OWNER'S MANUAL Downloaded from www.Manualslib.
EXPLANATION OF GRAPHIC SYMBOLS: CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Owner’s Manual Downloaded from www.Manualslib.
The information in this publication has been carefully prepared and checked. The manufacturers however decline all liability for eventual errors. All rights are reserved. This publication may not be copied, photocopied or reproduced in part or in whole without prior written consent from Generalmusic S.p.A. Generalmusic reserves the right to apply any aesthetic, design or function modifications it considers necessary to any of its products without prior notice.
A CONTENTS CHAPTER 1 INTRODUCTION ............................................................................................ 1. 1 - 1. 14 Perhaps the best advice we can give you..... ................................................................................................ 1. 1 WX2 and WX400 - what’s the difference? ................................................................................................... 1. 1 Welcome to all WS users who don’t want to throw their WS Songs disks away..... .
B CHAPTER 2 INTERFACE BASICS .................................................................................... 2. 1 - 2. 12 NAVIGATION AND DATA ENTRY ............................................................................................................. 2. 1 The display ................................................................................................................................................... 2. 1 The Cursor Diamond ...........................................................
C Select tracks and create multi-track situations ............................................................................................ 3. 5 View a Sound in large type ........................................................................................................................... 3. 5 Split Sound Tracks ........................................................................................................................................ 3.
D SAVE ALL SONGS ..................................................................................................................................... 4. 14 SAVE ALL STYLES .................................................................................................................................... 4. 15 SAVE ALL PERFORMANCES ................................................................................................................... 4. 15 SAVE ALL SAMPLES ......................................
E EFFECTS........................................................................................................................... 4. 40 DAMPER .................................................................................................................................................... 4. 40 VOLUME PEDAL ...................................................................................................................................... 4. 40 PEDALS .................................................
F Memorising the setting ............................................................................................................................... 4. 74 What does WX transmit and receive ? ....................................................................................................... 4. 75 MIDI Filters ....................................................................................................................... 4. 77 The Filter parameters ............................................
G Real Time Recording .................................................................................................................................. 5. 25 Step recording ............................................................................................................................................ 5. 25 Copying from an existing Song Style ......................................................................................................... 5. 25 How to record a Song Style (real time) ..
H Create Standard MIDI Files ...................................................................................................................... 5. 48 Load Standard MIDI Files ......................................................................................................................... 5. 48 General MIDI and Standard MIDI Files ................................................................................................... 5. 48 CHAPTER 6 SEQUENCER EDIT MODE ..............................
1-1 CHAPTER 1 - INTRODUCTION Congratulations! and thanks for purchasing the WX2/WX400 Multimedia Workstation. Considering the high level of technology and innumerable features offered, WX2/ WX400 is a very easy instrument to operate. Its user-friendly interface is one of the main attractions - in next to no time, whether expert or novice, you will be able to discard the initial sense of panic normally felt when you look at the control panel of a new instrument for the first time.
1-2 WX400 ASSEMBLY INSTRUCTIONS HOW TO ASSEMBLE YOUR WX400 PIANO WORKSTATION 1. Remove parts A, B, C, F from the packing and accessories D, E, G, H from the plastic bag. 2. Fix the pedal cross-bar B to the flanks C with the bolts D, using the hexagonal rod spanner E, as shown in Fig. 1. The pedals cable must be passed through the rear loophole, as shown in Fig 1 bis. 3. Fix the bass reflex box A to the flanks C with the bolts D, using the hexagonal rod spanner E, as shown in Fig. 1. ASSEMBLY LIST: A. B C.
1-3 GETTING STARTED If you’re familiar with hooking up gear, here’s a non-illustrated list of fundamental things that need to be done to play right away. You can use the supplied WX2/WX400 Demo disk or WS Songs Disks and listen to the way the WX plays them. The chapters which follow discuss each function of the keyboard in greater detail. Quick installation ◆ Be absolutely sure that your WX voltage matches with your main supply voltage.
1-4 Play some ROM Sounds ◆ Select the displayed Sounds of the current Real Time Performance by means of the row of Function buttons marked F1 … F8. The sounds are shown in two rows across the lower display area. ◆ Press the PAGE+ button in the Edit section once then again to access Banks 2 and 3 of 8 Sounds each, some of which are variations of those in Bank 1. The small number to the extreme left shows which Bank of the currently select Family you are in. ◆ Return to the Bank 1 Sounds with PAGE-.
1-5 called the “Toggle”. Now you can play layered tracks (the tracks do not necessarily have to be consecutive to be layered - you can layer tracks 1 and 4, tracks 3 and 11 and so on...). ◆ Zoom in on both tracks with the “right” arrow of the cursor diamond and zoom out with the “left” (you cannot zoom in on more than two tracks). Multi-track situations ◆ Use the “up” and “down” cursor arrow to select tracks and the Toggle to activate any number of selected tracks up to a maximum of 16.
1-6 SRAM Static RAM - a battery backed memory that can store user programmed data that is to be used regularly. NOTE 1: The instrument cannot be played during the automatic loading procedure. ◆ Deactivate the M. PERF button to restore the normal status. ◆ Access another Internal Style Bank by pressing one of the 8 Style buttons (Ethnic, Pop, etc.). ◆ Stop the Style by pressing Start/Stop. Sing along with a Song using SCORE Your instrument is supplied with two Songs loaded into the SRam.
1-7 Pr eload ◆ An alternative and faster Song loading procedure is the PRELOAD function, which can also be performed while the Sequencer is in Song playback mode. In practice, this feature displays the Bank of available Songs in correspondence with the 8 Function buttons (F1…F8). ◆ You can then choose the song to load by pressing the relative Function button. NB Preload operates in Song Mode only. This function is only valid for WX Songs and is discussed in a later chapter.
1-8 ◆ Press the SONG button and select the song with the relative Function button. ◆ Start the Song with Start/Stop and play. How to record a Song You can create a multi-track Song by using the following real time recording method. It is also possible to record patterns (Programmable Styles) and Song Styles which exploit existing patterns. These are discussed in the relative chapters further ahead. ◆ Select SONGS in the “Sequencer & Users” group. ◆ Select an “empty” position.
1-9 DETAILED START-UP This section explains some of the most important “Getting started” steps in greater detail and takes you through a tour of the rear panel, describing the various cable connections, as well as the Clock/Calendar which you can set right away. BEFORE STARTING…… Before connecting anything, it is important that you rest your WX2 securely on a stable keyboard stand. Otherwise, it should rest on a hard, flat surface. The WX400 is supplied with an appropriate support and speakers box.
1 - 10 POWER SWITCH The power switch on the WX2 is located on the rear panel - on the WX400, it is positioned on the extreme right hand side of the keyboard. THE INTERNAL AMPLIFIER WX Sounds are enhanced by 20+20 Watt Stereo Amplification in the WX2 and 40+40 W Stereo Amplification in the WX400. SPEAKERS SOCKET (WX400) The WX400 includes a sound box containing the instrument’s speakers.
1 - 11 [Left, Right/M] jacks. There is also a facility available in the Mixer function to control the Treble, Bass and Volume of the incoming audio signal. CONTROL PEDALS - CONNECTION OF THE FOOTPEDALS WX has two jacks (Pedal 1 - Pedal 2) which can be programmed to accept Switch Control pedals (logic) or Continuous Control pedals (analog), a third jack for a Switch Control pedal (logic) marked Damper and a Continuous control jack marked Volume, preset to control the standard MIDI Foot command - MIDI O4.
1 - 12 second case, use is made of the RCA jack marked “TV” which sends a “composite video” signal. Attention! This is not a modulated signal and should not be connected to the TV aerial socket!! This signal is analogous to the one used by domestic video recordings, therefore, it is sufficient to use a normal RCA cable normally supplied with video recorders. In this case, however, the quality of the image is inferior to that obtained from the first two cases.
1 - 13 CONTRAST If the display appears too dark or too light, you can adjust the contrast by means of the small rear-panel control. It may require adjustment for different viewing angles. The Keyboard The WX Keyboard sends and receives Attack and Release velocity, sends mono (channel) Aftertouch messages and receives mono and poly Aftertouch messages. MASTER Master Volume Slider This slider controls the volume of the Stereo Audio Output pair and the headphone jack.
1 - 14 USE ONLY GENERALMUSIC SOFTWARE It is important that you use only Generalmusic software! Whether you are an amateur or a professional, you should know that: a) any software that you use must comply with the laws currently in force, with the SIAE (Italian Authors and Editors Society), with copyright laws and with publishers who reserve all the rights for public viewing and synchronisation of texts (WX); b) Generalmusic disks comply in all respects with the laws currently in force; c) our software
2-1 CHAPTER 2 - INTERFACE BASICS In this chapter, you can learn how to move around the control panel and start to get acquainted with the principal playing modes as well as the selection procedures. The illustration below shows how the instrument’s control panel is divided into various zones, each providing a primary operation: edit mode, navigation and data entry, sequencer edit, performance & style bank selection, sequencer and user controls and sound bank selection.
2-2 The left and right display areas above the identifier show various functions. The currently selected function is shown in reverse-highlight. THE CURSOR DIAMOND Your principal navigating tool is the Cursor Diamond, arranged in four arrows in a diamond fashion and a central “On/Off” switch, called the “Toggle”. This control moves the display’s cursor around the currently selected page, in the directions indicated by the “arrows”.
2-3 DATA ENTRY All Data Entry tasks are performed within the display area. The Data Entry Wheel Data Entry is performed mainly using the Data Entry Wheel (or Dial) to the right of the display. This control is particularly useful owing to the possibility of providing continuous entry of data - you can enter large or small changes very quickly. Rotating in a Clockwise direction increases a value while an anticlockwise direction decreases it. Turning slowly increases/decreases by one increment.
2-4 MASTER VOLUME This slider regulates the overall Volume of the instrument. THE EDIT MODES The very heart and control centre of the entire WX system, the Edit section consists of 10 programming modes which render WX2/WX400 operative. EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ Each Edit mode is identified for the kind of operations that are performed in that mode.
2-5 THE SEQUENCER & USERS CONTROLS Here you will find the Function buttons F1…F8, with which most of the selections are made, the SONG button to access the selection of the Songs and the SEQUENCER controls (Rec, <<, >>, Tempo, etc.). The Sequencer also makes use of the Start/Stop and Cont buttons in the group on the extreme left of the keyboard. F1 F2 F3 F4 F5 F6 F7 F8 M.
2-6 THE 4 OPERATING MODES In this chapter we’ll examine the four principal operating modes and describe the basic features of each mode and how to select them. What the modes are The modes render WX logical to work with and each mode is named for the kind of operation you can perform while in that mode. While each mode differs in many respects, they all have one thing in common - the Performance.
2-7 PROGRAMMABLE STYLE MODE Identical to the Internal Style mode, the Prog. Style mode is user-programmable and accessed through the Style Banks: STYLE 1, STYLE 2, STYLE 3, STYLE 4. When you select one of the EMPTY Prog. Styles with the Function buttons (F1…F8), you will be prompted to enter Record mode to create a new style. Style recording is discussed in the relevant chapter further ahead (to escape from the above display, press ESC).
2-8 Summary You can play in Real Time Performance mode freely without engaging the Sequencer. You can create up to 24 different Sound combinations which can be recalled instantly. You can play one or two tracks with factory-programmed Rhythm and Arrangement patterns by selecting from the 64 available Internal Styles. You can play and record your own Rhythm and Arrangement patterns using the 32 Programmable Styles which can be created internally or loaded from disk.
2-9 SELECTION - using the modes You can play your WX regardless of the mode you are in - in fact, the only time you cannot play is when you are in the middle of a DISK LOAD ALL operation. You can even play while you are formatting a disk! To select the elements that make up the modes and to pass, therefore, from one mode to another, use is made of a unique and instant selection system.
2 - 10 Second and third banks EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ The Sound Banks provide a maximum of 24 Sounds for each family, with the exception of the SAMPLES family which provides 64 and the DRUM family with 16 Banks. The Sounds are arranged in groups of eight in three different banks, accessed by pressing the PAGE+ and PAGE– buttons in the Edit section. The number displayed on the extreme left shows you which bank is currently selected.
2 - 11 To select an Internal Style ◆ Press one of the relative Banks (DANCE, BEAT, ROCK’N, etc.) from the lower row of buttons in the Performance and Style Banks. PERF 1 PERF 2 PERF 3 P.SONG STYLE 1 STYLE 2 STYLE 3 STYLE 4 PERFORMANCES & STYLES BANKS DANCE ◆ BEAT ROCK'n JAZZ LATIN FOLK ETHNIC POP Press one of the Function buttons (F1…F8) to select an internal Style.
2 - 12 To select a Song ◆ Press the SONG button in the SEQUENCER & USERS section to access Song mode. F1 F2 F3 F4 F5 F6 F7 F8 M.PERF SONGS SEQUENCER & USERS REC ◆ SCORE TEMPO SYNC If one or more Songs are present, press one of the Function buttons (F1…F8) to select a Song. F1 F2 F3 F4 F5 F6 F7 F8 ◆ If a Song is not resident in memory, you will be prompted to enter Record mode to start recording the Song. ◆ Press ESC (no) to escape from this display.
3-1 CHAPTER 3 - PERFORMANCES, TRACKS & ROM SOUNDS This chapter tells you something about three elements common to all playing modes the Performances, the Tracks and the ROM Sounds. THE PERFORMANCES By “PERFORMANCE”, we refer to the union of appropriately programmed parameters (multi-timbral combinations, volumes, transpose, panpot, midi channels, etc.), or the possibility of recalling a particular setting of all the parameters instantly by pressing a single button.
3-2 ◆ Press ENTER: ◆ Press ENTER again to confirm the Save Performance command. The modified Real Time Performance will remain in memory until you modify it again or turn off the instrument. E N T E S C What parameters do the Performances memorise? The amount of data memorised by a Performance is understandably immense, considering that you only need to press one button on the control panel to set the instrument to the required playing mode.
3-3 The Style and Song commands The Start/Stop button The Fill Var/Cont button A Style or Song is started by pressing the START/STOP button, and stopped with the same button (Start/Stop). The “Fill Var” function recalls a variation of the basic Fill In of a Style and triggers a variation of the basic Rhythm and Arrangement.
3-4 A RAPID TOUR OF THE MAIN DISPLAY Each zone of the display provides useful information, as shown with the following example of the main display: 1. The current status of the Tracks ON = Active Track OFF = Mute Track (temporarily “turned off” or “disconnected”) Other messages encountered: KYB SEQ MIDI = Track only active for the WX Keyboard (“Local”).. = Track engaged by the Sequencer (cannot be played in real time). = Track being used only by an external unit connected to MIDI IN. 2.
3-5 SOME SIMPLE OPERATIONS TO PERFORM WITH THE CURSOR DIAMOND AND TOGGLE Mute or activate a Track ◆ Press the TOGGLE to mute a Track shown in reverse highlight: Press this button A Muted track is temporarily deactivated, both for the keyboard as well as an external device communicating with WX on MIDI IN. ◆ Re-activate the selected Track by repressing the Toggle.
3-6 ◆ Two layered sounds can be viewed in large type by striking the right cursor arrow: ◆ Strike the left cursor arrow to return to normal display dimensions. You cannot “zoom in” on situations consisting of three or more tracks. N.B. Layered Sounds do not necessarily have to be consecutive. Split Sound Tracks Sounds can be programmed to play across user-defined keyboard extensions using the Split function.
3-7 THE TRACKS AND THE TRACK CONFIGURATION The term “Tracks” has been mentioned several times therefore, at this stage, it is important to clarify what a Track is and what “Track configuration” refers to. Tracks and the Real Time Performance A Track NOT utilised by the Sequencer can contain a Sound to play in real time on the WX keyboard or on an external controlling device connected at the WX MIDI IN.
3-8 The SCORE function The last three functions on the previous page are all found in the SCORE function and they represent, without doubt, the major innovation of this instrument. F1 F2 F3 F4 F5 F6 F7 F8 M.PERF SONGS SEQUENCER & USERS REC SCORE TEMPO SYNC ◆ As well as the backing of a Song, WX gives you the melody line written as music notes on the staff (also called “Stave”) together with the lyrics; ◆ the LYRICS; ◆ the LYRICS IN LARGE TYPE; ◆ and the CHORD NOTATION.
3-9 THE ROM SOUNDS This section takes a look at the Sounds permanently resident in the WX - in ROM (Read Only Memory). The technology used to generate the sounds is the most up-to-date, including PCM Samples, Wavetables, Multiloop, Crossfade Multiwave and Subtractive synthesis. Dual and Single Oscillator Sounds The 32 Oscillators incorporated in WX are exploited in two ways to produce “Dual Oscillator” and “Single Oscillator” Sounds.
3 - 10 the sound on the higher dynamic level. For example, a note can play bongo low by playing with a soft touch and bongo slap by playing harder. Similar to the Drumkits are the Sound Patches which also incorporate a Dynamic Switch. These sounds change character or even sound by playing harder. For example, the Sound “Rhodx” is constructed by assigning “ElPiano2” to the lower dynamic level and “ElPiano1” to the higher.
Disk & SRam 4-1 CHAPTER 4 - THE EDIT SECTION EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ We have already said that the EDIT SECTION is the heart and control centre of the instrument. In this chapter, we'll discuss the modes available, firstly from a general point of view followed by a detailed description of each one.
4-2 Disk & SRam The Edit Section provides the following edit modes: DISK MIXER STATUS PERF EFF 1&2 SPLITS SOUNDS MIDI ARRANG Accesses the four principal disk functions; Load, Save, Erase and Utility, as well as the Static RAM. This last feature is an exclusive function offered by WX which, unlike the much talked about buffered memory that memorises the last situation prior to turning off, the SRam allows the user to turn on the instrument with the situation effectively required.
Disk & SRam 4-3 DISK AND STATIC RAM General information As you become more familiar with your WX, you will discover the practical advantages of working with disks and the Static Ram because of the power and flexibility that these two elements give you. DISKS give you the possibility of building up a vast library of Sounds (Performances), Styles, Songs and loading/saving MIDI Standard File data.
4-4 Disk & SRam WRITE PROTECT To PREVENT Data Recording, slide the tab fully down towards the edge of the disk. To PERMIT Data Recording, slide the tab fully UP away from the edge of the disk.
Disk & SRam 4-5 DISK OPERATING MODES Press DISK in the Edit section to access the four principal DISK or SRam operations LOAD, SAVE, ERASE and UTILITY.
4-6 Disk & SRam LOAD OPERATIONS NOTE 1: The entire contents of SRam are loaded automatically when the instrument is turned on. Use the LOAD function to load the contents of your Disks, or of the Static RAM, into the instrument's memory1. When you load data, the data previously in internal memory will be overwritten and lost. The four main LOAD operations are: Load All - Load Bank - Load Single and Preload. 1. N.B.
Disk & SRam 4-7 Automatic loading The LOAD ALL operation is performed automatically when you turn on your WX with a DISK inserted in the driver. NOTE 1: The DISK has priority over SRam. If, instead, data is present in SRam and no disk is present in the driver1, turning on will Load All from SRam into the instrument's volatile memory (RAM). Automatic loading of all disk or SRAM data is a very useful method of setting your instrument up automatically while powering up.
4-8 Disk & SRam 5 NOTE 1: WX instruments have a 2 Megabyte RAM which houses the userprogrammed Songs and Sounds. If you want to load Samples, you must fit the WX with the optional 2 Megabyte Sample RAM. LOAD ALL SAMPLES This operation loads all the Samples contained in the inserted DISK (up to a maximum of 48), provided that the instrument is fitted with the optional Sample RAM 1. The samples will occupy the SAMPLES family Banks from 3 to 8. The procedure is the same as for Load All Disk.
Disk & SRam 4-9 1.3 Press ENT to start the loading operation: 1.4 Confirm the operation with ENTER: 1.5 Complete the operation with ESC to return to the main Load display. N.B. An optional operation is provided with the F8 function button. Important For what concerns the INTERNAL STYLES, while it is possible to vary the Sounds assigned to all the tracks (the volumes, transpose parameter, etc.
4 - 10 Disk & SRam LOAD SINGLE MODE NOTE 1: The exception is the Load Single Internal Style Performance operation - in this case, you cannot load to a preferred destination see “Load Single Internal Style. Use this operation to load single elements into the instrument's Memory from Disk or SRam, according to your requirements. The Load Single mode procedures are the same as those used in the previous Load Single Bank mode.
Disk & SRam 4 - 11 4. LOAD SINGLE SAMPLE Use this operation to load Single Samples from WX disks, from S-Series disks, or from SRam. The Load Single Sample operation permits you to scroll through the WX or S-Series samples available: You can load a Sample to any destination available from Banks 3 to 8 of the Sample family. IMPORTANT: Samples can only be loaded into the Sample Family Banks (3 to 8) if the instrument is fitted with the optional 2 Megabyte Sample RAM.
4 - 12 Disk & SRam File (see Save), making it possible to load and play back this data on other equipment. IMPORTANT If the Standard MIDI File conforms to GM Standards, the GENERAL MIDI function in the third page of Edit MIDI should be set to ON to direct all program changes on MIDI Channel 10 to the WX Drumkits. NOTE 1: You can isolate all the MIDI files by pressing F8 - this masks all files present on Disk except MIDI files and facilitates the selection of the required file.
Disk & SRam 4 - 13 Preload NOTE 1: The Preload operation is only operative with WX disks. This operation makes it possible to load a Song from Disk1 or SRam while the sequencer plays back another. The PRELOAD MODE, specially studied for use in live situations, permits songs to be loaded with a reduced number of operations without stopping the sequencer. 1. While a song is in playback mode, press DISK and select PRELOAD: 2.
4 - 14 Disk & SRam SAVE OPERATIONS Use these operations to save data from internal memory to Disk or SRam. When data is saved to a Disk or SRam file which already exists, the old data will be lost. You can use the Disk Protect Slider to keep important data from being accidentally overwritten. The three principal SAVE functions are: SAVE ALL, SAVE BANK and SAVE SINGLE. SAVE ALL MODE 1. SAVE ALL TO DISK (or to SRAM) This operation saves the entire contents of the internal memory to Disk or SRam.
Disk & SRam 4 - 15 3 SAVE ALL STYLES This operation saves up to 32 Styles (simultaneously) relating to the Programmable Style Banks to Disk or SRam. The procedure is the same as for Save All Disk. 4 SAVE ALL PERFORMANCES This operation saves up to 24 Performances simultaneously relating to the Real Time Performance Banks (Perf 1, Perf 2, Perf 3). The procedure is the same as for Save All Disk. 5 NOTE 1: WX instruments have a 2 Megabyte RAM which houses the userprogrammed Songs and Sounds.
4 - 16 Disk & SRam Save a single Bank of Internal Style Performances Important. For what concerns the INTERNAL STYLES, while it is not possible to cancel the recorded sequences contained in the first four tracks, it is possible to modify the parameters of all the tracks of the Style Performances, save the modifications using the standard “Save Performance” function and save the Bank of Style Performances to disk for future use. N.B. An optional operation is provided with the F8 function button.
Disk & SRam 4 - 17 All MIDI FILES are identified by the extension “.MID” which is “attached” to the converted file automatically. NOTE: WX converts Songs into Standard MIDI Files. Song Styles are only partially converted (Tracks 5 and 6 if recorded - the Style Patterns are not recognised).
4 - 18 Disk & SRam 9. After a short period, the SONG will be converted to the MIDI FILE, shown by the .MID extension: NOTE: Some songs may be protected by a GENERALMUSIC copyright - in this case, attempting to convert to MIDI FILES will display an appropriate message, informing you that the operation cannot be performed and inviting you to escape. Owner's Manual Downloaded from www.Manualslib.
Disk & SRam 4 - 19 ERASE OPERATIONS All operations relative to the cancellation of data from Disk or SRam are carried out on the ERASE page. The operations are identical to those used in the Load and Save operations discussed in the preceding pages.
4 - 20 Disk & SRam 3. Select the option “INT” with F8 to access the directory of the Internal Style Performances: 4. Select the Performance to erase and press ENT twice: When the “Erasing” message disappears, the operation will be complete. Owner's Manual Downloaded from www.Manualslib.
Disk & SRam 4 - 21 UTILITY OPERATIONS 1) FORMAT = allows a disk to be formatted. This operation formats a floppy disk (3.5” HD) so that WX can use it to store data. A newly purchased disk must be formatted before it can be used. Disks formatted by other devices must also be formatted with this operation before being used. When a disk is formatted, all data contained in it will be destroyed.
4 - 22 Disk & SRam Examples: If you access the Song directory, the display will show something like this: Similarly, the Performance directory shows: 3) FREE SPACE = Displays the free space available. When a disk is inserted in the driver, this function displays the amount of space available on the disk, in the instrument’s memory and, if fitted, on the optional RAM .
Disk & SRam 4 - 23 Press ENT to access the name writing procedure: The small rectangle on the right is the active zone where the name can be written. The letters, the numbers and other symbols are silk-screened under the keyboard and they are entered into the active zone by pressing the relative keys. The flashing cursor moves one step to the right after each entry.
4 - 24 Disk & SRam 6) LOAD WS SONG One of the most popular functions of this instrument. Being compatible with WS software, WX accepts WS songs from WS songs disks via an appropriate conversion. It is therefore possible to insert a WS disk directly into the WX drive. Pressing ENT after selecting the function shows the WS disk directory: Select the required Song and press ENT. The same procedure is already discussed in the GETTING STARTED chapter, on page 1-6. N.B.
Status Mixer 4 - 25 EDIT MIXER EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ The MIXER is where you can balance the volumes and the panpots for all the tracks of the currently selected Performance and gain access to several general controls of the machine. 1. The Volume Page The first page, called VOLUME, is where you can see and control the volumes of all the available tracks.
4 - 26 Mixer Status 2. The PANPOT Page Press the PAGE+ button to access the second page, called PANPOT. The PANPOT control permits a panoramic control of the sounds between the Left and Right internal audio channels (and L/R Outputs). Each track is graphically represented by a horizontal bar and the central “0” position represents the exact centre of the two outputs.
Status Mixer 4 - 27 4. The AUDIO IN Page Press the PAGE+ button again to access the last page of this section, the AUDIO IN page. The page layout is identical to the previous one, apart from the INPUT parameter, and it allows the same type of operations, but in this case, they affect eventual signals connected to WX by means of the AUDIO IN (Left and Right) inputs. This page contains the following parameters: 1. TREBLE: 2. BASS: 3. VOLUME: 4. INPUT: Owner's Manual Downloaded from www.Manualslib.
4 - 28 Status EDIT STATUS EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ In this section you will find all the parameters relating to the instrument’s general controls grouped together or, more precisely, the parameters not linked to the structure of the performances. 1. The GENERAL page. Navigation: Use the Up, Down, Right and Left cursor arrows to select the parameters by moving the reverse-highlight cursor.
Status 4 - 29 7. Six parameters related to the three programmable pedals. Ped 1 = Ped 1 Assign = (function) Ped 2 = Ped 2 Assign = (function) Damper = Damper Assign = (function) The parameters on the left select the type of pedal, while those on the right select the function to assign to it. Ped = Analog: a continuous control pedal; e.g. a Volume pedal. Ped = Logic n.c/n.o.: a switch action pedal; e.g. a Start/Stop pedal. N.C. =- Normally closed (Generalmusic pedals) N.O.
4 - 30 Status IMPORTANT Sounds can be modified in real time by means of the parameters listed on the right. An appropriately programmed Pedal can affect one or more Sounds according to which tracks are enabled for the pedal. Filter 2: affects the Filter envelopes (Key on) of the sounds being controlled, intervening on the Cut-off frequencies. In practice, this control allows you to “open” and “close” Filter 2.
Status 4 - 31 2. The MICROTUNING Page This page, accessed with PAGE+, provides a selection of preset intonation scales (temperaments) and four programmable ones. Several of the scales available are historic and are suitable for those interested in the creation of antique music. The small keyboard in the right part of the display shows how each note of any Intonation scale differs with respect to the same note of the Equal scale.
4 - 32 Status How to programme an Intonation Scale A new intonation scale can be programmed by modifying one or more notes of one of the programmable scales (Prog 1, 2, 3 & 4). The idea is to alter the tuning of one or more notes of the scale to the level desired. Procedure: 1. Select one of the four Programmable scales and press the note you want to change - the small scale shows the current standard patch (0): 2.
Status 4 - 33 3. The VIDEO MONITOR Page This page is where you can control the viewing possibilities of the image transmitted by the Video Outputs (RGB and TV) on an external monitor (computer type colour monitor or normal domestic TV). 1. VIDEO DISPLAY: provides a choice of four viewing modes: ECHO LCD, shows exactly what is displayed by the instrument. SCORE, in SONG mode it shows a score, complete with a melody line on a musical staff with chord symbols and lyrics.
4 - 34 Status CHORDS ONLY, isolates the chord symbols on the musical staff. 2. LYRIC FONT: 3. VIEW MODE: allows you to select three different character sizes with which you can view the text and an option to view the lyrics on two lines: BIG, NORMAL, SMALL and TWO LINES. allows you to select up to 4 different colour combinations (SETUP 1, 2, 3 and 4). N.B.
Performance 4 - 35 EDIT PERFORMANCE EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ When you press the PERF button in the Edit section, you gain access to all the Performance parameters. The parameters are arranged in two pages. If you want to edit the currently selected Performance (Real Time Perf mode, Internal Style mode, Song mode, etc.), simply press the Performance button in the Edit section.
4 - 36 Performance In this condition, the Track status is shown in the left column as “MIDI” in all playing modes. Repress the Toggle to restore the connection. Connect/Disconnect MIDI IN events The MIDI IN field is where the reception of MIDI events arriving on MIDI IN can be allowed to pass or can be prevented from reaching the currently selected track.
Performance 4 - 37 Hit the Toggle to disconnect the currently selected Track from the Internal Sound engine: This condition is shown by a string of dashes for the currently selected track. In practice, this track can still communicate with an external sound source through MIDI OUT. Repress the Toggle to restore the connection.
4 - 38 Performance MONO L: MONO R: MONO TIME: mono left - gives priority to the lowest note when playing with chords. For example, if one track plays strings and a second plays bass, when you play a chord you will hear strings together with a single bass note. mono right - gives priority to the highest note. This it useful to provide a Solo sound for the right hand when using chords in multi-track situations. mono time - the new note will play without “cutting” the decay of the previous notes. 3.
Performance 4 - 39 5. AFTER TOUCH Enables or disables the effect of the Aftertouch control for the currently selected track. When this parameter is “ON”, applying pressure to the keys after playing obtains effects that differ according to the sound assigned to the tracks. You can obtain modulation effects, pitch bend, or you can even control the opening of a filter. The sensitivity of this function can be regulated in the Edit Status page (Status Aftertouch). 6.
4 - 40 Performance 8. EFFECTS Here you can engage one or both Effects processors to the currently selected track or disengage both. The Effect Type for both processors is determined in the Edit Eff 1/2 section. The possibilities are: OFF: 1: 2: 1 + 2: the sound is not processed by the Effects processors; the sound is processed by Effect processor 1 (reverb types); the sound is processed by Effect processor 2 (delays, chorus, etc.); the sound is processed by both Effects processors simultaneously.
Performance 4 - 41 11. PEDALS Engages one or both functions assigned to Pedal 1 and 2 to the currently selected track or disengages both. The possibilities are: OFF: 1: 2: 1 + 2: the sound is not affected by the Pedals (1 or 2); the sound is affected by the function assigned to Pedal 1; the sound is affected by the function assigned to Pedal 2; the sound is affected by the functions assigned to Pedal 1 and Pedal 2. 12.
4 - 42 Performance 13. COPY Copies the currently selected performance to another position within the same Bank or Banks. For example, in Real Time Perf mode, you can copy from one R. T. Perf Bank to another but, you cannot copy, for example, from a R.T. Perf Bank to a Song Bank. For example, you can use this function to create Song Performances. This will allow you to record a Song (or Song Style) using up to 8 different Performances.
Performance 4 - 43 name, when written, appears in the upper right part of the display after “Perform. Name”. The letters, the numbers and other symbols are silk-screened under the keyboard and they are entered into the active zone by pressing the relative keys. The flashing cursor moves one step to the right after each entry. Several functions are provided on the extreme left side of the keyboard.
4 - 44 Effects 1 & 2 EFFECTS EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ WX allows you to route your sounds through the multi-effects processors (Eff.1 & Eff. 2) or by-pass them (by-passing is carried out in Edit Performance). In default, an Effect from one or both processors is assigned to every Performance (Real Time, Rom Styles, Prog. Styles, Songs).
Effects 1 & 2 4 - 45 EFFECT 2 (Delays, Modulations, etc.) Delay1_1 Panecho1 Chorus1_1 Flanger1_1 Phaser1_1 Ensemble_1 Fladel_1 Delay1_2 Panecho2 Chorus1_2 Flanger2_1 Phaser2_1 Rotary1_1 PanMix_1 Delay2_1 Panecho3 Chorus2_1 Delay2_2 Dubbing_1 Chorus2_2 Phaser3_1 Rotary2_1 PanMix_2 PanMix_3 Each Performance can memorise one Effect from each processor (Eff1 & Eff 2) and different Effect types can be memorised in the same Performance Bank.
4 - 46 Effects 1 & 2 NOTE: the modifications applied to the parameters of an effect only apply to the current performance, therefore, it is possible to use the same effect with different settings in the various performances. STORE: COMPARE: allows you to copy the eventual modifications applied to the effect in any performance. allows you to make a comparison between the original and the modified effect.
Effects 1 & 2 4 - 47 The remaining Reverbs, with programmable Early Reflections, show a slight variation: Early1_1, Early2_1, Early3_1, Stereo1_1, Stereo2_1, Stereo3_1, Stereo4_1. 1. VOLUME: 2. ROOM SIZE: 3. DIFFUSION: 4. FILTER: The primary Reverb level; setting this parameter to “0” cancels the action of the Reverb. Value range 0[-63.50dB] ... 127[0.0dB]. Establishes the dimensions of the environment. Value range: 0..64). Creates a reverberation halo in the final part of the effect. Value range: 0...
4 - 48 Effects 1 & 2 The next four Effects display a variation of parameters: Chorus1_1, Chorus1_2, Chorus2_1, Chorus2_2. 1. VOLUME: The primary Chorus level; setting this parameter to “0” excludes the action of the Chorus. Value range 0[-63.50dB] ... 127[0.0dB]. 2. FREQUENCY MODULATION: Determines the velocity of the Chorus modulation (its variation is very marked). Value range: 0[0.3 Hz] ... 28[6.0 Hz]. 3. DEPTH: Determines the modulation depth of the Chorus effect. Value range: 0[-63.50dB] ... 127[0.
Effects 1 & 2 4 - 49 Rotary1_1, Rotary2_1. 1. VOLUME: 2. SPEED: 3 FEEDBACK: 4. FILTER: The primary Rotary level; Setting this parameter to “0” excludes the action of the effect. Value range 0[-63.50dB] ... 127[0.0dB]. Determines the time required to pass from Slow to Fast or vice versa. Value range: 0[0.6 sec] ... 30[9.6 sec]. Enriches the harmonic content of the sound - an “automodulator”. Value range: 0[0%] ... 17[96%]. Sets a static lowpass filter. Value range: 0[Bypass], 1[0.1 khz] ... 12[16 khz].
4 - 50 Effects 1 & 2 The RESTORE, STORE and COMPARE functions Compare This function provides a means of comparing the “old” Effect with the “new”, keeping track of all the changes before deciding to go ahead with the saving or the cancellation of the modifications.
Effects 1 & 2 4 - 51 How to Store an edited Effect 1. Save to the current Performance using Save Performance ◆ All the variations applied to one or more parameters of the Effect will remain in memory until you turn the instrument off, or until you re-select the same Performance on a subsequent occasion. If you want the Performance to recall the modified Effect every time it is re-selected, press ENTER to save the modifications: ◆ Complete the operation with ENTER a second time, or cancel with Exit.
4 - 52 Effects 1 & 2 The dialogue box is informing you that an Effect is already associated to the selected Performance (the one in the bottom left hand corner). ◆ Press ENTER to confirm and the display will update to the new situation: The previous Effect (in this case St_Hall_2) will be substituted by the modified one (Hall_1). ◆ Press ESC to cancel the operation and retain the original effect in the selected Performance. Don’t forget to save your modifications to disk if you want to re-use them.
Splits 4 - 53 EDIT SPLITS EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ This is where you can specify a keyboard extension (a Split) for a Track between the extreme points A0 - C8. Pressing the SPLITS button accesses the page where you can control the keyboard extensions of the various sounds assigned to the tracks. The display shows a graphical representation of the status of split each track for the current Performance (in this case a Song Performance).
4 - 54 Splits 2. Use the LEFT/RIGHT cursor arrows and the Dial: Select the track requiring the modification: The left limit is already selected therefore, rotate the Dial: Select the right limit with the Right cursor arrow: Rotate the Dial to specify the required note. In the lower display area, an image of a keyboard is displayed that shows two small points representing the split points for the currently selected track.
Splits 4 - 55 CHORD SPLIT The STYLES (ROM and PROG) are characterised by a keyboard division which permits you to play chords on the left part of the keyboard and melody notes on the right part. Furthermore, tracks 5 and 6 are also preset to cover specific keyboard extensions to allow Track 5 to play on the left part and Track 6 on the right. Track 5 has the extension A0-B3 while Track 6 has C4-C8. In default conditions, all the Styles have the CHORD SPLIT set on note C4.
4 - 56 Splits LOCK The LOCK function couples the CHORD SPLIT to the split of tracks 5 and 6 of all the Styles. Therefore, the value assigned will correspond to both the chord recognition split as well as the split point between these two tracks. If you want to memorise the modifications, press ENT. Pressing ESC will escape from the edit without memorising any modifications. Transfer a Sound to the Pedalboard Any track can be transferred to a Pedalboard (if connected to the rear-panel Pedalboard socket).
Sounds 4 - 57 EDIT SOUNDS EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ WX provides a sound editing facility that permits very quick and easy editing tasks because the edit parameters affect various elements already incorporated in the sound’s waveform “header” (filters, amplitude envelopes - applied to “Single” and “Dual Oscillator” sounds). Although permanently resident in memory, the WX ROM sounds can be edited.
4 - 58 Sounds General Edit Procedure Select the Sound (the track of the currently selected Performance) and press the SOUND button in the Edit section to access the Editor. The display shown will depend on which type of Sound is accessed. NOTE When you access Edit Sound, a copy of the ROM Sound is transferred into a memory buffer which permits you to escape editing temporarily (by repressing SOUNDS) without data loss. Only one track is active in edit mode.
Sounds 4 - 59 THE SOUND EDIT PARAMETERS “Single” and “Dual” Oscillator editing After selecting a track showing the sound you are interested in editing, press SOUNDS in the Edit section to show the main EDIT display: SOUND MAP The SOUND MAP shown in the Appendix lists all ROM Sounds. Those indicated with an Asterisk (*) are SINGLE OSCILLATOR sounds. Those indicated with a cross (†) are Drumkits (or Sound Patch).
4 - 60 Sounds 6. DYNAMIC: Determines how the Volume responds to Dynamic variations (keystrike velocity). Values range from 0... 7. “0” is equivalent to no response. The higher values give a louder sound by increasing the Dynamic force applied to the notes. 7. ATTACK: intervenes on the Amplitude Envelope’s Attack rate; in other words, it controls the time taken for the sound to reach maximum Amplitude level after striking the note (Key on). Values: 0... 127.
Sounds 4 - 61 Drumkits (and Sound Patch) Although these “sounds” are recalled using the same method used for “normal” sounds, they differ in their structure.
4 - 62 Sounds The Drumkit Menu 1. KEY NOTE: displays the note that is associated to the currently displayed parameter values for the active layer. Whatever sound is assigned to this note will be affected by the status of the parameters. Effectively, the Keynote is where the editing takes place. Value range: A0…C8. If you rotate the Dial, you can scroll through all the notes of the keyboard and see the percussion sound and relative parameter status of every note.
Sounds 4 - 63 4. PANPOT: determines the sound’s position in the Stereo Panorama (between the internal Speakers or the Stereo outputs Left/Right). Value range: -32… 0… +32. “0” corresponds to the centre, -32 all to the left, +32 all to the right. 5. TRANSPOSE: determines the transposition of the Sound with respect to the note selected in the active layer. Value range: -88… 0… +88.
4 - 64 Sounds 2. To fine tune each note of sounds such as Strings, again in order to simulate a natural effect to a greater degree. 7. EXCLUDE: creates a situation where notes that have been assigned the same exclude value (1, 2 or 3) cannot be played simultaneously. The value 0 = off. Value range: 0, 1, 2, 3 (0 = no effect) In practice, this parameter renders all the sounds that have been assigned the same value monophonic.
Sounds 4 - 65 EXPAND: the modifications effected on a single note can be expanded across a specified note range. This avoids having to repeat the same set of editing steps for each note. Press EXPAND and press the keys on the keyboard to delimit the required zone for the selected sound. NOTE: You can also use the Up/Down cursor arrows to select the edit zone in the displayed box and rotate the Dial to specify the required note. Press ENT to confirm the entry. Press ESC will cancel the command.
4 - 66 Sounds The Commands common to both Edit Displays The “Normal” Sounds and Drumkits have the following commands in common. LIBRARY, STORE, COMPARE, EFFECTS. When the options are selected, they are shown in reverse-highlight. EFFECTS When the EFFECTS option is highlighted (selected) the Sound is edited “wet”. To bypass the Effects Deactivate the EFFECTS option to bypass the Effects processor (reverse-highlighting is cancelled) and edit your sound “dry”.
Sounds 4 - 67 Press COMPARE again to return to the sound currently in edit and restore the modified parameter values. If, after comparing, the sound currently in edit is not wanted, you can choose to abort the edit of the sound and select a different one. You have two methods to choose from: 1. Press ESC to abort the editing - this will cancel all parameter modifications and escape sound edit.
4 - 68 Sounds Press ENT. You will leave the Search option and the first available sound containing the sequence of specified characters will be displayed: IMPORTANT You cannot add, move or delete the ROM sounds in the Library. At this point, you can also rotate the DIAL or use the Up/Down cursor arrows to search for other related sounds within the same family. Use the Sound Banks to go directly to a Family You can go directly to a Sound Family by pressing the relative Sound Bank.
Sounds 4 - 69 STORE EDIT: DELETE: used to access the STORE command as discussed further ahead. returns to the edit of the sound currently in edit. use this option to cancel SAMPLES loaded from DISK (including their eventual modifications). You can select the loaded Sample directly from the Sound Library or it can be currently in edit..
4 - 70 Sounds STORE Use STORE to store your edited Sound in a Performance: Use the Up/Down cursor arrows to select the element required and rotate the Dial to select the destination. Confirming with ENT twice (the first time shows the “Are You Sure?” message) updates the display and the edited sound is shown in place of one of the “EMPTY” slots. At this point, you can choose to store the modified sound in as many other Performances as required.
Sounds 4 - 71 If you press ESC, the previously stored sound will remain, you will leave the Store command and return to the Sound currently in edit. If you try to Store a modified sound in a position already occupied, you will be prompted with the following message: ATTENTION!! The STORE command IS NOT the same as the SAVE PERFORMANCE command This concept must be absolutely clear to the user.
4 - 72 Sounds N.B. Modified Sounds can ONLY be stored using the STORE command. If, after modifying a sound, you press ESCAPE (instead of Store), you will Abort the sound edit and loose all edited data - NO WARNING WILL BE GIVEN. If, after editing a Sound, you press ENTER or SOUNDS (instead of Store), you will escape the Edit without losing the modified data. Re-entering edit by pressing SOUNDS will display the parameters in exactly the same condition as they were when you left.
MIDI 4 - 73 EDIT MIDI EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ This is where you can configure WX’s MIDI channels for the tracks of the current Performance, its response to incoming MIDI messages, as well as customise those that the WX sends to other MIDI devices. Some general MIDI controls are also available. For detailed information about how to use WX in MIDI setups, refer to Chapter 7, “MIDI & the WX”.
4 - 74 MIDI Master and Slave WX is fully implemented for MIDI operations and can act as a Master controlling unit, or a Slave device being controlled by an eternal controlling unit. In either case, the tracks or sections of both units must communicate across the same MIDI channels. The default MIDI status. When you receive your WX, all the Tracks are enabled to transmit MIDI on OUT port 1 and the MIDI relative channels are set as follows for the various modes: Real Time Perf mode Track - Channel N°.
MIDI 4 - 75 A particular setting for all Performances of all modes can be fixed by setting “MIDI Channel Lock” to “ON” (see “Other” MIDI page discussed further ahead). What does WX transmit and receive ? WX transmits and receives the following information: Note On Channel Pressure: Pressing a key affects the entire MIDI channel. Poly Pressure: Poly affects only the note to which pressure is applied. The control data identified with the symbol † is also shared by the Common channel.
4 - 76 MIDI The control data from 70 - 80 simulate the Sequencer controls.
MIDI 4 - 77 MIDI Filters Filters can be very useful in cases where particular MIDI messages are not required. For example, if WX is slaved to an instrument that sends control messages that may cause some interference with the instrument, they can be filtered from the incoming MIDI stream. Similarly, you can filter off messages from the WX MIDI OUT data so that the receiving unit does not receive the unwanted data.
4 - 78 MIDI Control ( ) Both these parameters are programmable and allow you to select an MIDI message or Controller to filter from the MIDI IN or OUT stream. Simply select the parameter and rotate the Dial to select the data to be filtered. For example, instruments of other manufacturers might implement one or more of the undefined controllers (e.g.
MIDI 4 - 79 The “Special” MIDI controllers Generalmusic have implemented some of the unused MIDI Controllers of the standard MIDI protocol as control codes for the respective Edit Sound parameters. (12) Attack GEM (13) Release GEM (14) Filter 1 GEM (15) Filter 2 GEM (20) Filter 1+2 GEM (90) Rotary Slow/Fast Owner's Manual Downloaded from www.Manualslib.com manuals search engine affects the Attack sound parameter. affects the Release sound parameter. affects the Cut-off 1 sound parameter.
4 - 80 MIDI MIDI Other Press PAGE + to pass to the “MIDI Other” page: This page contains general MIDI functions that influence the instrument as a whole. CLOCK: selects INT(ernal) or EXT(ernal) Clock. The CLOCK is a synchronising signal, common to all MIDI equipment. It recognises START, STOP and TEMPO commands which permit the simultaneous execution of PLAY and RECORD on two Sequencers (for example, between two WX2s via MIDI).
MIDI 4 - 81 Common to exploit a wider keyboard range (A0-C8). An instrument with only one MIDI channel can communicate on MIDI Common and use the WX Keyboard programmed as several split ranges (each with a different Sound). WX can receive Control Change data in the form of Bank Change information on the Common channel (see “Bank Change data” on page 4.77).
4 - 82 MIDI SYSTEM EXCLUSIVE: enables the instrument for System Exclusive operations (On). When this parameter is set to Off, System Exclusive operations are excluded. System Exclusive is the term that describes the interfacing of the WX instrument with other devices (Sequencer, Host computer, etc.). System messages are not assigned to any particular MIDI Channel. They are recognised by MIDI receivers regardless of the basic channel to which they are sent.
MIDI 4 - 83 WX MIDI COMMON = Ch 2 (for the Chords) WX Edit Split = set “Lock” (page 1) and CHORD SPLIT B7 (Page 2). WX MIDI CHANNEL LOCK = ON. GENERAL MIDI: Affects GS and GM MIDI Standard Files General Midi, as a standard, stipulates that playing back a Song originating from another sequencer must bear resemblance to the original to the nearest degree. In fact, General Midi must ensure the following: 1. Any Program Change numbers used must call up the same type of sound on the other unit. 2.
4 - 84 Arrange EDIT ARRANGE EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ The ARRANG function gains access to all the parameters which affect the Styles (Internal, Programmable and Song Styles). All the Arranger parameters affect the part of the keyboard dedicated to playing Rhythms and Arrangements (in Style mode). You will find explanations of how these parameters affect the Styles in the Internal Styles Chapter 5.
Arrange 4 - 85 With the FREE option active, pressing the single note “C” does not provoke a reaction from the sequencer because at least three notes must be pressed at the same time to recognise a chord. The novelty lies in the fact that a chord can be recognised in any part of the keyboard overriding the currently set Chord Split.
4 - 86 Arrange MEMORY Allows the chord played to be maintained in memory. Memory “on” allows you to release your left hand from the keyboard to affect control panel changes. This function is excluded automatically when KEY START is enabled. Three options are available: Off Chords Chords+Track5: Memory not active; Memorises only the Style Chords; memorises the Style Chords and the notes relating to Track 5. Note: The Arranger settings are valid for all Styles (Rom, Prog. and Song Styles).
Internal Styles 5-1 CHAPTER 5 - STYLES, SONGS & SEQUENCER 1. Internal Styles General information WX provides 64 Internal Styles, also called ROM Styles. The ROM Styles are arranged in 8 Banks of 8 corresponding to the lower row of the “Performance & Style Banks” group (Dance, Beat, Rock’n, etc.): PERF 1 PERF 2 PERF 3 P.
5-2 Internal Styles Chord recognition and the Riff All the most popular chords are recognised by the instrument’s Arranger. In particular, the Major, Minor and Seventh chords are exploited to provide musical arrangements (patterns) adapted for the selected rhythm. The various patterns generated are called RIFFS; these are musical motifs capable of repetition which vary in “length” from one to eight bars long.
Internal Styles 5-3 How to select an Internal Style 1. Enter Internal Style mode by selecting one of the ROM Style Banks (Dance, Beat, Rock’n, etc.) and select a Style with one of the Function Buttons (F1…F8). The information displayed is already discussed in chapter 3, under the section “A Rapid Tour of the Main Display” on page 3. 4. 2. Start the Style with Start/Stop - the Rhythm pattern will play. 3.
5-4 Internal Styles The Style Tempo When you select a Style, an appropriate memorised Tempo (playing speed) is recalled. It can be modified in real time while the Style is playing, by rotating the Dial. The new Tempo setting, displayed in the Tempo “box”, will remain unchanged until it is modified again, or until the Style is stopped and started again; this restores the programmed Tempo. The Tempo-fix, M. Perf.
Internal Styles Chord Split EDIT DISK PERF 5-5 SOUNDS The Styles feature a “Chord Split Point” which marks the keyboard division. MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ Playing a note or chord below the Chord Split triggers an automatic pattern which depends on the chord played. The “Chord Split” is common to all Styles and in default mode, it corresponds to note C4.
5-6 Internal Styles Deactivating the tracks engaged by the Sequencer (SEQ) You can deactivate a Sequencer track in two ways: by muting it, or by disengaging it from the sequencer. A disengaged track can be played in real time.
Internal Styles ◆ Press the Toggle to assign the track to the keyboard: ◆ Return to the Style display and the track is shown active for Local: 5-7 The disengaged track can now be played in real time across the entire keyboard range. Use Edit Splits if you want to modify the sound’s note range. Note: You can re-engage the disengaged tracks by pressing the Toggle twice but, you must also remember to restore the tracks original status. Return to Edit Perf and disconnect the track from the keyboard.
5-8 Internal Styles The ARRANGER options and how the Styles are affected EDIT DISK PERF SOUNDS MIXER EFF1/2 MIDI STATUS SPLITS ARRAN CLOCK PAGE- PAGE+ How a Style reacts to keyboard solicitations is also determined by the status of the parameters in the ARRANGE function of the Edit section. The Arranger parameters all relate to the left part of the keyboard in Style mode (below the Chord Split), unless otherwise stated.
Internal Styles 5-9 recorded patterns because there is a slight delay in updating the pattern after keying a chord before introducing the new one. Autobacking (On) is an “auto corrector” which avoids this inconvenience by updating the pattern as soon as the chord change is keyed. In default, Autobacking is “On”. NOTE: In some situations, Autobacking in an enabled status can create unwanted effects. In such conditions, simply deactivate the function (off).
5 - 10 Programmable Styles 2. PROGRAMMABLE STYLES The Programmable Styles are identical in all respects to the Internal Styles with the exception that the Rhythm and Arrangement patterns are user-programmable. You can programme completely new Rhythm and Arrangement patterns by exploiting the on-board Sequencer and, by using all its related functions in the Edit Sequencer section, you can edit your patterns to optimise them. More information about the Sequencer appears in the Song chapter.
Programmable Styles 5 - 11 How to record a Style (Real Time) Below follows all the steps to take when programming a Prog. Style in Real Time. For a clearer understanding of this section, only the fundamental functions are explained. Afterwards, the additional functions which contribute to the perfection of your recordings or which render a more sophisticated use of the Sequencer are explained in the Edit Sequencer chapter.
5 - 12 Programmable Styles A detailed explanation of each step This section goes through each step in greater detail and examines all the possibilities at your disposal when you are recording styles. 1. Press Style 1, 2, 3 or 4 and select an “empty’ slot using the Function Buttons (F1…F8). After pressing “empty”, you will be prompted enter Record mode: The Style Performance assigned to the Prog.
Programmable Styles 4. 5 - 13 After selecting your Riff, press ENTER. If you press ESC, you will escape “Record mode” and return to the Prog. Style display - the “empty” slot will be automatically named (Style 2, 3, 4, etc.) to indicate that the position has been defined. You can access a defined position at any time and record the Style by pressing REC. 5. Use the Cursor Diamond arrows to navigate in the display.
5 - 14 Programmable Styles HINT It is best to program one of the Logic pedals for Punch operation before entering Record mode. This will save time and avoid escaping the mode to set the function. Pnch: refers to “Punch” - this is a typical Sequencer function that permits you to correct mistakes by “Punching in” a correct note or sequence of notes into the recorded track with the aid of one of the Pedals programmed for the relative function.
Programmable Styles 5 - 15 TIME SIGNATURE (default 4/4): NOTE: If the status of the default parameters in the Master Track are satisfactory, all the operations indicated in point 6 can be ignored. This parameter, which measures the number of beats in a bar (the numerator) as well as the division of a beat (the denominator) provides a selection of different Time signatures by combining the numerator (range 1…16) with the denominator (2, 4, 8, 16).
5 - 16 Programmable Styles METRONOME VOLUME (default 90): This parameter adjusts the Metronome’s sound level (valid for Record and Playback). The parameter value ranges from 10 to 127. The higher the value, the louder the sound. The lowest limit reduces the sound to its minimum level but does not eliminate it. UNDO STATUS (default On): SEQ.
Programmable Styles Undo and Free Memory When UNDO is enabled in Record mode, a memory buffer is activated which acts as a “ghost copy” of the Riff memory - it occupies the same amount of RAM as the recording. In certain situations, you might find that while you are recording, a message appears indicating that you have run out of memory, even though the “Free Memory” indicates the availability of RAM.
5 - 18 Programmable Styles For this function, it is useful if one of the programmable Pedals (Logic) is already programmed for PUNCH operation before starting the recording, otherwise, you must escape Record mode and enter Edit Status to programme a pedal accordingly. If your recorded Riff contains a short sequence of wrong notes, select PNCH in the Mode function.
Programmable Styles 5 - 19 The display will show all the recorded Tracks with “SEQ” in the left status column, indicating that they are engaged by the Sequencer. Tracks 5 & 6 will be “OFF”. These can be activated with the Toggle to play them in real time. For example, your four recorded tracks will look like something like this: 13. Press Start/Stop to playback your new Style. Play a chord on the left part of the keyboard to listen to your recorded arrangement.
5 - 20 Programmable Styles Programming Styles using STEP recording STEP RECORDING allows you to record notes one by one from the keyboard. This is useful means inserting a fast sequence of notes in a bar (such as an arpeggio) that would otherwise be difficult to record in real time. Step recording can also be used to copy a musical phrase note by note directly from sheet music, but it is a very laborious way of working.
Programmable Styles 5 - 21 If you press the Function button of the selected note a second time, you will obtain the dotted note: NOTE LENGTHS The length of a note is based on the bar resolution which has a standard value of 768 This value is also known as the “Step Time”. The open note without the stem - also known as the “breve”, plays for one bar in 4/4 time and has a step time of 768: all other notes are a fraction of the open = 768 note. Pressing the same button a third time obtains the triplet: 4.
5 - 22 Programmable Styles Modifying the Step recordings If you make a mistake, you can replace the old events with new ones from any position. Simply return to the Step recording and use the Up/Down cursor arrows to select the song pointer. Position the horizontal reverse-highlight cursor to one note before the starting point and record the note or sequence of notes required. The new note will substitute the note after the starting point and all subsequent new notes will follow, replacing all old events.
Programmable Styles 5 - 23 Use COPY to copy a recorded Riff to another The COPY function in EDIT SEQUENCER allows you to copy a recorded Riff to another Riff of the same Style (partial copy). This is a great time saver because you can copy, for example, a recorded Maj Riff to the Minor and 7th Riffs and then apply slight modifications to both. The Partial Copy operation is particularly useful when programming the Rhythm track. You can also copy all the recorded Riffs from one Style to another.
5 - 24 Programmable Styles Programmable Styles compared with Internal Styles The Programmable Styles are identical in all respects to the Internal Styles. They are influenced by the Arranger as already discussed in the Internal Style Chapter. The tracks engaged by the Sequencer can be muted or they can be disengaged and played in real time. See the Internal Styles chapter, “Disengaging tracks”.
Song Styles 5 - 25 3. SONG STYLES Song Styles exploit existing structures (Internal and Programmable Styles), permitting you to record a Chord track as well as the two “free” tracks (5 and 6). The final result is a Song consisting of 5 or 6 Tracks. The Song Style Performance is identical to the Internal and Programmable Styles (6 tracks). Real Time Recording In practice, when you enter REC mode with a Song Style, you are free to select any Internal or Programmed Style to record with.
5 - 26 Song Styles How to record a Song Style (real time) The recording operations are very similar to those used when recording Prog. Styles. Note: The WX instruments are supplied with 2 Songs resident in SRam for demonstration purposes. When you power up, the songs are loaded automatically into the instrument’s volatile RAM. You can remove the Songs from the instrument’s volatile memory by using the ERASE function in Edit Sequencer.
Song Styles 7. 5 - 27 At this point, enter into “record-pending” status by choosing one of the following options: a) you can record tracks 5 and 6 (separately or simultaneously). When you start recording, the Rhythms and Arrangements play but the chords that trigger the patterns are not recorded. b) you can record only the Chord track: In this case, simply activate the “CHORDS” function (F3) and start recording. The Chord sequence that you play will be recorded in the CHORDS track.
5 - 28 Song Styles Record Control Data NB: Aftertouch data consume a large amount of memory. This type of data is generated by appropriately programmed Pedals, by the Track Ball (Modulation, Pitch Bend) and the Keyboard (Aftertouch). The relative events are recorded in the Master Track and the Tracks, according to the type of event. A recorded Master Track looks something like this: The Master Track is discussed in detail in the Edit Sequencer section. 9.
Song Styles 5 - 29 Give your Song Style a name Use the NAME function in the EDIT SEQUENCER section to give your Song Style a name. Use the same operations as those used to name the Programmable Styles (see page 5-19). Muting or disengaging recorded tracks If you have recorded both tracks 5 and 6, your Song Style can only be used as backing in playback mode. You will not be able to play any tracks engaged by the Sequencer in real time.
5 - 30 Song Styles 2. Press ESC without recording and the relative Bank Song will be created: 3. Give your Song Style a Name using NAME in the Edit Sequencer section. 4. Select MASTER TRACK and set the M. PERF function to “ON”. 5. With your Bank Song Style selected, press P. SONG to enter the Song Performance bank associated to the current Song Style. 6. Press PERF in the Edit section. 7. Select COPY (on page 2). 8. Set the “From” and “To” parameters to copy the Perf 1 to Perf 2: 9.
Song Styles 14. 5 - 31 While you are recording, press P.SONG to access the Song Performance Bank and select a different Performance. The change will be recorded in the Master Track. You can also change Performance by assigning the Performance Advance function to one of the Pedals in Edit Status. 15. Continue as already described to record your Song Style. Editing Song Styles Your recorded Song Styles can be edited using all the Event Edit functions available in the Edit Sequencer section.
5 - 32 Songs 4. SONGS & THE SEQUENCER About the Sequencer The principal function of the WX Sequencer is to record and play back multi-track Songs. Therefore, this section takes a look at the on-board Sequencer before discussing Song Mode. The WX Sequencer is a MIDI data recorder; it memorises all the events necessary to produce the sounds, unlike an audio tape recorder which records the actual sounds.
Songs 5 - 33 SONG: Gains access to the Bank Songs. Each one can memorise one Song and up to 8 Song Performances The Sequencer also makes use of the following commands: START: Starts the playback of a Song (or Style), or starts the recording when the sequencer is in record pending status. STOP: Interrupts the playback or recording of a Song (or Style); pressed a second time it “rewinds” the song to its starting point. CONT.
5 - 34 Songs SONGS Something about the Songs and their structure The WX Sequencer permits you to record up to 16 tracks to create a SONG. A Song is a complete piece of music consisting of one or more tracks, each with a different sound. Unlike the Prog.
Songs 5 - 35 Where are the Songs stored? The recorded SONGS reside in the Song Banks which are accessed by pressing the SONGS button. The WX is supplied with two Songs loaded into the instrument’s SRam. Turning on the instrument loads both Songs into RAM and if you press the SONGS button in the Sequencer & Users section, the display shows the following: NOTE: Use the Up/down cursor arrows to scroll the tracks. Each Function button can select a Song Bank consisting of 1 Song and up to 8 Song Performances.
5 - 36 Songs you can save them to disk for reloading at a later time. You can also save one or more Songs to SRam in order to have some Songs available after powering up. Loading Songs from disk Before playing a Song from a disk, it must be loaded into the instrument’s internal memory. You can load your Songs from Disk using one of the Disk functions (Load operations): Load all Disk loads all the data present on disk. MIDI Files Bear in mind that WX can also load Standard MIDI Files from disk.
Songs 5 - 37 Song Playback Mode ◆ If a Song is present in RAM, you can select it by pressing the SONGS buttons followed by the relative Function button (F1…F8). ◆ Press the START button to start the playback. The display shows the Song name, the current Song Performance, the starting Tempo and the Time signature. Before playback, you can modify; the Sounds assigned to the Tracks; the Tempo; the Track volumes, etc.
5 - 38 Songs Playing along with a Song in playback When you press Start in Song mode, the selected Song starts to play. Normally, at least one track will be active to play while others are engaged by the Sequencer (shown by “SEQ” in the track status column). The above display shows a Song in playback and one track (track 1) active in Local (shown by “KYB” in the track column).
Songs 5 - 39 Selecting Lyrics shows the lyrics of the Song in small type: Selecting Zoom shows the Lyrics in large type: Selecting Chords shows the chord notation: The GET function The GET function transfers the recorded notes onto the musical staff. The operation is discussed in the section dealing with song recording on page 5-46. Connecting to a domestic TV or colour computer monitor. WX can interface with a computer monitor or domestic TV, provided both a fitted with a SCART socket.
5 - 40 Songs SONG RECORD mode Songs can be recorded in two ways: Real Time Recording: what you play on the keyboard will be recorded exactly as you play it, including the keystrike velocity. Generally, you create a Song by recording one track at a time (first the Drum track followed by the Bass track and so on...) but you can also record more that one track simultaneously. Step Recording: This method allows you to record notes one at a time from the keyboard, specifying the length of each note.
Songs 3. 5 - 41 Confirm SONG with ENTER: If you want to record changes in TEMPO and VOLUME during the recording, select the relative functions (F1 & F2). The events will be recorded in the Master Track. 4. Select the Master Track to configure the relative parameters as required Time signature, recording Tempo, etc.. These operations are discussed in the Edit Sequencer chapter. Press MASTER or ESC to close the Master Track. 5. Select a Track to record.
5 - 42 Songs 9. When you have finished recording your Song, press ESC to escape REC mode and, if you haven’t already done so, give the song a name using the NAME function in the Edit Sequencer section. Realtime Record options The record mode display shows several options in the lower area that you can select with the relative Function buttons. METR: (F5) determines the status of the Metronome. The Metronome is active when selected (reverse-highlight).
Songs 5 - 43 The display example above shows what the Master Track looks like after recording Tempo and Master Volume events. You will observe that “note events” are not recorded in the Master Track. The Mask option By using the Mask option, you can choose to mask certain events to reduce the amount of information displayed. The Master track and Microscope functions both have the Insert function with which you can manually insert data, and the Delete function, which can cancel selected events.
5 - 44 Songs A dotted note is obtained by pressing the selected note a second time. Note Lenths: Each beat of a bar is defined by the sequencer resolution which is 192 parts or “ticks” per quarter. Each note length, or Step Time, is related to the sequencer resolution. Therefore, the open note which plays for one bar in 4/4 time has a step time of 4 x 192 = 768. The quaver (the note with one ‘tail’) has a step time corresponding to half a quarter note (192 ÷ 2 = 96).
Songs 5 - 45 Recording MIDI IN events simultaneously with Track events. You can record events received on MIDI IN simultaneously with events generated by the keyboard (Local). For example, you can program the Configuration parameter of your Performance so that two or three tracks receive MIDI IN data only (MIDI status), while several other tracks can be exploited by the sequencer (SEQ). The remaining tracks can be set to Local (KYB) or mute (OFF).
5 - 46 Songs As well as being configured as Tracks 1-14, Track 15 should also be connected to receive LOCAL data to allow you to hear a sound when you play on the keyboard. Track 16 should be connected for LOCAL data and the resulting messages directed to MIDI OUT on OUT port 1 , Channel 1 - MIDI IN must be disconnected and no messages sent to the WX SOUND generation. This condition is otherwise known as MIDI Local off.
Songs 5 - 47 GENERAL INSTRUCTIONS TO FOLLOW WHEN PROGRAMMING THE LYRICS AND CHORDS TRACKS USING A COMPUTER Programming the Lyrics and Chords track using a computer (or sequencer) requires special attention in order to ensure good results. LYRICS TRACK 1. 2. 3. 4. 5. 6. The event recognised by WX to create the track containing texts is the LYRIC event. Therefore, all sequencer software or score writing programs which control this type of event are suitable for the purpose of creating the LYRICS track.
5 - 48 Songs Working with Standard MIDI Files Create Standard MIDI Files The Songs you record on your WX can be saved in MIDI Standard File format, making it possible to play your WX sequence data on other equipment regardless of the manufacturer (provided that the equipment conforms to this MIDI standard). The conversion is performed through the Save Single MIDI File option in the DISK operations.
Sequencer 6-1 CHAPTER 6 - SEQUENCER EDIT MODE The EDIT SEQUENCER section groups all the Event Edit functions that allow you to edit your musical data and Song parameters. All the functions are valid for Songs, Song Styles and Prog. Styles, therefore, reference is made to Songs throughout this chapter, unless otherwise indicated. In this mode, the keyboard will play the selected track of the current Song or Style. MASTER TRACK This is where information common to all tracks is stored.
6-2 Sequencer You can program all common and not so common Time signatures because both parameters (numerator and denominator) are programmable. Important The Time Signature can only be changed if the Song is empty (before Record). It cannot be altered if a song has been recorded, nor during playback.
Sequencer 6-3 For Song Styles only: START STYLE determines the Style with which you start your recording. You can scroll through all the Internal and Programmable Styles present in memory. The Prog. Styles will appear with the user-programmed name. START PERF determines the starting Performance. If you have programmed some Song Style Performances, you can select the one to start recording with here. START M. PERF determines the status of the Manual Performance button at record start.
6-4 Sequencer For Songs and Song Styles: STOP BAR specifies any bar of the current song to act as the effective song end. The song will stop at the end of the specified bar. You can use this function to stop a recording at a precise point without “dirtying” the following bar. SONG LOOP This function finds its use in Song with a repetitive Chord cycle.
Sequencer 6-5 Here you can see some Master Volume events, a Program Change and some Tempo Set events in the left part of the display. The events show the Song position (Bar, Beat and Sequencer resolution), the name of the recorded parameter and its relative value. The right part of the display is where you can specify data to insert or delete. This function is not available for Programmable Styles.
6-6 Sequencer Tempo Set Inserts a single Tempo event, shown as Tempo Set, with a default value of 120. Value range 0 - 250. Master Volume Inserts a single Master Volume event with a default value of 64. Value range 0 - 127. Effect 1 Inserts a single Effect 1 event from the corresponding Eff 1 processor with a default value of 0. Value range 0 - 63. Each value corresponds to an Effect Type from the respective Effect Processor.
Sequencer 6-7 The Master Track MASK function The MASK option allows you to isolate events of the same type in situations where a large amount of data is present. This helps you to select the position of the event required much faster. The Song Mask shows a shorter list of events. 1. Press MASK (F7). The display shows that all events recorded will be displayed: Important You cannot attempt to insert events in an Empty Song. An attempt to do so will display the following warning: 2.
6-8 Sequencer COPY This function allows you to copy a Track, a specified bar or range or bars, or an entire Song to the same Song or to another one. This operation is also valid for Prog. Styles and Song Styles, although the elements in the display relate to the respective modes. From Song selects the source Song to copy from. From Track selects the source Track to copy from.
Sequencer 6-9 To Song selects the destination Song (the Song to which the track will be copied to). You can choose to copy to the same Song, to another recorded Song or to an “empty” one. To Track selects the destination track (the track into which the data will be copied). To Bar specifies the destination start bar (only if you are copying within the same Song). Copy mode. selects the manner in which the data will be copied.
6 - 10 Sequencer MOVE This function allows you to move all the events within a specified range of bars of a track to another position within the same track: Song specifies the Song in which you wish to move events. Track determines which track to work on. Bar selects a range of data by specifying the bars within which the data lies. You can also specify a single event. Start Bar selects the destination bar which will receive the moved data. Press ENT to confirm the operation.
Sequencer 6 - 11 ERASE This operation erases all events of a specified type from a specified range of bars. You can perform this operation on a Track, on the Master Track or you can Erase all the Song: Song specifies the Song from which events are being erased. Track selects the track to erase from.
6 - 12 Sequencer INSERT/DELETE INSERT Insert allows you to insert as many “empty” bars into your Song from any starting point (bar). You can also insert bars with a different Time signature. Song selects the Song to work on. Bar specifies the insertion point (the start bar). Number of Bars specifies the number of bars to insert. Bar Time specifies the Time Signature of the bars to be inserted. You can use Insert to create a song with two (or more) different time signatures.
6 - 13 Owner's Manual Downloaded from www.Manualslib.
6 - 14 Sequencer DYNAMIC Press PAGE + to go to the Dynamic page. This operation modifies the velocity values (note on) in the specified area by the specified intensity. Song Selects the Song to work on. Track Specifies the track in which to modify the velocities. Bar Specifies the first and last bar where the velocity modification will take place. Mode Specifies the mode in which the velocity modifications will be effected. Two options are available: 1.
Sequencer 6 - 15 QUANTIZE This operation corrects the timing of each event in the specified range to the nearest interval (quantization) of the specified value. How does Quantize work? The following diagram shows how a track recorded in real time and played with incorrect timing can be corrected by quantizing with the values 1/4 and 1/8. Song Selects the Song to work on. Track Specifies the track in which to Quantize the events. Bar Specifies the first and last bar to be quantized.
6 - 16 Sequencer MICROSCOPE (Event Edit) A single step of musical data is called an “event”. The Microscope Event Edit operations permit you to modify, insert or delete individual events from the data in a Track. Insert also allows you to insert Control Data not otherwise possible in Realtime record mode. Since event edit allows direct access to sequence data, careless editing can modify your recorded data so that it can no longer be restored to its original state.
Sequencer 6 - 17 2V specifies the Key On velocity of the note in 1V with values 0... 127. Perhaps you discover that you didn’t place enough emphasis one or two notes of your recording. You can increase their respective Dynamic values to raise their loudness. If the sound of a track incorporates a dynamic switch, by modifying the dynamic value you can switch from one sound level to the other. 3V specifies the Key Off velocity of the note in 1V with values 0... 127.
6 - 18 Sequencer When Status = Control Change: 1V specifies a MIDI Controller number with values 0... 127. 1 = Modulation, 7 = Main Volume etc. - see Table III, MIDI CONTROLLERS, Appendix B. You can create Controller data at any point of the track using the Insert function (see below) - you would then have to give a value for the 2V parameter to render the controller effective. 2V specifies the data value of the Controller number with values 0... 127.
Sequencer 6 - 19 2V specifies the value of the Aftertouch event applied to the note in 1V with values 0... 127. For example, Aftertouch can add more or less Tremolo effect (if enabled) to a sound. Introduce the value 0 to deactivate the Poly Touch effect. Note: WX does not create Poly Aftertouch events from the Keyboard. You can create them manually with Insert or the events can be received at MIDI IN. 3V does not apply.
6 - 20 Sequencer NAME This function allows you to give your recorded songs a name: In the above display situation, the keyboard activates as an alphanumeric source.
Sequencer 6 - 21 UNDO Undo is of immense importance because it permits you to cancel a recorded sequence, restore portions of a cancelled Song, restore a modified event setting before being modified, etc.. It can be considered as a “note book” that follows you while you work, conserving data that you might not want to throw away. How to use UNDO 1. If you want to cancel a recorded track or an event edit, press UNDO. The following dialogue window is shown: 2.
6 - 22 Sequencer OPTION This function gains access to User Program software loaded from floppy disks. Generalmusic will implement new functions in the future which, not being able to exploit the software of the machine, will require a special software the can be loaded with a User Program. For the moment, no user programs are available and your display will show the following message when you press OPTION: Press ESC to escape from the display. Owner's Manual Downloaded from www.Manualslib.
APPENDIX WX ROM SOUNDS WX ROM DRUMKITS WX PERCUSSION SAMPLES MIDI IMPLEMENTATION CHART MIDI CONTROLLERS WX SPECIFICATIONS GLOSSARY Downloaded from www.Manualslib.
xx The WX ROM Drumkits, resident in Banks 2 and 3 of the Drums family, have keymaps which place the various percussion sounds according to GENERAL MIDI Standard, as well as other standards now in common use. This will facilitate the passing of a Song from one instrument to another without laborious remappings. The following tables list the sounds that correspond to each note, shown every octave as the Note name (C2, C3, etc.) as well as the MIDI Note Number ( 36, 48, etc.).
i WX ROM SOUND MAP (Families) Piano NOTE: All Sounds marked with an asterisk (*) correspond to "SINGLE OSCILLATOR" Sounds with 32 note polyphony. Drumkits and Sound Patch sounds are marked with a cross (†).
ii Ensemble NOTE: All Sounds marked with an asterisk (*) correspond to "SINGLE OSCILLATOR" Sounds with 32 note polyphony. Drumkits and Sound Patch sounds are marked with a cross (†).
iii Synth Effects NOTE: All Sounds marked with an asterisk (*) correspond to "SINGLE OSCILLATOR" Sounds with 32 note polyphony. Drumkits and Sound Patch sounds are marked with a cross (†).
iv THE WX ROM DRUMKITS DKStand1 Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triangle Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open1 HiHat Closed 2 HiHat Closed 1 HouseClap RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China DKStand2 C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Lo
Rom Drumkits DKRoom1 Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open 1 HiHat Closed 2 HiHat Closed 1 HouseClap RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock
vi DKPower1 Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open1 HiHat Closed 2 HiHat Closed 1 HouseClap RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Low Woodbl
vii DKElectric1 Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open 1 HiHat Closed 2 HiHat Closed 1 HouseClap RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Low W
viii DKHouse1 Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi House Ride House Hat House Hat HouseClap Snare Drum Elect 1 BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Low Wood
ix DKM1 DKJazz Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open 2 HiHat Pedal HiHat Closed 2 HouseClap RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Low Wood
x DKBrush Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triang Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine RideHi CrashHi HiHat Open 1 HiHat Closed 2 HiHat Closed 1 Snare Drum Brush 1 RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Drop Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Lo
xi DKOrch Empty Empty Empty Empty Empty Door Vox Tip Voice 1 Darbuklo Castanet Vox HiHat Closed Triangle Short Quica Hi Claves Guiro Hi Snap 1 Agogo Low Timbale Low Conga Hi Bongos Low Vibraslap Cowbell Tambourine Timpani Timpani Timpani Timpani Timpani Castanet RimShot BabyVox Bass Drum Elec Scratch1Hi ZappHi ZappLow China C8 Empty Empty Empty Empty Empty Empty Empty C7 BabyVox Raspyride Carhorn Vox Tap Water Applause Darbukhi C6 Barchime Celesta Triangle Long Quica Low Woodblock Low Woodblock Hi Guiro L
xii PERCUSSION SAMPLES This Table lists the note or notes that provide the most optimum timbres of the percussion Samples memorised in ROM. Each Percussion Sample was sampled on a definite note, and on that particular note, the percussion sound will appear to sound more realistic. As you move away from the sample note, the Sample will assume different characteristics and the quality will gradually decay.
xiii MIDI Implementation Chart MANUFACTURER: Generalmusic Spa FUNCTION Transmitted Recognised Basic Channel Default Changed 1-16 1-16 1-16 1-16 Mode Default Messages Altered Mode 3 X ********** Mode 3 X X 0-127 ********** 0-127 True Voice Velocity Note ON Note OFF O O O O After Touch Key's Ch X O O O O O Note Number Pitch Bender Control Change Program Change 0 1 4 7 10 11 12 13 14 15 20 64 66 67 Bank Change Modulation Foot Controller Volume Pan Expression controller Attack time
xiv MIDI CONTROLLERS WX recognises the MIDI Controllers shown below. Those listed from 00 to 67 are transmitted and received on all MIDI Channels, while those from 70 to 90 are transmitted on MIDI Common only. The data from 00 - 15 are continuous controls which affect parameters for the duration that the controllers are applied. The data from 64 - 67 and 90 are "switch" controls which remain active until they are switched off by the same Controller.
xv WX SPECIFICATIONS Keyboard WX2 - 61 Keys (C2-C7) WX400 - 88 Weighted Keys (A0 - C8) Both with Dynamics and Aftertouch sensitivity (channel) Sound Generation method PCM, Wavetables, Multiloop, Crossfade Multiwave and Subtractive Synthesis Polyphony 32 Notes, 32 Oscillators (single mode); 16 Notes, 32 Oscillators (double mode) Memory 6 Megabytes ROM, 256 KByte Static RAM (Ni/Cd battery-backed) 2 Megabyte RAM DISP (optional) for PCM Samples Effects Two digital multi-effects processors with Effects e
xvi GLOSSARY After Touch: MIDI message activated by applying pressure after a note on event. Its action is graduated (128 steps), and is directly proportional to the pressure applied. WX generates Mono Aftertouch - pressing a note affects all notes of the same MIDI channel. Bypass: To ignore, “go around”. Common: See MIDI Common. Controllers: Sound controlling devices (Wheels, Pedals, Function Controllers). Cutoff Frequency: Central Frequency of the intervention band of a Filter.
xvii makes the instrument work. MIOS is resident in ROM and cannot be modified, but it can be expanded by means of User Programs. Modulation: Dynamic modification over time. Modulation can affect Amplitude (Tremolo), Pitch (Vibrato) and the Filter. It is activated by the TrackBall using Up/Down movements or by a MIDI message. Move: A function of the Edit Sequencer environment, allowing you to move recorded events from one position to another.
xviii quires frequent use. Each time the WX is turned on, the SRam data is automatically loaded into RAM for immediate use. The battery recharging takes place when the instrument is on. Store: Memorise. A command associated to the Edit Sound and Edit Effects environments which store the user-programmed elements in the current Performance. Track: A multitimbric part of a Song. A Track has its own programming and timbric characteristics.
FEDERAL COMMUNICATIONS COMMISSION Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of FCC Rules. These limits are designed to provide reasonable protection against harmful interference 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 communications.
GENERALMUSIC Code 270969 Specifications are subject to change without prior notice. PRINTED IN ITALY Sales Division: I -47048 S.Giovanni in Marignano (FO) – Via delle Rose, 12 – tel. +39 541 957336 – tlx 550555 GMUSIC I – fax +39 541 957404 Downloaded from www.Manualslib.