

Chord Seq. Record

Chord Seq. Play

Synchro Start

Synchro Stop

Tap Tempo/Reset

Tempo Lock

Ritardando Slowing down or making the Tempo faster, according to the

curves programmed in the Global > General Controls > Basic

page.

Accelerando

Tempo Up Same functions as the control panel buttons with the same

name.

Tempo Down

Intro 1…3/Count In Selects the corresponding Intro.

Ending 1…3 Selects the corresponding Ending.

Fill 1…4 Selects the corresponding Fill.

Break Selects the Break.

Variation 1…4 Selects the corresponding Variation.

Variation Up Selects the next Variation.

Variation Down Selects the previous Variation.

Fade In/Out Same functions as the control panel button with the same name.

Memory

Bass Inversion Forces the lowest (leftmost) note of the chord to be considered

the chord’s root of a slashed chord (such as ‘Am7/G’ or ‘F/C’).

Manual Bass Same functions as the control panel button with the same name.

Split

Style Up Selects the next Style.

Style Down Selects the previous Style.

Style to Kbd Set Same function as the control panel button with the same name.

Kbd Set 1…4 Selects the corresponding Keyboard Set from the KEYBOARD

SET section under the display.

Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section

under the display.

806| Controllers

Footswitch function Meaning

Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET sec-

tion under the display.

Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET

LIBRARY.

Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET

LIBRARY.

Transpose (b) Same functions as the control panel buttons with the same

name.

Transpose (#)

Upper Octave Up

Upper Octave Down

Punch In/Out Turns Punch Recording on/off.

Kbd Upper1…3 Mute Mute of the corresponding Sound.

Kbd Lower Mute

Style Drum Mute

Style Perc Mute

Style Bass Mute

Style Acc1…5 Mute

Style Acc1-5 Mute Mute/Unmute all the Acc tracks at once.

Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global > Mode

Preference > Song & Seq.).

Vocal Remover Removes the lead voice from the MP3 Song.

Song Drum&Bass Mode Mute of all MIDI Song tracks, except the Bass and Drum tracks

(as set in the Global > Mode Preference > Song & Seq. page). It

doesn’t work on MP3 Songs.

Solo Selected Track Turns track solo on/off.

Damper Pedal Damper function. Corresponds to the right pedal of an acoustic

piano. It holds the notes played when the pedal is pressed down.

Soft Pedal Soft function. Corresponds to the ‘una corda’ pedal of an acous-

tic piano. Makes the sound softer.

Sostenuto Pedal Sostenuto function. Corresponds to the left pedal of a grand

piano. It holds the notes already held when pressing the pedal

down.

Bass&Lower Backing When the accompaniment is not playing and the keyboard is in

Split mode, you can play the Lower Sound with your left hand,

while the Bass still plays the chord root.

Ensemble Turns Ensemble on/off.

Quarter Tone Turns Quarter Tone on/off.

Retune Style Makes the instrument wait for a chord. The root of the chord will

be the new root of the scale used by some of the Accompaniment

tracks.

Foot controllers |807

Footswitch function Meaning

Global-Scale When the switch or footswitch is pressed, the Global > Tuning >

Scale page is recalled.

SubScale Preset 01…04 Same functions as the Scale Preset buttons in the display (or the

buttons in the Scale keyboard of Pa700 ORIENTAL).

Chord Latch Holds the recognized chord until the pedal is released.

Glide When the pedal is pressed, affected notes on Upper tracks are

bent down, according to settings for the Pitch Bend on the same

tracks. When the pedal is released, notes return to the normal

pitch, at the speed deﬁned in the Global > General Controls >

Basic page.

Audio In Mute Mute of the Audio In input.

Mic Talk Talkback switch.

FX CC12 Switch Standard FX switches. How they work depends on the Effects

programming.

FX CC13 Switch

Rotary Spkr On/Off Rotary Speaker effect controls.

Rotary Spkr Fast/Slow

Drawbar Perc On/Off Turns Drawbar Percussion on/off.

Text Page Next These options let you move to the previous or next page, when

reading a text ﬁle automatically loaded with a Song or SongBook

Entry, or manually loaded from the Lyrics page.

Text Page Prev

Set List Next Moves to the next SongBook Entry in the selected Set List.

Set List Prev Moves to the previous SongBook Entry in the selected Set List.

Pad 1…4 Same functions as the control panel buttons with the same

name.

Pad Stop

Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the

function assigned in Sound Edit in DNC Sounds.

Sound Controller 2

808| Controllers

Functions assignable to an expression pedal

Pedal function Meaning

Master Volume Master Volume control

Accompaniment Volume Volume of the Accompaniment Sounds

Keyboard Expression Relative Volume of the Keyboard Sounds. All the other

Sounds will not be varied.

Pad Volume Volume of the MP3 Songs

Joystick X+ Replicates the joystick right movement

Joystick X- Replicates the joystick left movement

Joystick Y+ Replicates the joystick forward movement

Joystick Y- Replicates the joystick backward movement

Upper VDF Cutoff Filter cutoff (for Sounds assigned to the Upper tracks)

Upper VDF Resonance Filter resonance (for Sounds assigned to the Upper tracks)

Audio In Volume Volume of the Audio In input.

FX CC12 Ctrl Standard FX controllers, used as DMS modulations. How

they work depends on the Effects programming.

FX CC13 Ctrl

Foot controllers |809

Choosing a curve presets for the expression pedal

With some functions assigned to an expression pedal, you can choose a

curve, shaping how the pedal will affect the function. When a curve can’t be

applied, the curve diagrams will appear dimmed.

Choosing a curve preset

1 Be sure to have connected an expression pedal, calibrated it, and selected a

function. Curve presets can only be selected with some functions.

2 While in the Global > Controllers > Foot page, touch one of the Curve buttons

to select a curve preset.

Curve Meaning

Linear response.

Exponential response. The function value will change faster toward the top

of the pedal range.

Logarithmic response. The function value will change slower toward the top

of the pedal range.

S-shaped response. The function value will change faster toward the bottom

and the top of the pedal range, and will be smoother in the middle.

S-shaped with offset response. As the previous one, but starting from a value

higher than zero.

810| Controllers

Assigning the Expression pedal to the Sounds

Expression is a relative level control, always subtracted from the Volume

value. It can be assigned to any continuous pedal (also called a Volume/

Expression pedal).

As an example, imagine you have a Piano sound assigned to Upper 1, and a

Strings sound assigned to Upper 2. If you turn the Expression switch on on

Upper 2, and off on Upper 1, you can use a continuous pedal to control only

the Strings’ volume, while the Piano remains unchanged.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Expression checkbox to turn the Expression pedal on/off on each

Keyboard Sound.

3 Write the changes to a Keyboard Set.

Setting the Glide time

Glide is a control you can assign to a footswitch. When the pedal is pressed,

affected notes on Upper parts are bent down, according to settings for the

Pitch Bend on the same parts. When the pedal is released, notes return to

the normal pitch, at the speed deﬁned by the Time parameter.

Change the Pitch Bend values

1 Go to the Mixer/Tuning > Tuning page.

Foot controllers |811

2 Use the PB Sensitivity parameter to set the Pitch Bend range (in semitones).

3 Write the changes to a Keyboard Set.

Change the Glide time

1 Go to the Global > General Controls > Basic page.

2 Use the Glide > Time parameter to set the glide time.

812| Controllers

Calibrating the pedals and setting their polarity

If needed, you might have to calibrate the pedals to use their full range of

values, without any ‘dead spot’. Also, this procedure allows to choose a ped-

al’s polarity, in case you are using a pedal working in reverse.

1 Go to the Global > Controllers > Foot page.

2 Touch the Calibration button in the area of the pedal to calibrate, to make

the Damper & Pedal/Footswitch Calibration dialog appear.

3 Fully press the pedal down, and while continuing to press touch the Push

button to conﬁrm the maximum value.

4 When the following dialog appears, release the pedal.

5 Touch the Push button in the display to conﬁrm the minimum value. Check if

the pedal is working properly. In case it isn’t, repeat the procedure.

6 Press the EXIT button to return to the previous page.

|813

PART XII:

GLOBAL

SETTINGS AND

PREFERENCES

814| Global settings and preferences

Customizing the user interface |815

50 Customizing the user

interface

Display and control panel preferences

Choosing the chords and alphanumeric keyboard language

You can choose the language used to show chord names and the characters

that can be inserted using the alphanumeric virtual keyboard. Please note

that some of the characters can only be used when editing SongBook Entry

names.

1 Since the instrument must be restarted at the end of this procedure, be sure

to ﬁrst save all unsaved data.

2 Go to the Global > General Controls > Interface page.

3 Use the Language pop-up menu to select one of the available languages.

4 Touch the Change button to apply the selected language.

5 A message will ask you to reboot the instrument. Touch the OK button to

close the message window.

6 Turn off, then restart the instrument to activate the new language.

816| Global settings and preferences

Control panel illumination

You can adjust the button indicators’ brightness, to adapt the control panel

glowing/luminosity to the ambient light.

1 Go to the Global > General Controls > Interface page.

2 Use the Panel Backlight pop-up menu to select one of the available luminos-

ity degrees.

Automatically closing the Select windows

You may prefer to leave a Select window open after you have chosen a

Sound, Keyboard Set, Style, Pad or Voice/Guitar Preset, to continue trying

other elements in that window. Or, you may prefer it automatically closes

after you have completed your choice. This is determined by the Display

Hold parameter.

1 Go to the Global > General Controls > Interface page.

2 Select the Display Hold checkbox to let the Select windows remain open

until you press the EXIT button. Deselect it to let the Select windows auto-

matically close after you choose an element.

Customizing the user interface |817

Program Change and activity indicators

Showing/Hiding the Program Change number

You can make Program Change numbers be shown next to Sound names in

the Sound Select window.

Please note that Program Change numbers are always shown in the various

Track Info areas.

1 Go to the Global > General Controls > Interface page.

2 Select/deselect the Program Change > Show checkbox.

818| Global settings and preferences

Showing/Hiding the track’s activity

You can turn on/off the Track Activity display. When it is turned on, you

can monitor events coming from the internal Sounds or the MIDI messages.

Incoming events are shown by the color changing on each track’s label.

1 Go to the Global > General Controls > Interface page.

2 Select/deselect the Track Activity > Show checkbox.

Automatic selection and locking |819

51 Automatic selection and

locking

Automatically choosing Styles and

Keyboard Sets

Preferred Styles and Keyboard Sets can be assigned to the KEYBOARD SET

LIBRARY buttons. They are also assigned to the side tabs in the Style Select

and Keyboard Set Library Select windows.

Automatically selecting the Styles

When the Auto Select > Style parameter is activated, touching the name of

a bank in the Style Select window automatically selects the Style you latest

selected in that bank. This way, you can assign your preferred Style to each

side tab, and select it just with a single touch.

1 Choose a Style for each bank (side tab) you want to program.

2 Go to the Global > General Controls > Interface page.

3 Select the Style checkbox in the Auto Select section.

4 Choose the Write Auto Select Preferences command from the page menu

to save the Style assignment to all banks.

820| Global settings and preferences

Automatically selecting the Keyboard Sets from the library

When the Auto Select > Keyboard Set Library parameter is activated, press-

ing one of the KEYBOARD SET LIBRARY buttons, or touching the name of a

bank in the Keyboard Set Library Select window, automatically selects the

Keyboard Set you latest selected in that bank. This way, you can assign your

preferred Keyboard Set to each control panel’s button, and select it just with

a single press.

However, the

Keyboard Set Library Select window will still appear, so that

you can select a different item if desired.

1 Choose a Keyboard Set for each KEYBOARD SET LIBRARY button you want

to program.

2 Go to the Global > General Controls > Interface page.

3 Select the Keyboard Set Library checkbox in the Auto Select section.

4 Choose the Write Auto Select Preferences command from the page menu

to save the Keyboard Set assignment to all buttons.

Automatic selection and locking |821

Locking parameters to prevent changes

In various pages, next to some parameters, you can ﬁnd a lock ( ) icon.

All these locks are collected in the

Global > General Controls > Lock pages

for easy access.

Locking the Tuning parameters

Go to the Global > General Controls > Lock > Tuning page.

2 Select/deselect the desired locks.

Tuning lock Meaning

Master Transpose Prevents Master Transpose from changing when choosing a

SongBook Entry. It also prevents transposing when loading a

Standard MIDI File created by Pa700 or any instrument of the KORG

Pa-Series.

Sub Scale/Quarter

Tone

Prevents the Sub-Scale or Quarter Tone value from changing when

choosing a Keyboard Set or SongBook Entry.

SubScale/Quarter

Tone Keyboard Set 1-4

Prevents the Sub-Scale or Quarter Tone value from changing when

choosing a Keyboard Set by pressing the KEYBOARD SET buttons

under the display.

Auto Octave Depending on the status of this lock, the Upper Sounds can be auto-

matically transposed when turning the SPLIT on and off.

• If locked, turning the SPLIT on or off will not cause Upper Sounds

transposition.

• If unlocked, when turning the SPLIT button off (Full keyboard mode)

the Upper Sound’s Octave Transpose will be automatically set to ‘0’.

When turning the SPLIT button on (Split keyboard mode) the Upper

Sound’s Octave Transpose will be automatically set to ‘-1’.

822| Global settings and preferences

SongBook Entries, Keyboard Sets, and the sub-scale

If you want that choosing a SongBook Entry also changes the sub-scale, the

SubScale/Quarter Tone has to be unlocked.

However, if you don’t want that choosing a Keyboard Set (by pressing one of

the

KEYBOARD SET buttons under the display) also changes the sub-scale,

lock the SubScale/Quarter Tone Keyboard Set 1-4.

Locking the Control parameters

Go to the Global > General Controls > Lock > Control page.

2 Select/deselect the desired locks.

Automatic selection and locking |823

Control lock Meaning

Assignable Switches When locked, selecting a Keyboard Set will not change the functions

assigned to the Assignable Switches.

Upper 1 FXs When choosing the Upper 1 Sound, the Sound’s or the Keyboard Set’s

effect settings can be selected.

• If this lock is closed, the Keyboard Set’s effect parameters are left

unchanged.

• If this lock is open, the Sound’s effect parameters are selected.

To avoid sudden and unmusical effect changes, if the Sound’s ef-

fects are not compatible with the effects already assigned to the FX

B block, the Master FX Send values on the other Keyboard Sounds

will be automatically set to zero.

For example, assume a chorus effect is assigned to the B2 Master

FX processor. If the new Sound assigns a distortion effect to the B2

Master FX processor, the B2 Master FX Send value on the Upper 2,

Upper 3, and Lower Sounds will be set to zero, to avoid these Sounds

to sound odd. This way, the Upper 1 Sound (usually the most impor-

tant one for solo playing) will sound with the needed effects, while

the other Keyboard Sounds will just sound dry.

Pad When locked, selecting a Style or SongBook Entry will not change

the Pads.

Lower When this lock is closed, the Lower Sound remains unchanged when

a different Keyboard Set or Style is selected.

This is useful if, for example, you prefer to only play chords with the

left hand, while leaving the Sound in mute.

Hint: If you want the same Lower settings to be used during all

your shows, save your preferred Lower settings to the MY SETTING

Keyboard Set (automatically selected on startup), and close this lock.

Keyboard Mode (Split/

Full)

When this lock is closed, the status of the SPLIT button (therefore of

the keyboard mode) remains unchanged when a different Keyboard

Set is selected.

This is useful if, for example, you prefer to always play in Full

Keyboard mode, with chords recognized on the full keyboard range.

Hint: If you want the same Lower settings to be used during all

your shows, save your preferred Lower settings to the MY SETTING

Keyboard Set (automatically selected on startup), and close this lock.

824| Global settings and preferences

Locking the Style parameters

Go to the Global > General Controls > Lock > Style page.

2 Select/deselect the desired locks.

Style locks Meaning

Style Tracks Volume When this lock is closed, choosing a different Style does not change

the volume of the accompaniment tracks.

This is useful when you create your own User Styles, and prefer to

dynamically adjust the volume by using the internal mixer. It is not

recommended with Factory Styles, each one already mixed at its

best right at the factory.

Style Tracks Play/Mute When this lock is closed, choosing a Style does not change the Play/

Mute status of the accompaniment tracks. This way, you can, for ex-

ample, turn the bass track off during a whole show, to allow your

bassist to play the part live. Also, you could mute all the Acc tracks,

to only play with the Drum and Bass tracks.

Style Element When this lock is closed, choosing a Style does not change the se-

lected Style Element (Variation, Intro...). This lock does not apply to

the Fills and Break.

This lock has no effect on the Styles automatically selected when

choosing a SongBook Entry. In this case, the Style Element memo-

rized in the SongBook Entry is always selected.

Bass Inversion When locked, choosing a Keyboard Set will not change the Bass

Inversion status.

Manual Bass When locked, choosing a Keyboard Set will not change the Manual

Bass status.

Chord Sequence When locked, choosing a Style or SongBook Entry will not change the

Chord Sequence in memory.

System preferences |825

52 System preferences

Setting the date and time for ﬁle saving

Pa700 includes a battery-backed system calendar and clock. This allows for

automatically adding a time-stamp to the ﬁles, when they are created or

edited.

1 Go to the Global > General Controls > Clock & Power page.

2 Set the Month/Day/Year and Time values.

Use the

Time numeric ﬁeld to input the time, in the ‘hour:minute:second’

format.

3 After having edited all calendar and time ﬁelds, touch the Apply button to

apply the changes.

826| Global settings and preferences

Automatic power off

Pa700 can automatically enter standby after two hours of not being used, to

save power and help preserving the environment.

1 Go to the Global > General Controls > Clock & Power page.

2 Select/deselect the Auto Power Off checkbox.

When this parameter is checked, a few minutes before automatic standby a

message will warn you that the instrument is going to be put in standby. All

unsaved data currently in editing or recording will be lost.

At this message, you can let the instrument enter standby, or you can touch

the display, press any button on the display, or play the keyboard to leave it

turned on and continue using it.

Master Transpose and Tuning |827

53 Master Transpose and

Tuning

Master Tuning

You can ﬁne tune the instrument (in cents of a semitone), to adapt it to an

acoustic instrument that is not possible to tune (for example an acoustic

piano without a professional tuner or the right tools, or a period instrument).

1 Go to the Global > Tuning > Master page.

2 Use the Master Tuning parameter to ﬁne tune the instrument.

Tuning Meaning

-100 cents Lowest pitch (half a semitone down)

0 cents Standard pitch (A4 = 440Hz)

+100 cents Highest pitch (half a semitone up)

828| Global settings and preferences

Master Transpose

Transposing the whole instrument

The instrument’s key can be transposed to make singing or playing together

with another instrument more comfortable. Master Transpose settings are

also sent to any GM-compliant instrument.

The transpose value is usually shown in the page header.

Transpose down from the control panel

▪ Use the TRANSPOSE > FLAT (

) button to lower the Master Transpose in

steps of one semitone.

Transpose up from the control panel

▪ Use the TRANSPOSE > SHARP (

) button to raise the Master Transpose in

steps of one semitone.

Reset transposition

▪ Press both TRANSPOSE buttons together.

SongBook and Master Transpose

When saving a SongBook Entry, the Master Transpose is also saved. Master

Transpose might therefore change when choosing a SongBook Entry. To

avoid this to happen, you may lock the Master Transpose in Global > General

Controls > Lock > Tuning

Saving the Master Transpose with a Keyboard Set, Style or Song

If you want to save the Master Transpose value together with the Keyboard

Sets, Styles or Songs, you can create a new SongBook Entry based on them.

Choose the desired data and settings, then keep the

SONGBOOK button

pressed for about one second to create a new SongBook Entry.

Master Transpose and Tuning |829

MP3 Songs and Master Transpose

MP3 Songs can be transposed inside the range of -5…+6 semitones. This

range is enough to cover all keys, while avoiding excessive audio degrada-

tion. Any further transposing will be reversed to ﬁt the range. So, you might

see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3

Song will actually play 5 semitones lower (Just Fourth Down).

MIDI Songs and Master Transpose

Saving Master Transpose with the Song

When saving a MIDI Song from the Sequencer mode, the Master Transpose

value is saved with the Song. This value is preserved when playing back the

Song in Song Play mode.

Preventing unwanted transposition

When loading a MIDI Song containing Master Transpose data, the instru-

ment’s Master Transpose is modiﬁed. This may cause problems with other

Songs or when playing the Styles. To avoid this to happen, you may lock the

Master Transpose in Global > General Controls > Lock > Tuning.

If you still want to transpose the Song, use the

Transpose function found

in the Sequencer > Song Edit > Transpose page to transpose the MIDI data

contained in the MID ﬁle.

As a general rule, you should use the

Master Transpose (TRANSPOSE but-

tons on the control panel) when you want to transpose the Keyboard Sounds

together with the Song. You should use the Song Edit’s Transpose function

when only the Song has to be transposed.

830| Global settings and preferences

Displaying transposed chord abbreviations in MIDI Songs

When changing the Master Transpose, chord abbreviations contained in MIDI

Songs are transposed and correctly shown in the display. Master Transpose

must be applied to the Player, but not to the Keyboard.

Please note that chords contained in a linked TXT ﬁle or shown in a CDG ﬁle

are not transposed.

When is Master Transpose applied?

You can decide when the Master Transpose will take effect.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Style and Keyboard Tracks pop-up menu to choose when

transposition will apply.

Master Transpose and Tuning |831

Transpose Meaning

Off No Master Transpose is applied to Accompaniment and Keyboard

Sounds. Chords shown in the Lyrics page are, however, transposed.

Next Measure When you press either of the TRANSPOSE buttons, the new trans-

pose setting will not take effect until the ﬁrst beat of the next mea-

sure is reached.

Immediate When you press either of the TRANSPOSE buttons, the new trans-

pose setting will separately occur when the next note is played

by the Accompaniment or Keyboard Sounds. If, for example, you

play a note on the keyboard when the Accompaniment is still play-

ing a chord, only the Keyboard Sounds will be transposed, and the

Accompaniment Sounds will only be transposed at the next chord.

Transposing the Songs and the MIDI IN notes

Master Transpose can be separately applied to the Song Player and to the

notes entering the MIDI IN or USB DEVICE port.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Player checkbox to activate/deactivate transposition on the

internal Players.

3 Use the Mode > Midi In Notes checkbox to activate/deactivate transposition

on the incoming MIDI notes.

832| Global settings and preferences

Master Transpose and Scale

You can deﬁne the relation between the Scale and the Master Transpose.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Position > Scale and Transpose pop-up menu to choose where

transposition will apply in relation to the Scale.

Transpose position Meaning

Post-KB/Pre-Scale When this option is selected, notes will be transposed immediate-

ly after they leave the keyboard. The Scale will be applied to the

transposed notes. For example, if you altered an E, and then set the

Master Transpose to +1, the E key will play a real F, and the altered

key will still be E (that will play an altered E).

Scale

Tone

generator

Transpose

Post-KB & Scale When this option is selected, all notes are transposed immediately

before they enter the internal tone generator, or are sent to the MIDI

OUT or USB DEVICE port, and after the Scale. For example, if you

altered an E, and set the Master Transpose to +1, the altered key will

still be E (that will play an altered F).

Scale

Tone

generator

Transpose

Drum Kits and Master Transpose

Drum Kits are never transposed. If you want that an ordinary Sound is not

transposed as well, assign it to a track set to Drum mode in the Style Play/

Song Play > Track Controls > Mode page.

Scale |833

54 Scale

Main Scale

Choosing the main scale

The main scale is usually applied to all or most of the Sounds. Some Sounds

may use an alternative sub-scale. Some Style Elements may use alternative

sub-scales. The main scale is used wherever there is no sub-scale assigned.

Choose the main scale

1 Go to the Global > Tuning > Scale page.

2 Use the Main Scale pop-up menu to choose the main scale of the instrument.

All Sounds, apart for those for which a different sub-scale has been selected

by a Keyboard Set, will use this scale.

If needed, choose a root key

▪ Use the Key parameter (needed with some scales) to set the scale root

(therefore, the Sound’s tuning).

834| Global settings and preferences

Scales list

Scale Description

Equal Equal tuning, the standard scale for modern Western music. It is made

of 12 identical semitones.

Pure Major Major chords in the selected key are perfectly tuned.

Pure Minor Minor chords in the selected key are perfected tuned.

Arabic An Arabic scale, using quarters of tone. Set the Key parameter as fol-

lows:

C - for the ‘rast C/bayati D’ scale

D - for the ‘rast D/bayati E’ scale

F - for the ‘rast F/bayati G’ scale

G - for the ‘rast G/bayati A’ scale

A# - for the ‘rast Bb/bayati C’ scale

Pythagorean Pythagorean scale, based on the music theories of the great Greek phi-

losopher and mathematician Pythagoras. It is most suitable for melo-

dies.

Werckmeister Late Baroque and early Classic age scale. Very suitable for 18th Century

music.

Kirnberger Harpsichord scale, very common during the 18th Century.

Slendro Scale of the Indonesian Gamelan. The octave is divided in ﬁve notes (C,

D, F, G, A). The remaining notes are tuned as in the Equal tuning.

Pelog Scale of the Indonesian Gamelan. The octave is divided in seven notes

(all white keys, when Key is = C). The black keys are tuned as in the Equal

tuning.

Stretch Simulates the ‘stretched’ tuning of an acoustic piano. Basically an equal

tuning, the lowest notes are slightly lower, while the highest notes are

slightly higher than the standard.

User User scale, only available as a sub-scale. The User scale can be saved to

a Keyboard Set, the Style Settings or a MIDI Song. You can’t select it as

the main scale in the Global.

Scale |835

Sub-Scale

Choosing a sub-scale for the Keyboard and/or Accompaniment

Sounds

You can assign a different scale (a sub-scale) to the Keyboard Sounds. This

will allow, for example, to play a piano solo with the Stretch tuning, while the

backing tracks continue to play in the Equal tuning. A different sub-scale can

be associated to each Keyboard Set.

You can also assign a sub-scale to all the Sounds of the Style, separate from

the Sounds of a MIDI Song (that will still use the main scale). So, you will be

able to play the Styles with a sub-scale, and the Songs with the main scale.

Choosing a sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song

Play modes.

2 Use the Scale pop-up menu to choose the sub-scale. See above for a list of

the available scales.

▪ If needed, use the Key parameter (requested by some scales) to set the pre-

ferred key.

836| Global settings and preferences

Assigning the sub-scale to the Keyboard and/or Accompaniment Sounds

1 Go to the Global > Mode Preferences > Style 2 page.

2 Use the Scale Mode parameter to choose the Sounds to which to apply the

sub-scale. All the other Sounds will use the main scale.

Scale Mode Meaning

Keyboard Tracks The sub-scale will affect all the Keyboard Sounds

Upper Tracks The sub-scale will only affect the Upper 1-3 Keyboard Sounds

All Tracks The sub-scale will affect the Keyboard Sounds and the

Accompaniment Sounds. It will not affect the MIDI Song Sounds.

Editing a sub-scale for each Style Element and Accompaniment

Sound

While in Style Record, you can edit a separate sub-scale for each Style

Element, and enable the sub-scale on each track of the Style Element. This

sub-scale will prevail over any other scale.

1 Go to the Style Record > Element Track Controls > Scale page.

Scale |837

2 Program the User scale, as explained below. To make programming easier,

this sub-scale can only be a User scale.

3 Select the checkbox corresponding to the track(s) to which you want to apply

the sub-scale.

The root key of this scale can dynamically change while you play, to allow for

retuning the Style depending on the song section. How to retune the Style is

explained later in this chapter.

Choosing and editing the User sub-scale

In addition to the supplied scales, you can program your own User sub-scale.

This allows, for example, to have a different scale for each Keyboard Set.

Choose the User sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song

Play modes.

2 Use the Scale pop-up menu to choose the User sub-scale.

A Style Element’s Scale is always a User scale.

Edit the User sub-scale

When the User sub-scale is selected, the keyboard diagram will become ac-

tive, letting you program a custom scale.

838| Global settings and preferences

▪ Use the numbers appearing in each note of the keyboard diagram to ﬁne

tune each note pitch. Detuning is referred to Equal tuning considered as zero

detune.

Detuning Meaning

-99 … +99 Note detuning in cents or a semitone. Zero is no detuning (Equal tun-

ing), ±50 is a full quarter tone up or down, ±99 is nearly one whole

semitone up or down.

Memorize the User sub-scale into a Sound set

▪ Write the changes to a Sound set (Keyboard Set, Style Settings, Style).

Scale |839

Quarter Tone Sub-Scale (Scale Presets)

Editing a Quarter Tone sub-scale (Scale Preset)

Quarter Tone scales (Scale Presets) are custom scales where detuning can

be activated or deactivated while playing. Changing note tuning while play-

ing is typical of Middle East/Arabic music. The detuning interval is usually

next to a quarter tone.

You can save up to four Quarter Tone scales into the Scale Presets. The Scale

Presets are global and do not change with Keyboard Sets, Styles or Songs.

Quarter Tone settings are also sent to other Pa-Series instruments.

Program a Quarter Tone scale

1 Go to the Global > Tuning > Scale page.

2 Touch one of the Scale buttons to choose a Scale Preset to be edited.

3 Program the User Quarter Tone sub-scale.

▪ In the left-side scale diagram, ﬁne tune each note of the scale.

Detuning Meaning

-99 … +99 Note detuning in cents or a semitone. Zero is no detuning, ±50 is a

full quarter tone up or down, ±99 is nearly one whole semitone up

or down.

840| Global settings and preferences

▪ In the right-side scale diagram, turn on (black dot shown) the scale degree

you want to be detuned, and turn off (black dot hidden) the scale degree that

will use the standard tuning.

When no preset is selected, a default scale is automatically recalled. This

scale assigns a -50 cent value (equivalent to a quarter tone down) to all

notes, and turns all scale degrees off.

Memorize the new Quarter Tone sub-scale into a Scale Preset

1 Choose the Write Quarter Tone SC Preset command from the page menu to

open the Write Quarter Tone Scale Preset dialog.

2 Touch the Text Edit ( ) button if you want to assign the Scale Preset a

new name.

3 Choose one of the Scale Preset locations to save the new scale, then con-

ﬁrm by touching the OK button.

Scale |841

Using the Quarter Tone sub-scales (Scale Presets)

You can instantly recall a Quarter Tone sub-scale, by just choosing one of

the Scale Presets.

Activate the Quarter Tone sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song

Play modes.

2 Touch the Quarter Tone button to make it appear selected. The Scale Preset

buttons will appear.

Choose a Scale Preset

▪ Touch one of the Scale Preset buttons to choose the corresponding Scale

Preset.

The saved Quarter Tone sub-scale will be selected.

▪ Touch the same Scale Preset button to deactivate the selected scale.

842| Global settings and preferences

Use the Quarter Tone sub-scale

▪ Touch any note whose pitch you want to lower, making a big dot appear on

the note diagram.

▪ Touch the note again to make the dot disappear, and reset to standard tun-

ing.

Scale alteration made in this page is momentary and is not memorised. It is

only meant to allow for quick scale alteration while playing.

Deactivate the Quarter Tone sub-scale

▪ Touch the Quarter Tone button to make it appear deselected. The Scale

Preset buttons will disappear. The main scale will be in use again.

Activating the Quarter Tone function by using a switch or

footswitch

To make realtime changes faster, you can assign the Quarter Tone function

to an assignable switch or footswitch. This will make those sudden scale

changes, typical of the Middle East/Arabic music, quick and easy.

Since these changes are not saved anywhere, the scale is easily ‘wiped-out’

when selecting a different Keyboard Set, or when pressing the Quarter Tone

switch again.

Program the switch or footswitch to be the Quarter Tone switch

▪ Go to the Style Play/Song Play > Pad/Switch > Switch page, and assign the

Quarter Tone function to one of the assignable switches.

▪ Go to the Global > Controllers > Foot page, and assign the Quarter Tone

function to the footswitch.

Please note that programming an assignable switch will tie the Quarter Tone

function to a particular Keyboard Set or SongBook Entry, dedicated to a

particular Song. On the contrary, programming the footswitch will offer a

global option, that will not change when choosing a different Keyboard Set

or SongBook Entry.

Scale |843

Use the Quarter Tone function

1 Lower some note pitches.

Keep the Quarter Tone switch or footswitch pressed. The keyboard will not

play at this time. Press the notes whose pitch you want to lower. Release the

switch or footswitch.

The black dots will appear in the keyboard diagram of the Sub-Scale pane

from the main page of the Style Play and Song Play modes.

2 Play with your new scale. The pitch of the notes you pressed are now low-

ered.

3 Reset the original scale.

Press and release the Quarter Tone switch or footswitch again, without play-

ing any note. All pitches will be reset, and the original scale will be recalled.

Choosing a Scale Preset by using a switch or footswitch

You can also select a Scale Preset by assigning the relevant function to the

footswitch.

▪ Go to the Style Play/Song Play > Pad/Switch > Switch page, and assign the

SubScale Preset function to one of the assignable switches.

▪ Go to the Global > Controllers > Foot page, and assign the SubScale Preset

function to the footswitch.

844| Global settings and preferences

Retuning the Style while playing

Style Element Scale, Chord Follow, Retune Style

While in the Style Record > Element Track Controls > Scale page, you can

program a sub-scale for each Style Element, and enable the sub-scale on

each track of the Style Element.

This scale starts from a root key, that can change with each recognized

chord, or after a deliberate command. Depending on your style of music,

you will choose how to retune the Style.

How you choose the scale’s root key will depend on two concurrent param-

eters: the Chord Follow option inside the Style, and the Retune Style param-

eter assigned to an assignable switch or footswitch.

Retune Style Chord Follow Scale’s Root Key

– On From each recognized chord.

Off From the chord recognized when the accompaniment is not

playing.

Assigned On From the chord recognized while the accompaniment is not

playing, or after pressing the assignable switch.

Off

Enabling the Chord Follow option

Go to the Style Record > Element Track Controls > Scale page.

2 Use the Chord Follow checkbox to turn the option on or off. See the table

above to see how it works.

While each Style Element can have its own scale, this option is common to all

Style Elements in the Style.

Scale |845

Assigning the Retune Style command to an assignable switch or

footswitch

Assign the Retune Style command to an assignable switch

1 Go to the Style Play/Song Play > Pad/Switch > Switch page.

2 Use one of the Switch 1…3 menus to choose a command to be assigned to

the corresponding switch. Since the ﬁrst two switches are usually assigned

to the Sound Controllers, we suggest you use Switch #3.

3 Write the changes to a Keyboard Set. Writing to the special MY SETTING

Keyboard Set makes this setting available when turning the instrument on.

4 Be sure the lock is closed; this will leave the assignable switch functions un-

changed when choosing different Keyboard Sets.

Assign the Retune Style command to a footswitch

1 Go to the Global > Controllers > Foot page.

2 Use the Function menu to choose a command to be assigned to the corre-

sponding switch.

Using the Retune Style command

When the Retune Style command is assigned to an assignable switch or

footswitch, use it to change the Style Element Scale’s root key.

After choosing a Style, check the main page of the Style Play mode. If at

least one of the Style Elements has a sub-scale assigned, and it is enabled

on at least one of the tracks, the Key parameter will appear in the Style area.

Retune with an assignable switch

1 Just before having to retune the Style, press the assignable switch. The

indicator will start ﬂashing.

2 Play a chord in the chord recognition area. The root of the chord will be the

new root of the scale. The indicator will stop ﬂashing.

846| Global settings and preferences

Retune with a footswitch

1 Just before having to retune the Style, press the footswitch.

2 Play a chord in the chord recognition area. The root of the chord will be the

new root of the scale.

|847

PART XIII: MIDI

848| MIDI

Connecting MIDI devices |849

55 Connecting MIDI devices

Introduction to MIDI

Ports, channels, messages

What is MIDI?

MIDI stands for Musical Instruments Digital Interface. This interface lets

you connect two musical instruments, or a computer and various musical

instruments.

From a software point of view, MIDI is a protocol that describes messages for

playing notes and controlling them. It is sort of a grammar to let different

instruments and computers speak the same language, and let the one tell

the other what to do.

From a physical point of view, MIDI messages travel across the classic MIDI

interface or the USB port, a connector replacing the MIDI ports with a single

port and cable. Personal computers, tablets and external controllers can be

connected with a single USB cable.

Pa700 can be connected to a Windows or Mac computer with no need of

special software. However, for full and easy use of all its MIDI features, we

suggest that you install the

KORG USB MIDI Driver, a special software that

you can download from our web site (www.korg.com).

No audio signal is transmitted through MIDI. MIDI only consists of control

messages.

Channels and messages

Basically, a MIDI or USB cable transmits 16 channels of data. Think to each

MIDI channel as a TV channel: the receiver must be set on the same channel

of the transmitter. The same happens with MIDI messages: when you send

a Note On message on channel 1, it will be received on channel 1 only. This

allows for multitimbrality: you can have more than one sound playing on the

same MIDI instrument – one for each MIDI channel.

850| MIDI

There are various messages, but here are the most commonly used:

MIDI Message CC# Meaning

Note On This message instructs an instrument to play a note on a

speciﬁc channel. Notes have both a name (C4 standing for

the center C) and a number (60 being the equivalent for

C4). A Note Off message is often used to say the note has

been released.

Together with the Note On message, a Velocity value is

always sent. This value tells the instrument how loud the

note must play.

Pitch Bend (PB) You can generate this message acting on the joystick (X

direction). The pitch is translated up or down.

Program Change (PC) When you select a Sound, a Program Change message is

generated on the channel. Use this message, together with

Control Change 00 and 32, to remotely select Pa700 data

from a sequencer or a master keyboard.

Control Change (CC) This is a wide array of messages, controlling most of the

instrument parameters. Some examples:

Bank Select MSB 00 This message pair is used to select a Sound Bank. Together

with the Program Change message, they are used to select

a Sound.

Bank Select LSB 32

Modulation 01 This is the equivalent of pressing up the joystick. A vibrato

effect is usually triggered on.

Volume 07 Use this controller to set the channel’s volume.

Pan 10 This one sets the channel’s position on the stereo front.

Expression 11 Use this controller to set the relative volume of tracks,

with the maximum value matching the current setting of

the CC07 control.

Damper Pedal 64 Use this controller to simulate the Damper pedal.

Tempo

Tempo is a global MIDI message, that is not tied to a particular channel. Each

MIDI Song includes Tempo data.

Lyrics

Lyric Meta Events are intended to display text together with the music.

Pa700 can read many of the available Lyrics format on the market.

Connecting MIDI devices |851

MIDI standards

Standard MIDI Files

Standard MIDI Files (abbreviated as SMF) are a practical way of exchanging

songs between different instruments and computers. Pa700 uses the SMF

format as its default MIDI Song format, so reading a song from a computer,

or saving a song that a computer software can read, is not a problem at all.

The internal Player is compatible with SMFs format 0 (all data in one track; it

is the most common format) and 1 (multitrack). Pa700 can read SMFs in Song

Play mode and modify/save them in Sequencer mode. It can save a Song in

SMF format 0 from Sequencer mode.

When in Song Play mode, Pa700 can also display SMF lyrics and chord ab-

breviations in various formats available on the market.

Standard MIDI Files usually have the .mid or .kar ﬁlename extension.

The General MIDI standard

Some years ago, the musical instruments world felt a need for some further

standardization. Then, the General MIDI Standard (GM) was born. This exten-

sion of the basic MIDI sets new rules for compatibility between instruments:

▪ A minimum of 16 MIDI channels was required.

▪ A basic set of 128 Sounds, correctly ordered, was mandatory.

▪ The Drum Kit had a standard order.

▪ Channel 10 had to be devoted to the Drum Kit.

Pa700 is compatible with the GM1 and GM2 standards.

The XG™ standard

Pa700 is compatible with the Sounds and Drum Kits of the XG standard.

852| MIDI

Special MIDI channels

The Control channel

You can set a MIDI IN channel as the Control channel (in the Global > MIDI

> MIDI IN Channels page), to select Styles, Keyboard Sets and SongBook

Entries from an external device (see the Appendix for a list of messages cor-

responding to Pa700’s internal data). On this special channel you can also

send controls to start/stop the Arranger and Player, and select the Style

Elements (see later in this part).

A MIDI OUT channel set as the Control channel (set in the

Global > MIDI >

MIDI OUT Channels page) can be used to send messages when selecting

SongBook Entries.

The Global channel

Any MIDI channel can be set as a Global channel (in the Global > MIDI > MIDI

IN Channels page), and can simulate the Pa700 integrated keyboard. When

Pa700 is connected to a master keyboard, transmission should usually take

place over the Global channel of Pa700.

MIDI messages received over a Global channel are affected by the status

of the

SPLIT button, as well as by the split point. Therefore, if the SPLIT

button’s indicator is lit up, notes arriving to Pa700 over this channel will be

divided by the split point into the Upper (above the split point) and Lower

(below the split point) parts.

Notes received on a Global channel are used for the chord recognition of

the automatic accompaniment. If the

SPLIT indicator is turned on, only the

notes below the split point will be used.

Connecting MIDI devices |853

The Chord 1 and Chord 2 channels

Two special Chord channels (programmed in the Global > MIDI > MIDI IN

Control page) can be used to receive notes for chord recognition. These

notes will be combined with the notes received on the special Global channel.

Contrary to the Global channel, the Chord channels are not affected by the

split point. However, the status of the

SPLIT button will change the way

chords are recognized on the Chord channels:

Split status Chord Recognition mode

On Decided by the Chord Recognition parameter of the Global > Mode

Preferences > Style page. You can play a single note to play a Major chord.

Off Always Fingered or Expert, depending on the previous situation. You

have to play at least three notes in order for the chord to be detected.

These two channels are especially useful for accordion players, that wish to

assign a different Chord channel to the chords and the bass played with the

left hand. This way, chords and bass will both contribute to the chord recog-

nition for the automatic accompaniment.

854| MIDI

Connecting to another device: an overview

You can use either the MIDI or USB connectors for connecting Pa700 to

other devices. When an USB connector is available, it is the easier (therefore

preferred) connection.

Connecting Pa700 to a personal computer or tablet

You can use the USB DEVICE port to connect Pa700 to personal computer

or tablet. As an alternative, connect them through the MIDI IN and OUT con-

nectors and a dedicated MIDI interface on the computer.

Connecting Pa700 to an external controller

You can use the MIDI IN connector to connect external controllers (master

keyboard, MIDI guitar, wind controller, MIDI accordion…) to Pa700. You can

also use the USB HOST port for a simpler connection to an external control-

ler.

Connecting Pa700 to additional musical instruments

You can use the MIDI OUT connector to connect additional musical instru-

ments (for example, your preferred piano expander) to be controlled from

Pa700.

What are the various connectors used for

▪ Use the USB DEVICE connector to communicate with a computer or tablet.

Connect it to the other device’s USB port (Type-A, sometimes named TO

DEVICE).

▪ Use the USB HOST connector to receive data from an external controller.

Connect it to the controller’s USB port (Type-B, sometimes named TO HOST).

▪ Use the MIDI OUT connector to send MIDI data to another musical instru-

ment or computer. Connect it to the other device’s MIDI IN port.

▪ Use the MIDI IN connector to receive MIDI data from a controller or com-

puter. Connect it to the other device’s MIDI OUT port.

To know how to match Sounds and MIDI channels, see

Programming the

MIDI channels on page 877.

Connecting MIDI devices |855

Connecting Pa700 to a personal computer

or tablet

You can program a new song on a personal computer or tablet connected to

Pa700. The computer has to run sequencing or notation software. When a

song is ready, you can transfer it to the internal drive of Pa700, and read it

with the internal Player.

Connection and settings

1 Install the KORG USB MIDI Driver, as explained in the next page.

2 Connect Pa700 and the computer or tablet via the USB DEVICE port.

USB DEVICE USB

3 On the computer, activate the MIDI Thru function (please refer to the soft-

ware’s user manual).

4 On Pa700, go to the Global > MIDI > General Controls page and choose one

of the Player or Tablet MIDI Preset.

5 Still in the Global > MIDI > General Controls page, deselect the Local Control

checkbox to set the instrument to the

Local Off status.

6 Press the SEQUENCER button to go to the Sequencer mode.

7 Play the keyboard.

856| MIDI

Notes played on the keyboard will go from the USB port of Pa700 to the USB

port of the computer or tablet. Notes generated by the computer are sent

from the USB port of the computer to the USB port of Pa700.

The Sounds

The song that is played back by the sequencer can select Pa700 Sounds

through the MIDI messages Bank Select MSB, Bank Select LSB (bank selec-

tion, two messages), and Program Change (Sound selection). See the list of

Sounds and corresponding MIDI values in the Appendix.

As a hint for those who program songs on computer: even though it is not

mandatory, for a wider compatibility you should set bass on channel 2, mel-

ody on channel 4, drum kit on channel 10, controls for an harmonizer on

channel 5.

Connecting MIDI devices |857

Installing the KORG USB-MIDI Driver

The USB DEVICE port can be used for MIDI communication between Pa700

and a personal computer or tablet. Use a standard A-to-B USB cable to con-

nect your instrument and computer. A dedicated software driver can be

found in our web site.

KORG USB-MIDI Driver system requirements

Be sure your personal computer meets the requirements, as described in the

documents accompanying the driver.

Inc. The license agreement for this software is provided separately. You must

read this license agreement before you install this software. Your installation

of this software will be taken to indicate your acceptance of this agreement.

Installing the KORG USB-MIDI Driver on a Windows PC

Please connect Pa700 to the computer via an USB cable only after having

installed the KORG USB-MIDI Driver Tools.

1 Double-click on KORG USB-MIDI Driver Tools Setup v.n.nn.exe to run the

installer (‘n.nn’ meaning the version number).

2 Follow the instructions appearing on screen. At the end, the tools will be

installed.

3 When installation is completed, connect the USB DEVICE port of your Pa700

to one of the USB ports of your Windows PC by using a standard A-to-B USB

cable. The Auto Installer will immediately start.

4 When ﬁnished, the USB-MIDI driver will be installed, and Pa700 will be able

to communicate with your computer via USB.

You can access the tools and manuals from the

Start menu.

858| MIDI

Installing the KORG USB-MIDI Driver on a Mac

Double-click on KORG USB- MIDI Driver v.n.n.n.dmg to open a virtual drive

in the Finder (‘n.n.n’ meaning the version number).

2 Double-click on KORG USB-MIDI Driver.pkg to run the installer.

3 Follow the instructions appearing on screen.

4 When installation is completed, eject the virtual drive, and connect the USB

DEVICE port of your Pa700 to one of the USB ports of your Mac by using a

standard A-to-B USB cable.

How Pa700 is seen from a MIDI application

After installation, the following ports will be shown in your MIDI application

among the other MIDI devices:

Device Meaning

Pa700 KEYBOARD This allows for reception of MIDI messages from Pa700 (keyboard

and controllers) to the MIDI application running on the computer.

Pa700 SOUND This allows for transmission of MIDI messages from the MIDI appli-

cation running on the computer, to the internal tone generator of

Pa700.

Connecting MIDI devices |859

Connecting Pa700 to an external

controller

You can control Pa700 with an external master controller, like a KORG syn-

thesizer, a controller of the KORG micro or nano series, a digital piano, a wind

or breath controller, a MIDI pedalboard, guitar or accordion. These devices

allow for total replacement of the internal keyboard, or to add new control-

lers to play some of the Sounds while still using the internal keyboard. They

can also allow for easier mixing, or to play percussions and special effects.

Connection through the USB HOST port

If your controller has an USB port, you can use it to connect it to Pa700.

▪ Connect the USB HOST port (Type-A) of Pa700 to the USB port of the mas-

ter controller (Type-B, sometimes named TO HOST).

Pa700’s USB HOST

(Type-A connector)

External controller’s USB TO HOST

(Type-B connector)

USB HOST USB (TO HOST)

You can use an USB hub to connect more devices to the same USB HOST

port (for example, an external keyboard and a breath controller).

860| MIDI

Connection through the MIDI ports

If your controller has a MIDI interface, you can use it to connect it to Pa700.

▪ Connect the MIDI OUT port of the master controller to the MIDI IN port of

Pa700.

Pa700’s MIDI IN External controller’s MIDI OUT

MIDI IN MIDI OUT

Setting the MIDI channels

Programming the master controller

Match the MIDI channel(s) on which the master controller will send data with

those on which Pa700 will receive data.

1 In the master controller, set the MIDI channel(s) on which data will be trans-

mitted. Usually, channel 1 is the default setting.

2 If the master controller also includes a sound generator, set it to the Local

Off status, to prevent it to sound its own sounds and Pa700’s sounds at the

same time on the same channel(s).

Connecting MIDI devices |861

Programming Pa700

Conﬁgure the MIDI channels on Pa700.

1 Go to the Global > MIDI pages.

2 Either choose a MIDI Preset, or manually program the MIDI IN channels.

▪ If a MIDI Preset matching your type of connection exists, go to the Global

> MIDI > General Controls page and use the Midi Preset pop-up menu to

choose the MIDI Preset.

▪ If no MIDI Preset matches your type of connection, go to the Global > MIDI >

MIDI IN Channel page and set the MIDI channels to match the incoming data.

You can start from an existing MIDI Preset with some of the programming

already set to your needs.

3 After having set the MIDI channels, you can save the new conﬁguration into

a new MIDI Preset, by choosing the Write Midi Preset command from the

page menu.

862| MIDI

Quick settings using MIDI Presets

Using the MIDI Presets

Connecting an instrument to a master keyboard, a personal computer or a

tablet, usually requires some programming. To help you conﬁgure the MIDI

channels, we have provided some MIDI Presets, that will automatically con-

ﬁgure the MIDI parameters according to your needs.

Choosing a MIDI Preset

1 Go to the Global > MIDI > General Controls page.

2 Use the Midi Preset pop-up menu to choose one of the available MIDI Presets.

Connecting MIDI devices |863

Parameter Default Master Kbd Player

MIDI IN Channel

1 Ply Tr 1 Global Ply Tr 1

2 Ply Tr 2 Control Ply Tr 2

3 Ply Tr 3 - Ply Tr 3

4 Ply Tr 4 - Ply Tr 4

5 Ply Tr 5 - Ply Tr 5

6 Ply Tr 6 - Ply Tr 6

7 Ply Tr 7 - Ply Tr 7

8 Ply Tr 8 - Ply Tr 8

9 Ply Tr 9 - Ply Tr 9

10 Ply Tr 10 - Ply Tr 10

11 Ply Tr 11 - Ply Tr 11

12 Ply Tr 12 - Ply Tr 12

13 Ply Tr 13 - Ply Tr 13

14 Ply Tr 14 - Ply Tr 14

15 Ply Tr 15 - Ply Tr 15

16 Ply Tr 16 - Ply Tr 16

MIDI OUT Channel

1 Upper 1 Upper 1 Ply Tr 1

2 Upper 2 Upper 2 Ply Tr 2

3 Upper 3 Upper 3 Ply Tr 3

4 Lower Lower Ply Tr 4

5 - - Ply Tr 5

6 - - Ply Tr 6

7 - - Ply Tr 7

8 - - Ply Tr 8

9 - - Ply Tr 9

10 - - Ply Tr 10

11 - - Ply Tr 11

12 - - Ply Tr 12

13 - - Ply Tr 13

14 - - Ply Tr 14

15 - - Ply Tr 15

16 - - Ply Tr 16

Chord 1 Ch. Off 1 Off

Chord 2 Ch. Off Off Off

Voice Processor Ch. 5 5 5

MIDI IN Oct. Trp. On On On

MIDI IN Velocity Normal Normal Normal

MIDI IN Track Mute Active

- On –

MIDI Filters All Off SysEx In/Out All Off

864| MIDI

Parameter Accordion 1 Accordion 2 Accordion 3 Tablet

MIDI IN Channel

1 Global Upper 1 Upper 1 -

2 Lower Lower Lower -

3 Bass - Bass -

4 - Upper 2 Upper 2 -

5 - Upper 3 Upper 3 -

6 - - - -

7 - - - -

8 - - - -

9 - Bass - -

10 Drum Drum Drum -

11 Percussion Percussion Percussion -

12 Acc 1 Acc 1 Acc 1 -

13 Acc 2 Acc 2 Acc 2 -

14 Acc 3 Acc 3 Acc 3 -

15 Acc 4 Acc 4 Acc 4 -

16 Acc 5 Acc 5 Acc 5 Control

MIDI OUT Channel

1 Upper 1 Ply Tr 1 Ply Tr 1 -

2 Upper 2 Ply Tr 2 Ply Tr 2 -

3 Upper 3 Ply Tr 3 Ply Tr 3 -

4 Lower Ply Tr 4 Ply Tr 4 -

5 - Ply Tr 5 Ply Tr 5 -

6 - Ply Tr 6 Ply Tr 6 -

7 - Ply Tr 7 Ply Tr 7 -

8 - Ply Tr 8 Ply Tr 8 -

9 - Ply Tr 9 Ply Tr 9 -

10 - Ply Tr 10 Ply Tr 10 -

11 - Ply Tr 11 Ply Tr 11 -

12 - Ply Tr 12 Ply Tr 12 -

13 - Ply Tr 13 Ply Tr 13 -

14 - Ply Tr 14 Ply Tr 14 -

15 - Ply Tr 15 Ply Tr 15 -

16 - Ply Tr 16 Ply Tr 16 Control

Chord 1 Ch. 2 2 2 Off

Chord 2 Ch. 3 3 Off Off

Voice Processor Ch. 5 5 5 5

MIDI IN Oct. Trp. On On On On

MIDI IN Velocity 110 110 Normal Normal

MIDI IN Track Mute Active - - – On

MIDI Filters SysEx In/Out SysEx In/Out SysEx In/Out All Off

Connecting MIDI devices |865

Parameter Key Control Mix Control Pad Control X/Y Control

MIDI IN Channel

1 Upper 3 Pad 1 Upper 3 Upper 1

2 - Pad 2 - -

3 - Pad 3 - -

4 - Pad 4 - -

5 - Lower - -

6 - Upper 3 - -

7 - Upper 2 - -

8 - Upper 1 - -

9 - Drum - -

10 - Percussion - -

11 - Bass - -

12 - Acc 1 - -

13 - Acc 2 - -

14 - Acc 3 - -

15 - Acc 4 - -

16 - Acc 5 Chord 1 -

MIDI OUT Channel

1 - - - -

2 - - - -

3 - - - -

4 - - - -

5 - - - -

6 - - - -

7 - - - -

8 - - - -

9 - - - -

10 - - - -

11 - - - -

12 - - - -

13 - - - -

14 - - - -

15 - - - -

16 - - - -

Chord 1 Ch. Off Off 16 Off

Chord 2 Ch. Off Off Off Off

Voice Processor Ch. 5 5 5 5

MIDI IN Oct. Trp. On On On On

MIDI IN Velocity Normal Normal Normal Normal

MIDI IN Track Mute Active - - – –

MIDI Filters All Off All Off All Off All Off

866| MIDI

Parameter Studio Ctrl Breath Ctrl

MIDI IN Channel

1 Upper 1 Upper 1

2 Upper 2 -

3 Upper 3 -

4 Lower -

5 Pad 1 -

6 Pad 2 -

7 Pad 3 -

8 Pad 4 -

9 Drum -

10 Percussion -

11 Bass -

12 Acc 1 -

13 Acc 2 -

14 Acc 3 -

15 Acc 4 -

16 Acc 5 -

MIDI OUT Channel

1 - -

2 - -

3 - -

4 - -

5 - -

6 - -

7 - -

8 - -

9 - -

10 - -

11 - -

12 - -

13 - -

14 - -

15 - -

16 - -

Chord 1 Ch. Off Off

Chord 2 Ch. Off Off

Voice Processor Ch. 5 5

MIDI IN Oct. Trp. On On

MIDI IN Velocity Normal Normal

MIDI IN Track Mute Active - -

MIDI Filters All Off All Off

Connecting MIDI devices |867

You will use the supplied MIDI Presets in the following cases:

MIDI Preset Use

Default Generic settings, good for most situations

Master Kbd When connecting to an external master keyboard

Player When using an external sound generator (an expander or a virtual

instrument) driven by the internal Player. When programming a song

on an external sequencer and Pa700’s Sequencer mode.

Accordion 1 Play all the Upper parts with the right hand, the Lower part with the

chord section, the Bass part with the bass section. Chords to the

arranger are sent with the chord+bass sections combined. If the se-

lected Chord Scan mode is Upper or Upper+Lower, you can also play

chords with the right hand.

Accordion 2 Play the Upper 1 part with the right hand, the Lower part with the

chord section. Chords to the arranger are sent with the chord+bass

sections combined.

Accordion 3 Play the Upper 1 part with the right hand, the Lower part with the

chord section, the Bass part with the bass section. Chords to the ar-

ranger are sent from a single MIDI channel.

Tablet When connecting to a tablet, to remotely select SongBook Entries, or

send MIDI messages when selecting them.

Key Control To play the Upper 3 Sound with an external keyboard.

Mix Control To control the Volume and Pan of each Sound with an external con-

troller.

Pad Control To play percussive sounds or special effects (on the Upper 3) from

an external set of pads. You can also use it to send chords to the

internal arranger.

X/Y Control To control two sound parameters on the Upper 1 with an external

X/Y controller.

Studio Ctrl To connect various different controllers at the same time.

Breath Ctrl To control one or more sound parameters on the Upper 1 with a

breath controller.

868| MIDI

Editing the MIDI Presets

Editing a MIDI Preset

1 Choose a MIDI Preset containing programming similar to what you want to

achieve.

2 While in the Global > MIDI pages, edit the various parameters.

MIDI Presets can be considered as a starting point that can be freely tweaked.

Once you have selected the most appropriate MIDI Preset for the connection

to be made, you can modify the parameters as needed.

The parameters that will be saved to a MIDI Preset are the ones shown in the

above table.

Writing a MIDI Preset

Open the Write Midi Preset dialog

1 Go to the any page of the Global > MIDI section.

2 Choose the Write Midi Preset command from the page menu to open the

Write Midi Preset dialog.

Write over the current MIDI Preset

▪ If you want to overwrite the current Preset, just touch the OK button.

Write to a different MIDI Preset location

1 If you want to choose a different location, use the Midi Preset pop-up menu.

2 If you want to change the name of the MIDI Preset, touch the Text Edit (

)

icon to open the

virtual keyboard and edit the name.

3 When done editing the name, conﬁrm by touching the OK button under the

virtual keyboard.

4 When back at the Write Midi Preset dialog, conﬁrm the Write operation by

touching the OK button.

Connecting MIDI devices |869

Synchronizing Tempo with other

instruments

Sending the MIDI Clock

The Arranger or the selected MIDI Song can send a synchronization mes-

sage to the other devices.

1 Go to the Global > MIDI > General Controls page.

2 Select the Clock Send parameter to send the internal MIDI Clock to the MIDI

IN and USB ports.

When the MIDI Clock signal is sent, you can slave another instrument to the

Pa700 Tempo, Start/Stop and Play/Stop commands.

This parameter is automatically deactivated each time the instrument is

turned on.

Receiving the MIDI Clock

In Style Play, Sequencer or Sound mode, you can receive synchronization

messages from the internal Arranger or Player, or from an external device.

In Song Play mode, the MIDI Clock is always generated by the internal Player.

While in this mode, Pa700 cannot receive MIDI Clock messages from another

device.

870| MIDI

1 Go to the Global > MIDI > General Controls page.

2 Use the Clock Source pop-up menu to choose a MIDI Clock source for the

Style Play and Sequencer modes.

Clock Source Meaning

Internal MIDI Clock is generated by the Pa700’s Arranger or Player internal

metronome. When in Song Play mode, the Internal clock is always

used.

External MIDI MIDI Clock is received from the MIDI IN or USB ports. In Style Play or

Sequencer mode, Pa700 is slaved to an external device. The Start/

Stop and Play/Stop commands, as well as the Tempo value, cannot

be selected from Pa700. Use the external device to set the Tempo

and Start or Stop the Arranger or Player.

External USB

This parameter is automatically set to

Internal each time the instrument is

turned on.

Connecting MIDI devices |871

MIDI data routing, processing and

transposing

Connecting the keyboard to the internal or external sounds

The ‘local’ controls (keyboard, physical controllers) can be connected to the

internal sounds directly, or echoed back from an external device.

1 Go to the Global > MIDI > General Controls page.

2 Use the Local Control parameter to connect or disconnect the keyboard and

controllers to the internal sounds.

Local Control Meaning

On When you play the keyboard, MIDI data are sent to the internal sound

generator. If Sounds are assigned to a MIDI OUT channel, data are

also sent to the MIDI OUT and USB ports.

Off The keyboard is connected to the MIDI OUT and USB ports, but can-

not play the internal sound generator.

This is very useful when working with an external sequencer, to send

notes and various MIDI messages from the integrated keyboard and

controllers to the external sequencer, and then let the sequencer

send them back to the sound generator, without overlapping and

MIDI echo effects.

This parameter is automatically activated each time the instrument is turned

on.

872| MIDI

Converting notes to RX Noises

RX Noises are special ambience or mechanical sounds that allow Sounds

to be more realistic. They are usually located above C7, depending on the

Sound.

1 Go to the Global > MIDI > General Controls page.

2 Select the Note to RX Noise checkbox to convert incoming notes to RX

Noises.

When this parameter is turned on, notes received from the MIDI IN or USB

ports, or performed by the internal Player, in the RX Noises range, are rec-

ognized and converted to RX Noises.

This parameter is automatically activated each time the instrument is turned

on.

Connecting MIDI devices |873

Transposing the notes received

Applying master and octave transposition to the notes received

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Midi In Notes checkbox to determine if notes received on the

MIDI IN and USB ports have to be transposed.

Midi In Transpose Meaning

On Notes received on the MIDI IN and USB ports are transposed accord-

ing to the Master Transpose.

Off Data received on the MIDI IN and USB ports are not transposed.

Applying octave transposition to the notes received

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Octave Transpose checkbox to determine if notes received on the

MIDI IN and USB ports have to be octave-transposed.

874 | MIDI

Midi In Octave Meaning

On Notes received on the MIDI IN and USB ports are transposed accord-

ing to the Octave Transpose setting for each Sound.

Off Data received on the MIDI IN and USB ports are not transposed.

Applying octave transposition to the Upper and Lower parts

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Upper Trk Octave Transp. and Lower Trk Octave Transp. param-

eters to transpose the MIDI notes received on the Upper and Lower parts.

Upper/Lower Octave Meaning

-2…0…+2 Notes received on the MIDI IN and USB ports are transposed by the

number of selected octaves. For example, if you select the +1 value, a

C4 received via MIDI will play a C5 on Pa700.

These parameters may be useful to many MIDI accordion players, whose

MIDI interface may be transmitting on an unexpected octave.

Connecting MIDI devices |875

Playing muted tracks via MIDI

Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Track Mute Active checkbox to determine if notes received on the

USB port will play on muted tracks.

Track Mute Active Meaning

On No received MIDI data can play on muted tracks.

Off Received MIDI data can play on muted tracks.

Choosing a ﬁxed velocity value for the incoming notes

You can set a ﬁxed velocity value for the notes received from MIDI.

1 Go to the Global > MIDI > MIDI IN Controls page.

876| MIDI

2 Use the Note Velocity Value parameter to set a ﬁxed Note On velocity value

for all the notes received via MIDI. This is useful when playing Pa700 with an

organ or a MIDI accordion, often sending a ﬁxed velocity value.

Depending on the status of the

Fixed Note Off Velocity parameter, this may

also affect the Note Off Velocity value.

Note Velocity Value Effect on the received Note On Velocity values

Normal Received velocity values are left unchanged.

40 … 127 All received velocity values are converted to the selected value.

3 Use the Fixed Note Off Velocity parameter to set a ﬁxed Note Off velocity

value for all the notes received via MIDI. This is useful when playing with a

controller sending a too high Note Off velocity value, that may cause issues

with the sounds of Pa700.

The effect of this parameter also depends on the status of the

Note Velocity

Value parameter.

Fixed Note Off

Velocity

Note Velocity

Value

Effect on received Note Off Velocity values

On Any value All Note Off Velocity values are set to 25.

Off Normal All values are left unchanged.

40 … 127 All values are set to the value speciﬁed by the Note

Velocity Value parameter.

Connecting MIDI devices |877

Programming the MIDI channels

Programming the MIDI IN channels

Go to the Global > MIDI > MIDI IN Channels page.

2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI

channel.

Track Meaning

Off Nothing assigned

Lower Keyboard’s Lower Sound

Upper 1...3 One of the Keyboard’s Upper Sounds

Pad 1...4 One of the Pad Sounds

Drum Style’s Drum Sound

Percussion Style’s Percussion Sound

Bass Style’s Bass Sound

Acc 1...5 One of the Style’s Accompaniment Sounds

Ply/2 Tr 01...16 One of the Player tracks (Sounds).

Global Special channel to simulate Pa700’s integrated controllers (key-

board, pedals, joystick) with an external keyboard or controller. MIDI

messages coming on this channel are seen as if they were generated

by Pa700’s integrated controllers.

Control On this special channel, Pa700 receives MIDI messages to remotely

select Keyboard Sets, Styles, Style Elements and SongBook Entries.

See the tables in the Appendix, and later in this chapter, for more

information about the data received.

878| MIDI

Programming the MIDI OUT Channels

Go to the Global > MIDI > MIDI OUT Channels page.

2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI

channel.

Track Meaning

Off Nothing assigned

Lower Keyboard’s Lower Sound

Upper 1...3 One of the Keyboard’s Upper Sounds

Pad 1...4 One of the Pad Sounds

Drum Style’s Drum Sound

Percussion Style’s Percussion Sound

Bass Style’s Bass Sound

Acc 1...5 One of the Style’s Accompaniment Sounds

Ply/2 Tr 01...16 One of the Player tracks (Sounds).

Chord Use this channel to send notes recognized by the Chord Recognition

engine to the MIDI OUT or USB port. This is useful, for example, to

control an external Harmonizer playing on the Lower part (even if

the part is muted).

Control On this special channel, Pa700 sends messages corresponding to the

selected SongBook Entry.

Connecting MIDI devices |879

Filtering out MIDI messages

You can set up to eight ﬁlters for the MIDI data received or sent. Filters are

applied to all MIDI channels at the same time.

1 Go to the Global > MIDI > Filters page.

2 Use the Midi In Filters pop-up menus to choose ﬁlters on the data received.

3 Use the Midi Out Filters pop-up menus to choose ﬁlters on the data sent.

Filter Meaning

Off No ﬁlter

Pitch Bend Pitch Bend

MonoTouch Mono (or Channel) After Touch

PolyTouch Poly After Touch

PrgChange Program Change

SysExcl System Exclusive

All CC All Control Change messages

0 … 127 Control Change message #0...127. See the Appendix for a list of avail-

able Control Change messages.

Notes Note events

880| MIDI

Programming the special Chord channels

Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Chord 1 Channel and Chord 2 Channel parameters to assign the

special Chord channels to a MIDI channel.

Chord channel Meaning

Off Special Chord channel not activated.

1…16 Assigned Chord channel. Two special Chord channels can be used to

receive notes for chord recognition. These notes will be combined

with the notes that go through the channel set as Global (Global

notes are recognized only under the split point, if the SPLIT indica-

tor is lit up).

Connecting MIDI devices |881

Control Change messages

The following is a table including all Control Change messages, and their ef-

fect on various functions of the instrument. Note that not all controllers are

available in all operative modes.

CC# CC Name Pa700 Function

0 Bank Select Sound selection

1 Modulation 1 (Y+) Joystick forward

2 Modulation 2 (Y-) Joystick backward

3 Undeﬁned controller

4 Foot controller

5 Portamento time

6 Data entry

7 Volume Track volume

8 Balance

9 Undeﬁned controller

10 Pan Pot Track panning

11 Expression Expression

12 FX controller 1 CC#12

13 FX controller 2 CC#13

14-15 Undeﬁned controller

16 Gen.pc.1

17 Gen.pc.2

18 Slider

19 Gen.pc.4

20-31 Undeﬁned controller

Control Change #32-63 are the LSB (Least Signiﬁcant Bytet) of Control Change #0-31, i.e. the

MSB (Most Signiﬁcant Byte), and are changed according to their MSB counterparts.

64 Damper Damper pedal

65 Portamento

66 Sostenuto Sostenuto pedal

67 Soft Soft pedal

68 Legato

69 Hold 2

70 Sustain level

71 Filter Resonance Hp Filter resonance

882| MIDI

CC# CC Name Pa700 Function

72 Release Release time

73 Attack Attack time

74 Filter cutoff Filter cutoff (Brilliance)

75 Decay Time Decay time

76 Lfo1 Speed Vibrato speed

77 Lfo1 Dpt Vibrato depth

78 Lfo1 Dly Vibrato initial delay

79 FilterEgþ

80 Gen.pc.5 Sound Controller 1

81 Gen.pc.6 Sound Controller 2

82 Gen.pc.7

83 Gen.pc.8

84 Portamento control

85-90 Undeﬁned controller

91 FX 1 depth A/B Master FX 1 (reverb) send level

92 FX 2 controller

93 FX 3 depth A/B Master FX 2 (modul.) send level

94 FX 4 controller

95 FX 5 controller

96 Data Increment

97 Data Decrement

98 NRPN LSB See table below(*)

99 NRPN MSB* See table below(*)

100 RPN LSB See MIDI Implementation Chart

101 RPN MSB See MIDI Implementation Chart

102-119 Undeﬁned controller

120 AllSOff

121 Res Ctl Reset All Controllers

122 LocalCt

123 NoteOff

124 OmniOff

125 Omni On

126 Mono On

127 Poly On

Connecting MIDI devices |883

(*) The following NRPN messages are recognized in Song Play and Sequencer

mode only. These controls are reset when stopping a Song, or choosing a dif-

ferent Song.

NRPN CC#99

(MSB)

CC#98

(LSB)

CC#06

(Data Entry)

Vibrato Rate 1 8 0…127

Vibrato Depth 1 9 0…127

(a)

Vibrato Decay 1 10 0…127

(a)

Filter Cutoff 1 32 0…127

(a)

Resonance 1 33 0…127

(a)

EG Attack Time 1 99 0…127

(a)

EG Decay Time 1 100 0…127

(a)

EG Release Time 1 102 0…127

(a)

Drum Filter Cutoff 20 dd 0…127

(a)

Drum Filter Resonance 21 dd

(b)

0…127

(a)

Drum EG Attack Time 22 dd

(b)

0…127

(a)

Drum EG Decay Time 23 dd

(b)

0…127

(a)

Drum Coarse Tune 24 dd

(b)

0…127

(a)

Drum Fine Tune 25 dd

(b)

0…127

(a)

Drum Volume 26 dd

(b)

0…127

Drum Panpot 28 dd

(b)

0…127

(a)

Drum Rev Send (FX 1) 29 dd

(b)

0…127

(a)

Drum Mod Send (FX 2) 30 dd

(b)

0…127

(a)

Drum Send #3 (FX 3) 31 dd

(b)

0…127

(a)

(a). 64 = No change to the original parameter’s value

(b). dd = Drum Instrument No. 0…127 (C0…C8)

(*) The following NRPN messages are recognized in Style Play and Song Play

mode only.

NRPN CC#99

(MSB)

CC#98

(LSB)

CC#06

(Data Entry)

SongBook Entry 2 64 0…99

884| MIDI

Controlling the Arranger and Player via

MIDI

You can remotely control the Arranger and Player via MIDI. Please note that

the Program Change and Control Change numbers shown in this page follow

the 0-127 numbering system.

Selecting the Style Elements

You can remotely select the various Style Elements, by sending Program

Change messages on the Control channel.

PC Style Element PC Style Element PC Style Element PC Style Element

80 Intro 1 81 Intro 2 82 Intro 3/Count In 83 Variation 1

84 Variation 2 85 Variation 3 86 Variation 4 87 Fill 1

88 Fill 2 89 Fill 3 90 Fill 4 91 Break

92 Ending 1 93 Ending 2 94 Ending 3

Selecting the Style and Player controls

You can remotely send various commands to the Arranger or Player, by

sending them Program Change messages on the Control channel.

PC Control PC Control PC Control

95 Fade In/O ut 96 Style to Kbd Set 97 Auto Fill

98 Memory 99 Bass Inversion 100 Manual Bass

101 Tempo Lock 103 Start/Stop (Arranger) 104 Play/Stop (Player)

Connecting MIDI devices |885

Selecting the Keyboard Sets (from a Style or SongBook Entry)

You can remotely select the Keyboard Sets of a Style or SongBook Entry

(buttons under the display).

▪ With Styles, you will send Bank Select MSB (CC#0), Bank Select LSB (CC#32)

and Program Change messages on the Control channel. If a Style is already

selected, just send the Program Change message.

CC00 CC32 PC KBD PC KBD PC KBD PC KBD

The same as the Style to which the

Keyboard Set belongs

64 KBD

SET 1

65 KBD

SET 2

66 KBD

SET 3

67 KBD

SET 4

▪ With SongBook Entries, you will ﬁrst choose an Entry. First send (on the

Control channel) an initialization string, made of the NRPN Control Change

messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast suc-

cession. Then send a selection string, made of the two Control Change mes-

sages CC#06 (Data Entry MSB) for the thousands and hundreds, and CC#38

(Data Entry LSB) for the tens and units.

After having selected the Entry, you will send a Program Change messag-

es corresponding to the Keyboard Set (again on the Control channel). If a

SongBook Entry is already selected, just send the Program Change message.

CC99/98 CC06/38 PC KBD PC KBD PC KBD PC KBD

The same as the SongBook Entry to

which the Keyboard Set belongs

64 KBD

SET 1

65 KBD

SET 2

66 KBD

SET 3

67 KBD

SET 4

886|

|887

PART XIV: FILE

MANAGEMENT

888| File management

Managing ﬁles in the internal memory |889

56 Managing ﬁles in the

internal memory

Copying, renaming and deleting

Copying musical data

You can copy the following data into a User/Direct location.

Type User Direct Type User Direct

Keyboard Set √ √ Sound √ —

Style √ √ Pad √ √

Voice Preset √ √ Guitar Preset √ √

Copying Factory/Local data into User/Direct locations would make them ed-

itable.

If you want to overwrite Factory/Local data, remove protection by uncheck-

ing the

Protect > Factory parameter in the Global > Mode Preferences >

Media page.

1 Open the Keyboard Set Library, Sound, Style, Pad, Voice Preset, or Guitar

Preset Select window.

2 Browse through the items in the Select window.

3 Touch the name of the item you want to copy.

890| File management

▪ To select more items, keep the SHIFT button pressed and touch all the items

to be copied.

▪ If you want to copy a whole bank, choose the Select All (Bank) command

from the page menu to select all the items in the current bank.

▪

You can deselect one of the selected items by touching it while still keeping the

SHIFT button pressed. You can deselect all items by touching a single item.

4 Choose the Copy and Paste command from the page menu to copy the se-

lected items.

5 Select the target location. In case you are copying more than a single item,

all subsequent items will sequentially follow the ﬁrst one. If there aren’t

enough locations available, the procedure will be cancelled.

Warning: If you conﬁrm, any item already existing at the target locations will be

overwritten!

A good idea is to paste to a blank location, identiﬁed by a series of dashes (–––).

6 When done, press the EXIT button to return to the previous page.

Renaming musical data

You can change the name of any Keyboard Set, Sound, Style, Pad, Voice or

Guitar Preset. If Factory/Local data are protected, remove protection by un-

checking the Protect > Factory checkbox in the Global > Mode Preferences

> Media page.

Please note that you cannot rename multiple items at once.

1 While in the Keyboard Set Library, Sound, Style, Pad, Voice Preset, or

Guitar Preset Select window, select the item to be renamed.

2 Choose the Rename command from the page menu to open the virtual key-

board.

3 Edit the name, then conﬁrm by touching OK.

Managing ﬁles in the internal memory |891

Deleting musical data

You can delete any Keyboard Set, Sound, Style, Pad, Voice or Guitar Preset.

If Factory/Local data are protected, remove protection by unchecking the

Protect > Factory parameter in the Global > Mode Preferences > Media page.

1 While in the Keyboard Set Library, Sound, Style, Pad, Voice Preset, or

Guitar Preset Select window, select the item to be deleted.

▪ To select more items, keep the SHIFT button pressed and touch all the items

to be deleted.

2 Choose the Delete command from the page menu, then conﬁrm.

Warning: If you conﬁrm, any of the selected item will be deleted!

892| File management

The Local data

Local data are Sounds, Keyboard Sets, Styles, Pads, Voice and Guitar Presets,

Demo Songs, residing in an area of the internal memory reserved to Factory

data customized for a particular country.

Local data can be found in the

Local banks of each Select window.

All Pa700 models support user-installable localized Add-On packages. Add-

Ons are usually created by KORG Distributors to add localized data. For de-

tailed information on the Add-On content, and instructions on how to install

an Add-On, please check the manuals coming with the package.

Pa700 ORIENTAL already includes a great amount of localized musical data.

Managing ﬁles in the internal memory |893

The Direct data

Direct data are additional Keyboard Sets, Styles, Pads, Voice and Guitar

Presets, SongBook Entries and Set Lists, residing in a storage device like the

internal drive or a removable USB drive. They can be considered as an exten-

sion of the internal memory.

Direct Keyboard Sets, Styles, Pads, Voice and Guitar Presets are immediate-

ly accessed by selecting the

Direct type of data while in the relevant Select

window.

Direct SongBook Entries and Set Lists are automatically mixed with the in-

ternal Entries and Set Lists, making a more extensive database.

You can choose any standard SET folder as the Direct folder.

Selecting the Direct folder

A Direct folder has to be selected before being used.

1 Connect the external storage device containing the Direct data.

2 Go to the Global > Mode Preferences > Media page.

3 Touch the Direct Folder > Browse button to open the ﬁle selector.

894| File management

4 Browse though the drives and folders, and select the SET folder to be used

as the Direct set of banks.

5 Touch the Select button to conﬁrm.

Please note that you can only have a single Direct folder for all the types of

data.

6 If you select a folder from a different Pa-Series instrument, you are asked if

you want to convert the data to a format that Pa700 can read. If you conﬁrm,

you are prompted to choose a name and position for the new SET folder. (If

you touch Cancel, no Direct folder is selected).

7 When done, go to a Select window, and see how the Direct type of data can

be selected from the tabs on top of the list.

The Direct SongBook Entries and Set Lists will be automatically added to the

internal Entries and Set Lists.

Managing ﬁles in the internal memory |895

Deselecting the Direct folder

You can deselect the Direct banks, and make them disappear.

1 Go to the Global > Mode Preferences > Media page.

2 Touch the Direct Folder > Browse button to open the ﬁle selector.

3 Touch the Deselect button to remove any assignment.

Creating the Direct Keyboard Set, Style, Pad, Voice/Guitar

Preset banks

Load items into the Direct locations

▪ While in the Media > Load page, you can load any Keyboard Set, Style, Pad,

Voice or Guitar Preset into the Direct banks.

Copy & paste onto Direct locations

▪ While in one of the Select windows, choose the Copy and Paste command

from the page menu, to copy & paste any Keyboard Set, Style, Pad, Voice or

Guitar Preset into the Direct banks.

896| File management

Save an item into a Direct location

▪ After editing the Keyboard Set, choose the Write Kbd Set to Library com-

mand from the page menu, and write the Keyboard Set onto the Direct banks.

▪ While in Style/Pad Record, choose the Write Style/Pad command from the

page menu, and write the new or edited Style/Pad onto the Direct banks.

▪ After editing the Voice or Guitar Preset, choose the Write Voice/Guitar

Preset command from the page menu, and write the Voice/Guitar Preset

onto the Direct banks.

Creating the Direct SongBook

▪

While in the Media > Save page, save a SongBook into a new SET folder, and

move it to a storage device.

Using the Direct Keyboard Sets, Styles, Pads, Voice/Guitar

Presets

▪

When choosing a Keyboard Set (Library), Style, Pad, Voice or Guitar Preset,

touch the Direct type button on top of the list in the relevant Select window.

Using the Direct SongBook

Selecting Entries and Set Lists

The Direct SongBook Entries and Set Lists are mixed with the internal

SongBook Entries and Set Lists. They appear as a single extended database.

Creating or deleting Entries and Set Lists

When creating or deleting Entries or Set Lists, you are asked to choose

whether you want to save it into the internal or external SongBook.

Managing ﬁles in the internal memory |897

Renaming the User/Direct banks

You can rename the User and Direct User banks, to create your own sets of

Keyboard Sets, Styles, Pads, Voice or Guitar Presets.

1 Open the Keyboard Set, Style, Pad, Voice or Guitar Select window, and

select the User or Direct type of data.

2 Choose the Rename User Banks command from the page menu to open the

Rename User Banks dialog.

3 Assign the Direct User tabs any name you like.

Touch the

Text Edit (

) icon next to the bank to be renamed, and use the

virtual keyboard to edit the name. When done, touch OK to conﬁrm.

The assigned name can be spanned over two lines, by separating them with

the paragraph character (¶). For example, to write “World Music” on two

lines, enter “World¶Music”.

Be careful not to write words exceeding the width of the side tabs of the

Select windows.

4 When back at the Rename User Banks dialog, conﬁrm the operation by

touching the OK button.

898| File management

57 Managing ﬁles on disk

Overview on ﬁle management

You can access the Media pages by pressing the MEDIA button. Media pages

are where you manage ﬁles and storage devices.

Media page structure

Most Media pages share some basic elements.

Device

Current path

File list

Scrollbar

Labels

Browsing through the ﬁles

You can see the ﬁles and folders in the center of the Media pages.

▪ Scroll the ﬁle list by using the scrollbar.

▪ Open the selected folder by touching the Open button.

▪ Close the open folder by touching the Close button.

Selecting and deselecting ﬁles

▪ Select a ﬁle or folder by touching it.

▪ Deselect it by touching an empty area in the ﬁle list, or by touching the

Device pop-up menu, and choosing the current device again.

Managing ﬁles on disk |899

Changing the list view

You can touch one of the labels on top of the ﬁle list to change the order in

which ﬁles are shown. For example, by touching the Name label, the list is

alphabetically re-ordered according to the ﬁle names. The selected label ap-

pears highlighted, showing the currently selected ordering.

If you touch the highlighted label again, the alphabetic order changes from

ascending to descending, or vice-versa. The small arrow next to the label

name shows the selected order.

Current path

The place in the drive you are currently exploring is always shown under the

ﬁle list.

Selecting a storage device (drive)

A device can be selected by using the Device pop-up menu, shown in the

lower left corner of most Media pages:

Device pop-up

Supported device

Pa700 supports external devices, like hard disk drives or USB memory sticks,

formatted FAT16 or FAT32 with long ﬁle names.

For maximum compatibility, we recommend to format an external device be-

fore writing data on it the ﬁrst time. Go to the Media > Format page, and

format it. Warning: Formatting a storage device will delete all the data it

contains!

900| File management

You can access the following mass storage device types:

Device Type

DISK Internal drive

SD Optional internal microSD

USB Optional device connected to the USB HOST port

Types of ﬁles

The following table describes all the ﬁle and folder types Pa700 can read or

write.

Extension File/folder type

SET All the User data. This is a reserved folder containing other reserved

folders.

BKP Backup ﬁle, created with the Full Resource Backup function of the

Media > Utility page

GBL Global Setup

VOC Voice Preset

GTR Guitar Preset

AUD Limiter and Master EQ Presets

QTP Quarter Tone Scale Presets

MPR MIDI Presets

PRF Keyboard Set (from the library)

PCG Sound (KORG Pa-Series)

KMP Multisample

PCM Sample

AIF AIFF audio ﬁles

WAV WAVE audio ﬁles

STY Style

PAD Pad

SBD SongBook

SBL SongBook’s Set List

JBX Jukebox

MID Standard MIDI File, SMF (MIDI Song)

MP3 MP3 ﬁle (MP3 Song)

Managing ﬁles on disk |901

Extension File/folder type

TXT Plain text ﬁle

Pa700 can also read (but not write) the following types of data.

Extension File type

PKG Operating System and Musical Resource ﬁles

KAR Karaoke ﬁle

CDG CD+Graphics ﬁle

PCG KORG Triton Programs

KSF Korg Trinity/Triton Sample

SF2 Sound bank format by Creative Labs.

Ordinary data and reserved data

Each device (and the internal memory) can contain ﬁles and folders. Data

inside Pa700 is slightly more rigidly structured than data in a computer, due

to the pre-conﬁgured type of data inside the instrument’s memory. The dia-

gram below shows the global structure of an Pa700 device.

Factory/Local data can only be seen when the

Protect > Factory parameter

is deselected, and only when loading or saving a single bank, or when eras-

ing something (this can be done in the Global > Mode Preferences > Media

page, see page 936).

902| File management

Media structure

MYDATA.SET

KEYBOARDSET

BANK01.PRF

1-1 Concert Grand

…

1-48 Grand Piano

BANK… .PRF

BANK09.PRF

09-1 Mandolin

…

09-48 Asian Flute

SONGBOOK

LISTDB.SBL

SONGDB.SBD

SOUND

USER01.PCG

USERDK01.PCG

STYLE

BANK01.STY

1-1 70’s Guitar Pop

…

1-48 Soft Beat 2

BANK… .STY

USER01.STY

1-1 User 1

…

1-48 User 48

USER … .STY

USER12.STY

12-1 User 1

…

12-48 User 48

BANK12.STY

12-1 Libertad Tango

…

12-48 Chill Out 2

1 Piano 1

…

128 SynBrass22

1 Standard Ki t

…

128 Orchestral Kit

USER04.PCG

1 SopranoSax

…

128 Noise

MULTISMP

RAM.KMP

VOICEPRESET

BANK01.VOC

1-1 Hall

…

1-8 Phasing Voice

PAD

BANK01.PAD

1-1 88 Cowbell

…

1-48 Drum Kit G

BANK… .PAD

BANK20.PAD

20-1 Military 1

…

20-48 Circus 3

PCM

RAM01.PCM

RAM … .PCM

USER … .PCG

USER01.PRF

1-1 MyPiano1

…

1-48 MyPiano48

USER … .PRF

USER09.PRF

9-1 MyMandolin

…

9-48 MyAsianFlute

USER01.PAD

1-1 User 1

…

1-48 User 48

USER … .PAD

USER10.PAD

10-1 User 1

…

10-48 User 48

USER08.VOC

8-1 User 1

…

8-8 User 8

GUITARPRESET

BANK01.GTR

1-1 Clean AC30 SC

…

1-8 Classic Chorus

USER08.GTR

8-1 User 1

…

8-8 User 8

GLOBAL

SETUP.GBL

LIMITER.AUD

MASTEREQ.AUD

MIDI.MPR

QTPRESET.QTP

USERDK02.PCG

1 Standard Ki t

…

128 Orchestral Kit

BANK08.VOC

8-1 Double

…

8-8 Auto Reverse

BANK … .VOC

USER01.VOC

1-1 User 1

…

1-8 User 8

USER … .VOC

BANK08.GTR

8-1 Finger Bass

…

8-8 Modern Bass

BANK … .GTR

USER01.GTR

1-1 User 1

…

1-8 User 8

USER … .GTR

Managing ﬁles on disk |903

Loading musical resources and settings

Loading ﬁles or folders

You can load all the memory content, a separate type of musical resources,

a separate bank, or a single resource.

Choose the data to be loaded

1 Go to the Media > Load page.

2 If loading from an external device, connect the device to the USB HOST port.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (ﬁle or folder) in the ﬁle list to select it.

5 Browse through the folders. Touch the Open button to open the selected

folder. Touch the

Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Load but-

ton to load it.

904| File management

Load the data

1 When loading single banks or items, choose a target location in memory.

In this example you are choosing a target where to load a bank of Styles:

Name of the Style

bank being loaded

Name of the target

bank in memory

In this example you are choosing a target where to load a single Style:

Name of the Style

being loaded

Touch here to open

the Select window

Name of the target

location in memory

2 Touch OK to conﬁrm. After conﬁrming, any item you are overwriting will be

deleted.

Loading a SET folder

A SET folder may contain all the data of the internal memory. Loading it may

either delete all the data contained in the internal memory, or merge the

loaded data with the data already in memory.

Loading a type of data

A folder may contain all the data of a particular type (Styles, Keyboard

Sets…). Loading it may either delete all the data of the same type contained

in the internal memory, or merge the loaded data with the data already in

memory.

Loading a bank

You can load single banks of data. All data contained in the target bank in

memory are deleted.

Managing ﬁles on disk |905

Loading data from other instruments

Loading Global data from Pa-Series instruments

Being unique to each instrument, Global data (Preferences, MIDI Presets,

Voice Presets, etc.) cannot be loaded from other KORG Pa-Series instru-

ments. They are therefore discarded when loading a SET folder generated

by an instrument other than Pa700.

Loading data from Pa-Series instruments

You can load most data from KORG Pa-Series instruments. The following

table shows what you can load from the other instruments. Please keep in

mind that, depending on the actual data, you could not be able to directly

load SET folders; in this case, open the folder, and load each bank or indi-

vidual item separately.

Please save the converted data as a new SET folder after loading all the

needed data.

Load from Loaded data

Pa4X You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• Favorite Style banks no longer exist, so you are prompted to load them

into the User locations.

• Keyboard Set banks over #09 are missing and are not loaded.

• If Sounds, Drum Kits, Multisamples and Drum Samples are missing,

they can be replaced by similar, but not identical elements.

• Since the number of Insert and Master FX is different, the effects con-

ﬁguration can be different.

• Voice Presets, Scale Presets and MIDI Presets are not loaded.

• Global settings are not loaded.

Pa1000 You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• If Sounds, Drum Kits, Multisamples and Drum Samples are missing,

they can be replaced by similar, but not identical elements.

• Voice Presets, Scale Presets and MIDI Presets are not loaded.

• Global settings are not loaded.

906| File management

Load from Loaded data

Pa3X You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Performances and STSs are converted to Keyboard Sets.

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• Favorite Style banks no longer exist, so you are prompted to load them

into the User locations.

• Performance banks over #09 are missing and are not loaded. Since

Pa700 Keyboard Set banks are larger, load the individual Performances

into the additional locations of the other banks.

• Since the number of Insert and Master FX is different, the effects con-

ﬁguration can be different.

• Voice Presets, Scale Presets and MIDI Presets are not loaded.

• Global settings are not loaded.

Pa3XLe, Pa900,

Pa600, Pa300,

HAVIAN 30

You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Performances and STSs are converted to Keyboard Sets.

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• Favorite Style banks no longer exist, so you are prompted to load them

into the User locations.

• Voice Presets, Scale Presets and MIDI Presets are not loaded.

• Global settings are not loaded.

Pa2X, Pa800,

Pa500, Pa588

You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Performances and STSs are converted to Keyboard Sets.

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• Favorite Style banks no longer exist, so you are prompted to load them

into the User locations.

• Performance banks over #09 are missing and are not loaded. Since

Pa700 Keyboard Set banks are larger, load the individual Performances

into the additional locations of the other banks.

• Global settings are not loaded.

Pa1X, Pa1X Pro,

Pa1X Elite

You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Performances and STSs are converted to Keyboard Sets.

• Due to the different order in memory, Factory Styles must be manu-

ally reassigned to SongBook Entries by using the KORG

SongBook Editor

software.

• Performance banks over #09 are missing and are not loaded. Since

Pa700 Keyboard Set banks are larger, load the individual Performances

into the additional locations of the other banks.

• Global settings are not loaded.

Managing ﬁles on disk |907

Load from Loaded data

Pa80, Pa60, Pa50,

Pa50SD,

microARRANGER,

Liverpool

You can load most data as if they were Pa700 data. There are however a

few exceptions to be considered:

• Performances and STSs are converted to Keyboard Sets.

• Programs must be converted to Sounds. First load the SET folder, then

separately load the PCG ﬁles from the PROGRAM folder.

• Global settings are not loaded.

908| File management

Loading data from i-Series instruments

Pa700 is compatible with the Styles of the older KORG i-Series instruments.

You can load them as if they were ordinary Pa700 data.

1 Copy the old i-Series data into an USB device, or transfer them to the internal

memory of Pa700.

2 Go to the Media > Load page.

3 Use the Device pop-up menu to select the device containing the i-Series

data.

4 If you are reading an i30 ﬁle, select the SET folder, then touch the Open

button.

5 Select the STY folder.

6 At this point, you can load the whole STY folder, or open it and choose a

single Style.

▪ To load the whole folder, touch the Load button.

▪ To load a single Style, touch Open in the display to open the STY folder. Since

a conversion will be started at this point, please wait some seconds for the

operation to be completed.

Select the Style to load, then touch

Load. You will be prompted to select a

target location in memory. Once the target location is selected, touch Load

to load the Style. The ‘Are you sure?’ message will appear. Touch OK to con-

ﬁrm.

Please note that loading a whole SET folder from an i30 ﬁle may take some

time due to format conversion.

7 Go to the Style Play mode, and select (one of) the loaded Style. Adjust the

Tempo value, then choose the Write Current Style Settings command from

the page menu to write changes.

8 Due to the difference in Sounds, you will probably want to make some adjust-

ments to the old Styles, once they are loaded in Pa700 (changing the Sound,

Volume, Pan, Tempo, Drum Mapping, Wrap Around…).

9 To make the Sound assignment to the Style tracks effective, be sure the

Original Style Sounds parameter is not checked (Volume pane, Style track

view).

10 Save the Style Settings again, by choosing the Write Current Style Settings

command from the page menu.

Managing ﬁles on disk |909

Merging data

When loading all User data, or all data of a speciﬁed type, most data loaded

from a storage device are merged with data already existing in memory.

For example, if there is data in the ﬁrst three USER Style banks in memo-

ry (USER01, USER02, USER03), and there is only the USER01 Style bank in

the storage device, the USER01 bank will be overwritten, while USER02 and

USER03 banks will be left unchanged.

As a result, there will be a STYLE folder in memory containing the USER01

bank you just loaded, and the old USER02 and USER03 banks.

Loading data based on User Samples

When loading a SET folder containing Sounds based on User Samples, all

existing User Samples in memory are deleted. If there are unsaved User

Samples in memory, save them before loading the folder, by selecting the

User Sample option during a Save All operation (see later in this chapter).

To see if a SET folder contains User Samples, open it and look for a PCM

folder.

If you want to load new User Sample without deleting the ones already con-

tained in memory, load single Sounds instead of a whole SET folder.

Merging User Samples from various sources

When you load a SET folder, all the User Samples in memory are deleted. To

merge samples from several sources, do the following.

1 Load a SET folder containing samples you want to merge with other samples.

2 Load single Sounds from other SET folders.

3 Go to the Sampling mode, and load or import samples from other sources.

4 Save all the content of the memory over the same or a new SET folder.

910| File management

Saving musical resources and settings

Saving ﬁles or folders

You can save all the memory content, a separate type of musical resources,

a separate bank, or a single resource.

Pa700’s proprietary data has to be saved into special folders with the ‘.set’

ﬁlename extension. These special folders can be saved inside ordinary fold-

ers.

Choose the data to be saved

1 Go to the Media > Save page.

2 Touch an item (ﬁle or folder) in the ﬁle list to select it.

3 Browse through the folders. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

4 When you see the item you are looking for, select it and touch the Save To

button to save it.

Managing ﬁles on disk |911

Choose the target device

After touching Save, the target device appears:

1 If saving to an external device, connect the device to the USB HOST port.

2 Use the Device pop-up menu to choose the target device.

Choose an existing SET folder

You can save data into an existing SET folder. If you are saving data that is

not yet in the target folder, data will be merged. Otherwise, it will be over-

written.

Please note that, due to deep ﬁle format changes, you can’t write into exist-

ing SET folders created with older Pa-Series instruments.

▪ Select an existing SET folder, and touch the Save command to conﬁrm.

Create a new SET folder

You can create a new, empty SET folder to save your data without overwrit-

ing anything.

1 Touch the New SET button to create a new SET folder. The Create New SET

Folder dialog appears:

2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the

name. When done editing the name, conﬁrm by touching the OK button un-

der the virtual keyboard.

912| File management

3 When back at the Create New SET Folder dialog, touch the OK button to cre-

ate the new SET folder and exit the dialog.

Save the data

▪ Save all the memory content, a type or data, single banks or items as de-

scribed below.

Saving all data

1 After having selected an existing SET folder or having created a new one,

touch the Save button to conﬁrm. A dialog appears, asking you to select the

type of data to save:

▪ Save All dialog with the Protect > Factory option activated:

▪ Save All dialog with the Protect > Factory option deactivated:

2 Check all data type you want to save, then touch OK to conﬁrm.

Saving all data of a selected type

1 When saving a type of data (Keyboard Sets, Styles…), choose a target loca-

tion in the storage device.

2 Touch OK to conﬁrm. After conﬁrming, any item you are overwriting will be

deleted.

Managing ﬁles on disk |913

Saving single items

1 When saving single items, choose a target location in the storage device.

In this example you are choosing a target where to save a single Style:

Name of the Style

being saved

Name of the target

location in the

storage device

2 Touch OK to conﬁrm. After conﬁrming, any item you are overwriting will be

deleted.

914| File management

Copying ﬁles and folders

Copying ﬁles or folders

You can copy ﬁles and folders. Folders can be generic or SET folders. In ad-

dition, you can copy the content of the generic folder you are in. You can

copy inside the same device, or from a device to a different one (both devices

must be connected to Pa700 during the copy operation).

To preserve data structure integrity, during Copy operations you can’t open

SET folders and copy only one of the ﬁles it contains. You can only open and

get inside generic folders.

Choose the data to be copied

1 Go to the Media > Copy page.

Device

Current path

2 If copying from an external device, connect the device to the USB HOST

port.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (ﬁle or folder) in the ﬁle list to select it.

If nothing is selected, the content of the current folder will be copied.

5 Browse through the folders. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Copy To

button to copy it.

Managing ﬁles on disk |915

Choose the target device

After touching Copy To, the target device appears:

Device

Current path

1 If copying to an external device, connect the device to the USB HOST port.

2 Use the Device pop-up menu to choose the target device.

Choose a target and conﬁrm copying

▪ Select an existing folder, and touch the Copy command to conﬁrm.

If no folder is selected, you will copy into the current folder.

While copying, a dialog shows the copy progress:

916| File management

Overwriting existing ﬁles or folders

When copying ﬁles, a ﬁle or folder with the same name of the ﬁle or folder

being copied might be found in the target device. In this case, Pa700 will ask

you if you want to overwrite it.

When a duplicate ﬁle or folder is met, the following dialog will appear:

Overwrite Meaning

Cancel The procedure is interrupted.

No The ﬁle or folder is not overwritten. The source ﬁle or folder is not

copied. The procedure will continue with the other ﬁles and folders.

Yes The ﬁle or folder is overwritten. The procedure will continue with the

other ﬁles and folders.

Yes (to) All The ﬁle or folder is overwritten. Any following duplicate ﬁle or fold-

ers will be overwritten as well, without this dialog box appearing

again. The procedure will continue with the other ﬁles and folders.

Managing ﬁles on disk |917

Deleting ﬁles and folders

Deleting ﬁles or folders

You can delete ﬁles and folders from a storage device.

Choose the data to be deleted

1 Go to the Media > Delete page.

2 If deleting from an external device, connect the device to the USB HOST

port.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (ﬁle or folder) in the ﬁle list to select it.

5 Browse through the folders. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Delete

button to delete it.

918| File management

Selecting more items at once

While in the Copy and Delete pages, you can select several ﬁles or folders

at the same time before executing the operation. Files or folders can be se-

lected consecutively (that is, in a row), or discontinuously (that is, with other

ﬁles or folders in the middle).

To choose either to select ﬁles in a consecutive or discontinue way, use the

Select Mode button on the right of the page command buttons, to choose

how pressing the SHIFT button will work.

Select Mode Meaning

Choose this option to select ﬁles or folders consecutively (i.e., in a

row).

Choose this option to select ﬁles or folders discontinuously (i.e., with

other ﬁles or folders in the middle).

Select more ﬁles or folders consecutively

1 Touch the Select Mode button to choose the SHIFT function.

2 Select the ﬁrst ﬁle or folder to be selected.

3 Press and keep the SHIFT button pressed.

4 Select the last ﬁle or folder to be selected.

5 Release the SHIFT button.

Select more ﬁles or folders discontinuously

1 Touch the Select Mode button to choose the SHIFT function.

2 Select the ﬁrst ﬁle or folder to be selected.

3 Press and keep the SHIFT button pressed.

4 Select a second ﬁle or folder to be selected.

5 While keeping the SHIFT button pressed, continue selecting the other ﬁles

or folders to be selected.

6 Release the SHIFT button.

Managing ﬁles on disk |919

Deselect the ﬁles or folders

▪ To deselect one or more ﬁles or folders, without deselecting everything,

keep SHIFT pressed and touch the ﬁle or folder to be deselected.

▪ To deselect everything, select any other ﬁle or folder. All selected ﬁles and

folders will be deselected.

920| File management

Exporting playlists

Exporting a list of Songs as a text ﬁle

A list of the Songs contained inside a folder or a Jukebox list, or the SongBook

and Set Lists, can be exported, to be printed and be used as the playlist of

the show.

Exporting a list of songs contained in a folder

1 Open the Song Select window.

2 Browse through the ﬁles and folders, and open the folder whose content you

would like to export as a text ﬁle.

3 Choose the Export Song List command from the page menu to open the

Write Song List dialog.

4 Use the Device pop-up menu to choose a device where to save the list as a

TXT ﬁle. The ﬁle will be saved in the device’s root.

When saved, the text ﬁle will be named after the selected folder. For ex-

ample, a folder named ‘Dummy’ will generate a ‘Dummy.txt’ ﬁle. If you are

saving from the root of the device, a ‘Root.txt’ ﬁle will be generated.

If a ﬁle with the same name already exists on the target device, it will be

overwritten without waiting for conﬁrmation.

The list will include the progressive number assigned to each Song, the ﬁle

names, the total number of ﬁles in the list.

Managing ﬁles on disk |921

Exporting a Jukebox list

1 While a Jukebox ﬁle is assigned to the Player, choose the Export Jukebox

List command from the page menu to open the Write Jukebox List dialog.

2 Use the Device pop-up menu to choose a device where to save the list as a

TXT ﬁle. The ﬁle will be saved in the device’s root.

When saved, the text ﬁle will be named after the selected Jukebox ﬁle. For

example, a Jukebox ﬁle named ‘Dummy.jbx’ will generate a ‘Dummy.txt’ ﬁle.

A new, unnamed Jukebox ﬁle will generate a ‘New_name.txt’ ﬁle.

If a ﬁle with the same name already exists on the target device, it will be

overwritten without waiting for conﬁrmation.

The list will include the progressive number assigned to each Song, the ﬁle

names, the total number of ﬁles in the list.

922| File management

Exporting a SongBook Book list or Custom List

1 While you are in the SongBook > Book or SongBook > Set List page, choose

the desired list ﬁltering.

2 Choose the Export as Text File command from the page menu to open the

Export as Text File dialog.

3 Use the Device pop-up menu to choose a device where to save the list as a

TXT ﬁle. The ﬁle will be saved in the device’s root.

4 You may change the name of the list. Touch the Text Edit (

) icon to open

the virtual keyboard and edit the name. When done editing the name, con-

ﬁrm by touching the OK button under the virtual keyboard.

5 When back at the Export as Text File dialog, conﬁrm exporting by touching

the OK button.

A TXT ﬁle containing the ﬁltered data will be created. If a ﬁle with the same

name already exists on the target device, it will be overwritten without wait-

ing for conﬁrmation.

Reading the text ﬁle on a personal computer

To correctly display and print the list on a personal computer, use a ﬁxed size

(i.e., non-proportional) character in your text editor.

Managing media |923

58 Managing media

Formatting storage devices

Formatting a storage device

The Format function lets you initialize a device. Pa700 uses a PC-compliant

device format (DOS FAT16 and FAT32).

Warning: Formatting a storage device deletes all the data it contains!

Choose the device to be formatted

1 Go to the Media > Format page.

2 If formatting an external device, connect the device to the USB HOST port.

3 Use the Device pop-up menu to choose the device.

Assign a name to the device

1 Use the Volume Label parameter to assign a name to an external device to

be formatted.

Since this is a reserved name, you cannot rename the label (name) of the

internal volume. When formatting the internal drive, the label cannot be ed-

ited.

924| File management

Also, if you try to rename the internal volume when Pa700 is connected to a

PC through the USB port, the original name is automatically restored.

2 Touch the Text Edit (

) icon to open the virtual keyboard and edit the

name. When done editing the name, conﬁrm by touching the OK button un-

der the virtual keyboard.

Please note that renaming a device, containing MIDI Songs or MP3 Songs

used in the SongBook, will break the links to the ﬁles. We suggest to give

the device the same name it had before formatting. In case you changed the

name, please use SongBook Editor (freely available on our

web site) to edit

the links.

Format the device

1 Touch the Execute button to start formatting.

2 Conﬁrm the following warning message(s).

Managing media |925

Backing up and restoring musical

resources

A set of ﬁle backup and restore utilities can be found in the Media > Utility

page.

Backing up the musical resources

You can backup the internal data (musical resources and settings) to a stor-

age device. Backup should only be used for archiving purpose, since you will

not be able to load individual data from a backup archive. To save data that

has to remain accessible with the normal Media > Load operations, for ex-

ample to load User data after updating the musical resources, use the Media

> Save operations instead.

This function only backs up the internal memory, and not the internal or

external drives. It will back up Styles, Keyboard Sets, Sounds, Pads, Voice

Presets, Guitar Presets, the Global. It will not back up the MIDI and MP3

Songs contained in the internal or external drives. Also, it will not back up

the Direct banks, already residing in internal or external drives. To back up

these data, please make a backup of the internal or external drives by con-

necting them to a PC (see the

Media > USB page).

Choose the backup command

1 Go to the Media > Utility page.

2 Select the Full Resource Backup option, then touch the Execute button to

see the ﬁle selector.

926| File management

Choose the target device and folder

After touching Execute, the target device appears:

1 If you are making a backup to an external device, connect the device to the

USB HOST port.

2 Use the Device pop-up menu to choose the target device.

3 Browse through the folders. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

4 Select the folder where to backup the data, then touch the Backup command

to conﬁrm.

If nothing is selected, data will be saved to the current folder.

Assign a name to the backup archive

After touching Backup, a dialog will appear, asking you to assign a name to

the backup ﬁle.

1 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the

name. When done editing the name, conﬁrm by touching the OK button un-

der the virtual keyboard.

2 When at the Backup dialog again, touch the OK button to start backing up.

3 When ﬁnished backing, save the storage device in a safe place.

Managing media |927

Restoring the musical resources

You can restore data from a backup archive created with the Full Resource

Backup command.

Choose the restore command

1 Go to the Media > Utility page.

2 Select the Resource Restore option, then touch the Execute button to see

the ﬁle selector.

Choose the source device and folder

1 If you are restoring from an external device, connect the device to the USB

HOST port.

2 Use the Device pop-up menu to choose the target device.

3 Browse through the folders. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

4 When the backup archive appears, select it and touch the Restore command.

Choose the data to restore

5 After touching Restore, a dialog will appear, with a list of types of data to be

restored. Only check the types of data you want to restore.

6 Touch OK to start restoring.

Warning: This command will delete from the internal memory all types of data se-

lected in this dialog box (including your custom data).

When done, a message will appear, asking you to restart the instrument

(‘Data Restored. Please switch off’). Turn the instrument off, then turn it on

again.

928| File management

Restoring the original musical resources

After an OS update, or when you want to erase all changes to your Factory

and User data, and restore your Pa700 to the same condition it was when

new, use the Factory Restore operation.

Warning: This command deletes all data from memory (including your custom data).

Go to the Media > Utility page.

2 Select the Factory Restore option, then touch the Execute button.

3 A dialog will appear, with a list of types of data to be restored. Only check the

types of data you want to restore.

Warning: This command will delete from the internal memory all types of data se-

lected in this dialog box (including your custom data).

When done, a message will appear, asking you to restart the instrument

(‘Data Restored. Please switch off’). Turn the instrument off, then turn it on

again.

Managing media |929

Connecting the internal drive to a personal

computer

In order to exchange ﬁles, you can access the internal drive of Pa700 from a

personal computer. You don’t need any dedicated driver to connect Pa700

and the personal computer.

Connect Pa700 to the personal computer

▪ Use a standard USB cable to connect the USB DEVICE port of Pa700 to an

USB port of the personal computer.

Enable USB communication

1 Go to the Media > USB page, and use the Device menu to choose the internal

drive to be shared.

2 Touch the Enable button to start sharing. The icon of the Pa700’s internal

drive will appear in your personal computer.

While USB ﬁle transfer is enabled, you cannot access other functions on

Pa700. MIDI Over USB is also disabled.

After starting the USB connection, accessing the internal drive from the

computer may take some time, depending on the size of the internal drive

and the amount of data it contains.

Do not try to change the label (name) of its internal drive when Pa700 is

connected to a personal computer. If you try to do it, the original name is

automatically restored.

Also, do not modify the structure of the SET folders, or you will no longer be

able to use them on Pa700. Only use the USB connection for data exchange

purpose, or to modify ordinary folders.

930| File management

Disable USB communication

1 When ﬁnished transferring the ﬁles, you can disconnect Pa700 from the per-

sonal computer.

▪ On a Windows PC, select the dedicated command by clicking on the USB

device icon (

) with the right mouse button.

▪ On a Mac, select the USB device icon (

), then select the Eject command

or drag the drive icon to the eject icon in the Dock (

) .

2 In Pa700, touch the Disable button to disable the USB DEVICE port for ﬁle

transfer, and gain access to all the instrument’s functions.

Warning: Do not disconnect USB communication before the personal computer has

really ﬁnished transferring ﬁles. Sometimes, the on-screen indicator tells the proce-

dure has been completed BEFORE it has really ﬁnished. Disconnecting USB commu-

nication (or disconnecting the USB cable) before data transfer has been completed

may cause data loss.

Managing media |931

Storage device organization

Creating folders

You can create generic folders, where to store any type of data (other fold-

ers, Songs, SET folders…).

1 While in any of the Media pages, browse through the folders to ﬁnd the place

where to create a new folder. Touch the Open button to open the selected

folder. Touch the Close button to close the current folder.

2 Choose the Create New Folder command from the page menu to open the

Create New Folder dialog.

3 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the

name. When done editing the name, conﬁrm by touching the OK button un-

der the virtual keyboard.

4 When back at the Create New Folder dialog, touch the OK button to create

the folder at the chosen position.

Renaming ﬁles or folders

While in any of the Media pages, select the item to rename (generic ﬁle or

folder) and choose the Rename command from the page menu.

To preserve consistency through the data structure, you cannot rename

folders and ﬁles inside a SET folder. Also, you cannot change the 3-character

extension of ﬁles and SET folders, since they are used to identify the type of

ﬁle or folder.

932| File management

2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the

name. When done editing the name, conﬁrm by touching the OK button un-

der the virtual keyboard.

3 When back at the Rename dialog, touch the OK button to conﬁrm the new

name.

Getting information on the selected items

▪

While in any of the Media pages, select one or more items and choose the

Object(s) Info command from the page menu.

Select this command to see the size of any selected ﬁle or folder. Also, the

number of ﬁles and directories (folders) it contains are shown.

Getting information on the selected device, and changing its

name

Open the Device Info dialog

▪ While in any of the Media pages, choose the Device Info command from the

page menu.

Read the information

While in the Device Information dialog, you can see various information on

the selected device. To select a different device, exit from the dialog and use

the Device pop-up menu to select a different storage device.

Managing media |933

Rename the storage device

▪ While in the Device Information dialog, touch the Text Edit (

) icon to

open the virtual keyboard and edit the name. When done editing the name,

conﬁrm by touching the OK button under the virtual keyboard.

Please note that renaming a device, containing MIDI Songs or MP3 Songs

used in the SongBook, will break the links to the ﬁles. We suggest to give

the device the same name it had before formatting. In case you changed the

name, please use SongBook Editor (freely available on our web site) to edit

the links.

934| File management

Changing the media display preferences

You can choose what to see when a ﬁle selector window opens in the Global

> Mode Preferences > Media page.

Seeing the ﬁle’s size and date

To view longer names in their entirety, you can hide the Size and Date col-

umns in the File Selector window.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the

SHIFT button pressed and press the MEDIA but-

ton to open the Media page.

2 Use the Show Columns > Size checkbox to show or hide the ﬁle size.

3 Use the Show Columns > Date checkbox to show or hide the ﬁle creation

date stamp.

Hiding unknown ﬁles

To make ﬁle lists cleaner and easier to browse through, ﬁles that cannot be

used can be hidden when using the Media operations.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the

SHIFT button pressed and press the MEDIA but-

ton to open the Media page.

2 Select the Hide Unknown Files checkbox to hide non-proprietary ﬁles.

Managing media |935

Protecting storage devices and ﬁles

You can protect media and ﬁles in the Global > Mode Preferences > Media

page.

Protecting the media

You can protect the internal drive from writing.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the

SHIFT button pressed and press the MEDIA but-

ton to open the Media page.

2 Select the Media Protect checkbox to protect the internal drive.

Protecting the global preferences from changing

When loading data from disk, global parameters may change due to different

settings in the loaded data. You can prevent changes to happen.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the

SHIFT button pressed and press the MEDIA but-

ton to open the Media page.

2 Select the Global Protect checkbox to protect global preferences to change

when loading data from disk.

Please note that global preferences from compatible KORG Pa-Series instru-

ments are not loaded in any case.

936| File management

Removing protection from Factory/Local data

Factory Keyboard Sets, Sounds, Styles, Pads, Voice and Guitar Presets are

normally protected, to avoid overwriting the standard musical resources.

You can, however, remove this protection and use any Factory location as if

they were User locations.

Local resources are Factory data, therefore protected together with the oth-

er Factory resources.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the

SHIFT button pressed and press the MEDIA but-

ton to open the Media page.

2 Deselect the Protect > Factory checkbox to remove protection.

This protection will be automatically reset when turning the instrument off.

Hint: Should you accidentally delete, change or overwrite some Factory data, reload

the Backup data or use the Factory Restore procedure (in the Media > Utility page).

Protecting ﬁles and folders

Protect the ﬁles or folders

▪ While in any of the Media pages, select one or more items and choose the

Protect command from the page menu.

Choosing this command will protect the selected ﬁle(s) or folder(s) from writ-

ing or erasing. The lock icon will appear next to the ﬁle or folder name.

Unprotect the ﬁles or folders

▪ While in any of the Media pages, select one or more protected items and

choose the Unprotect command from the page menu.

Managing media |937

Care of storage devices

Pa700 can save most of the data contained in memory to the internal drive,

an internally installed microSD card, or to external devices (like hard drives

or USB memory sticks) connected to the USB HOST port. Here are some

precautions when handling these devices.

Internal drive write protection

You can protect the internal drive from writing, by using the software protec-

tion found in the Global > Mode Preferences > Media page (Media Protect

checkbox).

Precautions

▪ Do not remove a device or move the instrument while the device is operat-

ing.

▪ In order to avoid losing data in case of damage, make a backup copy of the

data contained in a device. You can backup your data to a personal comput-

er, and from there to a backup unit. You can transfer data from the internal

drive of Pa700 to a personal computer by using the USB DEVICE connection.

▪ Do not leave an USB device connected to the USB ports while carrying the

instrument, or it may be damaged.

▪ Keep the memory devices or the instrument away from sources of magnetic

ﬁelds, for example televisions, refrigerators, computers, monitors, speakers,

cellular phones and transformers. Magnetic ﬁelds can alter the contents of

the devices.

▪ Do not keep memory devices in very hot or wet places, do not expose them

to direct sunlight and do not store them without use in dusty or dirty places.

▪ Do not place heavy objects on top of the devices.

938| File management

If you can’t write, save or copy…

Sometimes, a Write, Save or Copy operation can fail because of lack of space

or copy protection issues.

In this case, the target SET folder could contain only part of the data. When

trying to load it, data could result incomplete, and Sounds or Styles could

not sound at all.

It is always a good idea to keep a backup copy of your data, so that you can

recover them in cases like this. When this type of problems happen, recover

the original SET folder, ﬁnd a larger target device, and repeat saving.

|939

PART XV:

APPENDIX

940| Appendix

Musical Resources |941

59 Musical Resources

The following pages list all the musical resources supplied as standard with

your Pa700.

942| Appendix

Styles

This list shows the Styles as they appear in the Style Select window. The table

also includes MIDI data used to remotely select the Styles on the special Control

channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change

32, or Bank Select LSB. PC: Program Change.

Style CC00 CC32 PC

Pop

Marvin G. Pop 0 0 0

All Begins Pop 0 0 1

Can't Feel Pop 0 0 2

Fast Guitar Pop 0 0 3

Goodbye Pop 0 0 4

70's Guitar Pop 0 0 5

Standard 8 Beat 0 0 6

Standard 16 Beat 0 0 7

Love Pop 0 0 8

Soft Guitar Pop 0 0 9

One Last Pop 0 0 10

Copacabana Pop 0 0 11

As Groove 0 0 12

Modern Pop 0 0 13

Groovy Pop 0 0 14

Believer Pop 0 0 15

Sunny Pop 0 0 16

Slow Pop 0 0 17

Hold My Pop 0 0 18

Morning Pop 0 0 19

Happy Pop 0 0 20

Pop Hit 0 0 21

Piano Pop 0 0 22

Cool Pop 0 0 23

Liverpool 1 0 0 24

Liverpool 2 0 0 25

Pop Beat 0 0 26

Style CC00 CC32 PC

Easy Pop Shufﬂe 0 0 27

Classic Beat 0 0 28

Classic Pop 0 0 29

Shadow Pop 0 0 30

Pop Rock 0 0 31

Retro Beat 0 0 32

Pop Shufﬂe 0 0 33

6/8 Slow Pop 0 0 34

12/8 Pop 0 0 35

Gigolò Shufﬂe 0 0 36

Ballad

Let Her Ballad 0 1 0

Years Ballad 0 1 1

Steel Ballad 0 1 2

Dangerous Bld 0 1 3

Brush Ballad

0 1 4

Modern Ballad 0 1 5

Slow Gtr Ballad 0 1 6

Soft Ballad 0 1 7

Piano Ballad 0 1 8

3/4 Piano Ballad 0 1 9

Orchestral Bld 1 0 1 10

Orchestral Bld 2 0 1 11

Unplugged 0 1 12

Guitar Ballad 0 1 13

70's Ballad 0 1 14

Unplugged Heaven 0 1 15

Groovy Ballad 0 1 16

Musical Resources |943

Style CC00 CC32 PC

Analog Ballad 0 1 17

Organ Ballad 0 1 18

Waltz Ballad 0 1 19

6/8 Ballad 1 0 1 20

6/8 Ballad 2 0 1 21

6/8 Brush Ballad 0 1 22

6/8 Slow 0 1 23

12/8 Ballad 0 1 24

6/4 Ballad 0 1 25

Blues Ballad

0 1 26

Reggae Ballad 0 1 27

UnpluggedBallad1 0 1 28

UnpluggedBallad2 0 1 29

Unplugged Gtr 1 0 1 30

Unplugged Gtr 2 0 1 31

Ballroom

English Waltz 0 2 0

Quick Step 0 2 1

Pasodoble 0 2 2

Paso Dance 0 2 3

Viennese Waltz 0 2 4

Jive 0 2 5

Argentina Tango 0 2 6

Modern Tango 0 2 7

Slow Waltz 1 0 2 8

Slow Waltz 2

0 2 9

3/4 Flamenco 0 2 10

Flamenco 0 2 11

Swing Fox 0 2 12

Slow Fox 0 2 13

Fox Shufﬂe 0 2 14

Foxtrot 0 2 15

Boogie Woogie 0 2 16

Big Band Jump 0 2 17

Style CC00 CC32 PC

Big Band Fox 0 2 18

Big Band Swing 0 2 19

Organ Waltz 0 2 20

Organ Foxtrot 0 2 21

Twist 0 2 22

Hully Gully 0 2 23

Dance

Synth Beat 0 3 0

Dance to Trance 0 3 1

EDM Happy Hour 0 3 2

EDM Reggaeton 0 3 3

EDM Remix 0 3 4

NU Disco 0 3 5

Dance Pop Reload 0 3 6

Trap 0 3 7

House Class 0 3 8

Deep House 0 3 9

Deep Remix 0 3 10

Reggaeton DJ 0 3 11

Trance 0 3 12

Tribal 0 3 13

80’s Dance 0 3 14

90’s Dance 0 3 15

Ethno House 0 3 16

Spanish Remix 0 3 17

ChaCha Remix 0 3 18

Release My Dance 0 3 19

Counting Dance 0 3 20

Funky Disco 0 3 21

70’s Disco Remix 0 3 22

70’s Disco 0 3 23

Bailando Dance 0 3 24

Brother Dance 0 3 25

Tacata Dance 0 3 26

944| Appendix

Style CC00 CC32 PC

Kuduro Dance 0 3 27

Western Remix 0 3 28

Cowboy Dance 0 3 29

Waka Dance 0 3 30

Gangnam Dance 0 3 31

Rock

Foo Rock 0 4 0

21 Gun Anthem 0 4 1

First Kid Rock 0 4 2

Killer Rock 0 4 3

HighwayHell Rock 0 4 4

Rock on Fire 0 4 5

Welcome Rock 0 4 6

Rock Star 0 4 7

80's Rock 0 4 8

Rock Punch 0 4 9

Rolling Blues 0 4 10

Alabama Rock 0 4 11

Clean Rock 0 4 12

Stadium Ballad 0 4 13

Rolling Rock 0 4 14

Magic Rock 0 4 15

Prison Rock 0 4 16

Johnny Rock 0 4 17

Rock the Clock 0 4 18

Rockabilly 0 4 19

Basic Rock 0 4 20

Smoke Rock 0 4 21

69's Rock 0 4 22

Walk of Rock 0 4 23

50's R&Roll 0 4 24

60's R&Roll 0 4 25

Rock Oldie 0 4 26

6/8 Slow Rock 0 4 27

60's Slow Rock 0 4 28

Style CC00 CC32 PC

Rock ChaCha 0 4 29

Latin Rock 0 4 30

Classic Rock 0 4 31

Rock Boogie 0 4 32

Rock Shufﬂe 0 4 33

Country

Acoustic Country 0 5 0

Country Rock 0 5 1

Sally Groove 0 5 2

Easy Country 0 5 3

Country Blues 0 5 4

6/8 Country Bld 0 5 5

Country Fox 0 5 6

Finger Picking 0 5 7

Slow Country 0 5 8

West Coast 0 5 9

Country Hit 0 5 10

Country Strum 0 5 11

Country QuikStep

0 5 12

3/4 Country 0 5 13

Modern Country 0 5 14

Country Pop 0 5 15

Country Beat 1 0 5 16

Country Beat 2 0 5 17

Country Ballad 1 0 5 18

Country Ballad 2 0 5 19

Country 8 Beat 0 5 20

Country 16 Beat 0 5 21

Bluegrass 0 5 22

Bar Country 0 5 23

Latin

Samba Enredo 0 6 0

Samba Brazil 0 6 1

Bossa Nova 0 6 2

Classic Salsa 0 6 3

Musical Resources |945

Style CC00 CC32 PC

Classic Mambo 0 6 4

Classic ChaCha 0 6 5

Guajira 0 6 6

Guaguancò 0 6 7

Timba 0 6 8

6/8 Afro 0 6 9

Bomba 0 6 10

Classic Bachata 0 6 11

Classic Merengue 0 6 12

Cumbia 0 6 13

Joropo 0 6 14

Habanera 0 6 15

Guitar Bossa 0 6 16

Meditation Bossa 0 6 17

Organ Bossa 0 6 18

Pop Bossa 0 6 19

Cool Bossa 0 6 20

Fast Bossa 0 6 21

Orch. Bossa 1 0 6 22

Orch. Bossa 2 0 6 23

Brazilian Samba 0 6 24

Salsa 1 0 6 25

Salsa 2 0 6 26

Mambo 0 6 27

Pop ChaCha 0 6 28

Rhumba 1 0 6 29

Rhumba 2 0 6 30

Bachata 0 6 31

Cool Latin Jazz 0 6 32

Latin Big Band 0 6 33

Latin Pop 0 6 34

Latin Bolero 0 6 35

Latin Dance

Reggaeton 1 0 7 0

Reggaeton 2 0 7 1

Style CC00 CC32 PC

BachaTango 0 7 2

Hot Merengue 0 7 3

Modern Salsa 0 7 4

Bomba Dance 0 7 5

Tortura Dance 0 7 6

Gipsy Dance 0 7 7

Limbo 0 7 8

Bamba 0 7 9

Disco Samba 0 7 10

Mambo Party 0 7 11

Mambo Five 0 7 12

Modern Bachata 0 7 13

Classic Beguine 0 7 14

Modern Beguine 0 7 15

Tropicana Dance 0 7 16

Modern Bossa 0 7 17

Disco ChaCha 0 7 18

Calypso 0 7 19

Reggae 1 0 7 20

Reggae 2 0 7 21

Latin Club 0 7 22

Andean 0 7 23

Lambada 0 7 24

Meneaito 0 7 25

Macarena 0 7 26

Bayon 0 7 27

Unplugged Gipsy 0 7 28

Unplugged Reggae 0 7 29

Sambalegre 0 7 30

Samba Dance 0 7 31

Jazz

Swing Band 0 8 0

Modern Big Band 0 8 1

Big Band Shufﬂe 0 8 2

Latin Jazz Band 0 8 3

946| Appendix

Style CC00 CC32 PC

Afro-Cuban Jazz 0 8 4

BeBop 0 8 5

Medium JazzWaltz 0 8 6

Fast Jazz Waltz 0 8 7

Bigger Band 0 8 8

Serenade Band 0 8 9

Medium Big Band 0 8 10

Fast Big Band 0 8 11

Swing Ballad 1 0 8 12

Swing Ballad 2 0 8 13

Slow Swing Brush 0 8 14

Orchestral Swing 0 8 15

Classic Swing 0 8 16

Acoustic Jazz 0 8 17

Easy Swing 0 8 18

Easy JazzWaltz 0 8 19

Dixieland 0 8 20

Charleston 0 8 21

Stride 0 8 22

Ragtime 0 8 23

Slow Organ Swing 0 8 24

Medium Org.Swing 0 8 25

Organ Blues 0 8 26

Jazz Quartet 0 8 27

Classic JazzWalz 0 8 28

Jazz Club 0 8 29

Jazz Brush 0 8 30

Soft Jazz 0 8 31

Django 0 8 32

Unplugged Swing 0 8 33

Vocal Swing 0 8 34

Vocal Jazz 0 8 35

Movie & Show

Fifty Shades 0 9 0

Style CC00 CC32 PC

Special Agent 0 9 1

Spaghetti Western 0 9 2

Burt's Bounce 0 9 3

ScreenEpicMarch1 0 9 4

ScreenEpicMarch2 0 9 5

Weird Movie 0 9 6

Mystery Man 0 9 7

Ritz Swing 0 9 8

Tap Dance 0 9 9

Movie Ballad 0 9 10

Safari Swing 0 9 11

Hollywood 1 0 9 12

Hollywood 2 0 9 13

Western Movie 0 9 14

Cartoon Time 0 9 15

Love Movie 0 9 16

Artie's Theme 0 9 17

Love Ballad 0 9 18

Army Band 0 9 19

Christmas Waltz 0 9 20

Chrismas Swing 0 9 21

Theatre Swing 0 9 22

Theatre March 0 9 23

Funk & Blues

Everybody Bros 0 10 0

Soul Bros 0 10 1

Blues 0 10 2

Soul 0 10 3

Talkin' Funk 0 10 4

Donald Mood 0 10 5

Capital Soul 0 10 6

Soul Power 0 10 7

Level Funk 0 10 8

Acoustic Shufﬂe 0 10 9

Musical Resources |947

Style CC00 CC32 PC

Grace Gospel 0 10 10

Gospel 0 10 11

Gospel Swing 0 10 12

Gospel Shufﬂe 0 10 13

Modern Gospel 1 0 10 14

Modern Gospel 2 0 10 15

Love 4 All 0 10 16

Dance to Rhythm 0 10 17

Motown Beat 1 0 10 18

Motown Beat 2 0 10 19

Rimshot Mood 0 10 20

Groovy Funk 0 10 21

Easy Funk 0 10 22

Soul Ballad 0 10 23

Cool Funk 0 10 24

Classic Funk 0 10 25

70's Beat Groove 0 10 26

Funk R&B 0 10 27

Elektrik Funk 0 10 28

Funky Sisters 0 10 29

Slide Blues 0 10 30

Cool Vocal 0 10 31

World

Libertad Tango 0 11 0

Spanish Dance 0 11 1

Hawaiian 0 11 2

Casatchock 0 11 3

Greek Rumba 0 11 4

Xasapiko 0 11 5

Sirtaki 0 11 6

Zouk 0 11 7

Mexican Waltz 0 11 8

Style CC00 CC32 PC

Norteno 0 11 9

Kebradita 0 11 10

Bolero Ranchero 0 11 11

Mariachi Waltz 0 11 12

Mariachi Polka 0 11 13

Mariachi Son 0 11 14

Mariachi Cumbia 0 11 15

Italian Waltz 0 11 16

Italian Polka 0 11 17

Italian Mazurka 0 11 18

Italian Tango 0 11 19

9/8 0 11 20

Vahde 0 11 21

2/4 Oyun 0 11 22

Ciftetelli 0 11 23

Irish Slow Waltz 0 11 24

Irish Fast Waltz 0 11 25

Irish Fox 0 11 26

Irish QuickStep 0 11 27

German Polka 0 11 28

Classic Schlager 0 11 29

German Waltz 0 11 30

Vienna Waltz 0 11 31

Musette Waltz 0 11 32

French Waltz 0 11 33

Banda 0 11 34

US March 0 11 35

User 2 0-11 0-47

Direct User 4 0-11 0-47

Local 5 0-11 0-47

948| Appendix

Keyboard Set Library

This list shows the Keyboard Sets as they appear in the Keyboard Set Library

Select window. The table also includes MIDI data used to remotely select the

Keyboard Sets on the special Control channel. CC00: Control Change 0, or Bank

Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.

Keyboard Set CC00 CC32 PC

Piano & EP

Concert Grand 16 0 0

Classic Grand 16 0 1

Grand Piano Live 16 0 2

Piano & Strings 16 0 3

Honky-Tonk 16 0 4

Jazz Piano 16 0 5

Korg M1 Piano 16 0 6

Piano & VPM 16 0 7

Electric Piano 16 0 8

Phaser E. Piano 16 0 9

Ballad E.Piano 16 0 10

Tremolo E.Piano 16 0 11

Amp. Wurly 16 0 12

Vintage Wurly 16 0 13

Clean Wurly 1 16 0 14

Clean Wurly 2 16 0 15

Harpsichord 16 0 16

Clav 16 0 17

Rock Piano 16 0 18

Electric Grand 16 0 19

R&B E.Piano 16 0 20

Dyno E.Piano 16 0 21

Distorsion E.P. 16 0 22

Classic E.Piano 16 0 23

Digital Grand 16 0 24

Piano Atmosphere 16 0 25

Grand & Pad 16 0 26

Harpsi & Orch. 16 0 27

Keyboard Set CC00 CC32 PC

Natural Wurly 16 0 28

Amp&Comp.Wurly 16 0 29

FM E.Piano 16 0 30

Bell Tine E.P. 16 0 31

Concert Hall 16 0 32

Octave Piano 16 0 33

Piano & Scat 16 0 34

Glide Piano 16 0 35

E.Piano & Pad 16 0 36

E.Piano&SynVoice 16 0 37

Digital E.P. Bld 16 0 38

Stage E.Piano 16 0 39

Hybrid E.Piano 1 16 0 40

Digital E.Piano 16 0 41

Jazz Club E.P. 16 0 42

Vibraphone 16 0 43

Marimba Trill 16 0 44

Xylophone 16 0 45

Piano & Whistle 16 0 46

Piano & Vibes 16 0 47

Organ

Jimmy Organ 16 1 0

Gospel Organ 16 1 1

Rock Organ 16 1 2

Full Organ V. 16 1 3

DWB Org. Y+ 16 1 4

DWB Dark Org.Y+ 16 1 5

DWB Jazz Org. Y+ 16 1 6

DWB Clas.Perc.Y+ 16 1 7

Musical Resources |949

Keyboard Set CC00 CC32 PC

BX3 Hi Perc. 16 1 8

BX3 Jazz Org. V. 16 1 9

BX3 4 Layers V. 16 1 10

Hot BX3 Y+ 16 1 11

Full DWB 1 Y+ 16 1 12

Full DWB 2 Y+ 16 1 13

DWB Perc.Org. 1 16 1 14

DWB Perc.Org. 2 16 1 15

Distortion Organ 16 1 16

Click Organ Y+ 16 1 17

Jazz Organ Y+ 16 1 18

Dark Organ V. 16 1 19

Pipe Flute 16 1 20

Full Pipes 16 1 21

Theatre Organ 1 16 1 22

Theatre Organ 2 16 1 23

Harmonica 1 16 1 24

Harmonica 2 16 1 25

Harmonica 3 16 1 26

Blues Harmonica 16 1 27

Toots Harmonica 16 1 28

Melodica 16 1 29

Cassotto 16 1 30

PiccoloAccordion 16 1 31

Musette 16 1 32

Master Fisa 16 1 33

ItalianAccordion 16 1 34

Clarinet Accord. 16 1 35

Alps Accordion 16 1 36

Astor Bandoneon 16 1 37

That’s Amore Acc 16 1 38

Acc. & Bass Acc. 16 1 39

Guitar

Real Nylon Gtr 16 2 0

Keyboard Set CC00 CC32 PC

Steel Guitar 16 2 1

Clean Ch.Guitar 16 2 2

Nylon Gtr & Pad 16 2 3

Jazz Guitar 1 16 2 4

Carlos Guitar1 16 2 5

Overdrive Gtr1 16 2 6

Western Gtr&Whis 16 2 7

Shadow Guitar 16 2 8

Clean El.Guitar 16 2 9

Overdrive Gtr2 16 2 10

Carlos Guitar2 16 2 11

Distortion Gtr 16 2 12

My Overdrive Gtr 16 2 13

Nylon Guitar 16 2 14

Gtrs Atmosphere 16 2 15

Folk Guitar 16 2 16

Jazz Guitar 2 16 2 17

Crunch Gtr DNC 16 2 18

Overdrive Gtr3 16 2 19

AmbienceE.Guitar 16 2 20

Carlos Guitar3 16 2 21

George Gtr&Scat 16 2 22

Guitar & Whistle 16 2 23

Nylon Gtr & Fret 16 2 24

Overdrive Gtr V. 16 2 25

Rock & Roll Gtr 16 2 26

Wah Guitar Y+ 16 2 27

12 Str Folk Gtr 16 2 28

Jazz Club Guitar 16 2 29

Unplugged Gtrs 16 2 30

Guitar Club 16 2 31

Flute&Gtr Synth 16 2 32

Strings

Real Violin 16 3 0

950| Appendix

Keyboard Set CC00 CC32 PC

Serenade Violin 16 3 1

Choir & Soprano 16 3 2

Bell & Strings 16 3 3

Movie Strings 16 3 4

Orchestra Tutti 16 3 5

Scat Voices 16 3 6

A Cappella 16 3 7

Violin 16 3 8

Jazz Violin 16 3 9

Soprano Voice 16 3 10

eXp Viola 16 3 11

Soprano Choir 16 3 12

Dreaming Choir 16 3 13

Vienna Strings 16 3 14

Slapstick Pizz. 16 3 15

Studio Strings 16 3 16

Natural Strings 16 3 17

Small Orchestra 16 3 18

Wiener StringPad 16 3 19

Smooth Orchestra 16 3 20

Strings & Bell 16 3 21

ScatVoice & Bass 16 3 22

Strings & Orch. 16 3 23

Soprano Choir 16 3 24

Oboe & Str. Ens. 16 3 25

Vocal & Str. Ens 16 3 26

Brass

Shake Brass Y+ 16 4 0

Horn Section 16 4 1

Smooth Band 16 4 2

Warm Brass 16 4 3

SaxEns.& Brass V 16 4 4

Club Mute Sect. 16 4 5

Horns & Strings 16 4 6

Keyboard Set CC00 CC32 PC

Cup & Mute Brass 16 4 7

Ballad Brass 16 4 8

Sforzato Brass 16 4 9

Brass Overtone 16 4 10

Super Brass Y+ 16 4 11

Cup Mute Brass 16 4 12

BigCountry Horns 16 4 13

Smooth Band RX 16 4 14

MorphAttackBrass 16 4 15

Club Brass Sect. 16 4 16

Cornet & Sax Ens 16 4 17

Cornet&Brass Ens 16 4 18

Sax & Cornet Ens 16 4 19

Muted Ensemble 16 4 20

Trumpet

JazzTrumpet Leg. 16 5 0

Jazz Cornet 1 FX 16 5 1

Trumpet Delay 16 5 2

Miles Trp FX 16 5 3

Hard Trombone 16 5 4

Jazz Trombone 1 16 5 5

Cornet Legato 16 5 6

Dixie Trumpet 16 5 7

Jazz Trumpet 1 16 5 8

Jazz Trumpet 2 16 5 9

Cornet 16 5 10

Soft Trombone 16 5 11

Miles Trumpet 16 5 12

Sweet Flugel 16 5 13

eXp Trombone 16 5 14

Club Sax & Trp 16 5 15

Band Trumpet V. 16 5 16

Trump.& Clarinet 16 5 17

Muted Trp. Band 16 5 18

Musical Resources |951

Keyboard Set CC00 CC32 PC

Jazz Trombone 2 16 5 19

Folk Trumpets 16 5 20

eXp Cornet 16 5 21

Cornet & Strings 16 5 22

Jazz Cornet 16 5 23

Jazz Cornet 2 FX 16 5 24

Muted Trp FX 16 5 25

Jazz Trombone 3 16 5 26

Mute Cornet Leg. 16 5 27

Miles Trp Leg. 1 16 5 28

Miles Trp Leg. 2 16 5 29

Sax & Woodwinds

Jazz Sax 1 16 6 0

Tenor Sax 1 16 6 1

Tenor Sax 2 16 6 2

Soft Latin Sax 1 16 6 3

Concert Flute 16 6 4

Panﬂute 16 6 5

Jazz Flute 16 6 6

Robin Whistle 16 6 7

Clarinet 1 16 6 8

Jazz Sax 2 16 6 9

Soft Latin Sax 2 16 6 10

Soprano Sax 16 6 11

Jazz Baritone 1 16 6 12

Cool Oboe 16 6 13

Whistle 16 6 14

Shakuhachi 16 6 15

Real Clarinet 16 6 16

Kenny Soprano 16 6 17

Jazz Baritone 2 16 6 18

Sweet Alto Sax 1 16 6 19

Sweet Alto Sax 2 16 6 20

Clarinet 2 16 6 21

Keyboard Set CC00 CC32 PC

Classic Flute 16 6 22

Clarinet 3 16 6 23

Dixie Clarinet 16 6 24

Sweet Tenor Sax 16 6 25

Tenor Sax 4 16 6 26

Soprano Pad 16 6 27

Sax Ensemble 16 6 28

Whistling Rain 16 6 29

Frullato Flute 16 6 30

Bottle Flute 16 6 31

Panﬂute & Synth 16 6 32

Miller Serenade 16 6 33

Sax & Brass V. 16 6 34

Super Sax Sect.3 16 6 35

Sax Sect. & Trp 16 6 36

Reeds & Trombone 16 6 37

March Whistle 16 6 38

Flutes&Clarinets 16 6 39

Flute & Muted 16 6 40

Clarinets & RX 16 6 41

Vibes & Flute 16 6 42

Synth

Next Dance 16 7 0

Bros Buzz Y+ 16 7 1

Next Octave 16 7 2

Symph Synth 16 7 3

Talking Lead 16 7 4

Hybrid Lead 16 7 5

Distortion Synth 16 7 6

Analog Lead 16 7 7

Big Lead 16 7 8

Mini Lead 16 7 9

Big One 16 7 10

Pilot Lead 16 7 11

952| Appendix

Keyboard Set CC00 CC32 PC

Portamento Lead 16 7 12

Gliding Lead 16 7 13

Prophy Lead 16 7 14

Waky Lead 16 7 15

Big Lead Sine 16 7 16

Tekno City 16 7 17

Cosmic Sweep 16 7 18

Talking Pad 16 7 19

Fresh Pad 16 7 20

Dream Pad 16 7 21

Double Sweep 16 7 22

Trinity Pad 16 7 23

Moon Pad 16 7 24

Pa800 Pad 16 7 25

Wave Synth 16 7 26

Wave Sequence 16 7 27

Space Trailer 16 7 28

Far Memories 16 7 29

Step Sequencer 16 7 30

My Sequencer 16 7 31

Pisco Pad 16 7 32

Aereosonic 16 7 33

Rhythmical Synth 16 7 34

S&H Pad 16 7 35

Movie Stack 1 16 7 36

Keyboard Set CC00 CC32 PC

Movie Stack 2 16 7 37

Movie Stack 3 16 7 38

Movie Stack 4 16 7 39

Eastern Depths 16 7 40

Wide Attack 16 7 41

Vocoder 1 16 7 42

Vocoder 2 16 7 43

Vocoder 3 16 7 44

Vocoder 4 16 7 45

Ethnic

Mandolin 16 8 0

Mandolins Orch. 16 8 1

Mandolin Tremolo 16 8 2

Napoli Mandolin 16 8 3

Sitar 16 8 4

IndianFret.&Nay 16 8 5

Real Banjo 16 8 6

Pedal Steel Gtr 16 8 7

Hawaiian Guitar 16 8 8

Oriental Feel 16 8 9

User 17 0-8 0-47

Direct User 18 0-8 0-47

Local 19 0-8 0-47

Musical Resources |953

Sounds

The following table lists all Factory Sounds as they appear in the Sound Select

window. The table also includes MIDI data used to remotely select the Sounds.

CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank

Select LSB. PC: Program Change.

Sound CC00 CC32 PC

Factory/Piano

Concert Grand 121 13 0

Classic Piano 121 4 0

Live Piano 121 6 1

Bright Piano 121 5 1

Pop Grand 121 12 0

Jazz Piano 121 5 0

Rock Piano 121 8 0

M1 Piano 121 2 2

G.Piano Stack 1 121 8 2

Grand Piano RX 121 10 0

Honky-Tonk 121 2 3

Ragtime Piano 121 3 3

Grand&MovingPad 121 9 0

Piano & Vibes 121 6 0

Piano & Strings 121 7 0

Midi Grand & Pad 121 4 1

Harpsichord 1 121 7 6

Harpsichord 8+4’ 121 8 6

Classic Clav DNC 121 7 7

Clav 121 5 7

Synth Clav 121 6 7

Clav Wah 121 2 7

Piano Layers 121 6 2

Grand & FM Stack 121 7 2

Grand Piano 121 3 0

Grand RX DEMO 121 11 0

Factory/E. piano

Tine EP Phaser 121 27 4

Sound CC00 CC32 PC

Tine EP Dyno 121 28 4

Tine EP Amp/Pha 121 29 4

Wet Tine EP 121 31 4

Dist. Tine EP 121 30 4

Bell Tine EP 121 32 4

Classic Tine EP 121 45 4

Suit Case88 EP1 121 34 4

Wurly Logic 121 36 4

Wurly Amp 121 38 4

Tremolo Wurly 1 121 39 4

Tremolo Wurly 2 121 16 4

Wurly Clean 121 41 4

Natural Wurly 121 44 4

Wurly Amp/Comp 121 40 4

Reed EP Clean 121 37 4

VPM Tine 121 17 5

Digi E. Piano 121 14 5

Classic Tines 121 9 5

DW8000 EP 121 11 5

Natural EP 121 43 4

E. Piano Halo 121 1 94

Thin E. Piano 121 9 4

EP+Damper 1 121 25 4

Tine E. Piano 1 121 18 4

Club E. Piano 121 11 4

Suit E.Piano 1 121 20 4

Suit E.Piano 2 121 21 4

Classic Wurly 1 121 17 4

Classic Wurly 2 121 12 4

954| Appendix

Sound CC00 CC32 PC

R&B E. Piano 121 8 4

Factory/Mallet & Bell

Vibraphone 1 121 2 11

Marimba 121 7 12

Marimba Syn Seq 121 8 12

Metallic Syn Seq 121 2 114

Wood&Metal Seq 121 4 114

Xylophone 121 1 13

Glockenspiel 121 2 9

Celesta 121 1 8

Marimba Key Off 121 2 12

Balaphon 121 6 12

Kalimba 1 121 2 108

Kalimba 2 121 1 108

Music Box 121 2 10

Sistro 121 1 9

Orgel 121 1 10

Warm Steel 121 1 114

Vs Bell Boy 121 2 98

Tubular Bell 121 4 14

Bells 121 3 14

Santur 121 1 15

Mallet Clock 121 5 12

Factory/Accordion

Harmonica 1 DN1 121 11 22

Harmonica 1 DN2 121 12 22

Harmonica 2 DN1 121 13 22

Harmonica 3 DN1 121 14 22

Bandoneon DNC 121 11 23

Bandoneon Sync 121 12 23

Bandoneon Short 121 13 23

Tango Accordion 121 10 23

Classic Musette 121 29 21

Musette 1 121 3 21

Sound CC00 CC32 PC

2 Voices Musette 121 16 21

3 Voices Musette 121 17 21

French Musette 121 18 21

Cassotto 16’ 121 12 21

Fisa Master 121 8 21

Fisa Tango 121 1 23

Fisa 16,4’ 121 7 21

Fisa 16,8’ 121 6 21

Accordion 121 24 21

Accordion 16,4’ 121 7 23

Accordion 16,8’ 121 2 23

Acc.16,8,4’ Plus 121 8 23

Acc.Clarinet OT 121 19 21

Acc. Piccolo OT 121 21 21

Accordion Bass 121 5 23

Acc. & Acc. Bass 121 9 23

Acc.16,8’ & Bass 121 4 23

Melodica 121 15 22

Steirisch.Akk.1 121 25 21

Steirisch.Akk.2 121 26 21

Factory/Organ

DRAWBARS 121 127 16

Jimmy Organ 121 13 18

Perc. Organ 1 121 9 17

Perc. Organ 2 121 11 17

BX3 Rock 1 121 14 18

BX3 Rock 2 121 15 18

BX3 Rock 3 121 16 18

BX3 Rock 4 121 17 18

BX3 Full 121 6 16

BX3 Jazz 121 20 16

BX3 Jazz Pc. 121 9 18

BX3 Gospel 121 37 16

Gospel Organ 1 121 38 16

Musical Resources |955

Sound CC00 CC32 PC

Jazz Organ 121 8 16

Organ Low 1 121 39 16

Organ Low 2 121 15 16

Organ Low Pc. 121 4 17

Big Theatre Org. 121 30 16

Theatre Organ 1 121 22 16

Theatre Organ 2 121 23 16

Wunder Organ 121 12 17

VOX Legend 121 11 16

60’s Organ 121 40 16

Pianola 121 6 20

Pipe Tutti 1 121 6 19

Pipe Tutti 2 121 8 19

Pipe Tutti 3 121 9 19

Pipe Tutti 4 121 10 19

Church Pipes 121 4 19

Full Pipes 121 5 19

Flauto Pipes 121 3 20

Pipe Mixture 121 3 19

Pipe Flute 1 121 4 20

Pipe Flute 2 121 5 20

Small Pipe 121 2 20

Positive Organ 121 7 19

Organ Pedal 121 11 32

Factory/Guitar

Concert Gtr DNC 121 20 24

Nylon GuitarDNC 121 18 24

ClassicSteel DNC 121 36 25

RealFolk Gtr DNC 121 34 25

SteelGtrPro DNC 121 19 25

Strum 12Str. DNC 121 33 25

Strat N Cln DNC 121 38 27

Strat N Cln Mute 121 22 28

Dist. Gtr 1 DNC 121 14 30

Sound CC00 CC32 PC

Crunch Gtr DNC 121 3 29

Stereo Dist.Gtr 121 8 30

Stra.GtrUpDwDNC 121 33 27

Jazz Gtr 1 DNC 121 8 26

Oct. Jazz Guitar 121 9 26

Soft Jazz Guitar 121 5 26

Clean Jazz 1 121 23 27

E.Gtr Ch/Dly DNC 121 35 27

Real El. Gtr ST1 121 28 27

Chorus Guitar 121 3 27

Chorus Gtr Pro 121 18 27

Single Coil 121 6 27

Single Coil Pro 121 14 27

Concert Gtr Pro 121 21 24

Real Nylon Gtr 121 17 24

RealSteel Gtr ST 121 28 25

RealFolk GtrST 2 121 30 25

Steel Gtr RX 121 35 25

Pedal Steel 121 4 26

E.Gtr Amp DNC 121 37 27

New Stra.Guitar 121 7 27

Stra. Vel. Pro 121 16 27

Processed E.Gtr 121 5 27

Solid Guitar 121 21 27

Soft Overdrive 121 2 29

5th Mute Gtr 121 21 28

Dist. Guitar 121 11 30

Disto Mute 121 9 28

Mute Monster 121 5 30

Power Chords 1 121 15 30

Factory/Strings & Vocal

Violin DNC 121 9 40

Real Violin DNC 121 7 40

Violin Expr. DNC 121 5 40

956| Appendix

Sound CC00 CC32 PC

Conc.Violin DNC 121 6 40

Violin Expr. 1 121 4 40

SopranoVox1 DNC 121 4 53

Real Strings 1 121 9 49

Real Strings 2 121 10 49

Movie Str.1 DNC 121 7 49

Movie Str.2 DNC 121 8 49

Strings&Orch.V. 121 24 48

Arabic Strings 121 13 48

Classic Harp 121 2 46

Scat Voices DNC 121 20 52

Cycle Scat 1 121 21 52

Cycle Scat 2 121 22 52

ConcertStrings 1 121 11 49

ConcertStrings 2 121 23 48

Full Strings 121 2 49

i3 Strings 121 5 48

Tremolo Strings 121 1 44

Class.Contrabs 121 1 43

Cello 121 1 42

Viola Expr. 121 1 41

Violin & Viola 121 2 41

Strings Quartet 121 9 48

Chamber Strings 121 12 48

OrchestraTutti 1 121 14 48

Orchestra&Flute 121 20 48

Orch. & Oboe 1 121 16 48

Strings & Horns 121 15 48

Strings & Glock. 121 18 48

Pizz. Ensemble 121 1 45

Pizz. Section 121 2 45

Octave Strings 121 8 48

Symphonic Bows 121 10 48

StrappatoStrings 121 12 49

Sound CC00 CC32 PC

Spiccato Strings 121 4 49

Analog Strings 1 121 5 50

Synth Strings 1 121 6 50

Scat V.& Bass 1 121 17 52

Scat V.& Bass 2 121 18 52

Wuuh Choir 121 8 52

Oh-Ah Voices 121 9 52

Femal&Male Scat 121 14 52

Little Boy Voice 121 23 52

Take Voices 1 121 4 52

Choir Light 121 12 52

Ooh Choir 121 6 52

Ooh Slow Voice 121 3 52

Ooh Voices 121 2 52

Synth Voices 121 6 54

Full Vox Pad 121 9 91

Vocalesque 121 2 54

Fresh Breath 121 7 91

Vocalscape 121 3 54

Heaven 121 3 91

Airways 121 3 53

Factory/Trumpet & Trbn.

Jazz Trumpet DN1 121 33 56

Jazz Trumpet DN2 121 34 56

Jazz Trb. DN1 121 20 57

Jazz Trb. DN2 121 21 57

Soft Trb. DN1 121 22 57

Soft Trb. DN2 121 23 57

HardTrombone DN1 121 24 57

HardTrombone DN2 121 25 57

Jazz Cornet DN1 121 32 56

Cornet Expr. 121 21 56

Trumpet Expr.1 121 15 56

Trumpet Expr. 2 121 4 56

Musical Resources |957

Sound CC00 CC32 PC

Wah Trumpet 121 2 59

Mute Trumpet 121 5 59

Sweet FlugelHorn 121 12 56

Trombone Expr. 1 121 6 57

Trumpet Overb. 121 2 56

Concert Trumpet 121 19 56

Trombone Vel. 1 121 8 57

Trombone Vel. 2 121 9 57

Dual Trumpets 121 6 56

Alp Trumpet 121 17 56

TrumpetShake Y+ 121 18 56

Trumpet Pitch 121 5 56

Alp Tuba 121 6 58

Tuba Gold 121 2 58

Oberkr. Tuba 121 1 58

Factory/Brass

Big Band Brass 1 121 32 61

Big Band Brass 2 121 4 61

Tight Brass 1 121 27 61

Tight Brass 2 121 29 61

French Section 121 2 60

Brass of Power 121 30 61

Sforzato Brass 121 23 61

Horns Swell DNC 121 45 61

Soft Horns 1 121 8 60

Soft Horns 2 121 7 60

Soft Horns 3 121 6 60

Fat Brass 121 13 61

Movie Brass 121 20 61

Dyna Brass 1 121 14 61

Brass Expr. 121 15 61

Tight Brass 3 121 2 61

Horns & Ensemble 121 4 60

Sound CC00 CC32 PC

Glenn & Friends 121 3 61

Glenn & Boys 121 6 61

Trpts & Trombs 121 34 61

Trpts & Brass 121 7 61

Trpt. & Horns 121 5 60

Brass & Sax 121 16 61

Flute & Muted 121 6 73

Trumpet Ens. 121 9 61

Trombone Ens. 121 10 61

Mute Ensemble 1 121 3 59

Mute Ensemble 2 121 4 59

Synth Brass 1 121 5 62

Electrik Brass 121 4 62

Brass Fall 121 26 61

Brass Impact 121 4 55

Brass Hit 121 25 61

Factory/Sax

Tenor Sax DN1 121 16 66

Tenor Sax DN2 121 17 66

Jazz Sax DN1 121 20 65

Jazz Sax DN2 121 21 65

Tenor Growl DN1 121 18 66

PopAltoSax DN1 121 22 65

Alto Sax DN1 121 23 65

SoftAltoSax DN1 121 24 65

Soprano Sax DN1 121 6 64

Baritone Sax DN1 121 6 67

Jazz Tenor Sax 1 121 9 66

Tenor Sax Noise1 121 1 66

Sweet Soprano 1 121 3 64

Folk Sax 121 5 66

Baritone Sax Pro 121 3 67

Reed of Power 121 11 66

958| Appendix

Sound CC00 CC32 PC

Sax Ensemble 121 2 65

Real Sax Ens. 121 15 65

Cool Sax Ens. 121 11 65

Sax Ens. Legato 121 19 65

Factory/Woodwind

RealClarinet DN1 121 21 71

JazzClarinet DN1 121 22 71

Flute 121 9 73

Jazz Flute Expr. 121 1 73

Oboe 1 121 5 68

Classic Oboe 121 2 68

Cool Oboe 121 3 68

Bassoon 121 1 70

Double Reed 121 1 68

Piccolo 121 3 72

Ocarina 121 1 79

Blown Bottle 121 1 76

Pan Flute DN1 121 5 75

Whistle DN1 121 6 78

Whistle Robin 121 7 78

Whistle Sine 121 1 78

Shakuhachi 121 2 77

Shakuhachi Vel. 121 3 77

Clarinet Pro 1 121 8 71

Clarinet Pro 2 121 9 71

Clar & Sax Ens 1 121 17 71

Clar & Sax Ens 2 121 18 71

Clarinet Ens. 121 5 71

Reeds & Saxes 121 10 71

Small Orchestra 121 1 72

Factory/Synth Pad

Warm Pad 121 15 89

Square Pad 121 15 90

Dark Pad 121 6 89

Sound CC00 CC32 PC

Analog Pad 1 121 8 89

Symphonic Ens. 121 14 89

Warm Buzz 121 17 89

The Pad 121 4 89

Far Memories 121 14 91

Big Side Attack 121 18 89

Atmoschoir Pad 121 15 91

Dark Anna 121 13 89

Tsunami Wave 121 6 91

Ravelian Pad 121 8 91

Motion Ocean 121 1 96

Moving Bell 121 5 98

Mixed Echoes 121 16 91

Space Trailer 121 1 103

Jurassic Pad 121 3 88

Pisco Pad 121 2 99

Tension Scene 121 8 97

Movie Stack 1 121 4 99

Movie Stack 2 121 5 99

Movie Stack 3 121 6 99

Dronas Pad 121 4 93

S&H Pad DNC 121 10 96

Techno Stab DNC 121 3 93

VCF Modulation 121 3 101

Rhythmical Synth 121 9 99

Krystal Bell 121 3 98

Moon Cycles 121 5 102

Eastern Depths 121 8 99

Wave-Sequence 121 4 96

Pop Synth Pad 1 121 4 91

Pop Synth Pad 2 121 12 91

Cosmic 121 1 93

Aerosonic 121 5 96

My Sequencer 121 6 96

Musical Resources |959

Sound CC00 CC32 PC

Step Sequencer 121 7 96

Choir-Sequence 121 13 91

Big Panner 121 4 63

Digi Ice Pad 121 2 101

Cinema Pad 121 5 95

OB Pad 121 12 89

Future Pad 121 5 91

Double Sweep 121 9 95

Vintage Sweep 121 7 95

Super Sweep 121 4 90

Wave Sweep 121 5 90

Fresh Air 1 121 2 91

Fresh Air 2 121 11 91

Bell Pad 121 6 98

80’s Pop Synth 121 2 93

Next Analog 121 16 89

Air Clouds 121 1 97

Meditate 121 2 95

Factory/Synth Lead

Next Dance DNC 121 13 87

Lab Synth DNC 121 8 84

Trance Filter 121 16 87

Vintage Monster 121 17 87

Thin PulSeq DNC 121 21 81

Deep Modul. DNC 121 10 84

Summit Pulse 121 13 81

Bros Buzz Y+ 121 14 87

Noised Lead DNC 121 20 87

Fast Glide Saw 121 20 81

Fat Synth 121 15 87

Parallel Trance 121 9 84

Dance Syn Perc 121 3 114

Old Portamento 121 3 80

Monster & Dist. 121 18 87

Sound CC00 CC32 PC

Side Distortion 121 13 84

Revolution 121 12 84

Reverse Pulse 121 14 81

Rave 121 6 97

Rich Lead 121 3 87

MonoSaw Detune 121 17 81

MonoSaw 2 Oct. 121 18 81

MonoSaw 3 Oct. 121 19 81

Power Saw 121 5 81

Bass Phat Saw 121 12 87

Justiﬁed 121 11 84

Octo Lead 121 6 81

Dance Lead 121 4 80

Wave Lead 121 5 80

Simple Square 121 14 80

HipHop Lead 121 6 87

Phat Saw Lead 121 8 81

Big Sweep Stab 121 12 90

Noisy Stabb 121 8 90

A Leadload 121 11 87

OB Lead 121 10 87

Big & Raw 121 8 87

Synth Pianoid 121 12 81

Factory/Ethnic

Mandolin DNC 121 40 25

Mandolin UpDw 121 43 25

Mandolin Orch.1 121 41 25

Mandolin Orch.2 121 42 25

Mandolin Trem. 121 11 25

Real Cavaquinho 121 27 24

Cavaquinho 1 121 23 24

Cavaquinho 2 121 24 24

Real Ukulele 121 25 24

Zither 121 9 104

960| Appendix

Sound CC00 CC32 PC

Sitar 121 8 104

Sitar Tambou 121 2 104

Indian Frets 121 4 104

Fiddle 121 1 110

Banjo 121 4 105

Banjo Key Off 121 1 105

Kanoun 1 121 5 107

Kanoun 2 121 2 107

Kanoun Trem. 1 121 6 107

Kanoun Trem. 2 121 3 107

Oud 1 121 5 105

Oud 2 121 2 105

Mandolin Ens. 1 121 26 25

Mandolin Ens. 2 121 27 25

Kanoun Mix 121 4 107

Bouzouki 121 5 104

Nay 121 2 72

Kawala 121 1 75

Klarnet 1 121 11 71

Klarnet 2 121 12 71

Clarinet G 121 2 71

Hichiriki 121 2 111

HighlandBagPipes 121 3 109

Uillean BagPipes 121 2 109

Zurna 1 121 3 111

Zurna 2 121 1 111

Ac. Baglama 1 121 7 107

Ac. Baglama 2 121 8 107

Ac. Baglama Grp. 121 9 107

Gamelan 121 1 112

Jaw Harp 121 3 105

Garbage Mall 121 3 112

Factory/Bass

Real Ac. Bass 1 121 13 32

Sound CC00 CC32 PC

Acoustic Bass 1 121 14 32

Acous. Bass Pro1 121 3 32

Ac. Jazz Bass 121 9 32

JB Finger BsDN1 121 29 33

JB Finger BsDN2 121 30 33

JB Pick Bs DN1 121 18 34

JB Pick Bs DN2 121 19 34

Finger Bass DN1 121 16 33

Dark Bs&Slap DN1 121 7 36

JB Fing.Slap Bs 121 32 33

JB Slap Bass 121 8 36

Basic Saw Bass 121 18 39

SimplePulse Bass 121 19 39

Euro Bass 121 4 39

30303 Square 121 6 38

Vintage P. Pick 121 12 34

Vintage P. Bass 121 23 33

Vintage P.Round 121 17 33

Vintage P. Flat 121 18 33

Finger E.Bass 1 121 7 33

Finger E.Bass 2 121 4 33

Dark E.Bass 2 121 24 33

5StringsBass RX 121 19 33

Synth Bass 1 121 18 38

Disclosure Bass 121 16 39

Jungle Bass 121 13 38

Jungle Reso. 121 5 39

Fretless Bass 1 121 1 35

Sweet Fretless 121 3 35

MM Fretless B.RX 121 8 35

Woofer Pusher 1 121 9 35

Picked E. Bass 1 121 2 34

Picked Jazz Bass 121 13 34

Super Bass 1 121 2 36

Musical Resources |961

Sound CC00 CC32 PC

Thumb Bass 121 1 37

Digi Bass 1 121 11 38

Digi Bass 2 121 9 38

30303 Bass 121 5 38

Fancy Bass 121 17 39

Bass & Ride 1 121 6 32

Bass & Ride 2 121 2 32

Chorus Fing.Bass 121 8 33

Stein Bass 121 3 34

Techno Org.Bass 121 6 17

Org. Synth Pulse 121 13 17

Organ Bass 121 10 32

Syn Bass Reso. 121 8 38

Willy FM Bass 121 19 38

Bass&Gtr Double 121 6 34

FingerB.& Guitar 121 14 33

Bass & Guitar 121 4 34

Legacy

Legacy/Piano

Piano Pad 1 121 2 1

Piano Pad 2 121 3 1

G.Piano Stack 2 121 9 2

90’s Piano 121 3 2

2000’s Piano 121 4 2

Chorus Piano 121 5 2

E. Grand Phaser 121 10 2

Saloon Piano 121 4 3

Harpsichord 2 121 6 6

Harpsi 16’ 121 5 6

Harpsi Korg 121 4 6

Clav Snap 121 3 7

Sticky Clav 121 4 7

Legacy/E. Piano

Pro Dyno EP 121 5 4

Sound CC00 CC32 PC

Pro Stage EP 121 6 4

Studio EP 121 7 4

Suit Case88 EP2 121 33 4

Dyno Tine EP 1 121 10 4

Dyno Tine EP 2 121 22 4

Bell E. Piano 1 121 23 4

Bell E. Piano 2 121 24 4

Tine E. Piano 2 121 19 4

EP+Damper 2 121 26 4

Vintage EP 121 4 4

Stereo Dig. EP 121 6 5

Hybrid EP 121 8 5

Phantom Tine 121 10 5

Soft Wurly 121 13 4

Hard Wurly 121 14 4

FM Stack EP 121 16 5

Velo Wurly 121 15 4

White Pad EP 121 13 5

FM Pad EP 121 15 5

Sweeping EP 121 12 5

Classic Dig. EP 121 7 5

Syn Piano X 121 5 5

Road Piano 121 11 2

E. Piano Noise 121 35 4

Wurly Noise 121 42 4

Legacy/Mallet & Bell

Vibraphone 2 121 3 11

Monkey Skuls 121 3 12

Digi Bell 121 4 98

Legacy/Accordion

Sweet Harmonica 121 1 22

Cassotto NorTune 121 14 21

Acc. Clarinet NT 121 20 21

Acc. Piccolo NT 121 22 21

962| Appendix

Sound CC00 CC32 PC

Sweet Musette 121 11 21

Musette 2 121 4 21

Musette Clar. 121 5 21

Detune Accordion 121 15 21

Akordeon 121 2 21

Arabic Accordion 121 10 21

Cassotto 121 9 21

Cassotto 16’ DNC 121 30 21

Cassotto Or.Tune 121 13 21

Master Accordion 121 23 21

Steirisch.Akk.3 121 27 21

Steirisch.Akk.4 121 28 21

Harmonica 1 DNC 121 5 22

Harmonica 2 DNC 121 9 22

Harmonica 3 DNC 121 10 22

Jazz Harm. DNC 121 6 22

Sweet Harm. DNC 121 7 22

Harmonica 1 121 3 22

Harmonica 2 121 4 22

Harmonica 3 121 2 22

Melodica DNC 121 8 22

Accordion16,8,4’ 121 3 23

Acc.Voice Change 121 6 23

Legacy/Organ

Classic Click 121 4 18

Perc. Organ 3 121 10 17

Perc.Short Deca 121 8 18

Rock Organ 2 121 11 18

Jimmy Organ V. 121 10 18

BX3 Rock 1 V. 121 10 16

BX3 Rock 2 V. 121 1 18

BX3 Rock 3 V. 121 5 18

BX3 Rock 4 V. 121 12 18

Dirty B 121 3 18

Sound CC00 CC32 PC

Killer B 121 2 18

BX3 Short Decay 121 7 17

Super BX Perc. 121 6 18

Gospel Organ 2 121 9 16

Gospel Organ V. 121 13 16

BX3 Gospel V. 121 21 16

Drawbars Organ 121 14 16

Organ Mid V. 121 16 16

Organ Hi V. 121 17 16

Drawbars Slow V. 121 19 16

Drawbars Fast V. 121 18 16

Organ Low+1’V. 121 33 16

Organ HiMix1 V. 121 34 16

Organ HiMix2 V. 121 35 16

Organ 16+51/3 V. 121 36 16

Organ Low V. 121 4 16

Old Wheels 121 3 17

Dark Organ 1 121 7 16

Dark Organ 2 121 5 16

Rotary Organ 121 8 17

M1 Organ 121 5 17

Dirty JazzOrgan 121 7 18

Arabian Organ 121 12 16

Theatre Organ 3 121 24 16

Theatre Organ 4 121 25 16

Tibia 121 26 16

Tibia 16+8+4’ 121 27 16

Tibia & Vox 121 28 16

Tibia & Kinura 121 31 16

Tibia Vox Glock 121 32 16

Post Horn Trem. 121 29 16

Legacy/Guitar

Nylon Bossa 121 4 24

Nylon Vel. Harm. 121 10 24

Musical Resources |963

Sound CC00 CC32 PC

Nylon Guitar 121 15 24

Nylon Gtr Pro1 121 8 24

Nylon Gtr Pro2 121 11 24

Nylon Slide Pro 121 14 24

Natural Nylon 121 19 24

Spanish Guitar 121 6 24

Brazilian Guitar 121 9 24

Real Steel Gtr 121 31 25

Real Folk Gtr 121 32 25

RealFolk GtrST 1 121 29 25

Steel Folk Gtr 121 9 25

Guitar & Strings 121 7 24

Finger Tips 121 8 25

Finger Key Off 121 7 25

Jazz Gtr 2 DNC 121 7 26

Club Jazz Gtr 2 121 3 26

Pop Steel Slide 121 23 25

Reso Guitar 121 12 25

Tel. Midddle 121 26 27

Clean Mute Gtr 121 6 28

Clean Funk 121 8 28

Country Nu 121 11 27

Hackbrett 121 6 25

Tel. Bridge 121 27 27

Guitarish 121 8 27

Stra. Gtr Slide 121 17 27

Stra. Chime 121 5 28

L&R E.Guitar 1 121 9 27

L&R E.Guitar 2 121 10 27

Rhythm E.Guitar 121 7 28

Chorus Gtr DNC 121 34 27

Muted Guitar 121 19 28

E.Gtr Harmonics 121 2 31

Solo Dist.Guitar 121 7 30

Sound CC00 CC32 PC

Lead Guitar DNC 121 4 29

Dist. Steel Gtr 121 12 30

Joystick Gtr Y- 121 3 30

Nylon Gtr RX1 121 12 24

Nylon Gtr RX2 121 13 24

RealNylon Gtr ST 121 16 24

Ac.Guitar KeyOff 121 5 24

Steel Slide Pro1 121 13 25

Steel Slide Pro2 121 14 25

Steel Guitar 1 121 4 25

Steel Guitar 2 121 20 25

Steel 12 Strings 121 5 25

Concert 12 Str 121 22 24

Steel Gtr DNC 121 44 25

Classic12Str DNC 121 38 25

Classic12Str Pro 121 37 25

Classic12Strings 121 39 25

12 Strings Pro 121 17 25

12 Strings RX 121 18 25

Pop Steel Gtr 1 121 21 25

Pop Steel Gtr 2 121 22 25

Steel Guitar RX1 121 15 25

Steel Guitar RX2 121 16 25

Pop SteelGtr RX1 121 24 25

Pop SteelGtr RX2 121 25 25

Clean Funk RX1 121 10 28

Clean Funk RX3 121 11 28

Funk Stein RX1 121 12 28

Funk Stein RX2 121 13 28

Clean Guitar RX1 121 14 28

Clean Guitar RX2 121 15 28

Clean Guitar RX3 121 16 28

Clean Guitar RX4 121 17 28

Clean Guitar RX5 121 18 28

964| Appendix

Sound CC00 CC32 PC

Clean Guitar RX6 121 20 28

Club Jazz Gtr 1 121 2 26

JazzGtr SlidePro 121 6 26

Vintage S. 1 121 19 27

Vintage S. 2 121 4 27

Clean Jazz 2 121 22 27

R&R Guitar 121 4 28

Real El. Guitar1 121 30 27

Real El. Guitar2 121 31 27

Real El. Gtr ST2 121 29 27

Funky Wah RX 121 12 27

Clean Gtr Pro 1 121 13 27

Clean Gtr Pro 2 121 15 27

Clean Guitar 1 121 20 27

Clean Guitar 2 121 25 27

Dist. Guitar RX1 121 9 30

Dist. Guitar RX2 121 10 30

Dist. Gtr 2 DNC 121 13 30

Power Chords 2 121 4 30

Stra. Gtr 1 DNC 121 32 27

Clean Funk RX2 121 36 27

‘54 E. Guitar 121 24 27

Wet Dist. Guitar 121 6 30

Vox Wah Chick 121 3 120

Legacy/Strings & Vocal

Violin Expr. 2 121 2 40

Violin Expr. 3 121 8 40

Strings Ens. 1 121 21 48

Strings Ens. 2 121 3 49

Strings Ens. 3 121 22 48

Movie Strings 1 121 5 49

Movie Strings 2 121 6 49

OrchestraTutti 2 121 19 48

SopranoChoirDNC 121 6 53

Stereo Strings 121 3 48

Sound CC00 CC32 PC

Master Pad 121 2 89

N Strings 121 6 48

Arco Strings 121 7 48

Legato Strings 121 4 48

Double Strings 121 3 45

Ensemble & Solo 121 11 48

Analog Strings 2 121 2 50

Sweeper Strings 121 1 49

Synth Strings 2 121 1 51

SopranoVox2 DNC 121 5 53

Take Voices 2 121 5 52

Aah Choir 121 7 52

Femal Scat 121 15 52

Male Scat 121 16 52

Scat Voices 121 19 52

Grand Choir 121 11 52

Cyber Choir 121 2 85

Strings Choir 121 13 52

Slow Choir 121 10 52

Slow Violin 121 3 40

Odissey 121 4 50

Analog Velve 121 3 50

Ether Voices 121 1 85

Dream Voice 121 5 54

Classic Vox 121 4 54

Orch. & Oboe 2 121 17 48

Doolally 121 2 53

Legacy/Trumpet & Trbn.

JazzTrumpet1 DNC 121 24 56

JazzTrumpet2 DNC 121 27 56

JazzTrumpet3 DNC 121 28 56

JazzTrumpet4 DNC 121 30 56

JazzTrumpet5 DNC 121 35 56

Trumpet Expr.DNC 121 26 56

JazzCornet 1 DNC 121 25 56

Musical Resources |965

Sound CC00 CC32 PC

JazzCornet 2 DNC 121 29 56

Jazz Trb. 1 DNC 121 15 57

Jazz Trb. 2 DNC 121 14 57

Jazz Trb. 3 DNC 121 18 57

Trombone DNC 121 13 57

HardTrombone DNC 121 19 57

Soft Trb. DNC 121 16 57

Cornet Pro 1 121 22 56

Cornet Pro 2 121 23 56

Trb. Expr. DNC 121 17 57

Trombone Expr. 2 121 7 57

Trombone Vel. 3 121 10 57

Mono Trumpet 121 3 56

Trumpet Pro 1 121 10 56

Trumpet Pro 2 121 11 56

Trumpet Pro 3 121 16 56

Trumpet 121 14 56

Cornet Legato 121 31 56

Warm Flugel 121 8 56

Flugel Horn Pro 121 13 56

Flugel Horn 121 7 56

Hard Trombone 121 3 57

Soft Trombone 121 4 57

Pitch Trombone 121 5 57

Trombone Pro Vel 121 11 57

Ob.Tuba&E.Bass 1 121 4 58

Ob.Tuba&E.Bass 2 121 5 58

Concert Trp. Pro 121 20 56

BeBop Cornet 121 9 56

Trombone 121 12 57

Dynabone 121 3 58

Legacy/Brass

Tight Brass 4 121 12 61

Tight Brass Pro 121 28 61

Attack Brass 121 8 61

Sound CC00 CC32 PC

Big BandShake Y+ 121 33 61

Film Brass 121 17 61

Brass Section 121 31 61

Power Brass 121 21 61

Dyna Brass 2 121 22 61

Trumpet Ens1 Y+ 121 35 61

Trumpet Ens2 Y+ 121 36 61

Trombones 121 11 61

Double Brass 121 24 61

Brass Slow 121 18 61

Sax & Brass 121 5 61

Classic Horns 121 3 60

Fanfare 121 19 61

Synth Brass 2 121 5 63

Brass Pad 121 3 63

MorphAttackBrass 121 37 61

Netherland Hit 121 8 55

Legacy/Sax

Tenor Sax 1 DNC 121 12 66

Tenor Sax 2 DNC 121 13 66

Tenor Sax 3 DNC 121 14 66

Tenor Sax 4 DNC 121 15 66

Jazz Sax 1 DNC 121 13 65

Jazz Sax 2 DNC 121 14 65

Jazz Sax 3 DNC 121 16 65

Soprano Sax DNC 121 5 64

Alto Sax 1 DNC 121 12 65

Alto Sax 2 DNC 121 17 65

SoftLatinSax DNC 121 18 65

Baritone Sax DNC 121 5 67

Jazz Tenor Sax 2 121 10 66

Tenor Sax Noise2 121 6 66

Tenor Sax Expr.1 121 7 66

Tenor Sax Expr.2 121 8 66

Breathy Tenor 121 3 66

966| Appendix

Sound CC00 CC32 PC

Soft Tenor 121 2 66

Tenor Growl 121 4 66

Alto Sax Pro 121 8 65

Alto Sax Expr. 121 9 65

Breathy Alto 1 121 1 65

Breathy Alto 2 121 3 65

Alto Sax Growl 121 4 65

Sweet Alto Sax 1 121 5 65

Sweet Alto Sax 2 121 6 65

Soft Alto Sax 121 7 65

Alto Sax 121 10 65

Sweet Soprano 2 121 4 64

Sweet Soprano 3 121 1 64

Soprano Pro 121 2 64

Baritone Sax 121 4 67

Breathy Baritone 121 2 67

Baritone Growl 121 1 67

Sax Breath & Key 121 2 121

Legacy/Woodwind

RealClarinet DNC 121 14 71

JazzClarinet DNC 121 15 71

Folk Clarinet 121 7 71

Jazz Clarinet 121 1 71

Clarinet 1 DNC 121 13 71

SoloClarinet DNC 121 16 71

Clarinet 2 DNC 121 19 71

Clarinet 3 DNC 121 20 71

Jazz Flute 1 DNC 121 13 73

Jazz Flute 2 DNC 121 14 73

Orch. Flute DNC 121 12 73

Jazz Flute 121 10 73

Flute DNC 121 11 73

Orchestra Flute 121 5 73

Flute Switch 121 2 73

Sound CC00 CC32 PC

Flute Dyn. 5th 121 3 73

Flute Frullato 121 4 73

Wooden Flute 121 7 73

Oboe 2 121 4 68

English Horn 121 1 69

Pan Flute 1 DNC 121 2 75

Pan Flute 2 DNC 121 3 75

Pan Flute Y- 121 4 75

Bambu Flute 121 8 73

Whistle 1 121 3 78

Whistle 2 121 4 78

Whistle 2 DNC 121 5 78

Breathy Whistle 121 2 78

Recorder 1 121 1 74

Recorder 2 121 2 74

Old Shakuhachi 121 1 77

Woodwinds 121 6 71

Section Winds 1 121 3 71

Section Winds 2 121 4 71

Legacy/Synth Pad

Sky Watcher 121 2 90

Vintage Pad 121 11 89

You Decide 121 8 95

Korgmatose 121 13 90

Reoccuring Astra 121 6 95

Astral Dream 121 1 95

Reso Down 121 2 97

Crimson 5ths 121 1 86

Freedom Pad 121 7 89

Noble Pad 121 5 97

Mellow Pad 121 4 95

Elastick Pad 121 7 97

Lonely Spin 121 1 100

Synth Ghostly 121 2 100

Musical Resources |967

Sound CC00 CC32 PC

Farluce 121 11 90

Dark Element 121 3 95

Bell Choir 121 7 98

Wide Attack 121 10 99

Wave Cycle 121 3 96

Movie Stack 4 121 7 99

Bengione 121 1 99

Cross Sweep 121 6 90

Virtual Traveler 121 1 88

Dreaming Coil 121 3 99

Analog Pad 2 121 9 89

Analog Pad 3 121 10 89

Money Pad 121 5 89

Pods In Pad 121 4 97

Chiff Touch Pad 121 1 83

Tinklin Pad 121 3 97

Dance ReMix 121 10 91

Organ Stab DNC 121 4 101

Legacy/Synth Lead

Synchro City 121 2 84

Wild Arp 121 6 55

Seq Lead 121 7 81

Electro Lead 121 2 87

Thin Analog Lead 121 4 87

Glide Lead 121 9 81

Fire Wave 121 10 81

Old & Analog 121 8 80

Power Synth 121 3 89

Mega Synth 121 9 90

Digital PolySix 121 7 90

Flip Blip 121 7 55

Reso Sweep 121 1 90

Synth Sweeper 121 3 90

Sync Kron 121 3 84

Sound CC00 CC32 PC

Tecno Phonic 121 10 90

Band Passed 121 3 102

Cat Lead 121 9 87

Pan Reso 121 4 102

Metallic Rez 121 4 84

Square Rez 121 11 80

Rezbo 121 11 81

Express. Lead 121 5 87

Port Whine 121 12 80

Auto Pilot 1 121 14 38

Arp Angeles 121 2 88

Brian Sync 121 5 84

Arp Twins 121 6 84

LoFi Ethnic 121 7 84

Caribbean 121 2 96

Sine Wave 121 6 80

Analog Lead 121 7 80

Gliding Square 121 9 80

Sine Switch 121 10 80

Cycle Seq. 1 121 8 96

Cycle Seq. 2 121 9 96

2VCO Planet Lead 121 13 80

Motion Raver 121 1 101

Legacy/Ethnic

Mandolin Key Off 121 10 25

War Pipes 121 1 109

Sitar Sitar 121 7 104

Hit in India 121 5 55

Tambra 121 6 104

Indian Stars 121 3 104

Bali Gamelan 121 2 112

Ukulele Gtr 121 26 24

Legacy/Bass

Acous. Bass Pro2 121 4 32

968| Appendix

Sound CC00 CC32 PC

Acous. Bass RX 121 7 32

Acoustic Bass 2 121 8 32

Real Ac. Bass 2 121 12 32

Ac. Bass Buzz 121 1 32

Finger E.Bass 3 121 2 33

Finger E.Bass 4 121 3 33

Finger E.Bass 5 121 6 33

Bright Finger B. 121 9 33

FingerE.Bass1 RX 121 10 33

Finger Slap 121 12 33

FingerE.Bass2 RX 121 13 33

Finger E.Bass 6 121 15 33

Dark E.Bass 1 121 20 33

FingerE.Bass3 RX 121 21 33

Dark E.Bass DNC 121 22 33

Picked E. Bass 2 121 1 34

Bass Mute 121 5 34

Picked E. Bass 4 121 7 34

Picked E. Bass 5 121 8 34

Picked E.Bass RX 121 10 34

Picked E. Bass 3 121 11 34

Fretless Bass 2 121 2 35

Dark R&B Bass2 121 5 35

Slap Bass 1 121 6 36

Slap Bass 2 121 6 37

Slap Bass 3 121 7 37

DynaSlapBass RX 121 3 37

Super Bass 2 121 1 36

FunkSlapBass RX 121 3 36

The Other Slap 121 5 37

SlapFingerBassRX 121 4 36

SlapPickedBassRX 121 5 36

Chorus Slap Bass 121 4 37

DarkWoody A.Bass 121 5 32

Sound CC00 CC32 PC

More Mid Bass 121 11 33

Woofer Pusher 2 121 6 35

Dark R&B Bass1 121 4 35

Dyna Bass 121 2 37

Ticktacing Bass 121 9 34

Fretless Bass 3 121 7 35

Stick Bass 121 5 33

Auto Pilot 2 121 13 39

Phunk Synth Bass 121 14 39

Digi Bass 3 121 10 38

Dr. Octave 121 16 38

Monoﬁlter Bass 121 11 39

Autoﬁlter Bass 121 10 39

Hybrid Bass 121 15 38

Synth Bass 80ish 121 9 39

Synth Bass 2 121 15 39

Reso Bass 121 12 39

Drive Bass 121 17 38

Nasty Bass 121 6 39

Bass Square 121 7 38

Square Bass 121 7 87

Phat Bass 121 7 39

Blind As A Bat 121 12 38

Poinker Bass 121 8 39

GM/XG

GM/XG/Piano

AcousticPiano GM 121 0 0

Ac. Piano Wide 121 1 0

Ac. Piano Dark 121 2 0

Bright Piano GM 121 0 1

Bright PianoWide 121 1 1

E.Grand Piano GM 121 0 2

E. Grand Wide 121 1 2

Honky-Tonk GM 121 0 3

Musical Resources |969

Sound CC00 CC32 PC

Honky Wide 121 1 3

E. Piano 1 GM 121 0 4

Detuned EP 1 121 1 4

EP 1 Veloc. Mix 121 2 4

60’s E. Piano 121 3 4

E. Piano 2 GM 121 0 5

Detuned EP 2 121 1 5

EP 2 Veloc. Mix 121 2 5

EP Legend 121 3 5

EP Phase 121 4 5

Harpsichord GM 121 0 6

Harpsi OctaveMix 121 1 6

Harpsi Wide 121 2 6

Harpsi Key Off 121 3 6

Clav GM 121 0 7

Pulse Clav 121 1 7

AcousticPiano XG 0 0 0

AcousticPiano KP 0 1 0

Mellow Gr. Piano 0 18 0

Piano Strings 0 40 0

Piano Dream 0 41 0

Bright Piano XG 0 0 1

Bright Piano KP 0 1 1

E.Grand Piano XG 0 0 2

E.Grand Piano KP 0 1 2

E. Grand Detuned 0 32 2

Layered E.Grand1 0 40 2

Layered E.Grand2 0 41 2

Honky-Tonk XG 0 0 3

Honky-Tonk KP 0 1 3

E. Piano 1 XG 0 0 4

E. Piano 1 KP 0 1 4

Mellow EP1 0 18 4

Chorus EP 1 0 32 4

Sound CC00 CC32 PC

Hard El. Piano 0 40 4

Vel. X-Fade EP 1 0 45 4

60’s El. Piano 1 0 64 4

E. Piano 2 XG 0 0 5

E. Piano 2 KP 0 1 5

Chorus EP 2 0 32 5

FM EP Hard 0 33 5

FM Legend EP 0 34 5

FM Phase EP 0 40 5

Dx & Analog 0 41 5

FM Koto EP 0 42 5

Vel. X-Fade EP 2 0 45 5

Harpsichord XG 0 0 6

Harpsichord KP 0 1 6

Harpsichord HP 0 25 6

Harpsi Octave 0 35 6

Clav XG 0 0 7

Clav KP 0 1 7

Clav. Wah Dyn. 0 27 7

Pulse Clav X 0 64 7

Pierce Clav 0 65 7

GM/XG/Chrom. Perc.

Celesta GM 121 0 8

Glockenspiel GM 121 0 9

Music Box GM 121 0 10

Vibraphone GM 121 0 11

Vibraphone Wide 121 1 11

Marimba GM 121 0 12

Marimba Wide 121 1 12

Xylophone GM 121 0 13

Tubular Bell GM 121 0 14

Church Bell 121 1 14

Carillon 121 2 14

Dulcimer GM 121 0 15

970| Appendix

Sound CC00 CC32 PC

Celesta XG 0 0 8

Glockenspiel XG 0 0 9

Music Box XG 0 0 10

Orgel Bell 0 64 10

Vibraphone XG 0 0 11

Vibraphone KP 0 1 11

Hard Vibraphone 0 45 11

Marimba XG 0 0 12

Marimba KP 0 1 12

Sin Marimba 0 64 12

Balimba 0 97 12

Log Drum X 0 98 12

Xylophone XG 0 0 13

Tubular Bell XG 0 0 14

Church Bells 0 96 14

Carillonx 0 97 14

Dulcimer XG 0 0 15

Dulcimer Octave 0 35 15

Cimbalom 0 96 15

Santur 2 0 97 15

GM/XG/Organ

Drawbar Org GM 121 0 16

Det. Drawbar Org 121 1 16

It. 60’s Organ 121 2 16

Drawbar Org. 2 121 3 16

Perc.Organ GM 121 0 17

Det. Perc. Organ 121 1 17

Percussive Org 2 121 2 17

Rock Organ GM 121 0 18

Church Organ GM 121 0 19

Church Oct. Mix 121 1 19

Detuned Church 121 2 19

Reed Organ GM 121 0 20

Puff Organ 121 1 20

Sound CC00 CC32 PC

Accordion GM 121 0 21

Accordion 2 121 1 21

Harmonica GM 121 0 22

Tango Accord.GM 121 0 23

Drawbar Org XG 0 0 16

Detuned Drawbar 0 32 16

60’s Draw.Org. 1 0 33 16

60’s Organ X 0 34 16

70’s DB Org. 1 0 35 16

Drawbar Org. 3 0 36 16

Drawbar 5th 0 37 16

Even Bar Org. 0 38 16

Organ 16+2’2/3 0 40 16

Organ Bass Dance 0 64 16

70’s DB Org. 2 0 65 16

Cheezy Organ 0 66 16

Drawbar Org Perc 0 67 16

Perc.Organ XG 0 0 17

70’s Perc. Organ 0 24 17

ChorusPerc.Organ 0 32 17

Lite Organ 0 33 17

Percussive Org X 0 37 17

Rock Organ XG 0 0 18

Rotary Organ V. 0 64 18

Slow Rotary 0 65 18

Fast Rotar y 0 66 18

Church Organ XG 0 0 19

Church Organ 3 0 32 19

Church Organ 2 0 35 19

Notre Dame 0 40 19

Organ Flute 0 64 19

Trem. Org. Flute 0 65 19

Reed Organ XG 0 0 20

Puff Organx 0 40 20

Musical Resources |971

Sound CC00 CC32 PC

Accordion XG 0 0 21

Accord. It. 0 32 21

Harmonica XG 0 0 22

Soft Harmonica 0 32 22

Tango Accord.XG 0 0 23

TangoAccordion 2 0 64 23

GM/XG/Guitar

Nylon Guitar GM 121 0 24

Ukulele 121 1 24

Nylon Key Off 121 2 24

Nylon Guitar 2 121 3 24

Steel Guitar GM 121 0 25

12 Strings Gtr 121 1 25

Mandolin 121 2 25

Steel Gtr & Body 121 3 25

Jazz Guitar GM 121 0 26

Pedal Steel Gtr 121 1 26

Clean Guitar GM 121 0 27

Det.Clean El.Gtr 121 1 27

Mid Tone Gtr 121 2 27

Muted Guitar GM 121 0 28

Funky Cut El.Gtr 121 1 28

Mute Vel. El.Gtr 121 2 28

Jazz Man 121 3 28

Overdrive Gtr GM 121 0 29

Guitar Pinch 121 1 29

DistortionGtr GM 121 0 30

Feedback DistGtr 121 1 30

Dist. Rhythm Gtr 121 2 30

Gtr Harmonic GM 121 0 31

Guitar Feedback 121 1 31

Nylon Guitar XG 0 0 24

Nylon Guitar 2X 0 16 24

Nylon Guitar 3X 0 25 24

Sound CC00 CC32 PC

Nylon & Harm. V. 0 43 24

Ukulele X 0 96 24

Steel Guitar XG 0 0 25

Steel Guitar X 0 16 25

12 Strings Gtr X 0 35 25

Nylon plus Steel 0 40 25

SteelGtrWithBody 0 41 25

Mandolin X 0 96 25

Jazz Guitar XG 0 0 26

Mellow Guitar 0 18 26

Jazz Man Amp 0 32 26

Clean Guitar XG 0 0 27

Chorus El.Gtr 0 32 27

Muted Guitar XG 0 0 28

Funk Cut Guitar 0 40 28

Muted Steel Gtr 0 41 28

Funk Guitar 2 0 43 28

Jazz Boy 0 45 28

Overdrive Gtr XG 0 0 29

Guitar Nip 0 43 29

DistortionGtr XG 0 0 30

Feedback DistGt1 0 40 30

Feedback DistGt2 0 41 30

Gtr Harmonic XG 0 0 31

Gtr Feedback 0 65 31

Gtr Harmonic 0 66 31

GM/XG/Bass

Acoustic Bass GM 121 0 32

Finger Bass GM 121 0 33

Finger Slap Bass 121 1 33

Picked E.Bass GM 121 0 34

Fretless Bass GM 121 0 35

Slap Bass 1 GM 121 0 36

Slap Bass 2 GM 121 0 37

972| Appendix

Sound CC00 CC32 PC

Synth Bass 1 GM 121 0 38

Synth Bass Warm 121 1 38

Synth Bass Reso 121 2 38

Clavi Bass 121 3 38

Hammer 121 4 38

Synth Bass 2 GM 121 0 39

SynthBass Attack 121 1 39

SynthBass Rubber 121 2 39

Attack Pulse 121 3 39

Acoustic Bass XG 0 0 32

Jazz Rhythm 0 40 32

Ac. Bass V. 0 45 32

Finger Bass XG 0 0 33

Finger Dark 0 18 33

Flange Bass 0 27 33

FngBass&DstGuit. 0 40 33

FingerSlapBass V 0 43 33

Finger Bass X 0 45 33

Modulated Bass 0 65 33

Picked E.Bass XG 0 0 34

Muted Pick Bass 0 28 34

Fretless Bass XG 0 0 35

Fretless Bass B 0 32 35

Fretless Det. 0 33 35

Fretless Soft 0 34 35

Synth Fretless 0 96 35

Smooth Fretless 0 97 35

Slap Bass 1 XG 0 0 36

Resonant Slap 0 27 36

Punch Thumb Bass 0 32 36

Slap Bass 2 XG 0 0 37

Velo. Sw. Slap 0 43 37

Synth Bass 1 XG 0 0 38

Sound CC00 CC32 PC

Syn. Bass Dark 0 18 38

Fast Reso. Bass 0 20 38

Acid Bass 0 24 38

Clav. Bass 0 35 38

Techno Bass 0 40 38

Orbiter Bass 0 64 38

Xquare Bass 0 65 38

Rubber Bass 0 66 38

Hammer Bass 0 96 38

Synth Bass 2 XG 0 0 39

Mellow Syn Bass 0 6 39

Sequenced Bass 0 12 39

Click Synth Bass 0 18 39

Synth Bass Dark 0 19 39

Smooth Syn. Bass 0 32 39

Modular Syn Bass 0 40 39

DX Bass 0 41 39

X Wire Bass 0 64 39

GM/XG/Strings

Violin GM 121 0 40

Slow Att. Violin 121 1 40

Viola GM 121 0 41

Cello GM 121 0 42

Contrabass GM 121 0 43

Tremolo Str. GM 121 0 44

Pizzicato Str.GM 121 0 45

Harp GM 121 0 46

Yang Chin 121 1 46

Timpani GM 121 0 47

Violin XG 0 0 40

Slow Atk Violin 0 8 40

Viola XG 0 0 41

Cello XG 0 0 42

Musical Resources |973

Sound CC00 CC32 PC

Contrabass XG 0 0 43

Tremolo Str. XG 0 0 44

Slw Tremolo Str. 0 8 44

Suspense Strings 0 40 44

Pizzicato Str.XG 0 0 45

Harp XG 0 0 46

Yang Chin X 0 40 46

Timpani XG 0 0 47

GM/XG/Ensemble

Strings Ens.1 GM 121 0 48

Strings & Brass 121 1 48

60’s Strings 121 2 48

Strings Ens.2 GM 121 0 49

Synth Strings1GM 121 0 50

Synth Strings 3 121 1 50

Synth Strings2GM 121 0 51

Choir Aahs GM 121 0 52

Choir Aahs 2 121 1 52

Voice Oohs GM 121 0 53

Humming 121 1 53

Synth Voice GM 121 0 54

Analog Voice 121 1 54

Orchestra Hit GM 121 0 55

Bass Hit Plus 121 1 55

6th Hit 121 2 55

Euro Hit 121 3 55

Strings Ens.1 XG 0 0 48

Stereo Stringx 0 3 48

Slw Atk Strings 0 8 48

Arco Stringx 0 24 48

60’s Strings X 0 35 48

Orchestra 0 40 48

Orchestra 2 0 41 48

TremoloOrchestra 0 42 48

Sound CC00 CC32 PC

Velocity Strings 0 45 48

Strings Ens.2 XG 0 0 49

StereoSlwStrings 0 3 49

SlwLegatoStrings 0 8 49

Warm Strings 0 40 49

Kingdom 0 41 49

70’s Strings 0 64 49

Strings 3 0 65 49

Synth Strings1XG 0 0 50

Reso Strings 0 27 50

Synth Strings 4 0 64 50

Synth Strings 5 0 65 50

Synth Strings2XG 0 0 51

Choir Aahs XG 0 0 52

Stereo Choir 0 3 52

Choir Aahs 3 0 16 52

Mellow Choir 0 32 52

Choir Strings 0 40 52

Voice Oohs XG 0 0 53

Synth Voice XG 0 0 54

Synth Voix 0 40 54

Choral 0 41 54

Analog Voix 0 64 54

Orchestra Hit XG 0 0 55

Orchestra Hitx 0 35 55

Impact 0 64 55

GM/XG/Brass

Trumpet GM 121 0 56

Dark Trumpet 121 1 56

Trombone GM 121 0 57

Trombone 2 121 1 57

Bright Trombone 121 2 57

Tuba GM 121 0 58

Muted Trumpet GM 121 0 59

974 | Appendix

Sound CC00 CC32 PC

Muted Trumpet 2 121 1 59

French Horn GM 121 0 60

FrenchHorn Warm 121 1 60

Brass Section GM 121 0 61

Brass Section 2 121 1 61

Synth Brass 1 GM 121 0 62

Synth Brass 3 121 1 62

Analog Brass 1 121 2 62

Jump Brass 121 3 62

Synth Brass 2 GM 121 0 63

Synth Brass 4 121 1 63

Analog Brass 2 121 2 63

Trumpet XG 0 0 56

Trumpet 2 0 16 56

Brite Trumpet 0 17 56

Trombone XG 0 0 57

Warm Trombone 0 18 57

Tuba XG 0 0 58

Tuba 2 0 16 58

Muted Trumpet XG 0 0 59

French Horn XG 0 0 60

French Horn Solo 0 6 60

Warm French Horn 0 32 60

Horn Orchestra 0 37 60

Brass Section XG 0 0 61

Tpt&Tbn Section 0 35 61

Brass Section 3 0 40 61

Hit Brass 0 41 61

Mellow Brass 0 42 61

Synth Brass 1 XG 0 0 62

Quack Brass 0 12 62

Res. Synth Brass 0 20 62

Poly Brass 0 24 62

Synth Brass 4 X 0 27 62

Sound CC00 CC32 PC

Jump Brass X 0 32 62

AnaVel Brass 1 0 45 62

AnaLog Brass 1 0 64 62

Synth Brass 2 XG 0 0 63

Soft Brass 0 18 63

Synth Brass X 0 40 63

Choir Brass 0 41 63

AnaVel Brass 2 0 45 63

AnaLog Brass 2 0 64 63

GM/XG/Reed

Soprano Sax GM 121 0 64

Alto Sax GM 121 0 65

Tenor Sax GM 121 0 66

Baritone Sax GM 121 0 67

Oboe GM 121 0 68

English Horn GM 121 0 69

Bassoon GM 121 0 70

Clarinet GM 121 0 71

Soprano Sax XG 0 0 64

Alto Sax XG 0 0 65

Sax Section 0 40 65

HyperAltoSax 0 43 65

Tenor Sax XG 0 0 66

BreathyTenorSax 0 40 66

Soft Tenor Sax 0 41 66

Tenor Sax 2 0 64 66

Baritone Sax XG 0 0 67

Oboe XG 0 0 68

English Horn XG 0 0 69

Bassoon XG 0 0 70

Clarinet XG 0 0 71

GM/XG/Pipe

Piccolo GM 121 0 72

Flute GM 121 0 73

Musical Resources |975

Sound CC00 CC32 PC

Recorder GM 121 0 74

Pan Flute GM 121 0 75

Blown Bottle GM 121 0 76

Shakuhachi GM 121 0 77

Whistle GM 121 0 78

Ocarina GM 121 0 79

Piccolo XG 0 0 72

Flute XG 0 0 73

Recorder XG 0 0 74

Pan Flute XG 0 0 75

Blown Bottle XG 0 0 76

Shakuhachi XG 0 0 77

Whistle XG 0 0 78

Ocarina XG 0 0 79

GM/XG/Syn Lead Syn Pad

Lead Square GM 121 0 80

Lead Square 2 121 1 80

Lead Sine 121 2 80

Lead Saw GM 121 0 81

Lead Saw 2 121 1 81

Lead Saw & Pulse 121 2 81

Lead Double Saw 121 3 81

Lead Seq. Analog 121 4 81

Calliope GM 121 0 82

Chiff GM 121 0 83

Charang GM 121 0 84

Wire Lead 121 1 84

Voice Lead GM 121 0 85

Fifths Lead GM 121 0 86

Bass & Lead GM 121 0 87

Lead Soft Wrl 121 1 87

New Age Pad GM 121 0 88

Warm Pad GM 121 0 89

Sine Pad 121 1 89

Sound CC00 CC32 PC

Polysynth GM 121 0 90

Choir Pad GM 121 0 91

Itopia Pad 121 1 91

Bowed Glass GM 121 0 92

Metallic Pad GM 121 0 93

Halo Pad GM 121 0 94

Sweep Pad GM 121 0 95

Lead Square XG 0 0 80

Square Lead 0 6 80

LM Square 0 8 80

Hollow 0 18 80

Shroud 0 19 80

Mellow 0 64 80

Solo Sine 0 65 80

Sine Lead 0 66 80

Lead Saw XG 0 0 81

Sawtooth Lead 0 6 81

Thick Sawtooth 0 8 81

Dynamic Sawtooth 0 18 81

Digital Saw 0 19 81

Big Lead 0 20 81

Heavy Synth 0 24 81

Wasp Synth 0 25 81

Pulse Saw 0 40 81

Dr. Lead 0 41 81

Velocity Lead 0 45 81

Sequenced Analog 0 96 81

Calliope XG 0 0 82

Pure Lead 0 65 82

Chiff XG 0 0 83

Rubby 0 64 83

Charang XG 0 0 84

Distorted Lead 0 64 84

Wire Lead X 0 65 84

976| Appendix

Sound CC00 CC32 PC

Voice Lead XG 0 0 85

Synth Aahs 0 24 85

Vox Lead 0 64 85

Fifths Lead XG 0 0 86

Big Five 0 35 86

Bass & Lead XG 0 0 87

Big & Low 0 16 87

Fat & Perky 0 64 87

Soft Whirl 0 65 87

New Age Pad XG 0 0 88

Fantasy 0 64 88

Warm Pad XG 0 0 89

Thick Pad 0 16 89

Soft Pad 0 17 89

Sine Pad X 0 18 89

Horn Pad 0 64 89

Rotary Strings 0 65 89

Polysynth XG 0 0 90

Poly Pad 800 0 64 90

Click Pad 0 65 90

Analog Pad 0 66 90

Square Pad X 0 67 90

Choir Pad XG 0 0 91

Heaven Mod 0 64 91

Itopia 0 66 91

C.C. Pad 0 67 91

Bowed Glass XG 0 0 92

Glacier 0 64 92

Metallic Pad XG 0 0 93

Tine Pad 0 64 93

Pan Pad 0 65 93

Halo Pad XG 0 0 94

Sweep Pad XG 0 0 95

Shwimmer 0 20 95

Sound CC00 CC32 PC

Converge 0 27 95

Polar Pad 0 64 95

Celestial 0 66 95

GM/XG/Synth SFX

Ice Rain GM 121 0 96

Soundtrack GM 121 0 97

Crystal GM 121 0 98

Synth Mallet 121 1 98

Atmosphere GM 121 0 99

Brightness GM 121 0 100

Goblins GM 121 0 101

Echo Drops GM 121 0 102

Echo Bell 121 1 102

Echo Pan 121 2 102

Star Theme GM 121 0 103

Ice Rain XG 0 0 96

Clav. Pad 0 45 96

Harmo. Rain 0 64 96

African Wind 0 65 96

Carib 0 66 96

Soundtrack XG 0 0 97

Prologue 0 27 97

Ancestral Clouds 0 64 97

Crystal XG 0 0 98

Synth Drum Comp. 0 12 98

Popcorn 0 14 98

Tiny Bells 0 18 98

Round Glocken. 0 35 98

Glocken. Chimes 0 40 98

Clear Bells 0 41 98

Chorus Bells 0 42 98

Synth Mallet X 0 64 98

Soft Crystal 0 65 98

LoudGlockenspiel 0 66 98

Musical Resources |977

Sound CC00 CC32 PC

Xmas Bell 0 67 98

Vibe Bells 0 68 98

Digital Bells 0 69 98

Air Bells 0 70 98

Bell Harp 0 71 98

Gamelimba 0 72 98

Atmosphere XG 0 0 99

Warm Atmosph. 0 18 99

Hollow Release 0 19 99

Nylon El. Piano 0 40 99

Nylon Harp 0 64 99

Harp Vox 0 65 99

Atmosphere Pad 0 66 99

Planet 0 67 99

Brightness XG 0 0 100

Fantasy Bells 0 64 100

Smokey 0 96 100

Goblins XG 0 0 101

Goblin Synth 0 64 101

Creeper 0 65 101

Ring Pad 0 66 101

Ritual 0 67 101

To Heaven 0 68 101

Night 0 70 101

Glisten 0 71 101

Bell Choir X 0 96 101

Echo Drops XG 0 0 102

Echoes 0 8 102

Echo Pan X 0 14 102

Echo Bell X 0 64 102

Big Pan 0 65 102

Synth Piano 0 66 102

Creation 0 67 102

Star Dust 0 68 102

Pan Reso X 0 69 102

Sound CC00 CC32 PC

Star Theme XG 0 0 103

Starz 0 64 103

GM/XG/Ethnic

Sitar GM 121 0 104

Sitar 2 121 1 104

Banjo GM 121 0 105

Shamisen GM 121 0 106

Koto GM 121 0 107

Taisho Koto 121 1 107

Kalimba GM 121 0 108

Bag Pipes GM 121 0 109

Fiddle GM 121 0 110

Shanai GM 121 0 111

Sitar XG 0 0 104

Detuned Sitar 0 32 104

Octave Sitar 0 35 104

Tamboura 0 97 104

Banjo XG 0 0 105

Muted Banjo 0 28 105

Rabab 0 96 105

Gopichant 0 97 105

Oud 3 0 98 105

Shamisen XG 0 0 106

Koto XG 0 0 107

Taisho-Kin 0 96 107

Kanoun X 0 97 107

Kalimba XG 0 0 108

Bag Pipes XG 0 0 109

Fiddle XG 0 0 110

Shanai XG 0 0 111

GM/XG/Percussive

Tinkle Bell GM 121 0 112

Agogo GM 121 0 113

Steel Drums GM 121 0 114

Woodblock GM 121 0 115

978| Appendix

Sound CC00 CC32 PC

Castanets 121 1 115

Taiko Drum GM 121 0 116

Concert BassDrum 121 1 116

Melodic Tom GM 121 0 117

Melodic Tom 2 121 1 117

Synth Drum GM 121 0 118

Rhythm Box Tom 121 1 118

Electric Drum 121 2 118

ReverseCymbalGM 121 0 119

Tinkle Bell XG 0 0 112

Bonang 0 96 112

Altair 0 97 112

Gamelal Gongs 0 98 112

St.GamelanGongs 0 99 112

Rama Cymbal 0 100 112

Asian Bells 0 101 112

Agogo XG 0 0 113

Steel Drums XG 0 0 114

Glass Percussion 0 97 114

Thai Bells 0 98 114

Woodblock XG 0 0 115

Castanex 0 96 115

Taiko Drum XG 0 0 116

Gran Cassa 0 96 116

Melodic Tom XG 0 0 117

Melodic Tom 3 0 64 117

Real Tom 0 65 117

Rock Tom 0 66 117

Synth Drum XG 0 0 118

Analog Tom 0 64 118

Electric Perc. 0 65 118

ReverseCymbalXG 0 0 119

GM/XG/SFX

Gtr FretNoise GM 121 0 120

Sound CC00 CC32 PC

Guitar Cut Noise 121 1 120

Ac. Bass String 121 2 120

Breath Noise GM 121 0 121

Flute Key Click 121 1 121

Seashore GM 121 0 122

Rain 121 1 122

Thunder 121 2 122

Wind 121 3 122

Stream 121 4 122

Bubble 121 5 122

Bird Tweet GM 121 0 123

Dog 121 1 123

Horse Gallop 121 2 123

Bird Tweet 2 121 3 123

Telephone GM 121 0 124

Telephone 2 121 1 124

Door Creaking 121 2 124

Door 121 3 124

Scratch 121 4 124

Wind Chime 121 5 124

Helicopter GM 121 0 125

Car Engine 121 1 125

Car Stop 121 2 125

Car Pass 121 3 125

Car Crash 121 4 125

Siren 121 5 125

Train 121 6 125

Jetplane 121 7 125

Starship 121 8 125

Burst Noise 121 9 125

Applause GM 121 0 126

Laughing 121 1 126

Screaming 121 2 126

Punch 121 3 126

Musical Resources |979

Sound CC00 CC32 PC

Heart Beat 121 4 126

Footsteps 121 5 126

Gun Shot GM 121 0 127

Machine Gun 121 1 127

Laser Gun 121 2 127

Explosion 121 3 127

Gtr FretNoise XG 0 0 120

Breath Noise XG 0 0 121

Seashore XG 0 0 122

Sound CC00 CC32 PC

Bird Tweet XG 0 0 123

Telephone XG 0 0 124

Helicopter XG 0 0 125

Applause XG 0 0 126

Gun Shot XG 0 0 127

User 121 64-67 0-127

Local 99 0-127 0-127

980| Appendix

DNC Sounds and controls

The following table lists the DNC Sounds and their DNC controls. DNC, DN1 and

DN2 Sounds use different sets of controls.

Sound Name CC PC Legato SC1 SC2 Y+ Y– After

Touch

00 32 In Out Note On Note Off Note On Note Off

Factory/Piano

ClassicClav DNC 121 7 7 Pickup

position 1

(toggle)

Pickup

position 2

(toggle)

Factory/Accordion

Harmonica 1 DN1 121 11 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 1 DN2 121 12 22 Legato Atk > ±9st: Riff

Up/Down

Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 2 DN1 121 13 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 3 DN1 121 14 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Factory/Guitar

Concert Gtr DNC 121 20 24 Legato Atk Slide Up Harm Body NZ Vibrato

Nylon Guitar DNC 121 18 24 Legato Atk Slide Up Harm Body NZ Vibrato

ClassicSteel DNC 121 36 25 Legato Atk Slide Up Harm Body NZ Vibrato

RealFolk Gtr DNC 121 34 25 Legato Atk Slide Up Harm Body NZ Vibrato

SteelGtrPro DNC 121 19 25 Legato Atk Slide Up Harm Body NZ Vibrato

Strum 12Str.DNC 121 33 25 Legato Atk Slide Up Harm Body NZ Vibrato

Strat N Cln DNC 121 38 27 Slide Up Mute Vibrato

Dist. Gtr 1 DNC 121 14 30 Legato Atk Slide Up Mute Feedback Vibrato

Crunch Gtr DNC 121 3 29 Legato Atk Slide Up Mute Feedback Vibrato

Jazz Gtr 1 DNC 121 8 26 Legato Atk Slide Up Mute Octave

(toggle)

Vibrato

Stra.GtrUpDwDNC 121 33 27 Slide Up Mute

E.Gtr Ch/Dly DNC 121 35 27 Legato Atk Slide Up Mute

Factory/Strings & Vocal

SopranoVox1 DNC 121 4 53 < ±6st:

Smooth

> ±6st:

Gliss Up/

Down

> G4: 4th

< F5: 5th

Down

Factory/Trumpet & Trbn

Jazz Trumpet DN1 121 33 56 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Trumpet DN2 121 34 56 Legato Atk > ±9st: Riff

Up/Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Cornet DN1 121 32 56 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Trb. DN1 121 20 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Musical Resources |981

Sound Name CC PC Legato SC1 SC2 Y+ Y– After

Touch

00 32 In Out Note On Note Off Note On Note Off

Jazz Trb. DN2 121 21 57 Legato Atk > ±9st:

Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Soft Trb. DN1 121 22 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Soft Trb. DN2 121 23 57 Legato Atk > ±9st:

Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

HardTrombone

DN1

121 24 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

HardTrombone

DN2

121 25 57 Legato Atk > ±9st:

Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Factory/Sax

Tenor Sax DN1 121 16 66 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Tenor Sax DN2 121 17 66 > ±9st: Riff

Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Tenor Growl DN1 121 18 66 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Jazz Sax DN1 121 20 65 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Jazz Sax DN2 121 21 65 > ±9st: Riff

Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

PopAltoSax DN1 121 22 65 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Alto Sax DN1 121 23 65 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

SoftAltoSax DN1 121 24 65 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Soprano Sax DN1 121 6 64 Riff Up Fa ll Down Riff Down Gliss Down Alt Timbre More Vib.

Baritone Sax DN1 121 6 67 Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Factory/Woodwind

RealClarinet DN1 121 21 71 Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

JazzClarinet DN1 121 22 71 Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

Pan Flute DN1 121 05 75 Riff Up Fall Down Gliss Up Gliss Down Alt Attack More Vib.

Whistle DN1 121 06 78 Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

Factory/Synth Pad

S&H Pad DNC 121 10 96 White

Noise

RND ﬁlter Reson. Detune HP Filter

Factory/Synth Lead

Next Dance DNC 121 13 87 White

Noise

Alt Timbre LP Filter Reson.

Lab Synth DNC 121 8 84 HP Filter Detune LP Filter Reson.

Deep Modul. DNC 121 10 84 HP Filter Alt Attack LFO Speed

Increase

LFO Speed

Decrease

Factory/Ethnic

Mandolin DNC 121 40 25 Legato Atk No Rel.

982| Appendix

Sound Name CC PC Legato SC1 SC2 Y+ Y– After

Touch

00 32 In Out Note On Note Off Note On Note Off

Factory/Bass

JB Finger BsDN1 121 29 33 Mute Harm Ghost Vibrato

JB Finger BsDN2 121 30 33 Pick Slap Mute Vibrato

JB Pick Bs DN1 121 18 34 Mute Harm Ghost Vibrato

JB Pick Bs DN2 121 19 34 Finger Slap Mute Vibrato

Finger Bass DN1 121 16 33 Mute Harm Ghost Vibrato

Dark Bs&Slp DN1 121 7 36 Mute Harm Ghost Vibrato

The following table explains the meaning of the DNC controls.

DNC Control Meaning

Legato (In) Playing legato inside the Legato range (as deﬁned in the Sound > Basic >

Sound page, and shown in the previous table)

Legato (Out) Playing legato out of the Legato range

SC1 Note On Sound Controllers 1 & 2 (SC1, SC2) are MIDI controllers that can be as-

signed to a physical control (assignable switch or footswitch). They can be

activated either by a Note On or a Note Off message.

For example, imagine you are playing an Accordion DN1-type Sounds, and

SC1 is assigned to an assignable switch. The SC1 controller is programmed

as a ‘booking’-type control in Sound Edit (Sound > Basic > Sound page),

therefore it will affect the next Note On or Note Off event. If you press the

switch before playing a note (Note On), a Riff Up will be triggered when

playing a note. If you press the switch while the note is playing, a Fall Down

will be triggered when releasing the note (Note Off).

SC1 Note Off

SC2 Note On

SC2 Note Off

Y+ Downward movement of the Joystick

Y– Downward movement of the Joystick

After Touch Deeper press on the key (only received from MIDI or from a MIDI Song)

Depending on the chosen Sounds and the assigned DNC functions, the SC1, SC2

and Y– controllers can either ‘book’ a function, that will be triggered while play-

ing, or enable (or disable) it by pressing the button to ‘toggle’ it. When an SC1

or SC2 controller is assigned to an assignable switch, the indicator will show the

DNC controllers status.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

Musical Resources |983

Drum Kits

The following table lists all Factory Drum Kits as they appear in the Sound Select

window. The table also includes MIDI data used to remotely select the Sounds.

CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank

Select LSB. PC: Program Change.

Drum Kit CC00 CC32 PC

Factory/Drum & SFX

Pop Kit 1 Amb 120 0 52

Funk Kit 1 Amb 120 0 53

VintageKit 1 Amb 120 0 54

Rock Kit 1 Amb 120 0 55

Jazz Kit 1 Amb 120 0 62

Standard Kit Amb 120 0 93

Room Kit Amb 120 0 80

Gate Kit Amb 120 0 23

Trance Kit 120 0 63

Dance Kit Remix 120 0 29

Drum & FX Kit 1 120 0 78

Drum & FX Kit 2 120 0 79

Power Kit 1 Amb 120 0 20

Power Kit 2 Amb 120 0 21

Rock Kit 2 Amb 120 0 22

VintageKit 2 Amb 120 0 94

Real Kit 1 Amb 120 0 81

Real Kit 2 Amb 120 0 82

Brush Kit 1 Amb 120 0 45

Brush Kit 2 Amb 120 0 46

Jazz Kit 2 Amb 120 0 36

Jazz Kit 3 Amb 120 0 37

Cool Kit Amb 120 0 39

Lounge Kit Amb 120 0 38

Pop Kit Amb 120 0 88

Ambient Kit 120 0 3

Studio Kit 120 0 95

Drum Kit CC00 CC32 PC

Groove Kit 120 0 77

Synth Kit 1 120 0 59

Synth Kit 2 120 0 58

Synth Kit 3 120 0 61

Analog Kit 120 0 123

Standard Kit 1 120 0 5

Standard Kit 2 120 0 1

Standard Kit 3 120 0 2

Standard Kit 4 120 0 6

Pop Std. Kit 1 120 0 89

Pop Std. Kit 2 120 0 90

Pop Std. Kit 3 120 0 4

Standard PercKit 120 0 69

Brush Kit 1 120 0 42

Brush Kit 2 120 0 43

Brush Kit 3 120 0 44

Percussion Kit 120 0 64

Electro Kit 1 120 0 75

Electro Kit 2 120 0 76

Electro Kit 3 120 0 122

Jungle Kit 120 0 10

House Kit 1 120 0 30

House Kit 2 120 0 31

Power Kit 1 120 0 18

Power Kit 2 120 0 19

Jazz Kit 1 120 0 33

Jazz Kit 2 120 0 34

Jazz Kit 3 120 0 35

984| Appendix

Drum Kit CC00 CC32 PC

Oriental PercKit 120 0 119

HipHop Kit 1 120 0 9

HipHop Kit 2 120 0 72

SFX Kit 1 120 0 60

SFX Kit 2 120 0 57

Arabian Kit 1 120 0 51

Arabian Kit 2 120 0 117

Latin Perc.Kit 1 120 0 65

Latin Perc.Kit 2 120 0 68

Turkish Kit 120 0 118

Dance Kit 120 0 74

Trinity Perc.Kit 120 0 66

i30 Perc. Kit 120 0 67

Deep Noise 121 4 127

Incipit Noises 121 3 119

Legacy/Drum & SFX

Room Kit 1 120 0 120

Room Kit 2 120 0 12

Elektro Kit 1 120 0 96

Elektro Kit 2 120 0 97

Techno Kit 1 120 0 11

Techno Kit 2 120 0 73

Techno Kit 3 120 0 15

Techno Kit 4 120 0 14

House Kit 3 120 0 26

House Kit 4 120 0 27

House Kit 5 120 0 28

HipHop Kit 3 120 0 13

Power Kit 3 120 0 121

Power Kit 4 120 0 17

Brush Kit 4 120 0 125

Brush Kit 5 120 0 41

Standard Kit 5 120 0 7

Orchestra Kit 120 0 49

Drum Kit CC00 CC32 PC

Bdrum&Sdrum Kit 120 0 50

Log Drum 121 4 12

Reverse Tom 121 2 117

Reverse Snare 121 3 118

Reverse Cymbal 121 2 119

Dragon Gong 121 1 119

Stadium 121 6 126

Castanets Plus 121 2 115

Timpani 121 1 47

Woodblock 121 3 115

Footstep Walk 121 7 126

GM/XG/Drum

Standard Kit GM 120 0 0

Room Kit GM 120 0 8

Power Kit GM 120 0 16

Electro Kit GM 120 0 24

Analog Kit GM 120 0 25

Jazz Kit GM 120 0 32

Brush Kit GM 120 0 40

Orchestra Kit GM 120 0 48

SFX Kit GM 120 0 56

Standard Kit1 XG 127 0 0

Standard Kit2 XG 127 0 1

Room Kit XG 127 0 8

Rock Kit XG 127 0 16

Electro Kit XG 127 0 24

Analog Kit XG 127 0 25

Jazz Kit 1 XG 127 0 32

Jazz Kit 2 XG 127 0 33

Brush Kit XG 127 0 40

Classic Kit XG 127 0 48

User 120 64-65 0-127

Local 100 0 0-127

Musical Resources |985

Multisamples

The following table contains all the Factory Multisamples.

Multisample

Acoustic Piano f L

Acoustic Piano f R

Acoustic Piano f OT L

Acoustic Piano f OT R

Acoustic Piano Res L

Acoustic Piano Res R

Acoustic Piano Res OT L

7 Acoustic Piano Res OT R

Piano Leakage-L

Piano Leakage-R

Hammer Noise-L

Hammer Noise-R

Piano FX Pedal On L

Piano FX Pedal On R

Piano FX Pedal Off L

Piano FX Pedal Off R

Piano FX Key Off L

Piano FX Key Off R

Baby Grand L

Baby Grand R

Piano M1

E.GrandPiano

E.Piano FM 1

E.Piano FM 1LP

E.Piano FM 2

E.Piano PO 1

E.Piano PO 2

E.Piano PO 3

E.Piano PO 4

E.Piano PO 5

E.Piano PO 6

Multisample

E.Piano PO 7

E.Piano PO Kof p

E.Piano PO Kof f

E.Piano Rx Kon L

E.Piano Rx Kon R

E.Piano Rx Kof L

E.Piano Rx Kof R

E.Piano Suit Bright p

E.Piano Suit Bright mf

E.Piano Suit Bright f

E.Piano Dyno p

E.Piano Dyno mf

E.Piano Dyno f

E.Piano Dyno Soft

E.Piano Dyno SoftLP

E.Piano Stage Hard

E.Piano Stage HardLP

E.Piano Vintage 1

E.Piano Vintage 2

E.Piano Vintage 3

E.Piano Vintage 4

E.Piano Vintage 5

E.Piano Vintage 6

E.Piano Vintage Koff

E.Piano Wurly Soft

E.Piano Wurly Hard

E.Piano Pad 1

E.Piano Pad 1LP

E.Piano Pad 2

Clav. 1

Clav. 2

Multisample

Clav. 3

Clav. 4

Clav. GM

Harpsichord1 Lt

Harpsichord1 Key Off

Harpsichord1 Release

Harpsichord1 Bump On

Harpsichord1 Bump Off

Harpsichord2

Harpsichord2 Key Off

Gospel Organ Slow L

Gospel Organ Slow R

Gospel Organ Fast L

Gospel Organ Fast R

16’ 8’ LF L

16’ 8’ LF R

16’ 8’ LS L

16’ 8’ LS R

16’ 8’ 51/3 LF L

16’ 8’ 51/3 LF R

16’ 8’ 51/3 LS L

16’ 8’ 51/3 LS R

4’ 22/3’ 2’ LF L

4’ 22/3’ 2’ LF R

4’ 22/3’ 2’ LS L

4’ 22/3’ 2’ LS R

11/3’ 13/5’ 1’ LF L

11/3’ 13/5’ 1’ LF R

11/3’ 13/5’ 1’ LS L

11/3’ 13/5’ 1’ LS R

16’ 8’ 51/3’ Perc LF L

986| Appendix

Multisample

16’ 8’ 51/3’ Perc LF R

16’ 8’ 51/3’ Perc LS L

16’ 8’ 51/3’ Perc LS R

Theater Organ 1

Theater Organ 2

50s E.Organ Bright

50s E.Organ Dark

100

E.Organ CX 3

101

E.Organ Perc. O1W

102

E.Organ Perc. 1

103

E.Organ Perc. 2

104

E.Organ Perc. 3

105

E.Organ Perc. 4

106

Organ 1 M1

107

Organ 2 M1

108

Organ 1

109

Organ 2

110

Organ 2LP

111

Organ 3 Jazz

112

BX3 & Perc. 3rd

113

E.Organ Vox

114

E.Organ Soft

115

E.Organ Full

116

E.Organ Dist

117

Rotary Organ 1

118

Rotary Organ 2

119

Super BX3

120

Super BX3LP

121

Rotor Noise LF L

122

Rotor Noise LF R

123

Rotor Noise LS L

124

Rotor Noise LS R

125

H Organ Leakage

126

H Organ 2nd Harmonic

Multisample

127

H Organ Click Kon

128

H Organ Click Koff

129

ON-Click (Organ)

130

OFF-Click (Organ)

131

Pipe Flute L

132

Pipe Flute R

133

Pipe Positive

134

Pipe Mixture

135

Pipe Full 1 L

136

Pipe Full 1 R

137

Pipe Full 2

138

El Organ Toy

139

Music Box

140

Kalimba

141

Kalimba GM

142

Marimba

143

MarimbaLP

144

Xylophone

145

Balaphone

146

Vibraphone1

147

Vibraphone1LP

148

Vibraphone2

149

Celesta

150

Celesta GM

151

CelestaLP

152

Glockenspiel

153

GlockenspielLP

154

Tubular Bell

155

Log Drum

156

Steel Drum Hard

157

Steel Drum GM

158

Gamelan

159

FM Bell

160

Flute mf

Multisample

161

Flute f

162

Flute Chiff

163

Flute

164

Flute Falls

165

Flute Gliss Up

166

Flute Gliss Down

167

Flute Frull

168

Flute Voice

169

Flute Jazz

170

Flute Vibrato

171

Flute Attack p

172

Flute Attack f

173

Breath Noise RX

174

Piccolo

175

Pan Flute

176

Pan Flute Attack

177

Tin Whistle Voice

178

Whistle Gliss

179

Whistle Straight

180

Whistle Sfz Vibr

181

Whistle Sfz No Vibr

182

Whistle Slow Atk Vibr

183

Whistle Robin

184

Whistle Breath

185

Shakuhachi

186

Shakuhachi Atk

187

Shakuhachi Mid

188

Shakuhachi High

189

Bottle

190

Bottlizer

191

Shanai GM

192

Recorder

193

Recorder Vibrato

194

Ocarina

Musical Resources |987

Multisample

195

Clarinet 1 Vibrato p

196

Clarinet 1 Vibrato f

197

Clarinet 1 GlissUp

198

Clarinet 1 GlissUp Sus

199

Clarinet 1 Fall

200

Clarinet 2

201

Clarinet 3

202

Double Reed M1

203

Oboe 1 Vibrato

204

Oboe 2 Straight

205

Oboe key noises

206

Oboe Get a Breath

207

English Horn

208

Bassoon 2

209

Baritone Sax p

210

Baritone Sax f

211

Baritone Sax GM

212

Tenor Sax Vib 1

213

Tenor Sax Vib 2

214

Tenor Sax Vib 3

215

Tenor Sax Vib 4

216

Tenor Sax Glissando

217

Tenor Sax Falls

218

Tenor Sax Riff Up

219

Tenor Sax Fall Down

220

Tenor Sax Vibrato

221

Tenor Sax Expressive

222

Tenor Sax p

223

Tenor Sax mf

224

Tenor Sax f

225

Tenor Sax M1

226

Tenor Sax GM

227

Alto Sax Vib 1

228

Alto Sax Vib 2

Multisample

229

Alto Sax Vib 2 Drive

230

Alto Sax p

231

Alto Sax f

232

Alto Sax GM

233

Alto Sax Growl

234

Soprano Sax Vibrato

235

Soprano Sax Straight

236

Soprano Sax GM

237

Sax Family Vibrato

238

Sax key on

239

Sax key off

240

Sax breath

241

Musette 1

242

Musette 2

243

Musette 2LP

244

Musette 3 L

245

Musette 3 R

246

Accordion 16’

247

Accordion 16’ OT

248

Accordion 8’

249

Accordion 8’ OT

250

Accordion 4’

251

Accordion 4’ OT

252

Accordion preset 1

253

Accordion preset 2

254

Accordion Bassoon

255

Accordion Clarinet

256

Accordion Bandoneon

257

Bandoneon

258

Bandoneon Stop

259

Bandoneon Short

260

Bandoneon Valve

261

Bandoneon RX

262

Accordion Volkst.

Multisample

263

Accordion Bass

264

Accordion Noise KeyOn

265

Accordion Noise KeyOff

266 Accordion Change Voice

267

Harmonica 1

268

Harmonica 1 Fall

269

Harmonica 2

270

Harmonica 3 Wah

271

Melodica

272

Melodica Key On

273

Melodica Key Off

274

Highland Bag Pipes

275

Highland Drones

276

Uilleann Pipes

277

Bag Pipes

278

Bag Pipes GM

279

French Horn T1

280

French Horn Ensemble

281

French Horns GM

282

Tenor Horn

283

Flugel Horn Vibrato

284

Flugel Horn M1

285

Tuba p

286

Tuba f

287

Tuba GM

288

Tuba Bariton Attack

289

Trombone 1 p

290

Trombone 1 mf

291

Trombone 1 f

292

Trombone 1 Gliss Up

293

Trombone 1 Fall

294

Trombone 1 Smear

295

Trombone 2 Vibrato

296

Trombone 3 mf

988| Appendix

Multisample

297

Trombone 3 f

298

Trombone 4 Soft

299

Trombone 4 Bright

300

Trombone 5 Straight fff

301

Trombone Slur Up

302

Trombone Fall

303

Trombone GM

304

2 Trombones mf L

305

2 Trombones mf R

306

2 Trombones f L

307

2 Trombones f R

308

Classic Trumpet p

309

Classic Trumpet f

310

Pop Trumpet p

311

Pop Trumpet f

312

Trumpet Expr.

313

Trumpet Slow p

314

Trumpet Slow f

315

Trumpet GM

316

Trumpet Tonguing p

317

Trumpet Tonguing f

318

Trumpet Medium

319

Trumpet Overblown

320

Trumpet Muted

321

Trumpet Muted GM

322

Trumpet Wah

323

Trumpet WDH Shakes

324

Trumpet Doit

325

Trumpet Fall

326

2 Trumpets p L

327

2 Trumpets p R

328

2 Trumpets f L

329

2 Trumpets f R

330

Brass Ensemble Stereo L

Multisample

331

Brass Ensemble Stereo R

332

Brass Ensemble 1

333

Brass Ensemble 2

334

Brass Ensemble GM

335

Soprano Voice

336

Soprano Voice AD

337

Soprano Voice 5thDw

338

Soprano Voice 4thUp

339

Voice Female Wuh

340

Voice Female Woh

341

Voice Female Wah

342

Voice Female Dah

343

Voice Male Wuh

344

Voice Male Woh

345

Voice Male Wah

346

Voice Male Dah

347

Voice Choir

348

Voice Hoo

349

Voice Pop Ooh

350

Voice Pop Ah

351

Voice Doo

352

Voice DooLP

353

Violin 1 Classic

354

Violin 1 Gliss Up

355

Violin 1 Gliss Dw

356

Violin 1 Strings Free

357

Violin 1 Trill Up

358

Violin 2 Solo Vibrato

359

Violin 2 Straight

360

Violin GM

361

Fiddle GM

362

Viola Vibrato p

363

Viola Vibrato f

364

Viola GM

Multisample

365

Cello & Contrabass

366

Cello GM

367

Violin & Cello

368

Strings Quartet Vibrato1

369

Strings Quartet Vibrato2

370

Pizzicato

371

Strings Ensemble St L

372

Strings Ensemble St R

373

Strings Ensemble GM L

374

Strings Ensemble GM R

375

Strings Ensemble Mono

376

Strings Ensemble Tremolo

377

Pizzicato Ensemble

378

Harp Stereo L

379

Harp Stereo R

380

Harp Atk L

381

Harp Atk R

382

Harp Mono

383

Ac.Gtr M Mute 1 L

384

Ac.Gtr M Mute 1 R

385

Ac.Gtr M Mute 2 L

386

Ac.Gtr M Mute 2 R

387

Ac.Gtr M 1 L

388

Ac.Gtr M 1 R

389

Ac.Gtr M 2 L

390

Ac.Gtr M 2 R

391

Ac.Gtr M 3 L

392

Ac.Gtr M 3 R

393

Ac.Gtr M HTone Up 1 L

394

Ac.Gtr M HTone Up 1 R

395

Ac.Gtr M HTone Up 2 L

396

Ac.Gtr M HTone Up 2 R

397

Ac.Gtr M Harmonics L

398

Ac.Gtr M Harmonics R

Musical Resources |989

Multisample

399

Ac.Gtr RX noises L

400

Ac.Gtr RX noises R

401

Ac.Gtr ﬁnger off L

402

Ac.Gtr ﬁnger off R

403

Steel Gtr 1 Pick p

404

Steel Gtr 1 Pick mf

405

Steel Gtr 1 Pick f

406

Steel Gtr 1 Mute

407

Steel Gtr 1 Slide

408

Steel Gtr 2 p

409

Steel Gtr 2 mf

410

Steel Gtr 2 f

411

Steel Gtr 2 Slap

412

Steel Gtr 2 Slide

413

Steel Gtr 12 Strings

414

Steel Gtr Harmonics 1

415

Steel Gtr Harmonics 2

416

Steel Gtr Noise

417

Guitar Fret Noise Off

418

Guitar Body

419

Nylon Gtr1 p L

420

Nylon Gtr1 p R

421

Nylon Gtr1 mf1 L

422

Nylon Gtr1 mf1 R

423

Nylon Gtr1 mf2 L

424

Nylon Gtr1 mf2 R

425

Nylon Gtr1 mf3 L

426

Nylon Gtr1 mf3 R

427

Nylon Gtr1 f L

428

Nylon Gtr1 f R

429

Nylon Gtr1 Slide p L

430

Nylon Gtr1 Slide p R

431

Nylon Gtr1 Slide f L

432

Nylon Gtr1 Slide f R

Multisample

433

Nylon Gtr1 Harmonics L

434

Nylon Gtr1 Harmonics R

435

Nylon Gtr2 p

436

Nylon Gtr2 mf

437

Nylon Gtr2 f

438

Nylon Gtr2 Atk

439

Nylon Gtr2 GM

440

FS N Dw Clean 1

441

FS N Dw Clean 2

442

FS N Dw Clean 3

443

FS N Dw Clean 4

444

FS N Ghost Clean

445

FS N Mute Clean 1

446

FS N Mute Clean 2

447

FS N Mute Clean 3

448

FS N Mute Clean 4

449

FS N Mute Clean 5

450

FS B RX Noise Clean 1

451

FS B RX Noise Clean 2

452

Stra P2 MtS1

453

Stra P2 MtS2

454

Stra P2 MtS3

455

Stra P2 MtS4

456

Stra P2 MtS5

457

Stra P2 MtS6

458

Stra P2 MtL1

459

Stra P2 MtL2

460

Stra P2 MtL3

461

Stra P2 Dw1

462

Stra P2 Dw2

463

Stra P2 Dw3

464

Stra P2 Dw4

465

Stra P2 Dw5

466

Stra P2 Up1

Multisample

467

Stra P2 Up2

468

Stra P2 Up3

469

Stra P2 Up4

470

Stra P2 Up5

471

Stra P2 SlideHT p

472

Stra P2 SlideHT f

473

Stra P2 Harm 12

474

Stra P2 Harm 7

475

Stra P2 Harm 5

476

Stra P2 Ghost Dw

477

Stra P2 Fret Nuances

478

Stra P2 Key Off

479

Stra RX1 (Old Compatib)

480

Stra RX2

481

El.Guitar Stra 54 p

482

El.Guitar Stra 54 mf

483

El.Guitar Stra 54 f

484

El.Guitar Stra 54 Slide

485

El.Guitar Tel Mid p

486

El.Guitar Tel Mid mf

487

El.Guitar Tel Mid f

488

El.Guitar Tel Bridge p

489

El.Guitar Tel Bridge mf

490

El.Guitar Tel Bridge f

491

El.Guitar Tel Mt 5th p

492

El.Guitar Tel Mt 5th mf

493

El.Guitar Tel Mt 5th f

494

El.Guitar Tel Mt 5th ff

495

El.Guitar Clean Str p

496

El.Guitar Clean Str f

497

El.Guitar Clean Mute

498

El.Guitar Clean Dead

499

El.Guitar Clean Slap

500

El.Guitar Clean Slide

990| Appendix

Multisample

501

El.Guitar Clean GM

502

El.Guitar Fret Noise GM

503

El.Guitar Cut Noise GM

504

El.Guitar Le Neck

505

El.Guitar Le Bridge

506

El.Guitar Le Mute p

507

El.Guitar Le Mute mf

508

El.Guitar Le Ghost1

509

El.Guitar Le Ghost2

510

El.Guitar Harmonics

511

El.Guitar Gliss Down

512

El.Guitar Gliss Up

513

El.Guitar Noise

514

El.Guitar Fret Noise

515

Jazz Guitar1

516

Jazz Guitar2

517

Jazz Gib mellow p

518

Jazz Gib mellow mf

519

Jazz Gib mellow f

520

Jazz Octave Guitar

521

Pedal Steel Guitar

522

Resonator Guitar

523

Vox Wah Guitar

524

Overdrive GM

525

Dist.Guitar1

526

Dist.Guitar1 GM

527

Dist.Guitar MP 1

528

Dist.Guitar MP 2

529

Dist.Guitar MP 3

530

Dist.Guitar MP 4

531

Dist.Guitar MP 5

532

Dist.Guitar MP KeyOff

533

Dist.Guitar1 Harm.

534

Dist.Guitar1 Harm. GM

Multisample

535

Dist.Guitar2 Harm. P1

536

Dist.Guitar2 Harm. P2

537

Dist.Guitar2 Mute1

538

Dist.Guitar2 Mute2

539

El.Guitar DistMuted 1

540

El.Guitar DistMuted 2

541

El.Guitar PowerChord1

542

El.Guitar PowerChord2

543

El.Guitar PowerChord3

544

Ac.Bass Natural

545

Ac.Bass Natural Key Off

546

Ac.Bass Natural Ghost

547

Acoustic Bass1

548

Acoustic Bass2 mf

549

Acoustic Bass2 f

550

Acoustic Bass3 mf

551

Acoustic Bass3 f

552

Acoustic Bass GM

553 Acoustic Bass RX Noises

554

JB Finger 1

555

JB Finger 2

556

JB Finger 3

557

JB Finger 4

558

JB Ghost

559

JB Finger Mute 1

560

JB Finger Mute 2

561

JB Finger Mute 3

562

JB Harmonics

563

FJB Fretless KeyOff

564

Bass SR Hammer On

565

JB Pick 1

566

JB Pick 2

567

JB Pick 3

568

JB Pick Mute 1

Multisample

569

JB Pick Mute 2

570

JB Pick Mute 3

571

JB Thumb 1

572

JB Thumb 2

573

JB Slap 1

574

JB Slap 2

575

JB Slap Ghost

576

Bass Prec FS Finger

577

Bass Prec Finger

578

Bass Prec FingerDeads

579

Bass Prec Pick Open p

580

Bass Prec Pick Open f

581

Bass Prec Pick Dead

582

Bass Sray Finger

583

Bass Sray Harmonics

584

Bass Sray Deads

585

Bass Sray HandNoise

586

Bass Almb Fingered p

587

Bass Almb Fingered f

588

Bass Fjazz Fingered

589

Bass Fjazz PickMute p

590

Bass Fjazz PickMute f

591

Bass Fjazz Ghost

592

E.Bass1 Finger

593

E.Bass2 P.B.1

594

E.Bass2 P.B.2

595

E.Bass2 LH Stop

596

E.Bass2 RH Stop

597

E.Bass2 Harmo.

598

E.Bass3 p

599

E.Bass3 mf

600

E.Bass3 f Slap

601

E.Bass4 Pick

602

E.Bass4 Harmo.

Musical Resources |991

Multisample

603

E.Bass4 Slap

604

E.Bass4 SlapHar

605

E.Bass4 LH Mute

606

E.Bass4 RH Mute

607

E.Bass5 Finger

608

E.Bass6 Finger

609

E.Bass7 Finger

610

E.Bass8 Pick

611

E.Bass9 Pick Muted1

612

E.Bass9 Pick

613

E.Bass9 PickLP

614

E.Bass10 Thumb

615

E.Bass11 SlapThumb

616

E.Bass Gliss

617

E.Bass Noise1

618

E.Bass Noise2

619

E.Bass Harmonics

620

E.Bass Fretless 1

621

E.Bass Fretless 2

622

Finger Bass GM

623

Picked Bass GM

624

Slap Bass 1 GM

625

Slap Bass 2 GM

626

Fretless Bass GM

627

Sitar 1

628

Sitar 2

629

Sitar GM

630

Sitar & Tambura

631

Zither

632

Santur

633

SanturLP

634

Tambura

635

Bouzouki

636

BouzoukiLP

Multisample

637

Mandolin Dw mf L

638

Mandolin Dw mf R

639

Mandolin Dw f L

640

Mandolin Dw f R

641

Mandolin Up L

642

Mandolin Up R

643

Mandolin mono

644

Mandolin Tremolo

645

Mandolin Ensemble

646

Banjo

647

Banjo GM

648

Cavaquino p

649

Cavaquino mf

650

Cavaquino f

651

Ukulele

652

Shamisen

653

Shamisen GM

654

Koto

655

Koto GM

656

M.E. Oud

657

M.E. Oud Tek

658

M.E. Kanoun1

659

M.E. Kanoun2

660

M.E. Kanoun Tremolo

661

M.E. Baglama1

662

M.E. Baglama2

663

M.E. Zurna

664

M.E. Klarnet Tek

665

M.E. Klarnet

666

M.E. Nay

667

Mouth Harp1

668

Mouth Harp2

669

Mouth Harp3

670

Syn Flute Pad

Multisample

671

Syn Bass Reso

672

Syn Bass FM1

673

Syn Bass FM2

674

Syn Bass FM2LP

675

Syn Bass TB

676

R&B Saw Bass

677

R&B Square Bass

678

Chrom Res

679

Compulsynth

680

Monst Classic

681

Monst Distort

682

Next Dance

683

Fat Synth LG Lt

684

Detuned Super

685

Detuned PWM

686

Synth Brass

687

Pop Synth

688

An.Strings1

689

An.Strings2

690

Vintage Analog

691

White Pad

692

N1 Air Vox

693

SynthBell

694

Ether Bell

695

Ether BellLP

696

Lore

697

Lore NT

698

Space Lore

699

Wave Sweep1

700

Wave Sweep2

701

Wave Sweep3

702

Syn Ghostly

703

Ghost

704

Syn Air Pad

992| Appendix

Multisample

705

Dream Str

706

Syn AirVortex

707

Syn Palawan

708

Syn Clicker

709

Cricket Spectrum

710

Noise1

711

Noise2

712

Noise Pad

713

Swish Terra

714

Saw1

715

Saw2

716

Saw3

717

Pulse 02%

718

Pulse 05%

719

Pulse 08%

720

Pulse 16%

721

Pulse 33%

722

Pulse 40%

723

Square

724

Square MG

725

Square JP

726

Triangle MG

727

Ramp

728

Ramp MG

729

Sine

730

DWGS Syn Sine1

731

DWGS Syn Sine2

732

DWGS Bell1

733

DWGS Bell2

734

DWGS Bell3

735

DWGS Bell4

736

DWGS Clav.

737

DWGS Digi1

738

DWGS Digi2

Multisample

739

DWGS Wire1

740

DWGS Wire2

741

DWGS Sync1

742

DWGS Sync2

743

DWGS Sync3

744

Orchestra Hit GM L

745

Orchestra Hit GM R

746

Band Hit

747

Impact Hit

748

Brass Fall

749

Stadium

750

Applause

751

Birds1

752

Birds2

753

Crickets

754

Church Bell

755

Thunder

756

Stream

757

Bubble

758

Dog

759

Gallop

760

Laughing

761

Telephone Ring

762

Scream

763

Punch

764

Heart Beat

765

Footstep

766

Door Creak

767

Door Slam

768

Car Engine

769

Car EngineLP

770

Car Stop

771

Car Pass

772

Car Crash

Multisample

773

Train

774

Helicopter

775

Gun Shot

776

Machine Gun

777

Laser Gun

778

Explosion

779

Wind

780

Chinese Gong

781

Crash Reverse

782

Crash Reverse GM

783

Orchestra Crash

784

Ride Jazz

785

Ride Edge1

786

Ride Edge2

787

88 HiHat Open

788

88 Cowbell

789

88 Tom

790

88 Conga

791

88 Crash

792

Tom

793

Tom Brush

794

Tom Process

795

Electric Tom

796

Melodic Tom GM

797

Agogo Bell

798

Marc Tree

799

Rain Stick

800

Castanet

801

Temple Blocks

802

Orchestra BD

803

Timpani

804

Taiko

805

Djembe Open

806

Djembe Mute

Musical Resources |993

Multisample

807

Caxixi

808

Stereo Snare L

809

Stereo Snare R

810

FX SD Large Hall1 L

811

FX SD Large Hall1 R

Multisample

812

FX SD Large Hall2 L

813

FX SD Large Hall2 R

814

FX Rim Large Hall1 L

815

FX Rim Large Hall1 R

816

FX Rim Large Hall2 L

Multisample

817

FX Rim Large Hall2 R

818

Click

819

Empty

994| Appendix

# Drum Sample DF

0 BD DW Pop 1 BD

1 BD DW Pop 2 BD

2 BD DW Pop 3 BD

3 BD DW Pop 4 BD

4 BD DW Pop 5 BD

5 BD DW Pop 6 BD

6 BD Grt A 1 BD

7 BD Grt A 2 BD

8 BD Grt A 3 BD

9 BD Grt A 4 BD

10 BD Grt A 5 BD

11 BD Grt A 6 BD

12 BD Grt B 1 BD

13 BD Grt B 2 BD

14 BD Grt B 3 BD

15 BD Grt B 4 BD

16 BD Grt B 5 BD

17 BD Grt B 6 BD

18 BD Rock 1 BD

19 BD Rock 2 BD

20 BD Rock 3 BD

21 BD Rock 4 BD

22 BD Rock 5 BD

23 BD Rock 6 BD

24 BD 22 Inch Std1 BD

25 BD 22 Inch Std2 BD

26 BD 22 Inch Std3 BD

27 BD 22 Inch Std4 BD

28 BD 22 Inch Std5 BD

29 BD 22 Inch Std6 BD

30 BD 24x14 p BD

# Drum Sample DF

31 BD 24x14 mf BD

32 BD 24x14 f BD

33 BD 24x14 f GM BD

34 BD 24 inch Open p BD

35 BD 24 inch Open mf BD

36 BD 24 inch Open f BD

37 BD 26 inch Open p BD

38 BD 26 inch Open mf BD

39 BD 26 inch Open f BD

40 BD 26 inch Open ff BD

41 BD 26 inch Open ff GM BD

42 BD 26 inch Std p BD

43 BD 26 inch Std mf BD

44 BD 26 inch Std f BD

45 BD 26 inch Std ff BD

46 BD Natural1 p BD

47 BD Natural1 mf BD

48 BD Natural1 f BD

49 BD Natural2 p BD

50 BD Natural2 mf BD

51 BD Natural2 f BD

52 BD Pop1 BD

53 BD Pop2 BD

54 BD Pop3 p BD

55 BD Pop3 f BD

56 BD Pop4 p BD

57 BD Pop4 f BD

58 BD Pop5 BD

59 BD Acoustic1 p BD

60 BD Acoustic1 mf BD

61 BD Acoustic1 f BD

# Drum Sample DF

62 BD Acoustic2 mf BD

63 BD Acoustic2 mf GM BD

64 BD Acoustic2 f BD

65 BD Acoustic2 f GM BD

66 BD open p BD

67 BD open mf BD

68 BD open f BD

69 BD Peak BD

70 BD Dry1 BD

71 BD Dry2 BD

72 BD Dry3 BD

73 BD Normal BD

74 BD SoftRoom BD

75 BD Jazz Hi 1 BD

76 BD Jazz Hi 2 BD

77 BD Jazz Hi 3 BD

78 BD Jazz Hi 4 BD

79 BD Jazz Hi 5 BD

80 BD Jazz Hi 6 BD

81 BD Jazz Low 1 BD

82 BD Jazz Low 2 BD

83 BD Jazz Low 3 BD

84 BD Jazz Low 4 BD

85 BD Jazz Low 5 BD

86 BD Jazz Low 6 BD

87 BD Jazz open p BD

88 BD Jazz open f BD

89 BD Jazz wire open p BD

90 BD Jazz wire open f BD

91 BD Jazz BD

92 BD Jazz GM BD

Drum Samples

The following table contains all the Factory Drum Samples. DF: Drum Family.

Musical Resources |995

# Drum Sample DF

93 BD Pillow BD

94 BD Woofer BD

95 BD MondoKill BD

96 BD Terminator BD

97 BD Tubby BD

98 BD Gated BD

99 BD Tight BD

100 BD Squash BD

101 BD Soul1 BD

102 BD Soul2 BD

103 BD Soul3 dist BD

104 BD Soul4 noise BD

105 BD Soul5 Long BD

106 BD Soul6 BD

107 BD Analog BD

108 BD Thunder bright BD

109 BD Dance1 BD

110 BD Dance2 BD

111 BD Dance3 BD

112 BD House1 BD

113 BD House2 BD

114 BD House3 BD

115 BD House4 BD

116 BD House5 BD

117 BD Liquid BD

118 BD Techno1 BD

119 BD Techno2 BD

120 BD Hip1 BD

121 BD Hip2 BD

122 BD Hip3 BD

123 BD Hip4 BD

124 BD Kick1 BD

125 BD Kick2 BD

126 BD Electro BD

# Drum Sample DF

127 BD Ambient BD

128 BD Ambient Crackle BD

129 BD Ambient Rocker BD

130 BD Pop BD

131 BD Deep BD

132 BD Deep GM BD

133 BD Klanger BD

134 BD Electribe01 BD

135 BD Electribe02 BD

136 BD Electribe03 BD

137 BD Electribe04 BD

138 BD Electribe05 BD

139 BD Electribe06 BD

140 BD Electribe07 BD

141 BD Electribe08 BD

142 BD Electribe09 BD

143 BD Electribe10 BD

144 BD Electribe11 BD

145 BD Electribe12 BD

146 BD Electribe13 BD

147 BD Electribe14 BD

148 BD Electribe15 BD

149 BD Electribe16 BD

150 BD Electribe17 BD

151 BD Syn1 BD

152 BD Syn2 BD

153 BD Syn3 BD

154 BD Syn4 BD

155 BD Buzz BD

156 BD Orchestra BD

157 BD Orchestra GM BD

158 Timpani BD

159 SD DW Pop 1 SD

160 SD DW Pop 2 SD

# Drum Sample DF

161 SD DW Pop 3 SD

162 SD DW Pop 4 SD

163 SD DW Pop 5 SD

164 SD DW Pop 6 SD

165 SD Brady 1 SD

166 SD Brady 2 SD

167 SD Brady 3 SD

168 SD Brady 4 SD

169 SD Brady 5 SD

170 SD Brady 6 SD

171 SD Ldw A 1 SD

172 SD Ldw A 2 SD

173 SD Ldw A 3 SD

174 SD Ldw A 4 SD

175 SD Ldw A 5 SD

176 SD Ldw A 6 SD

177 SD Ldw B 1 SD

178 SD Ldw B 2 SD

179 SD Ldw B 3 SD

180 SD Ldw B 4 SD

181 SD Ldw B 5 SD

182 SD Ldw B 6 SD

183 SD Alc A 1 SD

184 SD Alc A 2 SD

185 SD Alc A 3 SD

186 SD Alc A 4 SD

187 SD Alc A 5 SD

188 SD Alc A 6 SD

189 SD Alc B 1 SD

190 SD Alc B 2 SD

191 SD Alc B 3 SD

192 SD Alc B 4 SD

193 SD Alc B 5 SD

194 SD Alc B 6 SD

996| Appendix

# Drum Sample DF

195 SD Plate Rim SD

196 SD Crv mf SD

197 SD Crv f SD

198 SD Crv+Rim f SD

199 SD CrvOpen pp SD

200 SD CrvOpen p SD

201 SD CrvOpen mf SD

202 SD CrvOpen f SD

203 SD CrvOpRim pp SD

204 SD CrvOpRim p SD

205 SD CrvOpRim mf SD

206 SD CrvOpRim f SD

207 SD Crv Roll mf SD

208 SD Crv Stage mf SD

209 SD Crv+Rim Stage f SD

210 SD Crv Open Stage mf SD

211 SD Crv Open Stage f SD

212 SD Crv OpRim Stage f SD

213 SD Crv Gate1 p SD

214 SD Crv Gate1 mf SD

215 SD Crv Gate1 f SD

216 SD Crv+Rim Gate1 p SD

217 SD Crv+Rim Gate1 mf SD

218 SD Crv+Rim Gate1 f SD

219 SD Crv OpRim Gate1 f SD

220 SD Crv Roll Gate1 f SD

221 SD Crv Gate2 p SD

222 SD Crv+Rim Gate2 f SD

223 SD Crv Roll Gate2 p SD

224 SD Crv+Rim Plate f SD

225 SD Crv Open Plate mf SD

226 SD Crv OpRim Plate f SD

227 SD Crv Open Room f SD

228 SD Crv OpRim Room f SD

# Drum Sample DF

229 SD LdwBB1A Cl1 SD

230 SD LdwBB1A Cl2 SD

231 SD LdwBB1A Cl3 SD

232 SD LdwBB1A Cl4 SD

233 SD LdwBB1A OpRim1 SD

234 SD LdwBB1A OpRim2 SD

235 SD LdwBB1A OpRim3 SD

236 SD LdwBB1A OpRim4 SD

237 SD LdwBB1A Roll SD

238 SD LdwBB1B Op1 SD

239 SD LdwBB1B Op2 SD

240 SD LdwBB1B Op3 SD

241 SD LdwBB1B Op4 SD

242 SD LdwBB1B OpRim1 SD

243 SD LdwBB1B OpRim2 SD

244 SD LdwBB1B OpRim3 SD

245 SD LdwBB1B OpRim4 SD

246 SD LdwBB2 OpRim1 SD

247 SD LdwBB2 OpRim2 SD

248 SD LdwBB2 Std1 SD

249 SD LdwBB2 Std2 SD

250 SD LdwBB2 Roll1 SD

251 SD LdwBB2 Roll2 SD

252 SD LdwSup Std p SD

253 SD LdwSup Std mf SD

254 SD LdwSup Std f SD

255 SD LdwSup Std+Rim p SD

256

SD LdwSup Std+Rim mf

257 SD LdwSup Std+Rim f SD

258 SD LdwSup Std Room p SD

259

SD LdwSup Std Room mf

260 SD LdwSup Std Room f SD

261

SD LdwSup S+R Room p

262

SD LdwSup S+R Room mf

# Drum Sample DF

263

SD LdwSup S+R Room f

264 SD LdwVintage Std p SD

265 SD LdwVintage Std mf SD

266 SD LdwVintage Std f SD

267 SD LdwVintage Std ff SD

268

SD LdwVintage S+Rim p

269

SD LdwVintage S+Rim mf

270

SD LdwVintage S+Rim f

271 SD Ldw Roll mf SD

272 SD LdwVint Room ff SD

273 SD LdwVint room S+R f SD

274 SD Ldw Roll room p SD

275 SD Spr Std p SD

276 SD Spr Std mf SD

277 SD Spr Std f SD

278 SD Spr StdRim p SD

279 SD Spr StdRim mf SD

280 SD Spr StdRim f SD

281 SD Spr Open ff SD

282 SD Spr OpRim mf SD

283 SD Spr OpRim f SD

284 SD Spr Roll p SD

285 SD P.E. Std p SD

286 SD P.E. Std mf SD

287 SD P.E. Std f SD

288 SD P.E. Std+Rim p SD

289 SD P.E. Std+Rim f SD

290 SD P.E. Open p SD

291 SD P.E. Open mf SD

292 SD P.E. Open f SD

293 SD P.E. OpRim mf SD

294 SD P.E. OpRim f SD

295 SD P.E. Roll mf SD

296 SD P.E. Roll f SD

Musical Resources |997

# Drum Sample DF

297 SD Natural p SD

298 SD Natural mf SD

299 SD Natural f SD

300 SD Natural Rim p SD

301 SD Natural Rim mf SD

302 SD Natural Rim f SD

303 SD Dry center1 SD

304 SD Dry center2 SD

305 SD Dry center3 SD

306 SD Dry Rim1 SD

307 SD Dry Rim2 SD

308 SD Dry Rim3 SD

309 SD Dry Roll SD

310 SD Pop p GM SD

311 SD Pop mf GM SD

312 SD Pop f GM SD

313 SD Pop+Rim mf GM SD

314 SD Pop+Rim f GM SD

315 SD Black SD

316 SD S Gate1 GM SD

317 SD S Gate2 SD

318 SD Wood1 p SD

319 SD Wood1 mf SD

320 SD Wood1 f SD

321 SD Wood2 pp SD

322 SD Wood2 p SD

323 SD Wood2 mf SD

324 SD Wood2 f SD

325 SD Piccolo1 pp SD

326 SD Piccolo1 p SD

327 SD Piccolo1 mf SD

328 SD Piccolo1 f SD

329 SD Piccolo2 pp SD

330 SD Piccolo2 p SD

# Drum Sample DF

331 SD Piccolo2 mf SD

332 SD Piccolo2 f SD

333 SD Solid1 p SD

334 SD Solid1 mf SD

335 SD Solid1 f SD

336 SD Solid2 p SD

337 SD Solid2 mf SD

338 SD Solid2 f SD

339 SD Maple1 pp SD

340 SD Maple1 p SD

341 SD Maple1 mp SD

342 SD Maple1 mf SD

343 SD Maple1 f SD

344 SD Maple1 ff SD

345 SD Maple2 pp SD

346 SD Maple2 p SD

347 SD Maple2 mp SD

348 SD Maple2 mf SD

349 SD Maple2 f SD

350 SD Maple2 ff SD

351 SD Brass1 p SD

352 SD Brass1 mf SD

353 SD Brass1 f SD

354 SD Brass2 p SD

355 SD Brass2 mf SD

356 SD Brass2 f SD

357 SD Roll SD

358 SD Ghost Roll SD

359 SD Ghost p SD

360 SD Ghost f SD

361 SD Snr Ghost1 a SD

362 SD Snr Ghost1 b SD

363 SD Snr Ghost2 a SD

364 SD Snr Ghost2 b SD

# Drum Sample DF

365 SD Snr Ghost2 c SD

366 SD Snr Signature p SD

367 SD Snr Signature mf SD

368 SD Snr Signature f SD

369

SD Snr Signature Rim mf

370 SD Snr Signature Rim f SD

371 SD Snr Signature Rim1 SD

372 SD Snr Signature Rim2 SD

373 SD J center p SD

374 SD J center f SD

375 SD J edge1 SD

376 SD J edge2 SD

377 SD J edge3 SD

378 SD J edge4 SD

379 SD J std p SD

380 SD J std mf SD

381 SD J std f SD

382 SD J std+rim p SD

383 SD J std+rim mf SD

384 SD J std+rim f SD

385 SD Dry1 SD

386 SD Dry2 SD

387 SD Dry3 SD

388 SD Full Room SD

389 SD Off Center SD

390 SD Jazz Ring SD

391 SD Amb.Piccolo SD

392 SD Paper SD

393 SD Big Rock SD

394 SD Yowie SD

395 SD Trinity1 SD

396 SD Trinity2 SD

397 SD Stereo Gate SD

398 SD Stereo Gate GM SD

998| Appendix

# Drum Sample DF

399 SD Processed SD

400 SD Processed GM SD

401 SD Processed + AMB SD

402 SD Cracker Room SD

403 SD El. Funk1 SD

404 SD El. Funk2 SD

405 SD El. Funk3 SD

406 SD Dance01 SD

407 SD Dance02 SD

408 SD Dance03 SD

409 SD Dance04 SD

410 SD Dance05 SD

411 SD Dance06 SD

412 SD Dance07 SD

413 SD Dance08 SD

414 SD Dance09 SD

415 SD Dance10 SD

416 SD Dance11 SD

417 SD Dance12 SD

418 SD Dance13 SD

419 SD Dance14 SD

420 SD Dance15 SD

421 SD Dance16 SD

422 SD Dance17 SD

423 SD Dance18 SD

424 SD Dance19 SD

425 SD Dance20 SD

426 SD Dance21 SD

427 SD Dance22 SD

428 SD Dance23 SD

429 SD Dance23 GM SD

430 SD Dance24 SD

431 SD House1 SD

432 SD House2 SD

# Drum Sample DF

433 SD House3 SD

434 SD House4 SD

435 SD BeatBox SD

436 SD Small SD

437 SD Rap SD

438 SD Noise SD

439 SD Reverse SD

440 SD Hip1 SD

441 SD Hip2 SD

442 SD Hip3 SD

443 SD Hip4 SD

444 SD Hip5 SD

445 SD Hip6 SD

446 SD Ringy SD

447 SD Tiny SD

448 SD Vintage1 SD

449 SD Vintage2 SD

450 SD Vintage3 SD

451 SD Vintage4 SD

452 SD Vintage5 SD

453 SD Vintage6 SD

454 SD AmbiHop SD

455 SD Brasser SD

456 SD Chili SD

457 SD Whopper SD

458 SD Syn.1 SD

459 SD Syn.2 SD

460 SD Syn.3 SD

461 SD Syn.4 SD

462 SD Electro SD

463 SD Orchestra SD

464 SD Orch. Roll SD

465 SD Brush C1 SD

466 SD Brush C2 SD

# Drum Sample DF

467 SD Brush C3 SD

468 SD Brush C4 SD

469 SD Brush C5 SD

470 SD Brush C6 SD

471 SD Brush Mute1 SD

472 SD Brush Mute2 SD

473 SD Brush Mute3 SD

474 SD Brush Mute4 SD

475 SD Brush Mute5 SD

476 SD Brush Mute6 SD

477 SD JBrush loop SD

478 SD JBrush mid SD

479 SD JBrush open p SD

480 SD JBrush open mf SD

481 SD JBrush open f SD

482 SD JBrush short SD

483 SD JBrush shot p SD

484 SD JazzBrush1 SD

485 SD JazzBrush2 SD

486 SD Swirl SD

487 SD Swirl GM SD

488 SD Brush1 (swirl1) SD

489 SD Brush1 (swirl2) SD

490 SD Brush1 (swirl3) SD

491 SD Brush1 (swirl4) SD

492 SD Brush1 SD

493 SD Brush2 (ghost1) SD

494 SD Brush2 (ghost2) SD

495 SD Brush2 (ghost3) SD

496 SD Brush2 SD

497 SD Brush2 (ﬁll) 4 shots SD

498 SD Brush2 (ﬁll) 3 shots SD

499 SD Brush2 (ﬁll) 2 shots SD

500 SD Brush3 Hit SD

Musical Resources |999

# Drum Sample DF

501 SD Brush3 Tap1 SD

502 SD Brush3 Tap2 SD

503 SD Brush3 Swirl SD

504 SD FX Large Hall1 SD

505 SD FX Large Hall2 SD

506 Rim Pop 1 SD

507 Rim Pop 2 SD

508 Rim Pop 3 SD

509 Rim Pop 4 SD

510 Rim1 st Room SD

511 Rim2 st Room SD

512 Rim3 st Room SD

513 Rim4 st Room SD

514 Rim st rev 80’s SD

515 Rim1 st Gate 1 SD

516 Rim2 st Gate 1 SD

517 Rim3 st Gate 1 SD

518 Rim1 st Hall SD

519 Rim2 st Hall SD

520 Rim1 Amb SD

521 Rim2 Amb SD

522 Rim3 Amb SD

523 Rim4 Amb SD

524 Rim Signature Hi SD

525 Rim Signature Mid SD

526 Rim Signature Low SD

527 Rim Shot p SD

528 Rim Shot f SD

529 Rim House1 SD

530 Rim House2 SD

531 Rim Synth SD

532 Rim Synth Click SD

533 Rim Synth Tamb SD

534 Rim Analog SD

# Drum Sample DF

535 Rim FX Large Hall1 SD

536 Rim FX Large Hall2 SD

537 Sidestick mf SD

538 Sidestick f SD

539 Sidestick Dance SD

540 SideStick Dry SD

541 SideStick Amb SD

542 DrumStick Hit SD

543 DrumStick Hit GM SD

544 DrumStick Hit Amb SD

545 Tom Pop Hi 1 Tm

546 Tom Pop Hi 2 Tm

547 Tom Pop Hi 3 Tm

548 Tom Pop Hi Mid 1 Tm

549 Tom Pop Hi Mid 2 Tm

550 Tom Pop Hi Mid 3 Tm

551 Tom Pop Low Mid 1 Tm

552 Tom Pop Low Mid 2 Tm

553 Tom Pop Low Mid 3 Tm

554 Tom Pop Low 1 Tm

555 Tom Pop Low 2 Tm

556 Tom Pop Low 3 Tm

557 Tom Pop Floor Hi 1 Tm

558 Tom Pop Floor Hi 2 Tm

559 Tom Pop Floor Hi 3 Tm

560 Tom Pop Floor Low 1 Tm

561 Tom Pop Floor Low 2 Tm

562 Tom Pop Floor Low 3 Tm

563 Tom D Hi f Tm

564 Tom D Mid f Tm

565 Tom D Low f Tm

566 Tom D Floor f Tm

567 Tom P Hi Tm

568 Tom P Mid Tm

# Drum Sample DF

569 Tom P Low Tm

570 Tom P Floor Tm

571 Tom R Vintage Hi Tm

572 Tom R Vintage Mid Tm

573 Tom R Vintage Floor Tm

574 Tom Vintage Room Hi Tm

575 Tom Vintage Room Mid Tm

576

Tom Vintage Room Low

577 Tom Jazz Hi center Tm

578 Tom Jazz Hi center GM Tm

579 Tom Jazz Hi edge Tm

580 Tom Jazz Hi Rim Tm

581 Tom Jazz Low center Tm

582

Tom Jazz Low center GM

583 Tom Jazz Low edge Tm

584 Tom Jazz Low Rim Tm

585 Tom1 Open Hi p Tm

586 Tom1 Open Hi p ﬂam Tm

587 Tom1 Open Hi f Tm

588 Tom1 Open Hi f ﬂam Tm

589 Tom1 Open Mid p Tm

590 Tom1 Open Mid p ﬂam Tm

591 Tom1 Open Mid f Tm

592 Tom1 Open Mid f ﬂam Tm

593 Tom1 Open Low p Tm

594 Tom1 Open Low p ﬂam Tm

595 Tom1 Open Low f Tm

596 Tom1 Open Low f ﬂam Tm

597 Tom1 Open Floor p Tm

598 Tom1 Open Floor p ﬂam Tm

599 Tom1 Open Floor f Tm

600 Tom1 Open Floor f ﬂam Tm

601 Tom2 Hi p Tm

602 Tom2 Hi f Tm

1000| Appendix

# Drum Sample DF

603 Tom2 Mid p Tm

604 Tom2 Mid f Tm

605 Tom2 Low p Tm

606 Tom2 Low f Tm

607 Tom2 Floor p Tm

608 Tom2 Floor f Tm

609 Tom3 Hi Tm

610 Tom3 Floor Tm

611 Tom4 Hi Tm

612 Tom4 Low Tm

613 Tom4 Floor Tm

614 Tom5 Hi Tm

615 Tom5 Low Tm

616 Tom6 Vintage Hi p Tm

617 Tom6 Vintage Hi mf Tm

618 Tom6 Vintage Hi f Tm

619 Tom6 Vintage Mid p Tm

620 Tom6 Vintage Mid mf Tm

621 Tom6 Vintage Mid f Tm

622 Tom6 Vintage Low p Tm

623 Tom6 Vintage Low mf Tm

624 Tom6 Vintage Low f Tm

625 Tom Jazz HW Hi 1 Tm

626 Tom Jazz HW Low 2 Tm

627 Tom Jazz HW Floor Tm

628 Tom Brush Op Hi Tm

629 Tom Brush Op Low Tm

630 Tom Processed Tm

631 Tom Jazz Hi Tm

632 Tom Jazz Floor Tm

633 Tom Brush1 (sd open) Tm

634 Tom Brush1 (sd close) Tm

635 Tom Brush2 (sd open) Tm

636 Tom Brush2 (sd close) Tm

# Drum Sample DF

637 Tom Brush3 Hi mf Tm

638 Tom Brush3 Hi f Tm

639 Tom Brush3 Hi f GM Tm

640 Tom Brush3 Mid mf Tm

641 Tom Brush3 Mid f Tm

642 Tom Brush3 Mid f GM Tm

643 Tom Brush3 Low mf Tm

644 Tom Brush3 Low f Tm

645 Tom Brush3 Low f GM Tm

646 Tom Brush4 Tm

647 Tom Brush5 Amb Hi Tm

648 Tom Brush5 Amb Low Tm

649 E.Tom FM Tm

650 E.Tom Real Tm

651 HH Pop Z Cl 1 HH

652 HH Pop Z Cl 2 HH

653 HH Pop Z Cl 3 HH

654 HH Pop Z Cl 4 HH

655 HH Pop Z Cl 5 HH

656 HH Pop Z Cl 6 HH

657 HH Pop Z Op 1 HH

658 HH Pop Z Op 2 HH

659 HH Pop Z Ped 1 HH

660 HH Pop Z Ped 2 HH

661 HH Pop Z Ped 3 HH

662 HH Pop Z Ped 4 HH

663 HH Pop Z Ped 5 HH

664 HH Pop Z Ped 6 HH

665 HH Natural Op1 p HH

666 HH Natural Op1 mf HH

667 HH Natural Op2 p HH

668 HH Natural Op2 mf HH

669 HH Natural Op3 HH

670 HH Natural pedal Cl HH

# Drum Sample DF

671 HH Natural pedal Op HH

672 HH Natural tip Cl p HH

673 HH Natural tip Cl mf HH

674 HH Natural tip Op p HH

675 HH Natural tip Op mf HH

676 HH Vintage Cl p HH

677 HH Vintage Cl mf HH

678 HH Vintage Cl f HH

679 HH Vintage Op HH

680 HH Jazz tip Cl a HH

681 HH Jazz tip Cl c HH

682 HH Jazz tip Op1 a HH

683 HH Jazz tip Op1 b HH

684 HH Jazz Cl a HH

685 HH Jazz Cl c HH

686 HH Jazz Op1 a HH

687 HH Jazz Op1 b HH

688 HH Jazz Op2 HH

689 HH Jazz Op3 HH

690 HH Jazz Op4 HH

691 HH Jazz ped Cl HH

692 HH1 Closed pp HH

693 HH1 Closed p HH

694 HH1 Closed mf HH

695 HH1 Closed f HH

696 HH1 Foot mp HH

697 HH1 Foot mf HH

698 HH1 Open mp HH

699 HH1 Open mf HH

700 HH2 Closed pp HH

701 HH2 Closed p HH

702 HH2 Closed mp HH

703 HH2 Closed mf HH

704 HH2 Closed f HH

Musical Resources |1001

# Drum Sample DF

705 HH2 Closed ff HH

706 HH2 Foot p HH

707 HH2 Foot f HH

708 HH2 Open p HH

709 HH2 Open f HH

710 HH3 Closed1 HH

711 HH3 Closed2 HH

712 HH3 Foot HH

713 HH3 Open1 HH

714 HH3 Open2 HH

715 HH3 Sizzle HH

716 HH4 Closed1 HH

717 HH4 Closed2 HH

718 HH4 Foot HH

719 HH4 Foot Open HH

720 HH4 Open HH

721 HH Old Close1 HH

722 HH Old Open1 HH

723 HH Old TiteClose HH

724 HH Old Close2 HH

725 HH Old Open2 HH

726 HH Brush Nat Cl 1 HH

727 HH Brush Nat Cl 2 HH

728 HH Brush Nat Cl 3 HH

729 HH Brush Nat Cl 4 HH

730 HH Brush Nat Cl 5 HH

731 HH Brush Nat Cl 6 HH

732 HH Brush Nat Op b 1 HH

733 HH Brush Nat Op b 2 HH

734 HH Brush Nat Op b 3 HH

735 HH Brush Nat Op b 4 HH

736 HH Brush Nat Op b 5 HH

737 HH Brush Nat Op b 6 HH

738 HH Ped Nat Cl 1 HH

# Drum Sample DF

739 HH Ped Nat Cl 2 HH

740 HH Ped Nat Cl 3 HH

741 HH Ped Nat Cl 4 HH

742 HH Ped Nat Cl 5 HH

743 HH House Open1 HH

744 HH House Open2 HH

745 HH Hip HH

746 HH Alpo Close HH

747 HH Dance1 HH

748 HH Dance2 HH

749 HH Syn. Closed HH

750 HH Syn. Open HH

751 HH Brush cl 1 HH

752 HH Brush cl 2 HH

753 HH Brush cl 3 HH

754 HH Brush op 1 HH

755 HH Brush op 2 HH

756 Ride Pop1 1 Cy

757 Ride Pop1 2 Cy

758 Ride Pop1 3 Cy

759 Ride Pop1 4 Cy

760 Ride Pop1 5 Cy

761 Ride Pop1 6 Cy

762 Ride Pop2 1 Cy

763 Ride Pop2 2 Cy

764 Ride Pop2 3 Cy

765 Ride Pop2 4 Cy

766 Ride Pop2 5 Cy

767 Ride Pop2 6 Cy

768 Ride Pop Bell 1 Cy

769 Ride Pop Bell 2 Cy

770 Ride Pop Bell 3 Cy

771 Ride Pop Bell 4 Cy

772 Ride Pop Bell 5 Cy

# Drum Sample DF

773 Ride Pop Bell 6 Cy

774 Ride Z20 edge1 Cy

775 Ride Z20 edge2 Cy

776 Ride Z20 edge3 Cy

777 Ride Z20 edge4 Cy

778 Ride Z20 edge5 Cy

779 Ride Z20 edge6 Cy

780 Ride Z20 cup1 Cy

781 Ride Z20 cup2 Cy

782 Ride Z20 cup3 Cy

783 Ride Z Brush Edge 1 Cy

784 Ride Z Brush Edge 2 Cy

785 Ride Z Brush Cup Cy

786 Crash Z 20 Cy

787 Ride 20’ mp1 Cy

788 Ride 20’ mp2 Cy

789 Ride 20’ mf1 Cy

790 Ride 20’ mf2 Cy

791 Ride Edge1 Cy

792 Ride Edge2 Cy

793 Ride Cup Cy

794 Ride Jazz Cy

795 Ride Brush1 Cy

796 Ride Brush2 Cy

797 Ride Brush3 Cy

798 Ride Brush Nat 1 1 Cy

799 Ride Brush Nat 1 2 Cy

800 Ride Brush Nat 2 1 Cy

801 Ride Brush Nat 2 2 Cy

802 Ride Brush Nat 2 3 Cy

803 Ride Brush Nat Cup 1 Cy

804 Ride Brush Nat Cup 2 Cy

805 Ride Brush Nat Cup 3 Cy

806 Ride Rivet Cy

1002| Appendix

# Drum Sample DF

807 Ride Rivet Amb Cy

808 Crash Pop 1 1 Cy

809 Crash Pop 1 2 Cy

810 Crash Pop 1 3 Cy

811 Crash Pop 1 4 Cy

812 Crash Pop 2 1 Cy

813 Crash Pop 2 2 Cy

814 Crash Pop 2 3 Cy

815 Crash Pop 2 4 Cy

816 Crash 15’ edge 1 Cy

817 Crash 15’ edge 2 Cy

818 Crash 17’ edge 1 Cy

819 Crash 17’ edge 2 Cy

820 Crash 19’ open 1 Cy

821 Crash 19’ open 2 Cy

822 Crash 1 Cy

823 Crash 2 Cy

824 Crash Brush 1 1 Cy

825 Crash Brush 1 2 Cy

826 Crash Brush 1 3 Cy

827 Crash Dance 99 Cy

828 Crash DDD-1 Cy

829 Crash Reverse Cy

830 Reverse Cymbal Cy

831 Splash Pop 1 Cy

832 Splash Pop 2 Cy

833 Splash Pop 3 Cy

834 Splash Pop 4 Cy

835 Splash 8’ edge1 Cy

836 Splash 8’ edge2 Cy

837 Splash Cy

838 Chinese Pop Cy

839 China Cy

840 Orchestra Cymbal Cy

# Drum Sample DF

841 Finger Snaps LP

842 Finger Snap LP

843 Hand Claps 1 LP

844 Hand Claps 2 LP

845 Hand Claps 3 LP

846 Hand Claps 4 LP

847 Hand Claps 5 LP

848 Claps Natural LP

849 Claps1 LP

850 Claps2 LP

851 Claps3 LP

852 Claps4 LP

853 Claps Ensemble 1 LP

854 Claps Ensemble 2 LP

855 Claps Analog LP

856 Dance Claps1 LP

857 Dance Claps2 LP

858 Dance Claps3 LP

859 Dance Claps4 LP

860 Dance Claps5 LP

861 Dance Claps6 LP

862 Dance Conga Lo-Open LP

863 Dance Conga Hi-Open LP

864 Dance Tambourine HP

865 Syn. Bongo Hi LP

866 Syn. Bongo Low LP

867 Syn. Castanet LP

868 Syn. Shaker HP

869 Syn. Noise SFX

870 Syn. FX1 SFX

871 Syn. FX2 SFX

872 Syn. FX3 SFX

873 Syn. FX4 SFX

874 Syn. FX5 SFX

# Drum Sample DF

875 Syn. Perc. Ahh SFX

876 Boom SFX

877 Zap1 SFX

878 Zap2 SFX

879 Vinyl Hit SFX

880 DJ Vinyl Sliced 01 SFX

881 DJ Vinyl Sliced 02 SFX

882 DJ Vinyl Sliced 03 SFX

883 DJ Vinyl Sliced 04 SFX

884 DJ Vinyl Sliced 05 SFX

885 DJ Vinyl Sliced 06 SFX

886 DJ Vinyl Sliced 07 SFX

887 DJ Vinyl Sliced 08 SFX

888 DJ Vinyl Sliced 09 SFX

889 DJ Vinyl Sliced 10 SFX

890 DJ Vinyl Sliced 11 SFX

891 DJ Vinyl Sliced 12 SFX

892 DJ Vinyl Sliced 13 SFX

893 DJ Vinyl Sliced 14 SFX

894 DJ Vinyl Sliced 15 SFX

895 DJ Vinyl Sliced 16 SFX

896 DJ Vinyl Sliced 17 SFX

897 DJ Vinyl Sliced 18 SFX

898 DJ Vinyl Sliced 19 SFX

899 DJ Vinyl Sliced 20 SFX

900 DJ Vinyl Sliced 21 SFX

901 DJ Vinyl Sliced 22 SFX

902 DJ Vinyl Sliced 23 SFX

903 DJ Vinyl Sliced 24 SFX

904 DJ Scratch1 SFX

905 DJ Scratch2 SFX

906 DJ Scratch3 SFX

907 DJ Scratch4 SFX

908 DJ Scratch5 SFX

Musical Resources |1003

# Drum Sample DF

909 DJ Scratch6 SFX

910 DJ Hit Rub SFX

911 DJ Vocal Rub1 SFX

912 DJ Vocal Rub2 SFX

913 DJ BD Rub SFX

914 DJ SD Rub SFX

915 Guiro Long LP

916 Guiro Short LP

917 Vibraslap HP

918 Vibraslap Amb HP

919 Samba Whistle HP

920 Samba Whistle Lp HP

921 Cuica Hi LP

922 Cuica Lo LP

923 Surdo Open GM LP

924 Surdo Mute GM LP

925 Tumba Open1 mf LP

926 Tumba Open1 f LP

927 Tumba Open2 mf LP

928 Tumba Open2 f LP

929 Tumba Open Flam LP

930 Tumba Glissando LP

931 Tumba Basstone LP

932 Tumba O.Slap Flam mf LP

933 Tumba O.Slap Flam f LP

934 Tumba Mufﬂed LP

935 Conga1 Lo Basstone LP

936 Conga1 Lo Open mf LP

937 Conga1 Lo Open Slap LP

938 Conga1 Lo Glissando LP

939 Conga1 Lo Mufﬂed LP

940 Conga1 Lo Closed LP

941 Conga1 Lo Closed Slap LP

942 Conga1 Lo Heel LP

# Drum Sample DF

943 Conga1 Lo Toe LP

944 Conga1 Hi Basstone mf LP

945 Conga1 Hi Basstone f LP

946 Conga1 Hi Open mf LP

947 Conga1 Hi Open Slap LP

948 Conga1 Hi Mufﬂed LP

949 Conga1 Hi Closed LP

950 Conga1 Hi Closed Slap LP

951 Conga1 Hi Heel LP

952 Conga1 Hi Toe LP

953 Conga2 Lo Open LP

954 Conga2 Lo Mt Slap LP

955 Conga2 Lo Slap LP

956 Conga2 Hi Open LP

957 Conga2 Hi Mute LP

958 Conga2 Hi Mt Slap LP

959 Conga2 Hi Slap1 LP

960 Conga2 Hi Slap2 LP

961 Conga2 Heel LP

962 Conga2 Toe LP

963 Quinto1 Open LP

964 Quinto1 Closed LP

965 Quinto1 Closed Slap LP

966 Quinto1 Toe LP

967 Quinto2 Basstone LP

968 Quinto2 Open mp LP

969 Quinto2 Open Flam LP

970 Quinto2 Open Slap LP

971 Quinto2 Mufﬂed LP

972 Quinto2 C.Slap Flam p LP

973 Quinto2 C.Slap Flam f LP

974 Quinto2 Heel LP

975 Bongo1 Lo Mufﬂed mp LP

976 Bongo1 Lo Mufﬂed f LP

# Drum Sample DF

977 Bongo1 Lo Closed LP

978 Bongo1 Lo Flam LP

979 Bongo1 Lo MufﬂedFlam LP

980 Bongo1 Lo Stick LP

981

Bongo1 Lo StickEdge mf

982 Bongo1 Lo StickEdge f LP

983 Bongo1 Lo StickBounce LP

984 Bongo1 Lo Fingernail LP

985 Bongo1 Lo Cuptone LP

986 Bongo1 Lo Slap LP

987 Bongo1 Hi Open mf LP

988 Bongo1 Hi Open f LP

989 Bongo1 Hi Pops LP

990 Bongo1 Hi Hightone LP

991 Bongo1 Hi OpenFlam LP

992 Bongo1 Hi Fingernail LP

993 Bongo1 Hi Stick LP

994

Bongo1 Hi StickEdge mf

995 Bongo1 Hi StickEdge f LP

996 Bongo1 Hi StickBounce LP

997 Bongo1 Hi Cuptone LP

998 Bongo1 Hi Slap LP

999 Bongo2 Lo Open a LP

1000 Bongo2 Lo Open b LP

1001 Bongo2 Lo Mute LP

1002 Bongo2 Hi Open a LP

1003 Bongo2 Hi Open b LP

1004 Bongo2 Hi Mufﬂed LP

1005 Bongo2 Hi Slap LP

1006 Bongo2 Lo Heel LP

1007 Bongo2 Lo Mufﬂed LP

1008 Bongo3 Lo Open LP

1009 Bongo3 Lo Slap LP

1010 Bongo3 Lo Stick LP

1004| Appendix

# Drum Sample DF

1011 Bongo3 Hi Open LP

1012 Bongo3 Hi Slap LP

1013 Bongo3 Hi Stick1 LP

1014 Bongo3 Hi Stick2 LP

1015

Okonkolo Boca Open mp

1016 Okonkolo Cha Open p LP

1017 Okonkolo Cha Open mf LP

1018 Okonkolo Cha Open f LP

1019 Okonkolo Cha Open ff LP

1020 Okonkolo Cha Slap p LP

1021 Okonkolo Cha Slap mf LP

1022 Okonkolo Cha Slap f LP

1023 Baya Open LP

1024 Baya Ghe LP

1025 Baya GheUp a LP

1026 Baya GheUp b LP

1027 Baya KaPalm LP

1028 Baya KaToe a LP

1029 Baya KaToe b LP

1030 Baya Nail a LP

1031 Baya Nail b LP

1032 Baya Nail c LP

1033 Baya Ge LP

1034 Baya Up LP

1035 Baya UpDown a LP

1036 Baya UpDown b LP

1037 Baya Mute1 LP

1038 Baya Mute2 LP

1039 Baya Mute3 LP

1040 Tabla1 Na LP

1041 Tabla1 Open LP

1042 Tabla1 Tin LP

1043 Tabla1 Mute1 LP

1044 Tabla1 Mute2 LP

# Drum Sample DF

1045 Tabla1 Mute3 LP

1046 Tabla2 Tin a LP

1047 Tabla2 Tin b LP

1048 Tabla2 Na a LP

1049 Tabla2 Na b LP

1050 Tabla2 Na c LP

1051 Tabla2 Tun a LP

1052 Tabla2 Tun b LP

1053 Tabla2 Tele a LP

1054 Tabla2 Tele b LP

1055 Tabla2 Tele c LP

1056 Tabla2 Ti a LP

1057 Tabla2 Ti b LP

1058 Tabla2 Ti c LP

1059 Tabla2 Tera LP

1060 Tsuzumi LP

1061 Taiko Open LP

1062 Taiko Rim LP

1063 Timbales1 Lo Op mp LP

1064 Timbales1 Lo Op mf LP

1065 Timbales1 Lo Op mf GM LP

1066 Timbales1 Lo Edge mf LP

1067 Timbales1 Lo Edge f LP

1068 Timbales1 Lo RimShot LP

1069 Timbales1 Lo Abanico LP

1070 Timbales1 Lo Roll LP

1071 Timbales1 Lo Mute mf LP

1072 Timbales1 Lo Mute f LP

1073 Timbales1 Lo Paila mf HP

1074 Timbales1 Lo Paila f HP

1075 Timbales1 Hi Open LP

1076 Timbales1 Hi Edge LP

1077 Timbales1 Hi Edge GM LP

1078 Timbales1 Hi Rim p LP

# Drum Sample DF

1079 Timbales1 Hi Rim mf LP

1080 Timbales1 Hi Rim f LP

1081 Timbales1 Hi Abanico1 LP

1082 Timbales1 Hi Abanico2 LP

1083 Timbales1 Hi Mute LP

1084 Timbales1 Hi Paila mf HP

1085 Timbales1 Hi Paila f HP

1086 Timbales2 Lo Open LP

1087 Timbales2 Lo Mute LP

1088 Timbales2 Lo Rim LP

1089 Timbales2 Hi Edge LP

1090 Timbales2 Hi Rim1 LP

1091 Timbales2 Hi Rim2 LP

1092 Timbales2 Paila HP

1093 Cowbell Amb HP

1094 Cowbell1 HP

1095 Cowbell2 HP

1096 Cowbell3 HP

1097 Cowbell4 Open HP

1098 Cowbell4 Mute HP

1099 Cowbell5 Open a HP

1100 Cowbell5 Open b HP

1101 Cowbell5 Mute HP

1102 Cowbell6 HP

1103 Agogo Bell HP

1104 Chacha Bell HP

1105 Mambo Bell HP

1106 Recoreco short1 HP

1107 Recoreco short2 HP

1108 Recoreco long HP

1109 Triangle1 Open HP

1110 Triangle1 Mute HP

1111 Triangle2 Open HP

1112 Triangle2 Mute HP

Musical Resources |1005

# Drum Sample DF

1113 Sleigh Bell HP

1114 Rap Sleigh Bell HP

1115 Jingle Bell HP

1116 Bells Open HP

1117 Finger Cymbal HP

1118 Marc Tree HP

1119 Marc Tree GM HP

1120 Marc Tree LP HP

1121 Rainstick SFX

1122 Flexatone HP

1123 Chinese Gong Cy

1124 Claves1 Lo a LP

1125 Claves1 Lo b LP

1126 Claves1 Hi a LP

1127 Claves1 Hi b LP

1128 Claves2 LP

1129 Wood Block 1 a LP

1130 Wood Block 1 b LP

1131 Wood Block 2 a LP

1132 Wood Block 2 b LP

1133 Wood Block 3 a LP

1134 Wood Block 3 b LP

1135 Wood Block 4 a LP

1136 Wood Block 4 b LP

1137 Wood Block 5 a LP

1138 Wood Block 5 b LP

1139 Wood Block 6 a LP

1140 Wood Block 6 b LP

1141 Wood Block 7 LP

1142 Wood Block 8 LP

1143 Castanet 1 a LP

1144 Castanet 1 b LP

1145 Castanet 1 c LP

1146 Castanet 2 LP

# Drum Sample DF

1147 Castanet Single LP

1148 Castanet Single GM LP

1149 Castanet Double LP

1150 Cabasa 1 L a Down HP

1151 Cabasa 1 L a Up HP

1152 Cabasa 1 L b Down HP

1153 Cabasa 1 L b Up HP

1154 Cabasa 1 S a Down HP

1155 Cabasa 1 S a Up HP

1156 Cabasa 1 S b Down HP

1157 Cabasa 1 S b up HP

1158 Cabasa 2 L Stack b HP

1159 Cabasa 2 L Stack a HP

1160 Cabasa 2 L Roll HP

1161 Cabasa 2 S Stack a HP

1162 Cabasa 2 S Stack b HP

1163 Cabasa 2 S Roll HP

1164 Cabasa 3 WS HP

1165 Cabasa 3 Up HP

1166 Cabasa 3 Down HP

1167 Cabasa 3 Tap HP

1168 Caxixi1 a HP

1169 Caxixi1 b HP

1170 Caxixi1 c HP

1171 Caxixi2 a HP

1172 Caxixi2 b HP

1173 Caxixi2 c HP

1174 Caxixi3 Hard HP

1175 Caxixi3 Soft HP

1176 Shaker1 PuE_Sh a HP

1177 Shaker1 PuE_Sh b HP

1178 Shaker1 Pull a HP

1179 Shaker1 Pull b HP

1180 Shaker1 Accent a HP

# Drum Sample DF

1181 Shaker1 Accent b HP

1182 Shaker1 Slow a HP

1183 Shaker1 Slow b HP

1184 Shaker1 Slow c HP

1185 Shaker1 Roll a HP

1186 Shaker1 Roll b HP

1187 Shaker1 Roll c HP

1188 Shaker2 HP

1189 Shaker3 HP

1190 Maracas Push HP

1191 Maracas Pull HP

1192 Dumbek a LP

1193 Dumbek b LP

1194 Dumbek c LP

1195 Dumbek d LP

1196 Dumbek e LP

1197 Dumbek f LP

1198 Dumbek g LP

1199 Dumbek h LP

1200 Dumbek i LP

1201 Dumbek j LP

1202 Dumbek k LP

1203 Djembe L Basstone a LP

1204 Djembe L Basstone b LP

1205 Djembe L Basstone c LP

1206 Djembe L Open LP

1207 Djembe L Open Slap LP

1208 Djembe L Closed Slap LP

1209 Djembe S Basstone a LP

1210 Djembe S Basstone b LP

1211 Djembe S Basstone c LP

1212 Djembe Open LP

1213 Djembe Mute LP

1214 Djembe Slap LP

1006| Appendix

# Drum Sample DF

1215 Djembe S Open LP

1216 Djembe S Open Slap a LP

1217 Djembe S Open Slap b LP

1218 Djembe S Closed Slap a LP

1219 Djembe S Closed Slap b LP

1220 Djembe S Closed Slap c LP

1221 Djembe Bass LP

1222 Udu Open a LP

1223 Udu Open b LP

1224 Udu Open c LP

1225 Udu Open d LP

1226 Udu Slide a HP

1227 Udu Slide b HP

1228 Udu Half Open a LP

1229 Udu Half Open b LP

1230 Udu Half Open c LP

1231 Udu Bell a LP

1232 Udu Bell b LP

1233 WD Brazillia1 SD

1234 WD Brazillia2 SD

1235 WD Ethno SD1 SD

1236 WD Ethno SD2 SD

1237 WD Ethno SD3 SD

1238 WD Ethno SD4 SD

1239 WD Ethno SD5 SD

1240 WD Ethno SD6 SD

1241 WD Kangaroo1 SFX

1242 WD Kangaroo2 SFX

1243 WD Kangaroo3 SFX

1244 WD Kangaroo4 SFX

1245 WD Kangaroo5 SFX

1246 WD Kangaroo6 SFX

1247 WD Kangaroo7 SFX

1248 WD Kangaroo8 SFX

# Drum Sample DF

1249 Tambourine Push HP

1250 Tambourine Pull HP

1251 Tambourine Acc1 A HP

1252 Tambourine Acc1 B HP

1253 Tambourine Acc2 HP

1254 Tambourine Mute1 LP

1255 Tambourine Mute2 LP

1256 Tambourine Open LP

1257 Tambourine Nat 1 HP

1258 Tambourine Nat 2 HP

1259 Tambourine Nat 3 HP

1260 Tambourine Nat 4 HP

1261 Tambourine Nat 5 HP

1262 M.E.1 Douf Rim Ak LP

1263 M.E.1 Douf Tek Ak1 LP

1264 M.E.1 Douf Tek Ak2 LP

1265 M.E.1 Pand Open LP

1266 M.E.1 Pand Pattern1 LP

1267 M.E.1 Pand Pattern2 LP

1268 M.E.1 Pand Pattern3 LP

1269 M.E.1 Pand Pattern4 LP

1270 M.E.1 Rek Dom Ak HP

1271 M.E.1 Rek Jingle HP

1272 M.E.1 Rik1 LP

1273 M.E.1 Rik2 LP

12 74 M.E.1 Rik3 LP

1275 M.E.1 Sagat Half Open HP

1276 M.E.1 Sagat Close HP

1277 M.E.1 Surdo L Open LP

1278 M.E.1 Surdo L Mute LP

1279 M.E.1 Tabla Medium LP

1280 M.E.1 Tabla Dom LP

1281 M.E.1 Tabla Flam LP

1282 M.E.1 Tabla Rim LP

# Drum Sample DF

1283 M .E.1 Tabla Tak LP

1284 M.E.1 Timbales HP

1285 M.E.1 Udu f Open LP

1286 M.E.1 Alkis LP

1287 M.E.1 Bandir Open LP

1288 M.E.1 Bandir Closed LP

1289 M.E.1 Bongo Roll LP

1290 M.E.1 Darbuka1 Tek1 LP

1291 M.E.1 Darbuka1 Tek2 LP

1292 M.E.1 Darbuka1 Open LP

1293 M.E.1 Darbuka1 Closed LP

1294 M.E.1 Darbuka2 LP

1295 M.E.1 Darbuka3 LP

1296 M.E.1 Darbuka4 LP

1297 M.E.1 Darbuka5 D1 LP

1298 M.E.1 Darbuka5 D2 LP

1299 M.E.1 Darbuka5 D3 LP

1300 M.E.1 Darbuka6 Mute LP

1301 M.E.1 Darbuka6 Open LP

1302 M.E.1 Darbuka6 Rim LP

1303

M.E.1 Darbuka6 Dom Ak

1304 M.E.1 Davul HP

1305 M.E.1 Hollo1 LP

1306 M.E.1 Hollo2 LP

1307 M.E.1 Kup1 LP

1308 M.E.1 Kup2 LP

1309 M.E.1 Ramazan Davul1 LP

1310 M.E.1 Ramazan Davul2 LP

1311 M.E.1 Ramazan Davul3 LP

1312 M .E.1 Tef1 HP

1313 M.E.1 Tef2 HP

1314 M.E.1 Tef3 HP

1315 M.E.2 BD Kick BD

1316 M.E.2 SD SD

Musical Resources |1007

# Drum Sample DF

1317 M.E.2 Asagum LP

1318 M.E.2 Asmatek LP

1319 M.E.2 Bendirgum LP

1320 M.E.2 Bendirtek1 LP

1321 M.E.2 Bendirtek2 LP

1322 M.E.2 Dm LP

1323 M.E.2 Findik LP

1324 M.E.2 Gum LP

1325 M.E.2 Hollotokat LP

1326 M.E.2 Islik1 SFX

1327 M.E.2 Islik2 SFX

1328 M.E.2 Kapalit LP

1329 M.E.2 Kasik1 LP

1330 M.E.2 Kasik2 LP

1331 M.E.2 Kasik3 LP

1332 M.E.2 Kasik4 LP

1333 M.E.2 Kemik LP

1334 M.E.2 Kenar LP

1335 M.E.2 Kenartek LP

1336 M.E.2 Ramazangum LP

1337 M.E.2 Ramazantek LP

1338 M.E.2 Renk LP

1339 M.E.2 Renkbir LP

1340 M.E.2 Renkiki LP

1341 M.E. 2 Tefacik LP

1342 M.E.2 Tefgum LP

1343 M.E.2 Teftek LP

1344 M.E.2 Teftokat LP

1345 M.E.2 Teftrill LP

1346 M.E.2 Tefzil LP

1347 M.E. 2 Tek1 LP

1348 M.E.2 Tek2 LP

1349 M.E.2 Tekbir LP

1350 M.E. 2 Tokat LP

# Drum Sample DF

1351 M.E.2 Toprgum LP

1352 M.E.2 Toprtek1 LP

1353 M.E.2 Toprtek2 LP

1354 M.E.2 Toprtokat LP

1355 M.E.2 Trill LP

1356 M.E.2 Zil1 HP

1357 M.E.2 Zil2 HP

1358 M.E.2 Zil3 HP

1359 M.E.2 Zilgit SFX

1360 Orchestra Hit SFX

1361 Band Hit SFX

1362 Impact Hit SFX

1363 Metal Hit SFX

1364 Yeah! SFX

1365 Yeah! Solo SFX

1366 Uhh SFX

1367 Hit It SFX

1368 Uhhhh Solo SFX

1369 Comp Voice Noise SFX

1370 Stadium Amb SFX

1371 Stadium SFX

1372 Applause Amb SFX

1373 Applause SFX

1374 Scream SFX

1375 Laughing SFX

1376 Footsteps1 SFX

1377 Footsteps2 SFX

1378 Bird1 SFX

1379 Bird2 SFX

1380 Dog SFX

1381 Gallop SFX

1382 Crickets SFX

1383 Cat SFX

1384 Growl SFX

# Drum Sample DF

1385 Heart Beat SFX

1386 Heart Beat GM SFX

1387 Punch SFX

1388 Tribe SFX

1389 Door Creak SFX

1390 Door Slam SFX

1391 Car Engine SFX

1392 Car Stop SFX

1393 Car Pass SFX

1394 Car Crash SFX

1395 Train SFX

1396 Helicopter SFX

1397 Gun Shot1 SFX

1398 Gun Shot2 SFX

1399 Machine Gun SFX

1400 Laser Gun SFX

1401 Explosion SFX

1402 Thunder SFX

1403 Wind SFX

1404 Stream SFX

1405 Bubble SFX

1406 Bubble GM SFX

1407 Church Bell SFX

1408 Telephone Ring SFX

1409 Xylophone Spectr SFX

1410 Cricket Spectrum SFX

1411 Air Vortex SFX

1412 Noise White SFX

1413 Noise FM Mod SFX

1414 Tubular HP

1415 Gamelan HP

1416 Tambura HP

1417 Gtr Cut Noise1 SFX

1418 Gtr Cut Noise2 SFX

1008| Appendix

# Drum Sample DF

1419 Power Chord SFX

1420 Fret Noise SFX

1421 Dist. Slide1 SFX

1422 Dist. Slide2 SFX

1423 E.Gtr Pick1 SFX

1424 E.Gtr Pick2 SFX

1425 Gtr Scratch1 SFX

1426 Gtr Scratch2 SFX

1427 Ac.Bs-String Slap SFX

1428 Amp Noise SFX

1429 Space Lore SFX

1430 Swish Terra SFX

1431 Hand Drill SFX

1432 Mouth Harp SFX

1433 Slice Groove A 001 SD

1434 Slice Groove A 002 SD

1435 Slice Groove A 003 BD

1436 Slice Groove A 004 BD

1437 Slice Groove A 005 SD

1438 Slice Groove A 006 SFX

1439 Slice Groove A 007 SFX

1440 Slice Groove A 008 SD

1441 Slice Groove A 009 BD

1442 Slice Groove A 010 SD

1443 Slice Groove A 011 SD

1444 Slice Groove A 012 Tm

1445 Slice Groove A 013 Tm

1446 Slice Groove A 014 SFX

1447 Slice Groove A 015 SFX

1448 Slice Groove A 016 SFX

1449 Slice Groove A 017 SFX

1450 Slice Groove A 018 BD

1451 Slice Groove A 019 SD

1452 Slice Groove A 020 HH

# Drum Sample DF

1453 Slice Groove A 021 BD

1454 Slice Groove A 022 SFX

1455 Slice Groove A 023 SFX

1456 Slice Groove A 024 SFX

1457 Slice Groove A 025 SFX

1458 Slice Groove A 026 SFX

1459 Slice Groove A 027 SFX

1460 Slice Groove A 028 SFX

1461 Slice Groove A 029 BD

1462 Slice Groove A 030 SFX

1463 Slice Groove A 031 SD

1464 Slice Groove A 032 SD

1465 Slice Groove B 001 SFX

1466 Slice Groove B 002 SD

1467 Slice Groove B 003 SFX

1468 Slice Groove B 004 SFX

1469 Slice Groove B 005 BD

1470 Slice Groove B 006 BD

1471 Slice Groove B 007 SFX

1472 Slice Groove B 008 SFX

1473 Slice Groove B 009 SFX

1474 Slice Groove B 010 SFX

1475 Slice Groove B 011 SFX

1476 Slice Groove B 012 SFX

1477 Slice Groove B 013 SD

1478 Slice Groove B 014 SD

1479 Slice Groove B 015 SD

1480 Slice Groove B 016 BD

1481 Slice Groove B 017 SFX

1482 Grv BD1 BD

1483 Grv BD2 BD

1484 Grv BD3 BD

1485 Grv BD4 BD

1486 Grv BD5 BD

# Drum Sample DF

1487 Grv BD6 BD

1488 Grv BD7 BD

1489 Grv BD8 BD

1490 Grv BD9 BD

1491 Grv BD10 BD

1492 Grv BD11 BD

1493 Grv BD12 BD

1494 Grv BD13 BD

1495 Grv BD14 BD

1496 Grv BD15 BD

1497 Grv BD16 BD

1498 Grv BD17 BD

1499 Grv BD18 BD

1500 Grv BD19 BD

1501 Grv BD20 BD

1502 Grv BD21 BD

1503 Grv BD22 BD

1504 Grv BD23 BD

1505 Grv SD1 SD

1506 Grv SD2 SD

1507 Grv SD3 SD

1508 Grv SD4 SD

1509 Grv SD5 SD

1510 Grv SD6 SD

1511 Grv SD7 SD

1512 Grv SD8 SD

1513 Grv SD9 SD

1514 Grv SD10 SD

1515 Grv SD11 SD

1516 Grv SD12 SD

1517 Grv SD13 SD

1518 Grv SD14 SD

1519 Grv SD15 SD

1520 Grv SD16 SD

Musical Resources |1009

# Drum Sample DF

1521 Grv SD17 SD

1522 Grv Rim1 SD

1523 Grv Rim2 SD

1524 Grv Rim3 SD

1525 Grv Rim4 SD

1526 Grv Rim5 SD

1527 Grv Rim6 SD

1528 Grv HH Closed1 HH

1529 Grv HH Closed2 HH

1530 Grv HH Closed3 HH

1531 Grv HH Closed4 HH

1532 Grv HH Closed5 HH

1533 Grv HH Closed6 HH

1534 Grv HH Closed7 HH

1535 Grv HH Closed8 HH

1536 Grv HH Closed9 HH

1537 Grv HH Closed10 HH

1538 Grv HH Closed11 HH

1539 Grv HH Closed12 HH

1540 Grv HH Closed13 HH

1541 Grv HH Closed14 HH

1542 Grv HH Closed15 HH

1543 Grv HH Closed16 HH

1544 Grv HH Closed17 HH

1545 Grv HH Open1 HH

1546 Grv HH Open2 HH

1547 Grv HH Open3 HH

1548 Grv HH Open4 HH

1549 Grv Hi Tom1 Tm

1550 Grv Hi Tom2 Tm

1551 Grv Low Tom1 Tm

1552 Grv Low Tom2 Tm

1553 Grv Ride Cy

1554 Grv Crash1 Cy

# Drum Sample DF

1555 Grv Crash2 Cy

1556 Grv Claps1 LP

1557 Grv Claps2 LP

1558 Grv Claps3 LP

1559 Grv Claps4 LP

1560 Grv Claps5 LP

1561 Grv Claps6 LP

1562 Grv Claps7 LP

1563 Grv Claps8 LP

1564 Grv Claps9 LP

1565 Grv Claps10 LP

1566 Grv Fx1 SFX

1567 Gr v Fx 2 SFX

1568 Gr v Fx3 SFX

1569 G rv Fx4 SFX

1570 G rv Fx5 SFX

1571 Grv Fx6 SFX

1572 Gr v Fx7 SFX

1573 Gr v Fx8 SFX

1574 Gr v Fx 9 SFX

1575 Grv Fx10 SFX

1576 Grv Fx11 SFX

1577 Grv Fx12 SFX

1578 Grv Fx13 SFX

1579 Grv Fx14 SFX

1580 Grv Fx15 SFX

1581 Grv Fx16 SFX

1582 Grv Fx17 SFX

1583 Grv Fx18 SFX

1584 Grv Fx19 SFX

1585 Gr v Fx 20 SFX

1586 Grv Fx21 SFX

1587 Grv Fx2 2 SFX

1588 Grv Fx2 3 SFX

# Drum Sample DF

1589 Gr v Fx 24 SFX

1590 Gr v Fx 25 SFX

1591 G rv Fx26 SFX

1592 Gr v Fx 27 SFX

1593 Gr v Fx28 SFX

1594 Grv Fx29 SFX

1595 Grv Fx30 SFX

1596 Gr v Fx31 SFX

1597 Grv Fx32 SFX

1598 Grv Fx33 SFX

1599 G rv Fx34 SFX

1600 Grv Fx35 SFX

1601 Grv Slice1 SFX

1602 Grv Slice2 SFX

1603 Grv Slice3 SFX

1604 Grv Slice4 SFX

1605 Grv Slice5 SFX

1606 Grv Slice6 SFX

1607 Grv Slice7 SFX

1608 Grv Slice8 SFX

1609 Grv Slice9 SFX

1610 Grv Slice10 SFX

1611 Grv Slice11 SFX

1612 Grv Slice12 SFX

1613 Grv Slice13 SFX

1614 Grv Slice14 SFX

1615 Grv Slice15 SFX

1616 Grv Slice16 SFX

1617 Grv Slice17 SFX

1618 Grv Slice18 SFX

1619 Grv Slice19 SFX

1620 Grv Slice20 SFX

1621 Grv Slice21 SFX

1622 Grv Slice22 SFX

1010| Appendix

# Drum Sample DF

1623 Grv Slice23 SFX

1624 55 SD SD

1625 66 BD BD

1626 88 BD BD

1627 88 SD1 GM SD

1628 88 SD2 SD

1629 88 SD2 GM SD

1630 88 Rim Shot SD

1631 88 Rim Shot GM SD

1632 88 HH Close1 acc GM HH

1633 88 HH Close2 HH

1634 88 HH Close2 GM HH

1635 88 HH Open1 HH

1636 88 HH Open1 GM HH

1637 88 HH Open2 HH

# Drum Sample DF

1638 88 Tom1 Tm

1639 88 Tom2 Tm

1640 88 Crash Cy

1641 88 Crash GM Cy

1642 88 Congas LP

1643 88 Claps LP

1644 88 Claves LP

1645 88 Cowbell HP

1646 88 Maracas HP

1647 99 SD1 SD

1648 99 SD2 SD

1649 99 HH Close HH

1650 99 HH Open1 HH

1651 99 HH Open2 HH

1652 99 Ride Dance Cy

# Drum Sample DF

1653 Click SFX

1654 Click GM SFX

1655 Seq Click SFX

1656 Metronome W Bell SFX

1657 Metronome W SFX

1658 Empty

Legend:

BD = Bass Drum

SD = Snare Drum

Tm = Tom

HH = Hi Hat

Cy = Cymbal

LP = Low Percussion

HP = High Percussion

SFX = Special FX

Musical Resources |1011

# Pad

HIT - Drum

1 88 Cowbell

2 88 Crash

3 China

4 Crash 1

5 Crash 2

6 Rev. Cymbal

7 Ride 1

8 Ride 2

9 Ride Bell

10 Splash

11 Sticks

12 Rim-Shot

13 Hi Tom Flam

14 Mid Tom Flam

15 Low Tom Flam

16 Tom Flam End

17 Drum Single A

18 Drum Single B

19 Drum Single C

20 Drum Single D

21 Drum Sing.HouseA

22 Drum Sing.HouseB

23 Drum Sing.HouseC

24 Drum Sing.HouseD

25 Drum Kit A

26 Drum Kit B

27 Drum Kit C

28 Drum Kit D

29 Drum Kit E

30 Drum Kit F

# Pad

HIT - Percussion

1 Agogo 1

2 Agogo 2

3 Castanet 1

4 Castanet 2

5 Conga Hi

6 Conga Low

7 Conga Mute

8 Conga Slap

9 Cowbell

10 Cuica 1

11 Cuica 2

12 Jingle Bell

13 Long Guiro

14 Short Guiro

15 Open Bells

16 Rain Stick

17 Tamb. Acc. 1

18 Tamb. Acc. 2

19 Tamb. Open

20 Tamb. Push

21 Timbale Hi

22 Timbale Low

23 Timbale Rim 1

24 Timbale Rim 2

25 Triangle 1

26 Triangle 2

27 Vibra Slap

28 Whistle 1

29 Whistle 2

30 Windchimes 1

# Pad

31 Windchimes 2

32 Windchimes 3

HIT - World 1

1 Baya 1

2 Baya 2

3 China Gong

4 Darbuka 1

5 Darbuka 2

6 Darbuka 3

7 Darbuka 4

8 Darbuka 5

9 Darbuka 6

10 Darbuka 7

11 Darbuka 8

12 Davul

13 Douf Rim Ak

14 Dragon Gong

15 Hollo 1

16 Hollo 2

Hit - World 2

1 Kup 1

2 Kup 2

3 Kup 3

4 Kup 4

5 Ramazan 1

6 Ramazan 2

7 Ramazan 3

8 Rek Dom Ak

9 Rik 1

10 Rik 2

11 Rik 3

Pads

The following table contains all the Factory Pads.

1012| Appendix

# Pad

12 Sagat 1

13 Sagat 2

14 Tef 1

15 Tef 2

16 Tef 3

17 Tef 4

18 Tef 5

19 Tef 6

HIT - Orchestral

1 B rass Fall

2 Orch.Cymbal 1

3 Orch.Cymbal 2

4 Orch. Hit

5 Orch. Snare

6 Orch. Sn. Roll

7 Timpani 1

8 Timpani 2

9 Timpani 3

10 Timpani 4

11 Orchestra Tutti

HIT - Synth&Pad

1 Cosmic

2 VCF Modulation

3 Planet Lead

4 Brightness

5 Crystal

6 New Age Pad

7 Fifths Lead

8 Calliope

9 Caribbean

10 Rezbo

11 Digital Polisix

12 Motion Raver

13 Moving Bell

# Pad

14 Elastick Pad

15 Rave

16 Dance Remix

17 Vintage Sweep

18 You Decide

HIT - Voice

1 Aah !

2 Hit it !

3 Laughing

4 Scream

5 Uuh !

6 Yeah ! 1

7 Yeah ! 2

HIT - Blocks

1 Blk Funk 1 A

2 Blk Funk 1 B

3 Blk Funk 1 C

4 Blk Funk 1 D

5 Blk Funk 2 A

6 Blk Funk 2 B

7 Blk Funk 2 C

8 Blk Funk 2 D

9 Blk Organ A

10 Blk Organ B

11 Blk Organ C

12 Blk Organ D

13 Blk Choir A

14 Blk Choir B

15 Blk Choir C

16 Blk Choir D

HIT - Misc&SFX 1

1 Applause

2 Birds 1

3 Birds 2

# Pad

4 Cat

5 Church Bell

6 Crickets

7 Dist. Slide 1

8 Dist. Slide 2

9 Dog

10 Door Creak

11 Door Slam

12 Footsteps 1

13 Footsteps 2

14 Heart Beat

15 Horse Gallop

16 Lion

17 Scratch 1

18 Scratch 2

19 Scratch 3

20 Scratch 4

21 Scratch 5

22 Scratch 6

23 Stadium

HIT - Misc&SFX 2

1 Bubble

2 Car Crash

3 Car Engine

4 Car Pass

5 Car Stop

6 Explosion

7 Gun Shot

8 Helicopter

9 Jet Plane

10 Laser Gun

11 Machine Gun

12 Phone Ring

13 Punch

Musical Resources |1013

# Pad

14 River

15 Seashore

16 Siren

17 Starship

18 Thunder

19 Train

20 Wind

21 Side Wind

SEQ - Drum

1 Drum DrumBasSolo

2 Drum Snare Solo

3 Drum 8 Bt Easy

4 Drum 8 Bt Medium

5 Drum Rock 1

6 Drum Rock 2

7 Drum Brush 1 3/4

8 Drum Brush 2 3/4

9 Drum Disco 1

10 Drum Disco 2

11 Drum Disco 3

12 Drum Disco 4

13 Drum Funk 1

14 Drum Funk 2

15 Drum Brush Shuff

16 Drum Latin

17 Drum Progressiv1

18 Drum Progressiv2

19 Drum Fill 1

20 Drum Fill 2

21 Drum Break

22 Drum End

SEQ - Percussion

1 Perc FingerSnap

2 Perc Triang.+HH

# Pad

3 Perc Latin 1

4 Perc Latin 2

5 Perc Latin 3

6 Perc Mix

7 Perc Soft

8 Perc Conga

9 Perc Conga+Ride

10 Perc Conga+Mix

11 Perc Conga+Bongo

12 Perc Conga+Tamb.

13 Perc Shaker

14 Perc Shak+Tamb 1

15 Perc Shak+Tamb 2

16 Perc Shak+Cong 1

17 Perc Shak+Cong 2

18 Perc Tambourine1

19 Perc Tambourine2

20 Perc Tamb+Conga1

21 Perc Tamb+Conga2

22 Perc Guiro+Bongo

23 Perc Cowbel+Tamb

24 Perc 3/4

25 Perc 6/8

SEQ - Groove

1 Grv Drum 1

2 Grv Drum 2

3 Grv Brush

4 Grv Jazzy

5 Grv Latin

6 Grv HipHop 1

7 Grv HipHop 2

8 Grv HipHop 3

9 Grv HipHop 4

10 Grv HipHop 5

# Pad

11 Grv HipHop 6

12 Grv Funk 1

13 Grv Funk 2

14 Grv Funk 3

15 Grv House 1

16 Grv House 2

17 Grv Analog

18 Grv Garage 1

19 Grv Garage 2

20 Grv Dance 1

21 Grv Dance 2

22 Grv Techno 1

23 Grv Techno 2

SEQ - Bass

1 Bass Pick Easy

2 Bass Pick Med.

3 Bass Pick Busy

4 Bass Finger Easy

5 Bass Finger Med.

6 Bass Finger Walk

7 Bass Latin

8 Bass Slap

9 Bass Digital

10 Bass Synth

11 Bass DigiFilter1

12 Bass DigiFilter2

13 Bass DigiFilter3

SEQ - Piano

1 Piano Accomp 1

2 Piano Accomp 2

3 Piano Accomp 3

4 Piano Accomp 4

5 Piano Accomp 5

6 Piano Accomp 6

1014| Appendix

# Pad

7 Piano Accomp 7

8 Piano Accomp 8

9 Piano Accomp 9

10 Piano Arpeg. 1

11 Piano Arpeg. 2

12 Piano Arp 1 3/4

13 Piano Arp 2 3/4

14 Piano Arp Down

15 Piano Arp Up

16 Piano Rhythm 1/8

17 Piano Rhythm1/8T

18 Piano Latin Rock

19 Piano Salsa 1

20 Piano Salsa 2

21 Pno GlissDwnWhit

22 Pno GlissUpWhite

23 Pno GlissDwnBlak

24 Pno GlissUpBlack

25 Honky End

SEQ - Guitar

1 Gtr Steel Strum1

2 Gtr Steel Strum2

3 Gtr Steel Strum3

4 Gtr Steel Strum4

5 Gtr Steel Strum5

6 Gtr Steel Strum6

7 GtSteelStrum 3/4

8 Gtr Steel Arp 1

9 Gtr Steel Arp 2

10 Gtr Steel Arp 3

11 GtrSteel Arp 6/8

12 Gtr Steel Mute 1

13 Gtr Steel Mute 2

14 Guitar Country

# Pad

15 Gtr Nylon Strum1

16 Gtr Nylon Strum2

17 Gtr Nylon Strum3

18 Gtr Nylon Strum4

19 Gtr Nylon Strum5

20 Gtr Nylon Strum6

21 Gtr Nylon Arp 1

22 Gtr Nylon Arp 2

23 Gtr Nylon Arp 3

24 GtrNylon Arp 3/4

SEQ - Orchestral

1 Timpani Roll 1

2 Timpani Roll 2

3 Orch. Tutti 1

4 Orch. Tutti 2

5 Orch. Tutti 3

6 Orch. Tutti 4

7 Orch. Harp 1

8 Orch. Harp 2

9 Orch. Harp 3

10 Orch. Harp 4

11 Orch. Harp 5

12 French Horns 1

13 French Horns 2

14 Strings 1

15 Strings 2

16 Strings 3

17 Strings 4

18 Strings 5

19 Strings 6

20 Strings 7

SEQ - Solo

1 Solo Marimba

2 Solo Kalimba 1

# Pad

3 Solo Kalimba 2

4 Solo Steel Drums

5 Solo Vibes

6 Solo Gtr Dist.

7 Solo Slide Steel

8 Solo Banjo

9 Solo Violin

10 Solo Harpsi 3/4

11 Solo Harpsi 4/4

12 Solo Gtr Funk

13 Solo Piano 1

14 Solo Piano 2

15 Solo Piano 3

16 Solo Piano 4

17 Solo Synth 1

18 Solo Synth 2

19 Solo Synth 3

20 Solo Synth 4

21 Solo Synth 5

22 Solo Synth 6

23 Solo Guitar 1

24 Solo Guitar 2

25 Solo Guitar 3

SEQ - Synth&Pad

1 Synth Seq 1

2 Synth Seq 2

3 Synth Seq 3

4 Synth Seq 4

5 Synth Seq 5

6 Synth Seq 6

7 Synth Seq 7

8 Synth Seq 8

9 Synth Seq 9

10 Synth Seq 10

Musical Resources |1015

# Pad

11 Synth Seq 11

12 Synth Portam. 1

13 Synth Portam. 2

14 Synth Portam. 3

15 Synth Portam. 4

16 Synth Filter 1

17 Synth Filter 2

18 Synth Pad Panned

19 Synth Master Pad

20 Synth Dark Pad

21 Side Line Buzz

22 Side Line Lab

# Pad

SEQ - Misc&SFX

1 Military 1

2 Military 2

3 Military 3

4 Military 4

5 Horror 1

6 Horror 2

7 Horror 3

8 Horror 4

9 Lullaby 1

10 Lullaby 2

11 Nature – River

# Pad

12 Nature – Storm

13 Metronome 3/4

14 PreCount 3/4

15 Metronome 4/4

16 PreCount 4/4

17 PreCount 4/4 Dbl

18 Toccata

19 5th Intro

20 Spring

21 Circus 1

22 Circus 2

23 Side Wind

1016| Appendix

60 Recognized chords

The following pages show the main recognized chords, when the selected Chord

Recognition mode is Fingered 3-Notes.

2-note

3-note

T T

Major

2-note

4-note

Major 6th

3-note

4-note

Major 7th

2-note

T= constituent notes of the chord = can be used as tension

3-note

Sus 4

2-note

3-note

Sus 2

3-note

T T

2-note

T T

4-note

T T

TT T

Dominant 7th

4-note

Dominant 7th Sus 4

3-note

Flat 5th

4-note

Major 7th Sus 4

4-note

Major 7th 5

T T

4-note

Dominant 7th 5

Recognized chords |1017

T= constituent notes of the chord = can be used as tension

4-note

Minor 7th

3-note

4-note

T T

Minor-Major 7th

3-note

Diminished

4-note

Diminished 7th

4-note

Diminished Major 7th

4-note

TTT

Minor 7th 5

3-note

Augmented

4-note

TT T

Augmented 7th

4-note

TT T

Augmented Major 7th

No 3rd, no 5th

No 3rd

1-note

2-note

3-note

T T

Minor

2-note

4-note

T T

Minor 6th

1018| Appendix

61 Installing the options

Replacing the clock backup battery

You can replace the clock backup battery with a standard lithium battery.

You can buy the needed battery at a store that sells computer or electronics

components. Please replace the clock battery with one identical to the one

already installed in the instrument. Do not use replacements other than the

one indicated, or you risk to damage the instrument!

Precautions

▪ Installation of the battery is done at the user’s own risk. KORG will assume

no responsibility for any data loss, damage or injury resulting from its im-

proper installation or use.

▪ Be sure to disconnect the instrument from the AC plug, before opening it.

▪ To prevent your body’s static electricity from damaging the board’s compo-

nents, touch an unpainted metallic component before proceeding with the

installation.

Installation

For installation, you will need a cross-point screwdriver (not supplied).

1 Disconnect the instrument from the AC power.

Installing the options |1019

2 From the back of the instrument, use the cross-point screwdriver to unscrew

the ﬁxing screw (a), then remove the cover (b) and keep it apart. The screw

(a) will remain attached to the cover.

ⓐ

ⓑ

1020| Appendix

3 With the help of your ﬁngernail, lift the exhausted battery (c) from its lower

side, and remove it from the battery slot, being very careful not to let it fall

inside the instrument.

ⓒ

4 Insert the new battery (d) into the empty battery slot, being sure the positive

(+) side is facing up. Be very careful not to let it fall inside the instrument.

ⓓ

Installing the options |1021

5 Replace the cover (b) to the original position. Attach the cover to the back of

the instrument by fastening the ﬁxing screw (a).

ⓐ

ⓑ

6 When the installation is ﬁnished, connect the power cord, and switch the

instrument on again.

7 Go to the Global > General Controls > Clock & Power page, and set the date

and time.

1022| Appendix

Installing a microSD card

To expand the available onboard storage memory, you can install an (optional)

microSD card. The card can be installed by the user. Do not use types of

cards different than the one indicated (microSD), or you risk to damage

the instrument!

Please consider a card containing localized musical resources could have

already been installed by your KORG Distributor. If you are not sure, contact

them before removing the installed card.

Precautions

▪ Installation of the microSD card is done at the user’s own risk. KORG will as-

sume no responsibility for any data loss, damage or injury resulting from its

improper installation or use.

▪ Be sure to disconnect the instrument from the AC plug, before opening it.

Warning: Removing or inserting the microSD card while the instrument is

connected to the AC plug may damage the instrument and the card!

▪ To prevent your body’s static electricity from damaging the board’s compo-

nents, touch an unpainted metallic component before proceeding with the

installation.

Installation

For installation, you will need a cross-point screwdriver (not supplied).

1 Disconnect the instrument from the AC plug.

2 From the back of the instrument, use the cross-point screwdriver to remove

the ﬁxing screw (a), then remove the cover (b) and keep it apart. The screw

(a) will remain attached to the cover.

Installing the options |1023

ⓐ

ⓑ

3 In case there is a microSD card already installed, push on it to unlock it, and

remove it, being very careful not to let it fall inside the instrument.

4 Insert the microSD card (c) into the empty card slot, being sure the connec-

tor side is facing up and toward the instrument. Gently push the card, until

you hear a click sound meaning it is properly inserted. Warning: Be sure to

insert the card correctly, or it may slip inside the instrument!

1024| Appendix

ⓒ

5 Replace the cover (b) to the original position. Attach the cover to the back of

the instrument by fastening the ﬁxing screw (a).

ⓐ

ⓑ

6 When the installation is ﬁnished, connect the power cord, and switch the

instrument on again.

Accessing the microSD card

For maximum compatibility, we recommend to format the card before ac-

cessing it the ﬁrst time. Go to the Media > Format page, and format it (SD

device). Warning: Formatting a storage device will delete all the data it con-

tains!

After formatting, you can access the card from any

Media page or from the

Song Select window, by using the Device selector and choosing the SD stor-

age device.

Shortcuts |1025

62 Shortcuts

Shift functions

You can keep the SHIFT button pressed, and press another button on the

control panel to directly jump to an edit page or dialog box.

Shift + Functions

Various modes

Dial, Up/Down Tempo Change

Scroll Arrows When a list is shown: Goes to Next/Previous alphabetical section of

the currently selected column

Sound Sends the Sound assigned to the selected track to the Sound mode

Global Selects the Global > MIDI > General Controls page. This is a quick way

to jump to MIDI editing pages.

Media Selects the Global > Mode Preferences > Media page

Start/Stop Panic; stops all notes playing, and resets all controllers

Fade In/Out Selects the Fade In/Out Time parameter in the Global > General

Controls > Basic page

Auto Fill Selects the Global > Mode Preferences > Style page

Synchro Start/Stop Selects the Global > Midi > General Controls page

Tempo +/– Proportionally changes the volume level of the Sounds/tracks of the

same type (all the Upper Sounds, all the Song tracks…)

Tempo Lock Selects the Global > General Controls > Lock page

Upper Octave (either) Selects the Style Play/Song Play > Mixer/Tuning > Tuning page

Transpose (either) Selects the Global > Tuning > Transpose Controls page

Style Play mode

Style Play Selects the Global > Mode Preferences > Style page

Memory

Variation Selects the corresponding Variation in the Style Play > Controls >

Drum/Fill page

Ensemble Selects the Ensemble Type parameter in the Style Play > Keyboard/

Ensemble > Ensemble page

Pad (any) Selects the Pad/Switches > Pad page

Assignable Switch (any) Selects the Pad/Switches > Switch page

1026| Appendix

Shift + Functions

Song Play mode

Song Play Selects the Global > Mode Preferences > Song & Seq page

Play/Stop Player’s Sync Start

JukeBox

>> Play the next Song in the JukeBox list

<< Play the previous Song in the JukeBox list

Lyrics

Display Load a TXT ﬁle

Sequencer mode

Sequencer Selects the Global > Mode Preferences > Song & Seq page

Long keypress

You can keep a button pressed for about one second to directly jump to an

edit page or dialog box.

Long keypress Functions

Any mode

Split Opens the Split Point dialog box. Play a note to set the new Split

Point.

Style Play mode

Style Select Opens the Write Current Style Settings window

Style Play and Song Play mode

Keyboard Set Library

buttons

Opens the Write Keyboard Set to Library window

Keyboard Set buttons

(under the display)

Opens the Write Keyboard Set to Style window

My Setting Opens the Write My Setting window

SongBook Create a new SongBook Entry and opens the Write Song window

(only if pressed outside the SongBook)

Record Opens the MP3 Record dialog box

Global mode

Global Touch Panel Calibration

Shortcuts |1027

Special functions

Other available shortcuts are the following ones.

Style Play mode

Tempo +/– (together) Original Tempo

Transpose #/b (together) Set the Master Transpose to 0

Upper Octave +/- (together) Set the Upper Octave to the original setting

1028| Appendix

63 Troubleshooting

In case of problems, please check the following list to ﬁnd a solution.

Problem Solution

General problems

Power does not turn on Make sure that (1) the power cable is plugged into the outlet,

(2) the cable is plugged into the connector on the back of the

instrument, (3) and is not damaged, (4) there are no problems

with the mains.

Is the POWER indicator turned on?

If the power still does not turn on, contact your dealer or the

nearest KORG Service Center.

Power does not turn off Press the POWER button again and keep it pressed for a few

seconds. At the end, the button’s indicator will turn off, and the

instrument will be set to standby.

No sound Is the VOLUME knob set to a position other than ‘0’?

Is a jack inserted into the HEADPHONES connector? Unplug it.

Check the connections to your amp or mixer.

Make sure that all the components of the amplifying system

are turned on.

Is the Local parameter set to off? Turn it on.

Is the Attack parameter value of the selected Sound too high?

Set it to a lower value, to let the sound start faster. Is the

Volume parameter too low? Set it to a higher value.

Lowest note are not played When the SPLIT indicator is turned on, the keyboard is divided

into a Lower part (lower notes, below the split point) and an

Upper part (higher notes, above the split point). Is the Lower

part muted? Unmute it.

Wrong sounds Do the User banks contain modiﬁed data? Load the appropri-

ate data for the Song or the Style you wish to play.

Has one of the User Drum Kits been replaced? Load the ap-

propriate Drum Kits.

Have the Styles or Keyboard Sets been replaced? Load the ap-

propriate data.

Sound does not stop Keep the SHIFT button pressed, and press the START/STOP

button to send a Panic message, and turn all notes off.

Make sure that the Damper pedal calibration is correctly set.

Troubleshooting |1029

Problem Solution

The selected Style or Song

cannot start

Make sure that the Clock parameter is set to Internal. If you are

using the MIDI Clock of another device (like a sequencer), you

must set the MIDI Clock parameter to MIDI or USB, and make

sure that the external device transmits MIDI Clock data.

Does not respond to MIDI

messages

Make sure that the MIDI or USB cable is connected correctly.

Make sure that the external device is transmitting through MIDI

channels enabled to receive in Pa700.

Make sure that the MIDI IN Filters do not prevent the reception

of messages.

Percussive instruments are

not played correctly

Make sure that the Drum track is set to Drum Mode and the

external device has not transposition applied.

Some ‘clicks’ can be heard

when playing a percussive

instrument

This is part of the sound, and not a problem.

A background noise can

be heard after selecting a

Keyboard Set or Style

The selected Keyboard Set or Style recalled the effect ‘St.

Analog Record’, simulating the noise of a old vinyl recording.

Media related problems

Cannot format a device Is the USB cable correctly connected?

Is the USB device correctly powered?

Is the device inserted correctly?

Is the write protect tab of the disk or card in the protect posi-

tion? Unprotect it.

Cannot save data to a device Is the device formatted?

Is the device inserted correctly?

Is the write protect tab of the disk or card in the protect posi-

tion? Unprotect it.

Cannot load data from a

device

Is the device inserted correctly?

Does the device contain data compatible with Pa700?

The message ‘Over Current

Condition Detected on USB

port: please remove the

USB media’ appears in the

display

The USB device is probably defective, due to a short circuit,

and cannot be used. While this will not damage Pa700, it is ad-

visable to remove the device.

1030| Appendix

64 Specs

Feature Pa700 Pa700 ORIENTAL

Keyboard 61 keys (C2 – C7) with velocity

System Upgradable operating system, Multitasking, Load while play

Sound Generator EDS-X (Enhanced Deﬁnition Synthesis – eXpanded)

Filters with resonance, 3-band EQ on each Sound

Polyphony 128 voices, 128 oscillators

Effects Accompaniment/Song: 2 insert effects; 2 master effects (148 types)

Keyboard Sounds: 1 insert effect; 2 master effects (148 types)

Final mastering effects: Limiter, Master EQ

Voice Processor: 5 FX, 28 Factory, 64 User Presets

Guitar Processor: 3 FX, 45 Factory, 64 User Presets

Sounds / Drum Kits Factory: More than 1,700 Factory

Sounds including a multilayer

Stereo Piano with damper and

body resonance, GM/XG sound

sets and 106 Drum Kits

Factory: More than 1,850 Factory

Sounds including a multilayer

Stereo Piano with damper and

body resonance, GM/XG sound

sets and 175 Drum Kits

User: 512 Sounds, 256 Drum Kits

Digital Drawbars: 9 footages, percussion, key on/off, leakage, rotary

speaker effect

DNC (Deﬁned Nuance Control) Technology, Natural Ambience Drums

Full Sounds/Drum Kits editing

Sampling 128 MB compressed (equivalent to 256 MB linear data);

Loads KORG, WAV, AIFF and SoundFont™ formats

Saves KORG, WAV and AIFF formats

Full Edit, Time Slice

Specs |1031

Feature Pa700 Pa700 ORIENTAL

Styles Factory: More than 370 Factory

Styles, freely reconﬁgurable sets

Factory: More than 520 Factory

Styles, freely reconﬁgurable sets

User: 1,152 locations, including User and Direct banks

Eight Accompaniment tracks, 4 Keyboard Sets, 4 Pads per Style;

Style Settings (Sounds and Arranger parameters) on each Style

Guitar Mode 2, Parallel and Fixed NTT (Note Transposition Table)

Style/Pad Record with Step Record, Track and Event Edit

Style Creator Bot (MIDI Song to Style Converter)

Style controls: 3 Intros, 4 Variations, 4 Fills, Break, 3 Endings,

Synchro Start, Synchro Stop, Tap Tempo/Reset, Bass Inversion, Auto

Fill, Manual Bass, Memory, Accompaniment Mute, Drum Mapping,

Snare & Kick Designation, Style to Keyboard Set Mode

Chord Sequencer Chord Sequence recorder and player in Style Play mode

Chord Sequences can be saved to Style and SongBook Entries

Edit functions: Delete, Copy from Style/SongBook, Import/Export

from/to SMF

Keyboard Set Library Memorize Keyboard Sound settings

Factory: More than 290 Keyboard

Sets, freely reconﬁgurable

Factory: More than 380 Keyboard

Sets, freely reconﬁgurable

User: 864 locations, including User and Direct banks

‘My Setting’ special Keyboard Set

KAOSS FX Automatic MIDI FX generator

More than 65 Factory Presets

Song Play Supported formats: MID, KAR, MP3+Lyrics, MP3+G

Select, Start/Stop, Home, Rewind and Fast Forward controls

Lyrics, Score, and Chord data can be displayed on screen, or on an

external video monitor

Markers with Add, Delete, Edit and Loop functions

Jukebox function

MP3 Player / Recorder MP3 Player and Recorder

Transpose (+6/-5 semitones), Tempo change (±30%)

Vocal Remover

Records MP3 ﬁles, including Styles, MIDI Songs, MP3 Songs,

Keyboard Sounds, Pads, Microphone, Guitar, Effects, KAOSS Effects

Sequencer Quick Record (Backing Sequence), Multitrack and Step Record func-

tions

Full-featured sequencer, 16 tracks, Up to 200,000 events, SMF (MID)

native format

1032| Appendix

Feature Pa700 Pa700 ORIENTAL

SongBook Fully programmable music database, based on Styles, MIDI Songs

(MID and KAR ﬁles), MP3 Songs, with automatic selection of Style

Play and Song Play modes

User-deﬁnable Set Lists, with Entries selectable from the control

panel

Filtering and sorting options

Compatibility Pa-Series models: Styles, Performances/Keyboard Sets, Programs/

Sounds, Songs, SongBook Entries, Pads

‘i-Series’ models: Styles

Pads Four Assignable Pads + Stop buttons

Pad Record function

General Controls Master Volume; Fade In/Out; Keyboard-Acc/Song Balance; Ensemble;

Octave Transpose; Master Transpose; Joystick; 2 Assignable Knobs;

3 Assignable Switches; Tempo +/-; Tempo Lock; Metronome On/Off;

Dial; Search; Shift; Split; Record

Scale Controls Virtual Quarter Tone SubScale

Keypad, 4 x Scale Presets

Physical Quarter Tone SubScale

Keypad, 4 x Scale Presets

Control Inputs Damper pedal (supports half-pedaling with the optional DS-1H pedal)

Assignable pedal/switch

Audio Inputs Line (Left/Right): 1/4” jacks, +20dBm, 12 kOhm

Mic/Guitar (Left): 1/4” jack, with Gain control (0 — +40dB)

12 kOhm (Mic) / 500 kOhm (Guitar)

Audio Outputs Left/Right, 1/4” jack, +21dBm, 0.003% THD+N@+18dBm

Headphone output (1/4” jack), 16-200 Ohms (50 Ohms suggested)

Speaker System Ampliﬁcation: 2 x 25W

Speakers: 2 x Dual Cone Speakers in Bass Reﬂex Box

MIDI IN, OUT standard MIDI connectors

USB to MIDI using the USB ports

User-deﬁnable MIDI Presets

USB Type A (HOST, for memory and controllers), Type B (DEVICE, for per-

sonal computers and tablets)

2.0 High-Speed connections (480 Mbit/s). Low-Speed (1.5 Mbit/s)

and Full-Speed (12 Mbit/s) devices can only be connected to the USB

HOST port through an High-Speed USB hub.

Storage Internal memory: 960 MB

USB external drives (drive not included)

microSD card (not included); rear panel slot with plastic cover

Display 7” Wide capacitive color TouchView™ TFT display

Specs |1033

Feature Pa700 Pa700 ORIENTAL

Video Out Pa700 Type A (up to SN# 39999): RCA connector

Pa700 Type B, C (from SN# 40000): HDMI connector

Clock Internal System Clock

Power Consumption 100-240 Volts, 50/60 Hz, 25 Watt normal / < 0.3 Watt in standby

Dimensions

(W x D x H)

1030 x 378.3 x 132 mm / 40.55” x 14.89” x 5.2”

(without music stand; height with music rest: 355.8 mm / 14”)

Weight 9.9 kg / 21.82 lbs 9.95 kg / 21.93 lbs

Accessories AC Power Cable, Music Stand, Quick Guide manual

Options EXP-2 Foot Controller, XVP-10 Expression/Volume Pedal, VOX V860

Volume Pedal

DS-1H Damper Pedal (supports half-pedaling)

PS-1, PS-3 Pedal Switch

Speciﬁcations are subject to change without notice due to continuous prod-

uct development and improvement.

The terms HDMI and HDMI High-Deﬁnition Multimedia Interface, and

the HDMI Logo are trademarks or registered trademarks of HDMI

Licensing Administrator, Inc. in the United States and other countries.

KORG Pa700

OS Version 1.0 - May 08, 2017

Function Transmitted Recognized Remarks

Basic Channel Default 1–16 1–16 Memorized

Changed 1–16 1–16

Mode Default 3

Messages X X

Altered ****************

Note

Number:

0–127 0–127

True Voice **************** 0–127

Velocity Note On O 9n, V=1–127 O 9n, V=1–127

Note Off O 8n, V=0–127 O 8n, V=0–127

Aftertouch Poly (Key) O O Player data only *1

Mono (Channel) O O *1

Pitch Bend O O

Control

Change

0, 32 O O Bank Select (MSB, LSB) *1

1, 2 O O Modulations *1

6 O O Data Entry MSB *1

12, 13 O O FX MIDI Controller 1/2 *1

38 O O Data Entry LSB *1

7, 11, 16 O O Volume, Expression, Ribbon *1

10, 91, 93, 96 O O Panpot, A/B Master FX Send 1/2/3 *1

64, 66, 67 O O Damper, Sostenuto, Soft *1

65, 5 O O Portamento On/Off, Portamento Time *1

71, 72, 73 O O Harmonic Content, EG time (Release, Attack) *1

74, 75 O O Brightness, Decay Time *1

76, 77, 78 O O Vibrato Rate, Depth, Delay *1

80, 81 O O Sound Controller (1, 2) *1

98, 99 O O NRPN (LSB, MSB) *1, 2

100, 101 O O RPN (LSB, MSB) *1, 3

Program

Change

O 0–127 O 0–127 *1

True # **************** 0–127

System Exclusive O O *4

System

Common

Song Position O X

Song Select X X

Tune X X

System

Real Time

Clock O O *5

Commands O O *5

Aux

Messages

All Sounds Off O O *1

Reset All Controllers X O *1

Local On/Off X X

All Notes Off X O

Active Sense O O

Reset X X

Notes *1: Sent and received when MIDI Filters In and Out are set to Off in Global mode.

*2: Drawbars settings, Sound parameters, Selection of SongBook Entries, Drum Kit Family settings.

*3: LSB, MSB = 00,00: Pitch Bend range, =01,00: Fine Tune, =02,00: Coarse Tune.

*4: Includes Inquiry, Master Volume and Transpose messages, FX settings, Quarter Tone settings. GM Mode On.

*5: Transmitted only when the Clock Send parameter (Global mode) is set to on.

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O: Yes

Mode 3:OMNI OFF, POLY Mode 4:OMNI OFF, MONO X: No

IMPORTANT NOTICE TO CONSUMERS

This product has been manufactured accord-

ing to strict speciﬁcations and voltage re-

quirements that are applicable in the country

in which it is intended that this product should

be used. If you have purchased this product

via the internet, through mail order, and/or

via a telephone sale, you must verify that this

product is intended to be used in the country

in which you reside.

WARNING: Use of this product in any country

other than that for which it is intended could

be dangerous and could invalidate the manu-

facturer’s or distributor’s warranty.

Please also retain your receipt as proof of

purchase otherwise your product may be dis-

qualiﬁed from the manufacturer’s or distribu-

tor’s warranty.

NOTICE REGARDING DISPOSAL (EU ONLY)

If this symbol is shown on the product,

manual, battery, or package, you must

dispose of it in the correct manner to

avoid harm to human health or dam-

age to the environment. Contact your

local administrative body for details

on the correct disposal method. If

the battery contains heavy metals in

excess of the regulated amount, a chemical

symbol is displayed below the symbol on the

battery or battery package.

In case of electromagnetic radiations a tem-

porary deterioration of the quality of audio

performances may occur. A deterioration

that might arise can be a sound signal emit-

ted. This will stop when the electromagnetic

disturbance ceases.

THE FCC REGULATION WARNING (FOR USA)

This equipment has been tested and found

to comply with the limits for a Class B digi-

tal device, pursuant to Part 15 of the FCC

Rules. These limits are designed to provide

reasonable protection against harmful in-

terference in a residential installation. This

equipment generates, uses, and can radiate

radio frequency energy and, if not installed

and used in accordance with the instructions,

may cause harmful interference to radio com-

munications. However, there is no guarantee

that interference will not occur in a particu-

lar installation. If this equipment does cause

harmful interference to radio or television re-

ception, which can be determined by turning

the equipment off and on, the user is encour-

aged to try to correct the interference by one

or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equip-

ment and receiver.

• Connect the equipment into an outlet on a

circuit different from that to which the receiv-

er is connected.

• Consult the dealer or an experienced radio/

TV technician for help.

If items such as cables are included with this

equipment, you must use those included

items.

Unauthorized changes or modiﬁcation to this

system can void the user’s authority to oper-

ate this equipment.

DECLARATION OF CONFORMITY (FOR USA)

Responsible Party: KORG USA INC.

Address: 316 SOUTH SERVICE ROAD, MELVILLE

Telephone: 1-631-390-6500

Equipment Type: Professional Arranger

Model: Pa700, Pa700 ORIENTAL

This device complies with Part 15 of FCC Rules.

Operation is subject to the following two con-

ditions: (1) This device may not cause harmful

interference, and (2) this device must accept

any interference received, including interfer-

ence that may cause undesired operation.

PERCHLORATE (CALIFORNIA, USA ONLY)

Perchlorate Material – special handling may

apply. See www.dtsc.ca.gov/hazardous-

waste/perchlorate.

Address

KORG ITALY SpA

Via Cagiata, 85

60027 Osimo (AN)

Italy

Web

www.korg.com

Pa700 | Pa700 ORIENTAL

Korg PA700 61 Key Professional Arranger with Touchscreen

Product's Documents

User Manual

Specifications

Korg PA700 Questions and Answers

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