Vintage Pro Owners Manual © 2002 E-MU Systems, Inc. All Rights Reserved FI 12482 Rev. B E-MU World Headquarters E-MU Systems, Inc. U.S.A. 1600 Green Hills Road Scotts Valley, CA USA 95066 Telephone: 831-438-1921 Fax: 831-438-8612 Internet: www.emu.com Europe, Africa, Middle East E-MU Systems, Ltd.
Table of Contents Introduction ............................................................................. 1 Product Description ............................................................................. 1 Overview ............................................................................................. 3 Important Safety Instructions .................................................. 4 Wichtige Sicherheitsvorschriften .............................................
Front Panel Controller Modes............................................................. 23 Real-time Control ..................................................................................... 23 Quick Edit ................................................................................................ 24 Deep Edit Mode ....................................................................................... 25 Main Screen ..................................................................................
Master Arpeggiator Parameters .......................................................... 48 Status .......................................................................................................49 Mode .......................................................................................................49 Note Value ...............................................................................................50 Arpeggiator Pattern Speed .............................................................
FXA Send Amounts ................................................................................... 71 Master FXB Algorithm .............................................................................. 71 B Effect Types ....................................................................................... 71 FXB Parameters: Feedback/LFO Rate Delay Time ...................................... 72 FXB Send Amounts ...................................................................................
Signal Flow ...................................................................................... 107 MIDI Channels & Real-time Controls................................................ 108 Bank Select Commands ..........................................................................110 Stereo Mix Outputs ......................................................................... 111 Edit Menu ............................................................................. 113 Preset Name ....................
Common Preset Parameters ............................................................. 147 Preset Effects .......................................................................................... 147 FXA Algorithm ........................................................................................ 149 A Effect Types ..................................................................................... 149 FXA Parameters ....................................................................................
Master Effects .................................................................................. 178 Effects Mode ...........................................................................................180 Flexible Effects Control ...........................................................................180 Using the Effects Channel Settings in Multi Mode ...............................182 Effect B Into Effect A ...............................................................................
Preset Listing.................................................................................... 201 Instrument Listing ............................................................................ 205 Riff Listing ........................................................................................ 209 Velocity Curves................................................................................. 211 PatchCord Amount Chart.................................................................
x E-MU Systems
Introduction Congratulations on your purchase of the E-MU Vintage Pro. Vintage Pro offers you all of the legendary keyboard sounds of the '60's, '70's and '80's in one rack space. From tonewheel organs and suitcase keyboards to analog and FM synthesizers, Vintage Pro gives you the most authentic and comprehensive collection of classic keyboard sounds ever assembled. The power of Vintage Pro begins with 128 voice polyphony.
Introduction Product Description Then there’s Vintage Pro’s Rhythmic Pattern Generator/Arpeggiator, which can play up to 16 synchronized arpeggiator patterns at once using a different sound for each! Patterns can be edited using pattern flow commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and repeat. You can program or download 100 user patterns in addition to the 300 factory patterns.
Introduction Overview Overview This is the Operations Manual for setting up and playing Vintage Pro. The first part of the manual describes how to unpack and setup the hardware. The next chapters provide step-by-step instructions for the most common and widely used features of Vintage Pro. This section also defines each of the parameters (by menu) and provides information on how to use them. The appendix provides technical information, product specifications and the Index.
Important Safety Instructions Overview Important Safety Instructions Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. Refer all servicing to qualified service personnel. There are no user serviceable parts or adjustments inside the unit. There are no user serviceable parts inside the power supply enclosure. WARNING: To reduce the risk of fire or electric shock, do not expose this product to rain or moisture.
Important Safety Instructions Overview READ THESE INSTRUCTIONS: When using electric products, basic precautions should always be adhered to, including the following: 1. 2. 3. 4. 5. This symbol is intended to alert you to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. 6. 7. 8. 9. 10.
Important Safety Instructions Overview 19. 20. Radio and Television Interference The apparatus should be connected only to a power supply of the type described in the operating instructions and marked on the product. This product, in combination with an amplifier and headphones and speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable.
Wichtige Sicherheitsvorschriften Overview Wichtige Sicherheitsvorschriften In Ländern außerhalb der U.S.A. können andere Kabel oder Stecker notwendig werden. Überlassen Sie die Wartung qualifiziertem Fachpersonal. Im Geräteinnern befinden sich keine Bauteile oder Steuerungen, die vom Anwender gewartet werden können. Das Gleiche gilt für das Netzteilgehäuse. VORSICHT: Um die Gefahr eines Brandes oder Stromschlags zu verringern, sollten Sie das Gerät weder Regen noch Feuchtigkeit aussetzen.
Wichtige Sicherheitsvorschriften Overview INSTRUKTIONEN ZUM BRANDRISIKO, STROMSCHLAG ODER PERSONENSCHADEN BITTE LESEN: Beim Einsatz elektrischer Geräte sollten folgende Vorsichtsmaßregeln stets beachtet werden: 1. 2. 3. Dieses Symbol weist Sie auf wichtige Bedienungs- und Wartungsanleitungen in den beiliegenden Drucksachen hin. 4. 5. 6. 7. 8. 9. 10. 11. Diese Symbol warnt Sie vor nicht-isolierten gefährlichen Spannungen im Gehäuseinnern.
Wichtige Sicherheitsvorschriften Overview B. C. D. E. Gegenstände oder Flüssigkeit in das Gerät gelangten, das Gerät Regen ausgesetzt war oder das Gerät stürzte oder sein Gehäuse beschädigt wurde das Gerät nicht normal oder einwandfrei arbeitet oder Betriebsstörungen auftreten Diese Instruktionen aufbewahren Alle Warnungen beachten Alle Instruktionen befolgen Radio und TVInterferenzen Das in diesem Handbuch beschriebene Equipment verwendet und erzeugt Frequenzen im Radio/Fernsehbereich.
Consignes de sécurité importantes Overview Consignes de sécurité importantes L’utilisation de l’appareil dans d’autres pays que les États-Unis peut nécessiter l’usage d’un cordon d’alimentation et/ou d’une prise différent(s). Consultez un technicien qualifié pour toute réparation. L’appareil et le dispositif d’alimentation ne contiennent aucune pièce réparable par l’utilisateur. ATTENTION : Afin de réduire les risques d’incendie ou d’électrocution, n’exposez pas cet appareil à la pluie ou à l’humidité.
Consignes de sécurité importantes Overview CONSIGNES RELATIVES AUX RISQUES D’INCENDIE, D’ÉLECTROCUTION OU DE BLESSURES CORPORELLES LISEZ CES CONSIGNES : Lorsque vous utilisez des appareils électriques, certaines précautions élémentaires doivent toujours être respectées. En voici quelques-unes: 1. 2. 3. Ce symbole attire l’attention de l’utilisateur sur la présence d’instructions d’utilisation et de maintenance importantes dans le mode d’emploi fourni avec l’appareil 4. 5. 6. 7. 8. 9. 10. 11.
Consignes de sécurité importantes Overview 16. Confiez l’appareil à un technicien qualifié dans chacun des cas suivants : A. Le cordon d’alimentation ou la prise a été endommagé. B. Des corps étrangers ou du liquide se sont introduits dans l’appareil. C. Le Vintage Pro a été exposé à la pluie ou à l’humidité. D. Le Vintage Pro est tombé ou a été endommagé d’une manière ou d’une autre. E. Le Vintage Pro ne fonctionne pas normalement ou présente une baisse sensible de ses performances.
Setup This section thoroughly describes how to set up your new Vintage Pro for use. Setup includes unpacking instructions and how to connect the Vintage Pro cables. Unpacking Carefully remove Vintage Pro from the packaging material. Take care to save the packing materials in case you need to transport the unit. Check to make sure all components are included and in good condition. If there are missing or damaged components, contact E-MU Systems immediately for replacement or repair.
Setup Connection Instructions Connection Instructions MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME The Headphone Output is located on the Front Panel CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 .
Setup Connection Instructions Studio Setup MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME Computer CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 . Computer EMULATOR Additional MIDI Devices MIDI Out MIDI In In MIDI Interface Out In Out Out “A” MIDI channels 1-16 ~ “B” MIDI channels 1-16 B A IN THRU SCOTTS VALLEY CA. U.S.A.
Setup Connection Instructions Performance Setup MIDI Controller MIDI Controller (MIDI Keyboard, Sequencer) REAL TIME (MIDI Percussion Controller) CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 . EMULATOR Additional MIDI Device MIDI In MIDI Out ~ MIDI Out B A Effect Device Main Outs to Mixer In Send/Return Send IN THRU SCOTTS VALLEY CA. U.S.A.
Setup Connection Instructions If you insert a stereo plug into one of the Sub Outputs, the ring of the plug serves as a signal Return which sums into the Main outputs. Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix. You can use the Sub 1 and Sub 2 jacks as send/returns in order to further process selected Vintage Pro presets without using the effects bus on the mixing board.
Setup Instant Gratification Instant Gratification Playing Demo Sequences This section presents step-by-step instructions for the most fundamental operations to get you up and making sounds quickly. Vintage Pro has several factory demonstration sequences that let you hear what this incredible machine can do. The actual number of demo sequences depends on which ROM sounds sets are installed. You can play these demo sequences by accessing the Demo Sequence page.
Setup Instant Gratification BankSel 0:18 32:2 2 059 vox: SnowBound 1. 2. 3. 4. Selecting and Quick Editing Presets User To Audition a Preset Select a preset by turning the data entry control while the cursor is anywhere on the lower line. The preset number field (shown above) is the normal position of the cursor and pressing the Enter button will return the cursor to this position. Press the Audition button on the front panel.
Setup Instant Gratification Each bank of 128 presets is identified by a superscripted Bank Number to the right of the preset number. The bank numbers reset to 0 at the start of each ROM card you have installed. So with the composer ROM installed, the USER banks will go from 0-3, then start over from 0-3 for the VROM banks. To the right of the preset number and bank is the preset Category name followed by the Preset Name. 1.
Basic Operations Control Button Volume Control Master Menu Edit Menu Cursor Controls Power Switch CO 1 A V 1 27 P0 1 R A : P V I N TG 022 3 t r n : Me l l o t r on S t r Display Headphone Jack Front Panel Realtime Control Knobs Audition Button Arp/Beats Button Save/ Copy Home/ Enter Data Entry The Vintage Pro front panel contains an LCD screen, nine buttons and four real-time controllers. Functions are grouped logically and the controls are arranged for ease of use.
Basic Operations Front Panel Audition Button O See “Bank Select Commands” on page 110 for more information on selecting banks via MIDI. The Audition button allows you to hear any preset without hooking up a MIDI keyboard. When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff” (programmed as part of the preset) will play. The Riff is latched on and plays continuously until the button is pressed again. Presets can be changed while Audition is latched on.
Basic Operations Front Panel Controller Modes The LED to the right of the button illuminates to indicate that you are in the Save/Copy menu. The LED also illuminates when any preset parameter has been changed in the Edit menu (or if the front panel knobs have been moved with Quick-Edit mode enabled). Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the “Home” button.
Basic Operations Front Panel Controller Modes The three Control Rows generate MIDI data that can control the preset on the current MIDI channel (the channel showing on the Preset and main screen. The labels (Tone, Presence, Shape, Image, etc.) printed on these rows show how the factory ROM presets may be programmed to respond. (The controls might not conform to the front panel labels depending on the preset.) You can change the way a preset responds to MIDI A-L messages from the Edit menu (PatchCords).
Basic Operations Front Panel Controller Modes Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to edit parameters. Using the Controller Knobs is a faster method for entering data, but the Data Entry Control offers finer precision. 1. To Enable Deep Edit Mode: Press the Master button and use the Data Entry Control to advance to the “Knobs Deep Edit” screen as shown in the following illustration. KNOBS DEEP EDIT disabled 2. 3. 4.
Basic Operations Main Screen Main Screen The Preset Select screen is Vintage Pro’s default screen (also called the main screen) and is active when you have not selected any of the other buttonactivated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 32 MIDI channels. ROM or RAM Preset Location MIDI Channel MIDI Channel Selection The channel number shown in the main screen is the “basic MIDI channel” when in Omni or Poly modes.
Basic Operations Main Screen Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation to the other channels. This is the same parameter as MIDI volume control #7, and changes made over MIDI are shown in the display. Volume C01A 03832 1. 2. Channel Pan V127 P01R A:off User gtr: Clav Guitar To Change the Channel Volume Press either cursor key until the cursor is underneath the volume value. Rotate the Data Entry Control to select a volume level.
Basic Operations Main Screen Channel Arpeggiator This function controls the arpeggiator for each MIDI channel. When the channel arpeggiator mode is set to Off, then there is no arpeggiation on that channel, regardless of what is set up in the Master Arpeggiator or preset. If the channel arpeggiator is On, the preset’s arpeggiator is used, regardless of whether or not it is turned on in the Edit menu. This lets you turn on arpeggiation from the main screen.
Basic Operations Sound Navigator Sound Navigator Preset Category Sound Navigator allows you to search through preset and instrument categories to find the type of sound you’re looking for. Each preset and instrument has a name and a three letter preset category. You can create your own categories in order to group favorite presets. The preset category is assigned in the Edit menu (Preset Name). Instrument categories are fixed.
Basic Operations Multitimbral Operation Multitimbral Operation Multitimbral operation means that Vintage Pro can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously. 1. 2. 3. O Save the Multisetup using the instruction provided in Chapter 9: Save/Copy. 4. To Set Up Vintage Pro for Multitimbral Operation Set the MIDI mode to “multi mode,” using the MIDI mode function in the Master menu.
Arp/Beats Menu The Arp/Beats button lets you access the Arp/Beat menu. This menu contains several different sections. The Mix screens show you the volume and pan levels for all 32 MIDI channels at once. SuperBEATS Mode is a whole new way to create dynamic, original music. BTS riffs are special multi-part Audition Riffs are permanently stored in sound ROM. With SuperBEATS, you trigger, latch and unlatch synced loops and grooves from your keyboard.
Arp/Beats Menu To Enable the Arp/Beats Menu Press the Arp/Beats button, lighting the LED. The screen displays the menu page most recently selected since powering up Vintage Pro. The cursor appears below the first character of the screen heading on line one. To Select a New Screen Press the Home/Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading. Rotate the Data Entry Control to select another screen.
Arp/Beats Menu Base Tempo Vintage Pro contains an internal master clock which can be used to: synchronize the LFOs when in Tempo-based mode, control the times of Tempo-based envelopes or used as a modulation source in the PatchCords section. There are two tempo values shown in the display. • Base Tempo - The base tempo is the value to which the MIDI controller specified in the Tempo Controller screen will be applied. (See “Tempo Controller” on page 77.
Arp/Beats Menu Beats Beats Vintage Pro contains a 16-track play-only sequencer that is optimized for live performance and groove creation. Vintage Pro contains dozens of special 16-part Beats Riffs created by some of the best producers in the business. Beats Riffs are normally used in conjunction with a “bts:” preset containing the appropriate percussion mapping, but any preset can be selected and used. The Beats channel is selected from the Beats enable screen in the Arp/Beats menu. Here’s how it works.
Arp/Beats Menu Beats Factory Setup Group 3 Inst 2/Wild 2 Inst 4/Wild 4 HiHat 2 Perc 3/Fill 1 Perc 5/Fill 3 Snare 1 Perc 1 Clear Parts Trig. Hold Multisetup 63 Main Groove C-2 C-1 Start/Stop Mute Kick 1 HiHat 1 Kick 2 Snare 2 Perc 2 Perc 4/Fill 2 Perc 6/Fill 4 Inst 1/Wild 1 Inst 3/Wild 3 Group 1 Group 2 Group 4 Alternate Groove C0 The chart above shows the Factory Multisetup assignment of each Part, the 4 Groups and the Control Keys.
Arp/Beats Menu Beats The Beats sequencer plays as long as any Beats triggers are active. Beats Riffs can also be Restarted using a MIDI Song Start command even if the Beats channel is not currently selected. The Audition LED illuminates whenever the Beats sequencer is running (even if no Parts are playing). Pressing the Audition button or starting a Demo causes the Beats sequencer to stop. Pressing the Audition button plays selected Parts on “bts:” presets.
Arp/Beats Menu Beats _ If you don’t select a “bts:” preset, only the first trigger key will work. 1. Riffs marked “bts:” have 16 parts. Riffs without “bts:” have only 1 part. Playing Beats (Quick Start): Press the right cursor button twice so that the cursor is located beneath the Category field. C01 V127 P00 A:P User 0 036 bts: SynhissOrgan Category Field Preset Name Field 3. Turn the data entry control until bts: is shown in the Category field.
Arp/Beats Menu Beats To Play Beats on a different MIDI channel: Beats can be assigned to a certain MIDI channel while you play the keyboard on another channel. (Make sure you have Beats mode set up correctly as described in “Playing Beats” on page 37.) 1. Press the Arp/Beats button. The screen shown below appears. BEATS MODE BtsCh: Basic 2. 3. O Wrong FX? In Omni mode, the FX assigned to channel 2 will be used. In Multi mode, the Master FX settings will be used. See pages 68 & 178.
Arp/Beats Menu Beats The Movement controller knob is assigned to Beats Busy. Tick 909 Click Machine Kick Kick Snare 808 Snare Simmons Tom 909 Tom Tom Wave 909 Tom Waver Tom 909 Tom Cymbal Ride Cymbal Splash Cymbal Splashy Cymbal Ride Cymbal Bongo Tone Bongo Tip Low Conga Timbale 3 Agogo Hi-Tone Cabasa Guiro Guiro Guiro Wood Block Wood Block Triangle Mute Triangle Open Kick Fun Scratch Original Transposed Part +12 Crowd Beat Busy (BtsBusy) This destination determines which parts are enabled.
Arp/Beats Menu Beats parts that the Busy control adds or subtracts. Therefore, you can use the Part Velocity control to remove parts you don’t want to hear. O Cool Tip! Connecting Key Pressure to Beat Busy at 50% increases BEAT complexity the harder you press. Brings in Parts Beat Busy Removes Parts Played Positive controller values bring in new Parts and negative controller values remove Parts that are latched or held.
Arp/Beats Menu Beats for the entire measure and stops. The time signature and the measure bounds are determined by the particular Beats Riff you are playing. Trig Key pressed before the last beat 1 2 Part continues to end of measure then stops.
Arp/Beats Menu Beats Beats Part Velocity Each note of a Beats Riff can have its recorded velocity scaled by a value (from 0 to 120%) of the recorded velocity or the actual played velocity of the trigger key can be used (trigger vel). For example, if a note’s velocity is 80, scaling by 110% will increase the note’s velocity to 88. This feature allows you to control the mix of the different parts in advance or “on-thefly” as you play.
Arp/Beats Menu Beats Each Part of a Beat Riff can be transposed up to 36 semitones up or down. Transpose works by shifting the keyboard position and not by changing the tuning of individual notes. Therefore, on a Beats preset (bts:), where different instruments are assigned to each key, Transpose has the effect of changing the instrument used by a particular part. On a preset where a single sound covers the entire keyboard, Transpose will actually transpose the sound.
Arp/Beats Menu Beats Beats Part Group This screen is where you assign Parts to one of the four Groups. By grouping, you can play multiple parts with a single key. A part can be in one and only one group, or in no groups. Select Part P1 BEATS PART GROUP Group: 2 _ All Parts assigned to a Group will stop playing when the Group key is triggered, then untriggered even if the individual Parts in the Group are latched. 1. 2. 3. 4. 5.
Arp/Beats Menu Beats Riff Tempo This setting determines whether Riff Tempo (the tempo stored with each Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be used for Beats. To control the Riff Tempo from MIDI clock, set Riff Tempo to “use current tempo” and Base Tempo to “use MIDI”. RIFF TEMPO use riff tempo 1. 2. 3. Riff Controllers To Set the Riff Tempo Mode: Use the cursor buttons to move the cursor to the lower line of the display.
Arp/Beats Menu Beats MIDI Song Start This function enables or disables MIDI Song Start for the Arpeggiator and Riffs. The MIDI Song Start option restarts the arpeggiator and/or Riff (BEAT) to the beginning when a MIDI Song Start command is received. This is useful for synchronizing arpeggios and Beats when recording into, or playing along with a sequencer. You can choose to resync: Arp, Riff, both Arp and Riff, or disable MIDI Song Start.
Arp/Beats Menu Arpeggiators Arpeggiators An arpeggiator moves a pattern of notes sequentially over a range of the keyboard. Vintage Pro has the unique ability to play a different arpeggiator on each MIDI channel! Arpeggiator settings can be defined as part of the preset (using the Arp parameters in the Preset Edit menu), or globally in the Arpeggiator menu. The preset and master arpeggiators have the same parameters which we define in this chapter.
Arp/Beats Menu Master Arpeggiator Parameters Arp Controllers The Arpeggiators can be controlled using the front panel real-time controllers or external MIDI continuous controllers. Controllers are patched to Arps via the Preset PatchCords located in the Preset Edit menu. See “Preset Patchcords” on page 151. The following Preset PatchCord destinations control the Arpeggiators.
Arp/Beats Menu Master Arpeggiator Parameters Status The Status parameter turns the Master Arpeggiator on and off. The Channel Arpeggiator setting in the main screen overrides this setting. For example, if you set the Arpeggiator in the main screen to “off,” and turn it “on” here, it still will not play. MASTER ARPEGGIATOR Status Mode off The Mode parameter determines the direction or pattern mode of the arpeggiated notes.
Arp/Beats Menu Master Arpeggiator Parameters Note Value The Note Value determines the duration of each note played. This parameter is used in non-pattern mode only. MASTER ARPEGGIATOR Note Value Note value has no effect when the mode is set to “pattern.” 1/8 dot Following is a list of possible Note Values and the relative number of clocks used for each. Note Value MIDI Clock Double Whole Note..................... 192 Dotted Whole Note ........................ 144 Double Note Triplet..............
Arp/Beats Menu Master Arpeggiator Parameters Velocity Controller Knob O is programmed to control Arp Velocity. Gate Time The Movement Knob is programmed to control Arp Gate Time. The note-on time is used for the start-of-time when calculating note durations. See “Duration” on page 54. The Velocity parameter determines the velocity at which each note arpeggiates. Velocity can be defined by the velocity value specified (from 1 through 127), or by the actual velocity of the played note (played).
Arp/Beats Menu Master Arpeggiator Parameters Extension Count The Extension Count parameter specifies how many times the Extension Interval is carried out. With an Extension Count of 0, the arpeggio plays only the notes pressed. With an Extension Count of 1, the arpeggio plays the notes pressed, then plays the same notes (in the same order), transposed by the Extension Interval amount. The cycle is then repeated.
Arp/Beats Menu Master Arpeggiator Parameters Sync The Sync parameter defines when a note is played in relation to when the key is pressed. When set to “Key Sync”, the note sounds the instant a key is pressed. When set to “Quantized”, the note does not sound until the next occurrence of the selected note value. MASTER ARPEGGIATOR Sync key sync The following diagram illustrates how Key Sync and Quantize work.
Arp/Beats Menu Master Arpeggiator Parameters Duration This parameter defines how long the arpeggiator plays before stopping. The Duration is specified in note values. Therefore if an arpeggio were running at a 16th Note Value and the Duration were set to a whole note, the arpeggiator would play 16 steps before stopping. After the duration has elapsed, the arpeggiator remains inactive until the key is released.
Arp/Beats Menu Master Arpeggiator Parameters Keys Pressed Notes Sound Arp Plays Notes Sound Pre-Delay Duration Post-Delay ec R R ec Recycle yc le o n y c l e o N o - Pre Dly n/ Recycle enables the pattern or arpeggio to repeat. This parameter works together with the Duration and Pre/Post Delay parameters to allow the loop to be set to an exact measure of time. The “on/No-PreDelay” option bypasses the predelay period.
Arp/Beats Menu Send MIDI System Exclusive Data Use the Key Range parameter to set the keyboard range for the arpeggiator. Notes inside the range will arpeggiate while notes outside the specified range will not arpeggiate. Use the Extensions parameters to exceed the upper boundary of the Key Range (see the information about Extensions beginning on page 52). MASTER ARPEGGIATOR Key Range C-2->G8 Move the cursor under the first key and use the data entry control to define the lowest key to be arpeggiated.
Arp/Beats Menu Send MIDI System Exclusive Data Editing a User Arpeggiator Pattern Vintage Pro lets you create and edit your own arpeggiator patterns. Using the Edit User Pattern menu, you can create up to 100 user patterns and each pattern can be up to 32 steps in length. When you edit a pattern, you are writing directly into memory—no Save command is required (however, you must exit the Arp module). This is different from the Edit menu where you must Save a preset before it will be overwritten.
Arp/Beats Menu Send MIDI System Exclusive Data Key Offset This parameter defines not the actual note of the arpeggiator playback, but instead specifies the amount of offset, in semitones, from the original note played. You can set a Key Offset from -48 to +48 for each step. For example, if you play a “C” on the keyboard with the Key Offset amount for the first step set to “+1,” the first step in the pattern will be “C#.
Arp/Beats Menu Send MIDI System Exclusive Data Velocity Each note in the pattern plays using either a preset velocity value (from 1 through 127), or using the actual velocity of the played note (ply). Note: Velocity values will not have an effect on the sound unless velocity is programmed to do something in the preset. Duration This parameter sets the length of time for the current step, defined as a note value, based on the Master Tempo. The selectable note durations are described below.
Arp/Beats Menu Send MIDI System Exclusive Data User Pattern Name The User Pattern Name page lets you enter a name for any User Arpeggiator Pattern. PTRN S01 To 1. 2. KEY +0 VEL ply DUR 1/8 RPT 2 Name a User Pattern: From the Pattern Edit screen shown above, position the cursor under the PTRN field. Turn the data entry control clockwise. The following screen appears. USER PATTERN NAME 000 Mod Cycle 3. 4. 5. 6.
Arp/Beats Menu Multi-Channel Arpeggiating Multi-Channel Arpeggiating One of the coolest features in Vintage Pro is its ability to run multiple arpeggiators at the same time. The interactions of multiple note sequences can be complex and fascinating. Vintage Pro lets you run up to sixteen arpeggiator patterns at once! Even two or three patterns at once can create very complex sequences and dynamic landscapes of sound. Here’s one way to use this ultra-powerful feature.
Arp/Beats Menu Using a MIDI Interface to Channelize Data Try experimenting with presets and settings. For example: • • • • Change presets on one or both of the MIDI channels you are using (1 & 2). Since each factory preset has different arpeggiator settings, changing the preset not only changes the sound, but the arpeggiator settings as well. Press the Control button on the front panel to select “I-L” (the LED in the third row is illuminated). Adjust the front panel control knobs.
Master Menu The Master menu contains functions that affect the overall operation of Vintage Pro. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed. To enable the Master menu Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up Vintage Pro. The cursor appears below the first character of the screen heading on line one.
Master Menu Defining Master Parameters Defining Master Parameters Transpose/Tune Master setup parameters affect overall performance, range, and global effects. This section describes the Master parameters and how to define them. The Transpose parameter transposes the key of all presets, in semitone intervals. The transpose range is ± 24 semitones. Master Tune adjusts the fine tuning of all presets so that you can tune Vintage Pro to other instruments.
Master Menu Defining Master Parameters You can modify incoming velocity data by a velocity curve in order to provide different types of dynamics in response to your playing, or to better adapt to a MIDI controller. The Master Velocity Curve page lets you select one of thirteen master velocity curves or to leave the data unaltered (linear).
Master Menu Defining Master Parameters Mix Output The Mix Output parameter allows you to override the routing assignments made in each preset and instead assign the outputs according to MIDI channel. For each of the 32 MIDI channels, you can select Send 1-4, or Preset. When Preset is selected, the output assignment defined in the Preset Edit menu is used. MIX OUTPUT channel 16A: Send2->main Indicates that the dry signal is routed to the Main output jacks.
Master Menu Defining Master Parameters OUTPUT SECTION & EFFECTS PROCESSORS MIDI Channel 1A FX Sends Preset Send 2 10% MIDI Channel 2A Preset Send 3 0% Send 4 0% MIDI Channel 3A S E N D MIDI Channel 16A 1 FX Sends Send 4 15% S E Chorus M A I N Send 1 0% Send 3 20% MIDI CHANNEL Effect A B➟A Send 2 0% MIDI Channel 1B Hall 1 Send 1 15% Effect B Jack Detect N D 2 S U B 1 MIDI Channel 2B MIDI Channel 3B S E N D 3 MIDI Channel 16B S E MIDI CHANNEL N D Jack Detect S U B 2 4 Sen
Master Menu Mix Screens Mix Screens Master Effects The first two button switches the display to the Mix screens (volume & pan). The mix screens allow you view and adjust the volume and pan settings for all 32 channels. This is particularly useful when playing back a MIDI sequence. The volume and pan settings for all 32 channels are saved with the Multisetup. See page 192.
Master Menu Master Effects Effects Multi Mode Control The routing scheme for the two stereo effects processors provides a lot of versatility. When in multi mode, you can “use master settings” which applies the Master menu effects settings to all 32 MIDI channels. FX MULTIMODE CONTROL use master settings If you want more control, you can use the “channel” setting which applies the effects settings of the preset on a specified channel to all the other channels.
Master Menu Master Effects Master FXA Algorithm This function selects the type of effect used for the “A” effect. The following effect types are available. MASTER FXA ALGORITHM Room 1 A Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
Master Menu Master Effects FXA Send Amounts These parameters set the effects amounts for each of the four stereo effects busses. See “Master Effects” on page 178 for detailed information. FXA SEND AMOUNTS 2: 50% 3: 10% Master FXB Algorithm 1:100% 4: 0% This parameter selects the type of effect used for the “B” effect. The following effect types are available. MASTER FXB ALGORITHM Chorus 1 B Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.
Master Menu Master Effects FXB Parameters: Feedback/LFO Rate Delay Time The FXB parameters setup the characteristics of the effect. Use this page to define the feedback amount, the LFO rate and delay amount for the selected type “B” effect. See “Effect Parameters” on page 175 for details. FXB FXB Send Amounts FEEDBK 000 LFORATE 003 These parameters set the effects amounts for each of the four stereo effects busses. See the Effects chapter for detailed information.
Master Menu MIDI Parameters MIDI Parameters MIDI Mode MIDI parameters control how the Vintage Pro sends and receives MIDI data. MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi mode. MIDI MODE omni CHANGE ignored The MIDI Mode Change parameter specifies whether mode changes made through an external MIDI controller are accepted or ignored. The MIDI modes are as follows: Omni Responds to note information on all MIDI channels and plays the preset currently displayed in the main screen.
Master Menu MIDI Parameters MIDI Enable MIDI Enable lets you turn each MIDI channel on and off independently when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the Vintage Pro unit to respond to the MIDI channels reserved for the other devices. MIDI ENABLE channel 01A: On Because the MIDI Enable function only makes sense if you are in Multi mode, Vintage Pro disables this feature when in Omni or Poly mode.
Master Menu MIDI Parameters O Programs and presets are the same thing. “Preset” is the E-MU term for MIDI Program.
Master Menu MIDI Parameters O Vintage Pro factory presets have certain synth parameters assigned to each controller letter and so these are “Global” controller assignments. For example, assigning a MIDI controller number to “A” in this screen would let you control filter Fc for all the factory presets. See “Front Panel Knob Functions” on page 199. For more information about realtime controllers see “MIDI Channels & Real-time Controls” on page 108.
Master Menu MIDI Parameters 64 - Sustain Switch (on/off) 67 - Soft Pedal (on/off) 65 - Portamento (on/off) 69 - Hold Pedal 2 (on/off) 66 - Sostenuto (on/off) Tempo Controller This function allows a MIDI controller to change the Master Tempo. The Global Tempo is used for the clock divisor PatchCords, tempo-based envelopes and synced LFOs. You can assign any controller number from 0-31, mono key pressure, or the pitch wheel to change the Global Tempo.
Master Menu MIDI Parameters Knobs Deep Edit This parameter specifies whether or not the front panel controller knobs can be used to edit parameter values in the Master or Edit menus. This is called “Deep-Editing.” With Knob Deep Edit disabled, the front panel controller knobs retain their function as real-time controllers even when in the Master or Edit modes.
Master Menu MIDI Parameters Front Panel Knob Calibration This function calibrates the minimum and maximum values for the five front panel knobs. The controls should be calibrated periodically in order to compensate for normal wear and tear on the controls themselves or if the controls behave strangely. Before calibration, it’s usually a good idea to let the unit warm up for about half an hour to ensure you have the maximum range on all the front panel controls. 1.
Master Menu MIDI Parameters MIDI SysEx Packet Delay Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the Vintage Pro. The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overflow, causing an error. The value range is from 0 through 8000 milliseconds. A delay value of zero allows full speed MIDI transfer.
Master Menu MIDI Parameters _ WARNING: When transferring SysEx data from one Vintage Pro to another, the ID numbers of both units must match. Bank 0 User Presets Transmits all the user defined presets in Bank 0. Bank 1 User Presets Transmits all the user defined presets in Bank 1. Bank 2 User Presets Transmits all the user defined presets in Bank 2. Bank 3 User Presets Transmits all the user defined presets in Bank 3. Any Individual Preset Transmits only the selected preset.
Master Menu MIDI Parameters Output Format The Output Format parameter sets the digital audio output format. The available formats are S/PDIF, and AES pro. If you are using the digital output, choose either S/PDIF or AES pro to match the format of the receiving device. OUTPUT FORMAT S/PDIF _ The Vintage Pro contains a S/PDIF digital output. The diagram below shows how an adapter cable for AES pro should be wired. DON’T CHEAP OUT! Always use high quality cable for digital audio connections.
Programming Basics This chapter explains how Vintage Pro sounds are constructed and contains important background information on how to create your own custom presets. Your initial involvement with Vintage Pro will most likely be using the existing presets and selecting MIDI channels. While the factory presets are very good, there are some things you will probably want to change eventually, perhaps the LFO speed, the filter frequency or the attack time.
Programming Basics Modulation Modulation To modulate means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), and so on. Turning the volume control on your home stereo rapidly back and forth is an example of amplitude modulation. To modulate something we need a modulation source and a modulation destination. In this case, the source is your hand turning the knob, and the destination is the volume control.
Programming Basics Modulation Sources Modulation Sources Modulation sources include Envelope Generators, Performance Controllers and Low Frequency Oscillators. In the previous example, an envelope generator was routed to automatically turn the volume control as programmed by the envelope, or, a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion. The following is a list of the modulation sources used in Vintage Pro. Keyboard Key Which key is pressed.
Programming Basics Modulation PatchCords Random Sources Random modulation sources can be used when you want the timbre of the sound to be “animated” in a random or non-consistent manner. • Key Random 1 & 2 generate different random values for each layer which do not change during the note. • The White & Pink Noise Generators produce varying random values. Both white and pink noise sources are low frequency noise designed for control purposes.
Programming Basics Envelope Generators Envelope Generators _ An envelope can be described as a “contour” which is used to shape the sound over time in a pre-programmed manner. There are three envelope generators per layer and all of them are the rate/level type. This is how the rate/level (time based) envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate.
Programming Basics Envelope Generators Tempo-based Envelopes Tempo-based envelopes are based on Time which is controlled by the Master Tempo (located in the Master menu). The Master Tempo rate scales the time of the Tempo-based envelope segments. The Master Tempo can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes.
Programming Basics Low Frequency Oscillators (LFOs) Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Vintage Pro has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration. Random Triangle Sawtooth Sine Squ are 33% Pulse 2 5 % Pu lse 1 6 % Pu lse 12% Pulse LFO Tricks & Tips: • The Random LFO wave is truly random and is different for each voice and layer.
Programming Basics Clock Modulation You might use the LFOs to add a slight bit of animation to the sound by routing the LFO to control the filter. For this effect, set the LFO “amount” low for a subtle effect. When a PatchCord amount is a negative value, the LFO shape is inverted. For example, inverting the sawtooth wave produces a wave that increases abruptly, then smoothly glides down. Negative Amount - Sawtooth Clock Modulation Envelopes are triggered on the positive going edge of the clock.
Programming Basics Clock Modulation LFOs can also be perfectly synchronized with the clock at any of 25 note divisions. This allows you to create very cool “synchro-sonic” effects that work perfectly at any tempo. Choosing one of the note divisors in the LFO rate screen selects the synced LFO function. There are many possibilities for clock modulation and retrigger.
Programming Basics Modulation Destinations Modulation Destinations The PatchCords section of the Edit menu is where you connect sources to destinations. Each PatchCord has an amount associated with it which controls how much modulation is applied. L1 PATCHCORD ModWhl -> RTXfade #01 +036 The PatchCords screen above and the diagram below show how modulation sources are connected to destinations. The modulation sources can control any of the destinations in the layer.
Programming Basics Modulation Processors Modulation Processors Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which would not be possible otherwise. Vintage Pro implements the following modulation processors: Switch Outputs a digital “1” when the input is greater than “0”.
Programming Basics Modulation Processors Diode The diode blocks negative input values, passing only positive values. Diode Flip-Flop The value of a digital “1” is equal to the PatchCord amount. The output of this processor alternates between a digital “1” and digital “0” each time the input goes positive from zero or a negative value. With an LFO input, the output will be a square wave of half the input frequency.
Programming Basics Preset Modulation Processors Preset Modulation Processors start working as soon as the preset is selected. The Layer Modulation Processors take effect only when a key is pressed. Preset Lag Like the Layer Lag processors (described on page 93) the Preset Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate. Unlike the layer level lag processors, the preset lag takes effect as soon as the preset is selected.
Programming Basics Preset Modulation Processors The preset ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed. The Ramp Rate polarity (+ or -) determines if the ramp will be positive or negative going. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps. Multiple inputs can be connected to the ramp rate (just like all the other destinations in Vintage Pro).
Programming Basics Preset Modulation Processors Using the Modulation Processors Modulation processors are inserted into a modulation routing as shown in the following diagram. The modular analog synthesizers of yesteryear were incredibly flexible, partly because processing devices could be connected in any order. Modulation processors are designed according to this modular concept. They can be linked and used in a wide variety of ways limited only by your imagination.
Programming Basics Preset Modulation Processors But what if you want the velocity switch point to be something other than 64? Thanks to modulation processors, it can be done. Here's how. Velocity ~ Cord Switch 21 DC Pitch Cord Switch On when Velocity > 0 Cord Switch value is Scaled by Cord Amount Connect the DC level to the input of the switch along with the velocity value. Note that more than one modulation source can be applied to the input of a processor.
Programming Basics Preset Modulation Processors More Examples To derive a smooth random function you could route the Pink Noise generator through one of the Lag Processors. A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to filter cutoff. Normal pink noise is low pass filtered audio frequency noise with a 3 dB/octave slope to give equal energy per octave.
Programming Basics Preset Modulation Processors O The 4x Amp can be used to get more steps or increase the interval of the Quantizer. L1 #01 +030 L1 PATCHCORD Quantize -> Pitch #02 +100 L1 #03 -050 PATCHCORD LFO1+ -> Quantize O Experiment with this patch by connecting other sources and destinations to the Quantizer. PATCHCORD DC -> Pitch This patch generates an ascending arpeggio every time a key is pressed. A diagram of the patch is shown below.
Programming Basics Modulation Processors The block diagram of the Vintage Pro’s signal path is shown below. L Z-Plane Filter Instrument Amp R Q Vol Pan Start Offset Glide Retrigger Glide Freq. Pitch To understand how a filter works, we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform, except a sine wave, can be analyzed as a mix of sine waves at specific frequencies and amplitudes.
Programming Basics Dynamic Filters What is a Filter? Most sounds are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its frequency. For example, a low-pass filter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram. Cutoff Frequency 100 Amplitude 80 Output of Filter Low Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ..
Programming Basics Dynamic Filters A filter which only lets a certain band of frequencies pass is called a band-pass filter. Center Frequency 100 Filter Output Amplitude 80 Band Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ... Frequency A notch filter is just the opposite of a band-pass filter and is used to eliminate a narrow band of frequencies. Amplitude Another control found on traditional filters is called Q or resonance.
Programming Basics Dynamic Filters Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. The Vintage Pro has selectable 2, 4, and 6-pole low-pass filters. The number of poles in a filter describes the steepness of its slope. The more poles, the steeper the filter's slope and the stronger the filtering action. The tone controls on your home stereo are probably one-pole or two-pole filters.
Programming Basics Dynamic Filters A more complex type of filter is called a parametric filter or Swept EQ. A parametric filter allows control over three basic parameters of the filter. The three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows you to select the width of the range of frequencies to be boosted or cut, the Frequency defines the center frequency of the bandwidth, and the Gain parameter either boosts or cuts the frequencies within the selected band by a specified amount.
Programming Basics Dynamic Filters The Z-Plane Filter A Z-plane filter is a filter which can change its function over time. In a Z-plane filter, we start with two complex filter types and interpolate between them using a single parameter. See the following diagram. Morph Amplitude B Filter A Filter Morph Frequency The Z-plane filter has the unique ability to change its function over time. Filters A and B represent two different complex filters or “frames.
Programming Basics Signal Flow Signal Flow Going back to the Signal Path diagram for a single channel we can reexamine the complete signal path. Instrument Sample Pitch Start Z-Plane Filter Freq R DCA Pan Q L Volume Filter Envelope Velocity Volume Envelope Instrument This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can be changed only at the time the note is played.
Programming Basics MIDI Channels & Real-time Controls MIDI Channels & Real-time Controls Your MIDI keyboard sends out real-time controller information on separate continuous controller numbers. There is a set of 32 continuous controller numbers for each MIDI channel. Some of the controllers, such as the modulation wheel, volume, and pan have standardized numbers. For example, volume is usually sent on continuous controller #7.
Programming Basics MIDI Channels & Real-time Controls The factory presets have the MIDI A-L controls connected to standard synthesizer functions (marked on the front panel of Vintage Pro). By choosing any four of the eight standard functions, your four sliders will work the same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 12-15.
Programming Basics MIDI Channels & Real-time Controls Bank Select Commands When the original MIDI specification was developed, synthesizers had only 8 to 40 preset locations. At that time being able to select up to 128 presets didn’t seem like much of a limitation. So it was that the original MIDI specification provided for the selection of up to 128 presets. Musicians screamed “MORE” and so the MIDI specification was later amended to include Bank Select Commands.
Programming Basics Stereo Mix Outputs Stereo Mix Outputs Vintage Pro has three sets of polyphonic stereo outputs (Main, Sub 1 and Sub 2). The channels used by a particular preset (or a particular MIDI channel) can be directed to appear at any one of these three stereo outputs. This feature is useful for adding signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. By panning a preset completely left or right, it can be routed to a single output jack.
Programming Basics Stereo Mix Outputs To route a particular preset to a Submix output, first go to the Mix Output screen in the Master menu and set the MIDI channel to “Preset”. MIX OUTPUT channel 01A: Preset Next set the Mix Output routing in the preset to the desired output (for each layer). Yes, you can send each layer to a different output if you want. L1 MIX OUTPUT Send 2 Why have a Send 4 routing at all if it only goes to the Main output? The answer lies in the dual function of the Sends.
Edit Menu The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations. There are four instrument layers in the Edit menu. See the illustration on page 115 for a description of the Preset Layer model. While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored. Press the Edit button, lighting the LED.
Edit Menu Preset Name The Preset names consists of two parts: a 3 letter preset category and a 12 letter preset name. Position the cursor under the character location and use the data entry control to change the character. The preset category is used in conjunction with the Sound Navigator feature. Using the Sound Navigator, a category is selected and the presets in that category are listed in alphabetical order. Creating categories makes it easier to find specific sounds when you need them.
Edit Menu Four Layer Architecture Four Layer Architecture Vintage Pro provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 filter types, over 64 modulation sources, more than 64 modulation destinations and 24 PatchCords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.
Edit Menu Defining Layer Parameters Defining Layer Parameters Selecting an Instrument The Edit menu parameters define the four layers and include the instrument assigned to the layer, the ranges of the layer, tuning, envelopes, filters, and patch cords. These parameters are defined for each layer on an individual basis (based on the currently selected layer). See “Common Preset Parameters” on page 147 for global preset settings.
Edit Menu Defining Layer Parameters Defining Key Range The Key parameter defines the range on the keyboard used by the current layer. The Key range is from C-2 through G8. Middle C C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8 G8 To define the range, set the low key value and the high key value. You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display.
Edit Menu Defining Layer Parameters To Switch Layers According to Key Position The Key Range parameter allows you to create a “split” keyboard with up to four sounds adjacent to each other on the keyboard. This is shown in the diagram below. C0 C1 C2 Layer 1 Layer 2 Switch You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display.
Edit Menu Defining Layer Parameters To Stack Layers If the ranges of two or more Layers overlap it is called stacking layers. All Layers assigned to a key sound when the key is played. This is shown in the following diagram. It’s very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack.
Edit Menu Defining Layer Parameters Defining the Velocity Crossfade Range Velocity is a measure of how hard the key is pressed. Velocity Range lets you control the volume of the layers using velocity. Using this function you can crossfade or cross-switch between layers according to how hard you play the keyboard. Set the velocity range of the layer by defining the high and low velocity values. Values range from 0 (off) to 127 (hardest).
Edit Menu Defining Layer Parameters To Set Up a Velocity Crossfade Between Layers Set the velocity fades so that layer 1 fades out with higher key velocity, while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade. These parameters vary depending on the sounds.
Edit Menu Defining Layer Parameters Defining the Real-time Crossfade Range The Real-time Crossfade window lets you control the volume of the four layers using a real-time controller such as a front panel knob, a pedal or an LFO or Envelope generator. The controller is defined by the PatchCord parameter (see “PatchCords” on page 143). The Fade fields define the crossfade range in velocity for the currently selected layer. The first Fade field defines the Fade In amount for the low Real-time Control value.
Edit Menu Defining Layer Parameters 4. 5. 6. 7. 8. 9. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. Define the High and Low range of each Layer. In this example the entire range of 0-127 is used. Define the Fades for each Layer. This is just an initial setting. The Range and Fade parameters may have to be adjusted later to get a smooth crossfade. Press Home/Enter and use the Data Entry Control to advance to the PatchCord page. Select Layer 1.
Edit Menu Defining Layer Parameters 1. 2. 3. Press the Edit button to access the Edit menu. Go to the Instrument screen and select Instruments for Layers 1 through 4. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. L1 4. 5. 6. 7.
Edit Menu Defining Layer Parameters L1 PATCHCORD XfdRand -> RTXfade 8. Transposing the Instrument #01 +100 That’s it! Now set each Layer up the way you want. Try radically different instruments, filter settings, or tunings. Or you can make each layer just slightly different for a more natural effect. Try adjusting the Fades or overlapping the ranges if you want more than one layer to play at once. The Transpose parameter lets you transpose the key of the current layer’s Instrument.
Edit Menu Defining Layer Parameters Tuning The Tuning parameter changes the pitch of the key in semitone and 1/64 semitone intervals. L1 TUNING Coarse: +36 Fine: +63 Use the Coarse field to shift the tuning by semitone intervals. Use the Fine field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. Background: Transpose vs.
Edit Menu Defining Layer Parameters Volume Envelope An envelope can be described as a “contour” which is used to shape the sound over time. The Volume Envelope controls the volume of the sound in the current layer over time. The way the volume of a sound evolves has a profound effect on how we perceive the sound. Each instrument has its own Factory preset Volume Envelope setting. The Volume Envelope allows you to program your own envelope settings.
Edit Menu Defining Layer Parameters See the Programming Basics section of this manual for detailed information about how the Envelopes work. Defining the Volume Envelope The Volume Envelope controls the volume of the layer over time. The Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes through the first four stages. If you continue to hold down the key, the envelope holds at the Decay 2 level.
Edit Menu Defining Layer Parameters Chorusing the Layer _ WARNING: Because it works by doubling instruments, Chorusing halves the number of notes you can play. Chorusing “thickens” the sound by doubling the sound in stereo and then detuning it. Every layer with chorus turned on uses twice the polyphony for that layer. L1 CHORUS off WIDTH 100% The first field in this screen turns Chorus On or Off and allows you to adjust the amount of detuning (1 to 100%).
Edit Menu Defining Layer Parameters Non-Transpose Mode This function turns keyboard transposition On or Off for the current layer. With Nontranspose “on,” the keyboard will not control the pitch of the instrument. This is a useful function for drones, attack “chiffs,” or other sound effects which you may not want to track the keyboard. L1 NONTRANSPOSE off Solo Mode Provides the playing action of a monophonic instrument such as a lead synthesizer by preventing more than one note from sounding at once.
Edit Menu Assign Group Synth (low): Same as Synth (last) but with low note priority. When you release the currently sounding solo key while holding other keys down, the lowest held solo key sounds in a Legato fashion (MiniMoog). Synth (high): Same as Synth (last) but with high note priority. When you release the currently sounding solo key while holding other keys down, the highest held solo key sounds in a Legato fashion.
Edit Menu Glide Glide Glide creates a smooth transition from one note to the next instead of the normal instantaneous change in pitch when a new key is pressed. This effect is commonly heard on slide guitars, synthesizers and violins. L1 GLIDE RATE 0.000 sec/oct CURVE linear The Glide Rate parameter defines the time it takes to glide to the new pitch (the larger the value, the slower the glide rate) The glide rate value range is from 0 through 32.738 seconds (zero means off).
Edit Menu Z-Plane Filters 128 filters of 2nd to 6th order complexity or 64 filters of 12th order complexity. Therefore, if you decided to use all 12th order filters, Vintage Pro would be limited to 64 voices. Filters are dynamically allocated according to their usage so that the maximum number of voices is always available. See page 102 for more information about filters. Filter Types This screen allows you to choose the type of filter for the current layer.
Edit Menu Z-Plane Filters Filter Types Filter Name Order Type Description Swept2>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut. The bandwidth of the filter is two octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end of the spectrum. Swept3>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut.
Edit Menu Z-Plane Filters Filter Name Order Type Description PhazeShift2 06 PHA Comb filter with slightly different notch frequency moving the spacing of notches. Q varies the depth of the notches. FreakShifta 12 PHA Phasey movement. Try major 6 interval and maximum Q. CruzPusher 12 PHA Accentuates harmonics at high Q. Try with a sawtooth LFO. FlangerLite 06 FLG Contains three notches. Frequency moves frequency and spacing of notches. Q increases flanging depth.
Edit Menu Vintage Pro Filter Types Vintage Pro Filter Types Filter Parameters The Freq and Q parameters control various elements of the filter depending on the type of filter used. See the table in the Filter Types section for details about what the Freq and Q fields control in each filter. L1 FILTER Freq: 255 Filter Envelope Q: 019 The Filter Envelope is normally used to control the filter frequency and has six stages.
Edit Menu Filter Envelope Envelope Repeat The Envelope Generators can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2). For more information, see “Envelope Repeat” on page 88. 1. To Turn on Envelope Repeat: Move the cursor until it is underneath the Mode field as shown below.
Edit Menu Auxiliary Envelope See the Programming Basics section of this manual for detailed information about how the Envelopes work. Defining the Filter Envelope The Filter Envelope controls the filter frequency of the layer over time. The Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes through the first four stages. If the key continues to be held, the envelope holds at the Decay 2 level.
Edit Menu Low Frequency Oscillators (LFOs) Shape LFO waveforms have different shapes. The shape of the waveform determines the effect of the LFO. LFOs have traditionally been used to add vibrato or repeating movement to a sound. These new shapes offer a lot of new programming possibilities. If you modulate the pitch of an instrument, it’s easy to visualize the shape of the waveform. For example, the sine wave has a smooth, rolling shape that changes the pitch smoothly.
Edit Menu Low Frequency Oscillators (LFOs) L1 LFO1 SHAPE sawtooth SYNC key sync Sync LFO Synced to 1/4 Note Clock The Sync field specifies whether the LFO is synchronized to a key stroke or is Free Running. Key Sync starts the LFO wave at the beginning of its cycle each time you press a key on the controller. In Free Run mode, the LFO wave begins at a random point in its cycle each time you press a key on the controller.
Edit Menu Low Frequency Oscillators (LFOs) Tempo-based Rates (based on Master Tempo) Display double note triplet 2/1t whole note 1/1 dotted half note 1/2d whole note triplet 1/1t half note 1/2 dotted quarter note 1/4d half note triplet 1/2t quarter note 1/4 dotted 8th note 1/8d quarter note triplet 1/4t 8th note 1/8 dotted 16th note 1/16d 8th note triplet 1/8t 16th note 1/16 dotted 32nd note 1/32d 16th note triplet 1/16t 32nd Note 1/32 Delay The Delay parameter defines t
Edit Menu Low Frequency Oscillators (LFOs) Variation LFO Variation sets the amount of random variation of the LFO each time you press a key on the controller. This creates a chorus or ensemble effect since each note played has a slightly different modulation rate. The higher the value entered, the greater the note to note variation in the LFO. _ The Variation value range is from 0 through 100. Variation is disabled when a Tempo-Based LFO is selected.
Edit Menu PatchCords PatchCords PatchCords tie everything together by connecting modulation sources to destinations. Each PatchCord has its own Amount control which can be positive or negative (negative amounts invert the signal). In addition, the PatchCord amounts themselves can be controlled by any modulation source. Vintage Pro provides 24 patches for each layer. There are three permanently connected control routings: volume envelope to amplifier, pitch wheel to pitch and key to pitch.
Edit Menu PatchCords Modulator Polarity You will notice that some of the modulation sources have symbols following their names. For example, there are three Velocity modulation sources, Vel +, Vel ±, and Vel <. Control Value + ± < 0 63 127 Control Value Applied 0 -63 -127 63 0 -63 127 +64 0 + modulation ADDS to the initial value. (Normal) ± centers around Zero. (Use for LFOs, Filt. Freq.
Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the Vintage Pro.
Edit Menu Pitch Bend Range Pitch Bend Range Specifies the Pitch Wheel range in semitones for the current layer. Pitch Wheel is a standard synthesizer control which is transmitted as a MIDI continuous controller message used (normally) to bend the pitch up and down. The PitchBend range is from 0 to +12 semitones or “Master.” A setting of “0” turns the pitch wheel Off for the current layer. The Master setting uses the Pitch Bend range defined in the Master menu.
Edit Menu Preset Effects Common Preset Parameters Preset Effects This section of the Edit menu chapter describes parameters that affect all layers in the preset. Vintage Pro has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
Edit Menu Preset Effects OUTPUT SECTION & EFFECTS PROCESSORS FX Sends PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 S E N D 1 FX Sends PRESET Send 4 15% Ch 2A SEND 2 Ch 3A SEND 3 S E S U B 1 Jack Detect 2 S E 3 MASTER MENU Effect B N D N D Ch 16B SEND 4 Chorus M A I N Send 1 0% Send 3 20% Mix Output Effect A B➟A Send 2 0% Ch 1A Hall 1 Send 1 15% Jack Detect S U B 2 S E N D 4 The Mix Output setting in the Master Menu determines if the Preset’s Mix Outpu
Edit Menu FXA Algorithm FXA Algorithm This screen selects the effect type for Effect Processor A. The “A” effects consist of different reverb types and digital delays. Move the cursor to the lower line of the display and select the effect you want. FXA ALGORITHM Lg Concert Pan A Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
Edit Menu FXA Parameters FXA Parameters The FXA parameters are Decay, High Frequency Damping, and the FxB to FxA send. Decay sets the length of time it takes an effect to fade out. HF Damping causes the high frequency energy to fade away more quickly during the reverb decay. FxB to FxA controls the amount of the “B” effect sent through effect “A”. This allows you to place the two effects in series and create setups such as “distortion through reverb” among others.
Edit Menu FXB Parameters FXB Parameters The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the output of the effect back into the input. This creates multiple echoes on a delay effect and intensifies a chorus or flange effect. LFO Rate allows you to change the speed of the modulation oscillator for flange and chorus effects. Delay sets the length of the delay line. This affects the time between echoes, or the tone of flange effects.
Edit Menu Preset Patchcords Modulation Sources: Flip-Flop Footswitch 1 Footswitch 2 Flip-Flop Footswitch 2 Footswitch 3 Flip-Flop Footswitch 3 DC 152 E-MU Systems Modulation Destinations Preset Lag In Preset Lag Amount Preset Lag Rate Preset Ramp Rate Arp Rate Arp Extension Arp Velocity Arp Gate Arp Interval Beats Velocity, Group 1-4 Beats Transpose (Xps) Group 1-4 Beats Busy Beats Variation
Edit Menu Initial Controller Amount This parameter sets the initial value of MIDI controllers A-L when the preset is first selected. The front panel Control Knobs can be thought of as front panel MIDI controllers because in the Vintage Pro, they are treated just as if they originated from an external MIDI device. Refer to the following diagram. There are three Initial Controller Amount screens (A-D, E-H, I-L).
Edit Menu Keyboard Tuning Keyboard Tuning In addition to the standard equally divided octave tuning, Vintage Pro contains twelve factory programmed tunings and 12 user-definable tunings. The Keyboard Tuning parameter selects which tuning is used by the current preset. The User Tuning tables are defined in the Master menu. The factory Keyboard Tuning tables are described in the following table.
Edit Menu Keyboard Tuning The Just C Tuning Tables Vintage Pro implements the MIDI Tuning Dump protocol which allows you to create tuning tables on your personal computer and download them via MIDI. There are several computer applications available on the internet which let you create and download alternate tuning tables via MIDI. Well Tempered and Just were standard keyboard tunings up until the 20thcentury when the current “equal tempered” scale became prevalent.
Edit Menu Preset Links Preset Links You can link presets to other presets to create layering or keyboard splits. The current preset can be linked with up to two other presets (Links 1 & 2). Each linked preset can be assigned to a specific range in order to create keyboard splits or can be assigned a velocity range to switch links according to key velocity. In addition, you can specify Volume, Pan, Transpose and Delay settings for each Link.
Edit Menu Preset Tempo Offset Preset Tempo Offset This function allows you to double or halve the Master Tempo as it applies to this preset. When playing or sequencing several presets in Multimode, the Master Tempo may be too fast or slow for one preset. Using this feature, you can adjust the tempo for the misbehaving preset. The Tempo Offset can use the current tempo or be set to half or twice the current tempo.
Edit Menu Play Solo Layers 158 E-MU Systems
Programming Tutorial There is so much you can do with the Vintage Pro it’s impossible to describe it all. This chapter is will give you some ideas for programming your own custom sounds and contains step-by-step instructions to help you get started. In order to get the most from this chapter, we recommend you actually try each example. Have fun! Editing Presets One of the easiest ways to make a new preset is to edit an existing preset. This is also an excellent way of becoming familiar with Vintage Pro.
Programming Tutorial Editing Presets 6. 7. To Change the Instrument for any Layer in the Preset Move the cursor back up to the first field in the first line (the layer). Use the Data Entry Control to select the layer you want. L2 INSTRUMENT ROM:VROM 0101 wav: MiniTriangle 8. Repeat steps 3 and 4 for each selected layer. Find an instrument that sounds good when combined with the previous instruments selected. With all these great instruments to work with, you really can’t go wrong.
Programming Tutorial Editing Presets Chorus _ WARNING: Since it works by doubling the instruments, Chorusing halves the number of notes you can play on Vintage Pro. This is an easy one. Chorus works by doubling the instruments and detuning them slightly. The larger the chorus value, the more detuning occurs. The Width parameter controls the stereo spread. A Width value of 0% reduces the chorus to mono, a value of 100% provides the most stereo separation.
Programming Tutorial Editing Presets 2 y1 Dc Atk Rl k1 s1 At level Key Down Strings Percussion Rls2 Sustain time Piano Organ Dcy2 Key Released Every instrument in Vintage Pro has it's own predetermined volume envelope which is used when the Volume Envelope parameter is set to “factory.” By setting the Volume Envelope to “time-based” or “tempobased,” we can reshape the instrument's natural volume envelope any way we want.
Programming Tutorial Editing Presets 4. 5. Working with Filters Move the cursor to the first field in the bottom line and use the cursor buttons to advance to the Release pages. Increase the Release 1 and 2 times. Note the effect as you release the key on the controller. The Release stages controls the time it takes for the sound to die away when a note is released. The filters make it possible to remove certain components of the sound.
Programming Tutorial Editing Presets Cutoff Frequency 100 Amplitude 80 Output of Filter 60 40 20 40 80 160 360 720 1440 2880 ... Frequency 3. 4. 5. Open the filter back up to 255, then move the cursor to the Q field. Set the Q to 10, then move the cursor back under the Freq value. As you change the frequency, notice that the sound now has a sharp, nasal quality. A high Q boosts or amplifies the frequencies at the cutoff frequency (Fc). Reset the cutoff frequency to the lowest setting (0.
Programming Tutorial Editing Presets 4. Move the cursor to the last field in the line. This is the Amount field. The Amount field determines the amount of modulation applied. Set this value to “+100.” L1 PATCHCORD FiltEnv+ -> FiltFreq #01 +100 This setup connects the Filter Envelope Generator to the Filter Cutoff as shown in the following diagram. Instrument Tone R Filter Fc DCA Pan Q L Filter Env. 5. Now, return to the Filter Envelope Mode screen. Set the Mode to “timebased.
Programming Tutorial Editing Presets L1 FILT ENV Attack1 8. 9. RATE 50 LEVEL +88% Change the attack rate and note the change in the sound. Set the envelope parameters as shown in the following table. Envelope Phase Time Level % Attack 1 40 65 Attack 2 65 100 Decay 1 80 85 Decay 2 25 50 Release 1 97 20 Release 2 73 0 With the above setup, the filter sweeps up, then Decays back down to the Decay 2 Level until you release the key. Then it sweeps down at the Release rates.
Programming Tutorial Editing Presets Envelope Repeat The Envelope Generator can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. 1. 2. To Make the Filter Envelope Repeat: Go to the Filter Envelope Mode screen shown below. Move the cursor to the Mode field. L1 FILTER ENVELOPE Mode: time-based 3. Turn the data entry control clockwise. The Mode field will change to Repeat as shown below.
Programming Tutorial Editing Presets Troubleshooting A common source of confusion when working with the filter envelope is that the Attack or Release parameters might not seem to be working correctly. If you are not getting the expected result, try to analyze the situation. There will be many times when you will have to stop for a minute and think, “What am I trying to do and why isn't it working?” When this happens (and it will), don't panic. Troubleshooting is a normal part of the synthesis process.
Programming Tutorial Linking Presets Linking Presets Using the Link pages in the Edit menu is a quick and easy way to create new sounds. Use the Links to “layer” presets and to “split” a keyboard into sections containing different sounds. 1. 2. O To Layer Two Presets Select the first preset you want to layer. Press the Edit button. Use the Data Entry Control to move through the screens until you find either the “LINK 1” or “LINK 2” screen shown below.
Programming Tutorial Using External Processing Using External Processing Don't be afraid to use external processing on specific sounds. The submix sends and returns on Vintage Pro are there for just that reason. In many instances, a bit of reverb or EQ will be just the thing an instrument needs to give it a distinct identity. Incidentally, an external fuzz box can work wonders on otherwise harmless sounds.
Programming Tutorial Multitimbral Sequencing Multitimbral Sequencing “Multitimbral” means that Vintage Pro can play multiple sounds at the same time. For a multitimbral sequence to play back correctly, the proper preset must be selected for each MIDI channel. This could be done by inserting preset changes into each track of your sequence before the sequence starts. Vintage Pro also provides another way to store this “presequence setup” using the Multisetup menu.
Programming Tutorial Multitimbral Sequencing 172 E-MU Systems
Effects Effects Overview Vintage Pro has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. When the MIDI Mode is set to “multi,” Vintage Pro uses a global effects assignment (Master Effects). The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
Effects Effects Overview Send 2 and Send 3 are also used to route sounds to the Sub 1 and 2 outputs on the back panel. When a plug is inserted into the associated Submix jack on the back panel, the Dry portion of the Send is disconnected from the effects processor and the Dry signal is routed directly to the output jack. The actual output routing is shown in parenthesis in the display. The Dry Send is disconnected from the Effects Processors even if only one plug is inserted into a Submix pair.
Effects Effect Types Effect Types A Effect Types Room 1-3 Hall 1 & 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Effect Parameters Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1-3 DelayVerb 4-5 Pan DelayVerb 6-9 B Effect Types Chorus 1-5 Doubling Slapb
Effects Effect Types Decay The Decay parameter is used when setting “A” type effects. Decay sets the length of time it takes an effect to fade out. When setting up reverb effects, Decay controls the room size and the reflectivity of the room. For larger room sizes and greater reflectivity, set the Decay value higher. When setting up delay effects, the Decay parameter controls how many echoes are produced or how long the echoes last. The greater the value, the more echoes and longer lengths of time.
Effects Effects Programmed in the Preset Effects Programmed in the Preset Effects are normally programmed as part of the preset, allowing you to have a different effect for each. This section describes how to program and modify Vintage Pro’s preset effects. 1. 2. To Program the Effects as Part of the Preset: Press the Edit button. The LED illuminates and the Edit screen appears. Use the Data Entry Control to select the FXA Algorithm screen. FXA ALGORITHM Lg Concert Pan 3. 4. Select an Effect.
Effects Master Effects FXB 9. 10. Master Effects FEEDBK 127 LFORATE 127 DELAY 635ms Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Save the preset. The programmed effects setting will be saved along with the preset. You might want the effects to be programmed on a global basis when in Omni or Poly modes. You could choose your favorite reverb, for example, and have it applied to any preset you select.
Effects Master Effects 5. 6. Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Use the Data Entry Control to select the FXB Algorithm screen. FXB ALGORITHM Distorted Flange 7. 8. Select an Effect. Use the Data Entry Control to select the FXB parameter screen. FXB 9. 10. 11. _ The MIDI mode (Master Menu) must be set to Omni or Poly mode in order to select the effects in the preset.
Effects Master Effects Effects Mode This control provides a true bypass of the effects engine. Bypass is a useful feature if you are using external effects at the mixing console and want to turn the effects off for all presets. 1. 2. To Bypass the Effects: Press the Master menu button. The LED lights and the last Master parameter screen used is displayed. Use the Data Entry Control to select the Effects Mode screen. FX MODE enabled 3. 4. 5.
Effects Master Effects Refer to the following diagram to learn how effects can be programmed. 1 Master FX Preset FX Effects are part of the Preset (Omni or Poly Mode) 2 Master FX Preset Ch 1A FX Master Effects 3 (Multi mode) Preset Ch 16B FX Master FX Preset Ch 1A FX (Multi mode) Selected FX Control Channel Preset FX Ch 16B One Channel's Preset determines the Effect Settings To Program the Effects Globally for all Presets in Multi Mode: 1. Press the Master menu button.
Effects Master Effects 3. Move the cursor to the Multi mode Effects Control page using the Data Entry Control. FX MULTIMODE CONTROL use master settings 4. 5. Set the Effect Control channel to use master settings using the Data Entry Control. Press the Enter key to save the settings and return to the main screen.
Effects Master Effects FXA 2. 3. DECAY 127 HFDAMP 127 FxB>FxA 127 Set this amount to 127. Press the cursor button to return the cursor to the top line in the display. Use the Data Entry Control to select the FXA submix routing parameter screen. FXA SEND AMOUNTS 2: 20% 3: 30% 4. 5. 6. 7. 8. 9. 1: 10% 4: 40% Press the cursor buttons to advance the cursor to the Main field. Set the Main send amount to any amount other than zero. Press the cursor button again to return the cursor to the FXA title.
Effects General Effect Descriptions General Effect Descriptions Reverb Reverberation is a simulation of a natural space such as a room or hall. The reverb algorithms in Vintage Pro simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. There are two adjustable parameters on the reverb effects - Decay Time and High Frequency Damping.
Effects General Effect Descriptions Chorus The function of a chorus device is to thicken the sound or to make one voice sound like many. This effect is usually created by mixing one or more delayed versions of the signal with the original. The delay times used are too short to be perceived as an echo, but long enough so that comb filtering does not occur.
Effects General Effect Descriptions The Vintage Pro flanger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay. The Feedback control sends some of the delayed signal through the delay line again.
Save/Copy Menu The Save/Copy menu is used to save changes to a preset and to copy data between presets. The menu also contains a tool to create random presets. The important Multisetup parameters are also located here. A Multisetup is a group of parameters that you might associate with a particular sequence or song. It is like a “snapshot” of the current MIDI channel configuration of the module. There are 64 setups numbered 0-63. Multisetups 0-62 are user programmable.
Save/Copy Menu Copying Information Copying Information Copy Preset The Copy operations let you copy information from any preset or layer to any other preset or layer. To use the copy command, first select the preset or layer to which you want to copy (the destination location). Then, from the copy screen, select the preset or layer you want to copy to the currently selected location (the source location). Using the copy commands you can copy preset, layer, PatchCord and arpeggiator information.
Save/Copy Menu Copying Information 1. 2. 3. 4. 5. 6. 7. 8. 9. Copy PatchCords To Copy a Layer Select the Preset and Layer you want to copy information into. Press the Save/Copy menu button. Scroll to the Copy Layer screen using the data entry control. Move the cursor to the bottom line on the display. Select the preset location using the Data Entry Control, of the preset containing the information you want to copy into the current preset. Move the cursor to the top line in the display.
Save/Copy Menu Copying Information Copy Preset PatchCords The Copy Preset PatchCord command lets you copy the preset patchcord settings from one preset location into the current preset location. The preset information in the source location (the preset location from which you want to copy) is not deleted from the original location, just copied to the destination location. COPY PRESET CORDS 0201 : Source Preset 1. 2. 3. 4. 5. 6.
Save/Copy Menu Copying Information Copy Arpeggiator Pattern This function lets you copy the Arpeggiator pattern from any ROM or RAM preset to any RAM (user) pattern. COPY ARP PAT from 961 TRANCED 1. 2. 3. 4. VROM To Copy the Arpeggiator Pattern: Press the Save/Copy menu button. Move the cursor to any of the fields on the bottom line on the display. Use the data entry control to select the preset you want to copy from. Press Enter when you have made your selection.
Save/Copy Menu Multisetups Multisetups A Multisetup includes ALL the following parameters: • Preset/Volume/Pan assignments for each of the 32 MIDI channels. • Multisetup Name • ALL MASTER MENU PARAMETERS except… • MIDI Program Change->Preset map • User Key Tuning Tables RESTORE MULTISETUP 003 Surface Meshing Multisetups can also be restored (selected) via MIDI Bank and Program change commands.
Save/Copy Menu Multisetups Multisetup Name Multisetups can be named to make it easier to remember their purpose. 1. Scroll to the “Setup Name” screen (shown below) using the data entry control. MULTISETUP NAME 020 User Setup 23 2. 3. 4. Saving Multisetups 1. 2. 3. 4. Press either cursor button to move the cursor to the bottom line of the screen. Change the characters using the data entry control. Change the cursor position using the cursor buttons.
Save/Copy Menu Multisetups Create Random Preset This is a great feature which creates a new preset using portions of the ROM presets as source material. By merging random presets, really great sounding presets can be generated with ease. Use this feature to generate wild new sounds, get new programming ideas or just for fun. RANDOMIZE PRESET 0000 Any User Preset Examine interesting presets to learn how they work using the Edit menu. 1. 2. 3. 4.
Save/Copy Menu Sound Authoring Sound Authoring Copy User Bank to Flash This is a special purpose function to be used with the Flash sound authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can be used as a custom Vintage Pro bank. Presets are then created in a User bank. When the bank of presets is finished, it can be copied, using this function, to the Flash SIMM. Flash SIMMs contain two separate memory locations.
Save/Copy Menu Sound Authoring Rename Flash SIMM This utility allows you to rename the Flash SIMM and change its ID number. Flash SIMMs can have any five letter name you choose. Each Flash SIMM in a Vintage Pro unit must have a unique ID number (106-119). The field in the upper right corner selects between multiple Flash SIMMs. If only one Flash SIMM is installed, the field cannot be modified. The Flash ID is the MSB of the MIDI Bank Select command used to select the Sound Bank.
Save/Copy Menu Sound Authoring Duplicate Flash This utility allows you to duplicate Flash SIMMs using Vintage Pro. Both Sound and Preset data is copied when a Flash SIMM is duplicated. A factory sound SIMM cannot be copied using this utility. The SIMM sockets are marked 0, 1, 2, 3. The Flash SIMM you want to copy MUST be placed into SIMM Socket 0. The destination Flash SIMM must be placed in SIMM socket 1. See “Installing Sound SIMMs” on page 216. DUPLICATE SLOT 0 FLASH Start 1.
Save/Copy Menu Sound Authoring 198 E-MU Systems
Appendix This section provides some of the technical information about Vintage Pro. In addition to the preset, instrument and riff listings, you will find information about velocity curves, MIDI commands and PatchCord charts. Front Panel Knob Functions Basic Preset Knob Functions The front panel knob functions are standardized for most of the factory presets. The typical functions of the controller knobs are described below. Filter Cutoff ........................ Filter Frequency Filter Res ...........
Appendix Presets Beat Preset Knob Function Movement........................... Beats Busy Arp Preset Knob Function Movement........................... Arp Gate Presets Preset Categories Rate ..................................... Beats Variation Rate ..................................... Arp Rate Vintage Pro comes standard with 512 ROM presets and 512 editable User preset locations. Presets are organized into banks of 128 presets each. User banks 0-3 are duplicates of VROM banks 0-3.
Appendix Preset Listing Preset Listing User Bank 0, VROM Bank 0 0. syn:Vintage 43. epo:String EP 86. key:Phase Clav3 1. epo:Classic EP 44. epo:MetalBars 87. key:TwoClavs 2. epo:CP Seventy 45. epo:MetalBarsXfd 88. key:ThinClav 3. epo:Wurly 46. epo:EP Silver 89. key:Clavsichord 4. key:Clavinet 47. epo:Canada 90. key:Monster Clav 5. org:B-3 OvrDrive 48. epo:Toyo 91. key:AnaClav 6. epo:Mello Tines 49. epo:MarshMello 92. key:Klav Mav 7. vox:BigTronChoir 50. epo:Mello EP1 93.
Appendix Preset Listing Preset Listing 202 E-MU Systems User Bank 1, VROM Bank 1 0. syn:Wide OB 43. syn:Robot ca1960 86. syn:Sawphony 1. syn:P10 44. syn:Glass Pipe 87. syn:AnalogBell 2. syn:Juno 45. syn:Merlot 88. syn:D Fiftease 3. syn:Rogue 46. syn:AirCommand 89. syn:VS Ghost 4. syn:Huge SEM 47. syn:Ex-plorer 90. syn:Now & Zen 5. syn:Round Mini 48. syn:Sneaker Flap 91. syn:Metasynth1 6. syn:Big Mini 49. syn:Poly Mono 92. syn:Metasynth2 7. syn:Juno Pulse 50. syn:Angel Eyes 93.
Appendix Preset Listing Preset Listing User Bank 2, VROM Bank 2 0. pad:ChifferPad 43. str:Old Time2 86. wnd:Flooting 1. pad:Thin Lad 44. str:Old Time3 87. wnd:Dark Satyr 2. pad:Lunar 45. str:String Vox 88. wnd:Reedy 3. pad:Believe 46. str:String Flute 89. cmb:Produkshun 4. pad:Angel Eyes 47. str:VeloBows 90. cmb:CP/Strings 5. pad:PreSamplers 48. str:String Box 91. cmb:FM/Strings 6. pad:Sentinels2 49. str:Elka & Mtron 92. cmb:EPJunoTron 7. pad:Ghost Vox 50. str:Celli Sect 93.
Appendix Preset Listing Preset Listing 204 E-MU Systems User Bank 3, VROM Bank 3 0. bas:Big Taurus 43. sfx:GorgeousCrzy 86. kit:MS20 1. bas:Big FM Bass 44. sfx:Nepatunism 87. kit:MS20 #2 2. bas:Bottom 101 45. sfx:The Dead See 88. kit:SK-1 3. bas:Warm SEM 46. sfx:Hold Up 89. kit:SP1200 4. bas:Arpy Bass 47. sfx:The Garden 90. kit:Electronic 1 5. bas:Mini Snap 2 48. sfx:Acid Rain 91. kit:Electronic 2 6. bas:Arp Snap 49. sfx:NoZ 92. kit:Electronic 3 7. bas:BigSnap 50.
Appendix Instrument Listing Instrument Listing This section lists the raw instruments in the Vintage Pro ROM set. The instruments are either multisamples or single samples. 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41.
Appendix Instrument Listing Instrument Listing 206 E-MU Systems 126. nse:Spectrum 2 170. prc:Misc 214. prc:Snare 19 127. nse:Spectrum 3 171. prc:Kick 1 215. prc:Snare 20 128. nse:Spectrum 4 172. prc:Kick 2 216. prc:Snare 21 129. nse:Hi Pass 173. prc:Kick 3 217. prc:Snare 22 130. nse:Xcite HiPass 174. prc:Kick 4 218. prc:Snare 23 131. nse:White Noise 175. prc:Kick 5 219. prc:Snare 24 132. nse:Pink Noise 176. prc:Kick 6 220. prc:Snare 25 133. nse:101 Noise 177. prc:Kick 7 221.
Appendix Instrument Listing Instrument Listing The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 258. prc:Hat 11 303. prc:Whistle 348. prc:Conga 12 259. prc:Hat 12 304. prc:Shaker 1 349. prc:Conga 13 260. prc:Hat 13 305. prc:Shaker 2 350. prc:Conga 14 261. prc:Hat 14 306. prc:Shaker 3 351. prc:Conga 15 262. prc:Hat 15 307. prc:Shaker 4 352. prc:Misc 1 263. prc:Hat 16 308. prc:Shaker 5 353. prc:Misc 2 264. prc:Hat 17 309.
Appendix Instrument Listing Instrument Listing 208 E-MU Systems 393. sfx:Tick 1 399. sfx:Tick 7 405. sfx:Tick 13 394. sfx:Tick 2 400. sfx:Tick 8 406. bas:Bright Saw 395. sfx:Tick 3 401. sfx:Tick 9 407. bas:BrightResSaw 396. sfx:Tick 4 402. sfx:Tick 10 408. bas:BrightSquare 397. sfx:Tick 5 403. sfx:Tick 11 409. bas:Res Square 398. sfx:Tick 6 404.
Appendix Riff Listing Riff Listing 1. AmUD-C1 (4 bars) 45. BRS-FullTrnBrass 89. EPO-Wurlilayer2 2. AUD-C3 (1 bar) 46. BRS-Thick Brass 90. EPO-Wurly 3. AUD-C3 (2 Bars) 47. BRS-ThickBrass 91. EPO-Wurly 2 4. AUD-C3 (4 Bars) 48. BRS-Windy Brass 92. GTR-Hackettism 5. AUD-C4 49. CMB-B3EP 93. GTR-Hackettism2 6. AUD-C Triad 50. CMB-PulseMadness 94. GTR-Hit It 7. AUD-Cm7 51. CMB-Rogue Mini 95. GTR-Jazzy 8. AUD-Cm9 52. CMB-Taurus&Strng 96. GTR-Spy vs Spy 9. AUD-Cmaj7 53.
Appendix Riff Listing Riff Listing 210 E-MU Systems 133. ORG-MelloCombo 177. SYN-Nephilim 221. KIT-Kit 03 134. ORG-PortaVib 178. SYN-NoteOffChime 222. KIT-Kit 04 135. ORG-PortaVib 2 179. SYN-NoteOffChme2 223. KIT-Kit 05 136. PAD-Annunaki 180. SYN-Nunzio 1 224. KIT-Kit 06 137. PAD-Believe 181. SYN-Nunzio 2 225. KIT-Kit 07 138. PAD-Chiffer 182. SYN-Nunzio 3 226. KIT-Kit 08 139. PAD-Lunadef 183. SYN-OB Glider 227. KIT-Kit 09 140. PAD-Lunadef 2 184. SYN-OBSEMFuzz 228. KIT-Kit 10 141.
Appendix Velocity Curves This section provides diagrams and descriptions of the Vintage Pro velocity curves. 120 Result Velocity Result Velocity 120 100 Linear 80 60 40 20 0 100 Curve 1 80 60 40 20 0 0 20 40 60 80 100 120 0 Played Velocity 40 60 80 100 120 Compresses velocity range. 120 120 Result Velocity Result Velocity 20 Played Velocity Linear, no change to velocity.
Appendix Velocity Curves Velocity Curves 120 Result Velocity 120 100 Curve 6 80 60 40 20 100 60 40 20 0 0 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Shifts velocity values up while compressing the midde range. Similar to Curve 6.
Appendix PatchCord Amount Chart 120 Result Velocity Result Velocity 120 100 Curve 12 80 60 40 20 0 80 60 Curve 13 40 20 0 0 PatchCord Amount Chart 100 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Less severe version of Curve 11. Extreme expansion of velocity range. The following chart shows the PatchCord “Amount” settings in order to get semitone intervals when modulation sources are connected to pitch.
Appendix E-MU Expansion Sound Sets E-MU Expansion Sound Sets Eleven different ROM expansions are currently available, with more being developed every day. ROM expansions typically add 32MB of sound data and 512 additional presets. Adding new sounds is like getting a new instrument and a sure way to spark your creativity. ROM Expansions are available from your E-MU dealer. Also check out the official E-MU website: www.emu.com for the latest sounds. Orchestral Sessions VOLUME 1 The Orchestral Sessions Vol.
Appendix E-MU Expansion Sound Sets X-Lead The X-Lead sound set consists primarily of analog, noise and modern synthesizer waveforms. These sounds are rich in harmonic texture and are a perfect match with the Z-plane filters in your Proteus® family sound module. With the included software upgrade, you now have access to dynamic and rhythmic features not found on any other instrument.
Appendix Installing Sound SIMMs Installing Sound SIMMs Vintage Pro can be easily expanded to contain up to 128 MB of sound data (4 SIMMs). Make sure the unit is unplugged from the wall before doing anything! Before you begin, find a clean, well lit place in which to work. This procedure requires that you periodically “Ground” yourself, by touching a grounded object such as a water pipe or a grounded piece of equipment.
Appendix Installing Sound SIMMs Figure 1 t on of t ni u fr 2. Tilt the SIMM up so that both tabs click and lock the SIMM into place. 10. 11. 12. 13. 1. Set SIMM into socket with the notch toward rear of unit. t ni Notch ar u of re Replace the Top Cover Place the metal top cover on the box with the screw holes toward the rear. Lift the rear of the top cover and slide it forward UNDER the lip of the front panel bezel, then set the rear down. The screw holes should all be perfectly aligned.
Appendix MIDI MIDI MIDI Implementation Chart (part 1) MIDI Information Transmitted Recognized Remarks MIDI Channels 1-16 (A & B) 1-16 (A & B) 32 channels on two MIDI ports Note Numbers 0-127 0-127 Program Change 0-127 0-127 Bank Select Response? No Yes Modes: Omni (Mode 1) Mono (Mode 2) Poly (Mode 3) Mode 4 Multi (Mode 5) No No No No No Yes Yes Yes No Yes Note On Velocity Yes Yes Note Off Velocity No Yes Channel Aftertouch Yes Yes Poly (Key) Aftertouch No No Pitch Bend Yes
Appendix MIDI MIDI MIDI Information Transmitted Recognized Start Continue Stop No No No No No No MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No General MIDI Compat? Is GM default mode? No No No No DLS compatible? Import DLS Files? Export DLS Files? No No No No No No Import Std MIDI files Export Std MIDI files No No No No Remarks Extension Capability Vintage Pro Owners Manual 219
Appendix MIDI MIDI MIDI Implementation Chart (part 2 - Controllers) Control # Function Transmitted Recognized 0 Bank Select MSB Yes Yes 1 Mod Wheel MSB Yes Yes * see note 2 Breath Cntrl MSB 3 No No * see note No No * 4 Foot Cntrl MSB Yes No * 5 Portamento MSB No No * 6 Data Entry MSB No No * 7 Chan Volume MSB Yes Yes * 8 Balance MSB No No * 9 * 10 Pan MSB Yes Yes * 11 Expression MSB No Yes * 12 Effect Cntrl 1 MSB No No * 13 Effect Cntrl 2 MS
Appendix MIDI MIDI Control # Function Transmitted Recognized 37 Portamento LSB * 38 Data Entry LSB * 39 Chan Volume LSB * 40 Balance LSB * 41 Remarks * 42 Pan LSB * 43 Expression LSB * 44 Effect Cntrl 1 LSB * 45 Effect Cntrl 2 LSB * 46 * 47 * 48 Gen Pur Ctrl 1 LSB * 49 Gen Pur Ctrl 2 LSB * 50 Gen Pur Ctrl 3 LSB * 51 Gen Pur Ctrl 4 LSB * 52 * 53 * 54 * 55 * 56 * 57 * 58 * 59 * 60 * 61 * 62 * 63 * 64 Sustain Pedal Yes Yes * 65 Port
Appendix MIDI MIDI Control # Function Transmitted Recognized Remarks 75 Sound Cntrlr 6 ™ Yes Yes * Decay 76 Sound Cntrlr 7 77 Sound Cntrlr 8 ™ Yes Yes * Vel->Filt 78 Sound Cntrlr 9 ™ Yes Yes * Vel->amp 79 Sound Cntrlr 10 Yes Yes See note 80 Gen Purp Cntrlr 5 * 81 Gen Purp Cntrlr 6 * 82 Gen Pur Ctrlr 7 ™ * 83 Gen Pur Ctrlr 8 ™ 84 Portamento Cntrl 85 Yes Yes * * Yes Yes * Sustain 86 * 87 * 88 * 89 * 90 * 91 Effects 1 Depth 92 Effects 2 Depth 93
Appendix MIDI MIDI Control # Function Transmitted Recognized Remarks 120 All Sound Off No Yes See note 121 Reset All Contlrs No Yes 122 Local Cntrl on/off No No 123 All Notes Off No Yes 124 Omni Mode Off No Yes if enabled 125 Omni Mode On No Yes if enabled 126 Poly Mode Off No Yes if enabled 127 Poly Mode On No Yes if enabled 113 114 115 116 117 118 119 NOTES: * Vintage Pro can transmit and receive ANY continuous controller number from 1 to 95.
Appendix MIDI MIDI Product ID for Vintage Pro = 0F (15) MIDI Device Inquiry Responses Family MSB 0x04 (Musical Instruments) LSB 0x04 (ROM Players) Members MSB 0x00 (Proteus 2000 series) LSB 0x02 Audity 2000 0x03 Proteus 2000 0x04 B-3 0x05 XL-1 0x06 Virtuoso 2000 0x07 Mo’Phatt 0x08 B-3 Turbo 0x09 XL-1 Turbo 0x0A Mo’Phatt Turbo 0x0B Planet Earth 0x0C Planet Earth Turbo 0x0D XL-7 0x0E MP-7 0x0F Proteus 2500 0x10 Orbit 3 0x11 PK-6 0x12 XK-6 0x13 MK-6 0x14 Halo 0x15 Proteus 1000 0x16 Vintage Pro There is
Appendix MIDI Received Channel Commands Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported.
Appendix Technical Specifications Technical Specifications 226 E-MU Systems Audio Channels: 128 MIDI: 2 MIDI In, 2 MIDI Out, 2 MIDI Thru MIDI Channels: 32 (2 MIDI in ports) Presets: 512 user presets. (The number of ROM presets is determined by the sound SIMMs installed.) Filters: 2nd order to 12th order filters (50 different types) Audio Outputs: 6 polyphonic analog outputs Submix Inputs: 4 analog inputs (sum to main outs) Digital Output: S/PDIF stereo (AES-pro compatible) Max.
Appendix Warranty Warranty Please read this warranty, as it gives you specific legal rights.
Appendix Warranty How To Obtain Warranty Service All E-MU Systems products are manufactured with the highest standards of quality. If you find that your unit does require service, it may be done by any authorized E-MU Systems service center. If you are unable to locate a service center in your area, please contact EMU’s Service Department at (831) 438-1921. They will either refer you to an authorized service center in your area or ask that you return your unit to the E-MU Systems factory.
Index Symbols Index Symbols “+” modulation polarity 144 “±” modulation polarity 144 Numerics 19-tone tuning 154 1-bar trigger 40 2-pole filters 104 4-pole filters 104 6-pole filters 104 master parameters 48 MIDI out 46 MIDI song start 46 modes 31, 47, 49 note value 50, 54 patchcord destinations 152 pattern 47, 50 speed 50 resolution 48 status 49 user patterns 57 velocity 48, 51 assign group 131 attack, envelope 128, 138, 145, 166 audition beats 36 button 18, 22 preset 18 riff 157 auxiliary envelope 87,
Index C bypass effects 180 bypassed, effects mode 180 C calibration 79 category preset 200 center frequency 105 changing filter type 166 MIDI preset 75 preset 20 the voice 159 channel MIDI enable 74 MIDI select 26 pan 27 selection, MIDI 26 volume 27 chorus 175, 185 width 161 chorusing 129, 161 clear beats part 34, 35 clock divisor 85 MIDI 33 modulation 91 sync delay time to 176 using external MIDI 33 coarse tuning 126, 160 comb filter 134, 176 comb filter, effect 185 connection instructions 14 continuous
Index E E edit menu button 21 editing arp user patterns 57 editing, presets 159 effects A type 175 B into effect A 182 B submix routing 72 B type 175 busses 173 by channel number 182 bypass 180 channel number setup 182 chorus 185 decay 176 delay 176, 186 sync to master clock 176 description 184 diagram 147, 148, 150 distortion 186 doubling 185 dual tap delay 186 feedback 176, 186 flanger 185 FXA decay 70 FXA HF Damping 70 FXB feedback 72 FXB->FXA 70, 177 global 181 HF damping 176 LFO rate 72, 176 master 17
Index G fingered glide solo mode 131 first key 96 flange effects 175 flanger, effect processor 185 flip-flop processor 94 footswitch 76, 85 format, output 82 free running, LFO 140 frequency center 105 cutoff 103 filter 136, 145 frequency modulation 84 front panel knobs 199 FX cords 151 FX mode 68, 180 FXA algorithm 177, 178 FXA parameters 150 FXB -> FXA 177, 178, 182 FXB algorithm 71, 150, 177, 179 FXB parameters 151 FXB submix routing 72 G gain processor 94 gamelan tuning 154 gate 85 time 51 generator en
Index L L lag amount 95 lag processor 93 latch beats part 40 keys in beats 34 mode, arpeggiator 55 layer copying a 188 definition 115 instrument 83 selecting 115 layering presets 169 legato 130 LFO 138 effect B 72 flanger 186 key sync 140 master FXB rate 72 rate 176 rate, effect 72 tricks & tips 139 trigger 90 variation 142 waveforms 89, 139 linking presets 156, 157, 169 looping envelopes 88 low frequency oscillator 85, 89, 138 delay 141 free running 140 sync 138, 140 variation 142 low-pass filter 102 exam
Index N poly 73, 180, 225 quick edit & real-time controller 24 real-time controllers only 23 solo 130 time-based 165 modulation amplitude 84 clock 91 delay time 176 definition 84 destinations 92 note-on 92 polarity 144 processors 93, 97 random 86 routing 143 sources 85, 86 sources & destinations 145 wheel 76 mono aftertouch 85 A-I, assign group 131 mode 225 morph filter 106 multi mode 73, 173, 225 control, effects 180 effects control 69 multichannel volume/pan control 68 multimode map send/receive 80 multi
Index Q copying 188 editing 159 effects 147, 177 links 156, 157, 169 listing 201 MIDI changes 75 naming 114 patchcords 151 quick edit 77 random 194 selecting 19, 26 user 81 preset lag 95 preset ramp 95 processor 4x gain 94 absolute value 93 diode 94 effect 173 flip-flop 94 modulation 97 quantizer 94 summing amp 93 switch 93 product description 1 program change, receive 75 program/preset map send/receive 80 program->preset map 74 programming basics 83 Q Q 103, 134, 135, 136, 163, 164, 166 quantized, arp sy
Index T FXA 71, 150 FXB 72, 151 effect 66 preset effect 146 sequence using multisetups in a 187 sequencing 171 setup basic 14 performance 16 studio 15 sicherheitsvorschriften 7 signal path 107, 173 slapback, effect 185 solo layer 157 mode 130 sound navigator 29 selecting instruments 116 sound start 129 sources, modulation 145 specifications, technical 226 split keyboard 156, 169 using links 169 stack layers 119 presets 156 standard MIDI controller numbers 76, 220 standard MIDI switch number 76 start/stop b
Index W key 85 preset link 156 release 85 user pattern 59 vibrato, effect processor 186 viewing angle, screen 82 voices changing 159 stolen 131 voltage setting 17 volume channel 27 control 21 control #7 27 curve 161 envelope 87, 107, 127, 128, 161, 162 initial 126 preset link 156 W waveforms instruments 205 inverting 90 LFO 89 weight 226 Werkmeister tuning 154 wheel modulation 76, 85 pitch 85, 167 width, chorus 161 Z Z-plane filter 106, 107, 132 Vintage Pro Owners Manual 237
Index Z Notes 238 E-MU Systems
