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TABLE OF CONTENTS BOX CONTENTS....................................................................................... 2 CHAPTER 1: CONNECTIONS ............................................................... 2 CHAPTER 2: FIRST SESSION............................................................... 3 A TOUR OF THE MINIAK ..................................................................... 3 THE MINIAK'S TOP PANEL ................................................................. 3 KEY CONCEPTS ................
BOX CONTENTS • • • • • • MINIAK Gooseneck microphone Power adapter Quickstart Guide Reference Manual Safety Instructions & Warranty Information Booklet For more effective service and product update notices, please register your MINIAK online at http://www.akaipro.
CHAPTER 2: FIRST SESSION A TOUR OF THE MINIAK In this session, we'll: • Explore the MINIAK's top panel • Define some key concepts • Play some of the MINIAK's basic sounds (called Programs) • Learn different ways to navigate the MINIAK's Programs • Explore the built-in Sequences • Capture and play back some phrases • Explore the MINIAK's drum sounds and play some Rhythms • Explore the MINIAK's Multi setting (where Programs, Sequences, Rhythms, and more all come together in powerful, flexible combinations) T
KEY CONCEPTS Here are the MINIAK's most important concepts: PROGRAMS Programs are the MINIAK's sounds, built from its oscillators, envelopes, filters, modulation matrix, and other analog-style components. SEQUENCES Sequences are repeating melodic and/or rhythmic motifs. There are two types of Sequences — arpeggios and sequences. (See Chapter 3 for more information.) RHYTHMS Rhythms are combinations of sequenced drum programs. Think of a drum machine with its interchangeable sounds and sequences.
Play some notes before, during, and after moving the (MOD2) wheel. You'll most likely hear the classic analog synthesizer "filter sweep" sound. USE THE VOCODER Connect the gooseneck microphone (included) to the (MIC INPUT) on the MINIAK. Hold down [PROGRAMS] then press the VOCODER / SFX key on the keyboard. Use the DATA DIAL to scroll through the Programs shown in the LCD. Vocoder Programs are denoted by a "#" symbol.
EXPLORE THE RHYTHMS Rhythms combine drum/percussion programs with specifically designed rhythm patterns. [RHYTHMS]. Turn the DATA DIAL to cycle through different Rhythms. Press TO PLAY A RHYTHM Press and hold any key from the bottom of the keyboard up to the middle G#. (These are the keys labeled from recent through all.) TO PLAY A RHYTHM'S INDIVIDUAL DRUM SOUND Press one of the white keys from middle A (labeled voice) upward. The keyboard's middle A corresponds to the rhythm's Drum A.
RECORD SOME PHRASES You don't have to be in Sequences Mode to create a Sequence. At any time, the MINIAK can capture your playing and use it as a Sequence. The Sequences that you capture in real time are called "phrases." PHRASES WITHIN PROGRAMS MODE Press [PROGRAMS] to enter Programs Mode. Hold down the [PHRASE ARP] button and start playing a riff. As soon as you hit the first note, the [PHRASE ARP] button will start flashing, indicating that it is recording what you play.
CHAPTER 3: SEQUENCES PLAYING SEQUENCES Sequences are repeated melodic figures that you trigger from the keyboard. Press [SEQUENCES] near the DATA DIAL. To cycle through different Sequences, turn the DATA DIAL. The Sequence will change, with the current Sequence name shown in the display. Press a key to play a Sequence. The Sequence continues playing as long as you hold down the key. Using [LATCH ARP] Press [LATCH ARP] to let the Sequence continue playing after you release the key.
EDITING SEQUENCES Choose an existing Sequence to edit by pressing the [SEQUENCES] button and turning the DATA DIAL. Hold down any key to play the Sequence. (Use the [TAP TEMPO] button to change the tempo.) Once you've found a Sequence you want to edit, press the DATA DIAL to enter edit mode. Turn the DATA DIAL to cycle through the different options. Press the DATA DIAL to toggle in and out of editing the current parameter.
3. Start new Multi? Pressing the DATA DIAL at this option creates a new Multi named with the Sequence's name and a "+" in front (e.g. "+Liner" and "+Bobbetty") and, if a Multi with this name already exists, a number at the end (e.g. "+Liner2" and "+Bobbetty2"). 4. Sequence program Choose the Program that the Sequence will use to play its notes. In order to quickly jump between program categories, you can hold down the [SEQUENCES] button and press the white keys labeled with category names.
9. Order (arpeggios only) When you hold down more than one note, you can specify the order in which they will be arpeggiated: • • • • • • • Arpeggios or Sequences? Arpeggios contain Rhythm and velocity (relative volume) information. The order in which they were initially pressed (called as played). Sequences contain not only Up. The arpeggiator plays the notes you are holding Rhythm and velocity information from the bottom to the top. Once the top note is but also pitch information.
11. Step editing Turn the DATA DIAL to cycle through each step. You can quickly jump to the first step of the Sequence by holding down the [SEQUENCES] button and pressing A above middle C (labeled "voice"). Every aspect of the Sequence is editable: a. Adding and replacing notes and chords Play one or more keys at any step to add (or replace) that step's entry. Pitch, velocity, and length will be recorded, as will any wheel moves you make while the keys are held down.
14. Sequence name Since Sequences are listed alphabetically, creative naming can help you move smoothly from one Sequence to another. Turn the DATA DIAL to select a position (1 – 14) to edit. Then press the DATA DIAL to edit that position. Edit either by turning the DATA DIAL or pressing notes on the keyboard. Press a key twice to toggle between upper and lower case. Inserting and deleting characters: To insert a space in the name, navigate to the position at which you want to add the space.
CHAPTER 4: RHYTHMS PLAYING RHYTHMS Press the [RHYTHMS] button next to the DATA DIAL. Press and hold any key on the left side of the keyboard to play a Rhythm. Play the keys on the right side of the keyboard to play individual drum sounds. The keyboard's A above middle C (labeled voice) corresponds to the rhythm's Drum A. The next note, B (labeled osc), corresponds to Drum B, and so on. Turn the DATA DIAL to play different Rhythms.
2. Send to Multi? Pressing the DATA DIAL at this option sends you to Multi Mode and allows you to make this Rhythm a beat of the last-selected Multi. If the Multi does not have any beats, this Rhythm is automatically assigned to the Multi's beat A. If the Multi already has one or more beats, you will be able to add the rhythm in one of the following ways: 1. send to beat. The Multi's beat is replaced by the current Rhythm. The Multi beat's level, effects mix, key range, and latch status are retained. 2.
5. Grid Choose 8, 12, 14, 16, 20, 24, or 32 steps per bar. Shortening the scale decreases the quantizing resolution. You're more likely to hear double notes and simpler syncopations at low values. Straight-ahead feels tend to result from using 8, 16, and 32 steps per bar. Swing and shuffle feels tend to result from choosing 12 or 24 steps per bar. But you can also create different rhythms by using fractions of bars along with less obvious grid values, like 14 and 20. 6.
Another way of setting the Rhythm's Program is to bring it over from Programs Mode. Press [PROGRAMS] to enter Programs Mode, and find the Program that you want. Then, hold down [PROGRAMS] and press [RHYTHMS], and the Rhythm's Program will be set. This works in the other direction as well–hold down [RHYTHMS] and press [PROGRAMS] to bring the Rhythm's Program over to Programs Mode, perhaps for some quick editing. When you've found the Program you want to use for this drum, press the DATA DIAL. b.
Clear?: To keep the Program but remove all the notes, choose Clear. Remove?: If this particular drum is unnecessary to your Rhythm, remove it. At the Remove? prompt, press the DATA DIAL. This drum will be removed from the Rhythm, and all of the other drums will be re-lettered accordingly. (For instance, what had been "Drum B" will become "Drum A," and what had been "Drum C" will become "Drum B.") 8. Add? After the last drum, you will be prompted with Add? Press the DATA DIAL to add a drum.
Store your changes! Be sure to press the [STORE] button after you're satisfied with your changes. Otherwise, your changes will be lost when the MINIAK is turned off. However, keep in mind that you don't lose any changes when you switch to other modes, so feel free to browse through Programs or Multis without storing your Rhythm. Additionally, if you play a Multi that uses the current Rhythm, you'll hear your edited version, even without storing.
MULTI OPTIONS (1 OF 2) MULTI OPTIONS (2 OF 2) Take a moment to cycle through these options. Press [MULTI] and turn the DATA DIAL to select a Multi to edit. Then press the DATA DIAL to enter edit mode. Turn the DATA DIAL further to cycle through all of the beats. Beats are labeled "Beat A," "Beat B," "Beat C," etc. – just like parts. Turn the DATA DIAL clockwise to cycle through the various parts. Parts are labeled as "Part A," "Part B," "Part C," etc. After the last beat, you can add a new beat.
1. Parts Each part has the following editable parameters: a. Program: You can make the Program dependent on this part's Sequence, shown on the MINIAK as (Sequence's pgm). If you do so, the Multi will change Programs automatically as the Sequence is changed. Alternately, you can specify that the part use a particular Program. To use the Sequence's Program, spin the DATA DIAL all the way to the left, or press the DATA DIAL twice in quick succession (double-click).
g. High Key: Set the highest keyboard note to which the part will respond. Any notes higher than the note you select here will be ignored by this part. Remember that you can set these keys across the entire MIDI note number range, not just the MINIAK's 37 notes. Remember that you can always use the [OCTAVE] buttons to adjust the note range of the MINIAK's keyboard. h. Transposition: Adjust the transposition over a four-octave range. This does not affect the MIDI notes that the part responds to.
The newly-created part will be assigned the next letter after the current part's letter. All subsequent part letters will be incremented by one. n. Layer?: Choose layer to duplicate the current part. The newly-created part will be assigned the next letter after the current part's letter. All subsequent part letters will be incremented by one. o. Remove?: Choose remove to remove the current part. All subsequent parts will be re-lettered accordingly. 2.
e. High Key: Set the highest keyboard note to which the beat will respond. Any notes higher than the note you select here will be ignored by this beat. Remember that you can set these keys across the entire MIDI note number range, not just the MINIAK's 37 notes. Remember that you can always use the [OCTAVE] buttons to adjust the note range of the MINIAK's keyboard. f. Latch: Set the latch status of the beat to latched or not latched. The default is not latched.
7. Clear Choose clear to remove all of the parts and beats from the Multi but to retain the Multi's name. 8. Multi name Since Multis are listed alphabetically, creative naming can help you move smoothly from one Multi to another. Turn the DATA DIAL to select a position (1 – 14) to edit. Then press the DATA DIAL to edit that position. Edit either by turning the DATA DIAL or pressing notes on the keyboard. Press a key twice to toggle between upper and lower case.
CHAPTER 6: PROGRAMS WHAT IS A PROGRAM? A MINIAK program is a sound built from the MINIAK's internal oscillators, filters, and envelope generators. The MINIAK's programs cover the gamut of classic analog synthesis sounds. If you've heard it before, you will probably find it amongst the MINIAK's presets. HOW THE MINIAK MAKES SOUND The MINIAK generates sound by emulating, or "modeling," the behavior of an analog synthesizer. Oscillators generate the raw sounds.
Signal Flow Diagram MODULATION At this point, you may think that producing a sound with the MINIAK is simply a matter of configuring the parameters for the oscillators, filters, and mixers, and then hitting a key. And although it's true that you can design some nice instruments this way, generating the really awesome sounds invariably involves tweaking some of those parameters while a note is playing.
PLAYING PROGRAMS Press the [PROGRAMS] button to enter Programs Mode. Release the [PROGRAMS] button and spin the DATA DIAL to cycle through the Programs first by category and then – after you have reached the last Program within the last category – again in alphabetical order. You can also quickly switch to any category by holding down [PROGRAMS] and then pressing the white key on the MINIAK's keyboard labeled with that category. Note that the "recent" category is generated automatically.
4. split high. The Multi's existing part is split in two at a particular key. As with the split low option, the MINIAK prompts for a note on the keyboard at which to execute the split. The Program is then sent to the upper part of the split. Every note above the one you select will use this new program, up to that part's high key setting. Every note including and lower than the note you select will use the Multi's existing part. To select the split point, turn the DATA DIAL or play a key.
scaled: With this setting, the PortaTime parameter determines the amount of time it takes to glide a distance of one octave. gliss fixed: Identical to fixed, but with the glide stepping chromatically (C, C#, D, D#, etc.) rather than smoothly. gliss scaled: Identical to scaled, but with the glide stepping chromatically (C, C#, D, D#, etc.) rather than smoothly. PortaTime: Set the base time for portamento to slide from note to note.
With exponential FM, the FM Amount controls the range of pitch modulation, with a level of 100% driving the pitch up and down a full six octaves. 6. Oscillator parameters These parameters are repeated for each of the MINIAK's three oscillators. Waveform sine: Smooth and pure sound. tri/saw: A triangle wave, a sawtooth wave, or anything in between. A triangle wave has a fuller sound than a sine wave, whereas a sawtooth wave has a harsh sonic character.
lowpass mg_4pole: Modeled on the filter found in the most famous monophonic analog synth ever made. The filter, with a steep cutoff and deep resonance, earned much credit for its fat sound. This filter will self-oscillate at high resonance settings. lowpass rp_4pole: Modeled on the filter in a very popular semi-modular synth. This filter will clip (distort) when fed a loud input level.
9. Post-filter mix parameters Set the mix levels and left-right pan positions for filter 1, filter 2, and the pre-filter mix. Also set the following parameters: Preflt Src (Pre-Filter Source): The outputs of the oscillators, as well as a few other signal sources, are fed into a virtual mixing board called the Pre Filter Mix. The job of this mixer is to funnel all of these sources into the inputs of the next sound processing stage—the filters.
D. LFO Depth This adjusts the magnitude of the LFO modulation. When set to 0%, the LFO has no effect on the notch frequencies. Range: 0 – 100% E. LFO Shape This selects between the two LFO shapes. Range: sine wave, triangle wave F. LFO Tempo Sync This selects whether the LFO rate is synchronized to the MINIAK's tempo. When "follow tempo" is selected, the LFO Rate parameter is displayed as a multiple of the Tempo.
D. LFO Depth This adjusts the magnitude of the LFO modulation. When set to 0%, the LFO has no effect on the notch frequencies. Range: 0 – 100% E. LFO Shape This selects between the two LFO shapes. Range: sine wave, triangle wave F. Tempo Sync This selects whether the LFO rate is synchronized to the MINIAK's tempo. When "follow tempo" is selected, the LFO Rate parameter is displayed as a multiple of the Tempo.
D. LFO Depth This adjusts the magnitude of the LFO modulation. When set to 0%, the LFO has no effect on the notch frequencies. Range: 0 – 100% E. LFO Shape This selects between the two LFO shapes. Range: sine wave, triangle wave F. Tempo Sync This selects whether the LFO rate is synchronized to the MINIAK's tempo. When "follow tempo" is selected, the LFO Rate parameter is displayed as a multiple of the Tempo.
FX2 EFFECTS You may choose any one of the Effects 2 module's six different delay and reverberation effects. Mono Delay: Delay takes the original signal, waits a specified period of time, and then plays it back, over and over. Mono delay sums the MINIAK's input to mono before applying the delay effect. The result is a less complex but more "focused" sound. Mono delay allows for a maximum delay time that is twice as long as that used by stereo delay and L/R delay. A.
Split Left/Right Delay: This stereo delay allows you to set the left and right delay times independently. Unlike the other delays, it does not allow for tempo synchronization. A. Left Delay Time This is the amount of time that the left-channel delay waits before regenerating the sound. Range: 1 ms – 340 ms B. Regeneration Percentage This is the volume of every regeneration relative to the volume of the regeneration that preceded it.
11. Envelopes For each of the three envelopes, set the attack time and slope (Atk), the decay time and slope (Dcy), the sustain time and level (Sust), and the release time and slope (Rel). Envelope types "Env1" is the Amplitude envelope. "Env2" is the Filter envelope. The sustain time parameter determines the length of the sustain stage of the envelope.
If this parameter is set to on, then there is no sustain stage — the envelope transitions from attack to decay to release. Furthermore, it doesn't matter how long you hold down the key; the envelope always follows this fixed-length program. If you are using the Loop feature of the envelope, this parameter will have further effects on the envelope behavior, and these will be discussed below. Loop: These settings determine how the envelope is used when notes are held down (sustained).
Reset mono The LFO is shared between the voices of a Program. It may be at any point in its cycle when the first key is pressed. New voices will "ride" that LFO, joining other voices at the exact same point in the LFO's cycle. The LFOs in each Program are independent of each other, so they can be running at different speeds. poly Each voice's LFO is completely independent of the others.
14. Track (Tracking Generator) The tracking generator lets you create your own curves for the modulation sources. This allows for non-linear effects. For instance, as a source increases in amplitude, the destination can be affected first negatively, then positively, and then negatively again. Quick access to editing To jump to the tracking generator category, hold down the [PROGRAMS] button and press the key labeled "track.
Mod sources Here are the inputs to the modulation matrix: SOURCE DESCRIPTION (none) Aftertch Env 1 Env 2 Env 3 ExpPedal Keytrack KeytrackXt LFO1 Saw LFO1CSaw LFO1 Sin LFO1CSin LFO1 Sqr LFO1CSqr LFO1 Tri LFO1CTri LFO2 Saw LFO2CSaw LFO2 Sin LFO2CSin LFO2 Sqr LFO2CSqr LFO2 Tri LFO2CTri No effect Polyphonic (per-note) Aftertouch, MIDI only Amp Envelope Level Filter Envelope Level Pitch/Modulation Envelope Level Position value of Exp pedal, or incoming MIDI CC as assigned MIDI Key # used as modulator.
Mod destinations Here are the possible destinations for the modulation matrix: DESTINATION Pitch PtchNar FM Amnt Osc1Pit Osc1Nar Osc1Shp Osc2Pit Osc2Nar Osc2Shp Osc3Pit Osc3Nar Osc3Shp Osc1Lvl Osc2Lvl Osc3Lvl RingLvl NoisLvl ExInLvl Osc1Bal Osc2Bal Osc3Bal RingBal NoisBal ExInBal F1F2Lvl PortaTm UnsnDtn Flt1Frq Flt1Res Flt1Env Flt1Ktk Flt2Frq Flt2Res Flt2Env Flt2Ktk Flt1Lvl Flt2Lvl PfltLvl Flt1Pan Flt2Pan PfltPan DrivLvl PgmLvl Pan FxMix DESCRIPTION Modulates pitch of all three oscillators through entire 1
Env1Amp Env1Rat Env1Atk Env1Dcy Env1STm Env1SLv Env1Rel Env2Amp Env2Rat Env2Atk Env2Dcy Env2STm Env2SLv Env2Rel Env3Amp Env3Rat Env3Atk Env3Dcy Env3STm Env3SLv Env3Rel LFO1Rat LFO1Amp LFO2Rat LFO2Amp Scales the amplitude of the envelope's output - thus affecting the amount that the envelope modulates anything else. Modulates all of the envelope time stages - Attack, Decay, Sustain and Release - simultaneously.
16. Category Place the Program in one of the MINIAK's pre-defined categories. 17. Program name Since Programs are listed alphabetically, creative naming can help you move smoothly from one Program to another. Turn the DATA DIAL to select a position (1 – 14) to edit. Then press the DATA DIAL to edit that position. Edit either by turning the DATA DIAL or pressing notes on the keyboard. Press a key twice to toggle between upper and lower case.
CHAPTER 7: CONFIGURATION [CONFIG] Press [CONFIG] to set the MINIAK's global configuration options. [CONFIG] only glows red. CONFIGURATION PARAMETERS 1. Contrast: Adjust the LCD screen's contrast. If you happen to turn on your MINIAK and the screen is blank, it's possible that your contrast setting was somehow turned down. Since contrast is the first of the config options, you should be able to get to it even when navigating blindly. Simply hit the [CONFIG] button, and double-click the DATA DIAL.
c. Using the MINIAK with a MIDI patch bay: If you employ a MIDI patch bay to route controllers and sound sources, you will probably want to set local control to off. The MINIAK also has a special "off + send ptns" mode which actually sends out complete Sequence data (all notes, velocities, control change information) rather than one simple command to start and stop a stored Sequence within the MINIAK. Some users may find this useful if they want to record their Sequences within a computer sequencer. 6.
CHAPTER 8: MIDI WHAT IS MIDI? MIDI is the communication standard for electronic musical instruments. You can use MIDI to: • Record what you play on your MINIAK synthesizer into a sequencer or computer. • Play back sequences from a sequencer or computer on your MINIAK. • Store and recall Programs and Multis on a computer. • Use a computer to edit your MINIAK's sounds. • Use your MINIAK to control another synthesizer or sound module. • Use another keyboard to play your MINIAK's sounds.
Saving Programs, Multis, Rhythms, and Sequences via MIDI System Exclusive The MINIAK lets you transmit Programs, Multis, Rhythms, and Sequences to an external device (such as a computer, sequencer, storage device, or another MINIAK synthesizer) via MIDI. MIDI devices use a protocol called "System Exclusive" messaging (Sysex for short) for transmitting and receiving these communications.
FREQUENTLY ASKED QUESTIONS There are category labels ("bass", "lead", "pad") above the keys. How do I use them? Hold down [PROGRAMS] and press a key. Turn the DATA DIAL to hear other programs in the category. There are Program parameter labels ("voice", "osc", "filter") above the keys. How do I use them? Hold down [PROGRAMS] and press a key. Turn the DATA DIAL to see other parameters in the group. How do I add a Program to the "faves" category? 1.
How do I add a Rhythm to my Multi? The same way you add a Program or Sequence. But since you will often only have a single Beat in a Multi, the quickest way to add it or change it is to press [RHYTHMS], find the Rhythm you want, and then simply hold [RHYTHMS] and press [MULTI] to send it over. How do I assign different Programs to different MIDI channels, so I can play multiple Programs at once from my PC's sequencer? You need to create a Multi. Follow this procedure: 1.
The [STORE] button is dimly lit. What does this mean? This means that you have unstored work in some other mode. For example, if you are in Multi Mode and [STORE] is dim, then the current Multi has been stored, but perhaps there is a Program or Sequence with unstored changes. If your Multi uses this Program or Sequence, then you will even hear the changed version in your Multi. The dimly-lit button is a reminder to check the other modes before turning your MINIAK off.
Recovering from a Crash If your MINIAK behaves erratically or "freezes" on you, turn it off, wait for a moment, and then turn it on again. Make sure you turn off any amplification first. If your instrument still isn't working after that, then disconnect the (MIDI IN) cable and repeat the power on/off trick. This ought to work if your problem is being caused by strange MIDI data coming from an external MIDI device.
TECHNICAL SPECIFICATIONS Synthesis: Polyphony: Timbrality: Oscillators: Filters: Modulation: Effects: Sequencing: Virtual analog (subtractive), noise generator, FM Up to 8 voices Up to 8 parts 3 per voice with continuously variable waveshapes, sync, linear and exponential FM, Ring Mod, routable modulation matrix per voice 2 multi-mode resonating filters per voice with 16 filter types 2 LFOs with multiple wave shapes, sample and hold, tracking generator, freelyroutable modulation matrix per voice 4 drive ef
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