Table of Contents Table of Contents Introduction ..............................................................................9 Product Description ............................................................................. 9 Overview ........................................................................................... 10 Important Safety Instructions ................................................11 Foreign Language Warnings - German ..................................
Table of Contents Front Panel Controller Modes ............................................................ 35 Real-time Control .....................................................................................35 Quick Edit .................................................................................................36 Deep Edit Mode .......................................................................................36 Main Screen..................................................................
Table of Contents Recycle ..................................................................................................... 64 Keyboard Thru ......................................................................................... 64 Latch ........................................................................................................ 64 Key Range ................................................................................................ 65 Send MIDI System Exclusive Data .................
Table of Contents Screen Viewing Angle ...............................................................................90 Programming Basics .............................................................. 91 Modulation........................................................................................ 92 Modulation Sources ........................................................................... 93 Random Sources 94 Modulation PatchCords ...............................................................
Table of Contents Assign Group........................................................................................... 139 Glide ...................................................................................................... 140 Z-Plane Filters ......................................................................................... 140 Xtreme Lead Filter Types ........................................................................ 141 Filter Envelope ............................................
Table of Contents Flexible Effects Control ...........................................................................184 Effect B Into Effect A ...............................................................................186 General Effect Descriptions .............................................................. 188 Reverb ....................................................................................................188 Chorus .....................................................................
Table of Contents Trigger Layout 2 ..................................................................................... 222 Trigger Layout 3 ..................................................................................... 222 Trigger Layout 4 .................................................................................... 223 Velocity Curves................................................................................. 224 PatchCord Amount Chart.................................................
Table of Contents viii E-MU Systems
Introduction Congratulations on your purchase of the Xtreme Lead-1 (or XL-1 for short). XL-1 is a new synthesizer/sound module with an array of new dynamic and rhythmic features not found in any other instrument. Xtreme Lead was designed for live performance, so make sure to try out all the controller knobs on each preset. And as you’ll soon discover, Xtreme Lead is a total kick to play. Product Description Xtreme Lead’s sound set consists primarily of analog, noise and modern synthesizer waveforms.
Introduction Overview The extremely flexible yet easy to use 4-layer synthesizer voices make it easy to build sounds of any kind. Layers can be switched or crossfaded using key position, velocity, real-time controllers or any modulation source. Xtreme Lead also contains 50 different 12th order resonant & modeling filters which are used to shape and modify over 1200 waveforms contained in 32 megabytes (MB) of ROM.
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. To reduce the risk of fire or electric shock, refer all servicing to qualified service personnel. Do not expose this product to rain or moisture. There are no user serviceable parts or adjustments inside the unit. Grounding Instructions Danger! Caution! This product must be grounded.
Important Safety Instructions User Maintenance Instructions User Maintenance Instructions 1. 2. The Xtreme Lead should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do not use solvents or cleaners. There are no user lubrication or adjustment requirements. Caution -. These servicing instructions are for use by qualified personnel only.
Important Safety Instructions Radio and Television Interference 13. 14. The Xtreme Lead should be serviced by qualified service personnel when: A. The power supply cord has been damaged; or B. Objects have fallen, or liquid has been spilled into the unit; or C. The unit has been exposed to rain; or D. The unit has been dropped or the enclosure damaged; or E. The Xtreme Lead does not operate normally or exhibits a marked change in performance.
Foreign Language Warnings - German Wichtige Sicherheitsvorschriften Foreign Language Warnings - German Wichtige Sicherheitsvorschriften Erdungsinstruktionen Gefahr Vorsicht 14 E-MU Systems In Ländern ausserhalb den U.S.A. können andere Kabel oder Stecker notwendig werden. Zur Verminderung des Risikos von Feuer oder eines elektrischen Schlages übergebe man den Service an qualifizierte Fachleute. Das Gerät niemals Regen oder Nässe aussetzen. Das Gerät muss geerdet sein.
Foreign Language Warnings - German Unterhaltsinstruktionen für anwender Unterhaltsinstruktionen für anwender Vorsicht 1. 2. 3. Xtreme Lead soll sauber und staubfrei gehalten werden. Das Gerät mit einem sauberen und säurefreien Tuch periodisch abreiben. Keine Lösungs- oder Reinigungsmittel anwenden. Schmieren und Justieren sind nicht notwendig. Bei weiteren Servicefragen wende man sich an eine qualifizierte Servicestelle. Diese Gebrauchsanweisungen sind nur für qualifizierte Techniker beabsichtigt.
Foreign Language Warnings - German 10. 11. 12. Vermeiden Sie sorgfältig das Eindringen von Gegenständen oder Flüssigkeiten durch die Gehäuseöffnungen. Das Gerät soll durch qualifizierte Serviceleute gewartet werden, falls: A. das Netzkabel beschädigt wurde, oder B. Gegenstände oder Flüssigkeit in das Gerät gelangten, C. das Gerät Regen ausgesetzt war, oder D. das Gerät nicht normal oder einwandfrei arbeitet, oder E. das Gerät stürzte oder sein Gehäuse beschädigt wurde.
Foreign Language Warnings - French Instructions de Sécurité Importantes Foreign Language Warnings - French Instructions de Sécurité Importantes Instructions de Mise à la Terre Danger Attention Instructions de Maintenance Une utilisation dans des pays autres que les U.S.A. peut nécessiter l’usage d’un cordon d’alimentation différent. Afin de réduire les risques d’incendie ou d’électrocution, référez-vous à un personnel de service qualifié, et n’exposez pas cet appareil à la pluie ou à l’humidité.
Foreign Language Warnings - French Instructions de Maintenance Instructions Concernant les Risques d’Incendie, d’Electrocution, ou de Blessures Corporelles. ATTENTION: Lorsque vous utilisez des appareils électriques, certaines précautions élémentaires doivent toujours être prises, incluant les suivantes: Ces instructions de dépanage sont destinées uniquement aux personnes qualifiées.
Foreign Language Warnings - French Interférences Radio et Télévision 13. 14. Cet appareil doit être examiné par un personnel qualifié lorsque: A. Le cordon d’alimentation a été endommagé, ou B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur de l’appareil, ou C. Le Xtreme Lead a été exposé à la pluie, ou D. Le Xtreme Lead est tombé, ou E. Le Xtreme Lead ne fonctionne pas normalement, ou affiche un changement radical de performance.
Declaration of Conformity Interférences Radio et Télévision Declaration of Conformity Manufacturer: E-MU/Ensoniq 1600 Green Hills Road Scotts Valley, CA 95067-0015 USA We hereby declare that the equipment listed herin conforms to the harmonized standards of the following European Commission Directives: 89/336/EEC and 72/23/EEC.
Setup This section thoroughly describes how to set up your new Xtreme Lead-1 for use. Setup includes unpacking instructions and how to connect the cables. Unpacking Carefully remove Xtreme Lead-1 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 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 . EMULATOR Basic Setup MIDI Out Control Pedal Footswitch If Xtreme Lead does not seem to be responding correctly, make sure that both Xtreme Lead and your MIDI controller are set to the same MIDI channel. ~ A B IN THRU SCOTTS VALLEY CA. U.S.A.
Setup Connection Instructions Studio Setup MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME 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 MIDI In Additional MIDI Devices MIDI Out MIDI In In MIDI Interface Out Out In “A” MIDI channels 1-16 ~ A B IN THRU SCOTTS VALLEY CA. U.S.A.
Setup Connection Instructions Power Up! The power switch is located on the right side of the front panel. You can turn on the XL-1 and its MIDI controller in any order. When power is applied the liquid crystal display will light, indicating that Xtreme Lead is operating. You may have noticed that there is no 110/220 Volt power selector switch on XL-1. Xtreme Lead automatically switches itself to the proper line voltage.
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. Xtreme Lead 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. DEMO SEQUENCES XL UPeople þ 1. 2. 3.
Setup Instant Gratification Bank 1252 þ 1. 2. 3. 4. Selecting and Quick Editing Presets MSB:007 LSB:2 XLEAD key: SynhissOrgan 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 Xtreme Lead ROM installed, the USER banks will go from 0-3, then start over from 0-3 for the Xtreme Lead ROM banks. To the right of the preset number and bank is the preset Category name followed by the Preset Name. þ 1.
Setup Instant Gratification This function controls the BEATS for the currently selected MIDI channel (the default channel is 1). Unlike the Arpeggiators, BEATS is only active on one MIDI channel at a time. 2. _ If you don’t select a “bts:” preset, only the first trigger key will work. Select any preset with the bts: prefix. Play the keyboard keys in the range shown in the default template below. Be sure to try out each key.
Setup Instant Gratification þ To Latch BEATS Triggers The Trigger Keys can be Latched so that pressing once turns a key on and pressing the key again turns it off. 1. Press the Arp/Beats button and turn the Data Entry control until the following screen appears (this is the 3rd screen from the beginning). BEATS TRIGGER LAYOUT Part 1 Key: C1 unlatch 2. 3. 4. 5. 6. 7. 8. 9. þ Press either cursor button repeatedly until it is underneath the Part field.
Setup Instant Gratification Exploring the Master Arpeggiator Xtreme Lead’s multi-channel Pattern Generator/Arpeggiator is one of the greatest features ever put in a synth. Let’s explore the Master Arpeggiator. þ 1. 2. To Arpeggiate a Single Preset: Select a preset. Note that the factory presets all have prefixes which describe the type of sound. For this investigation it might be best to choose a preset with the prefix “arp,” for arpeggiator. These presets are optimized for use with the arpeggiator.
Setup Instant Gratification 9. 10. Let’s check out the pattern generator. Go back to the Mode screen and set the mode to “Pattern”. Now advance to the Pattern screen (shown below) and move the cursor to the Pattern Number field (the second field from the left). MASTER ARPEGGIATOR Pattern 380 Inversions O Try the various patterns. There are 200 permanent factory patterns and 100 user locations to store the patterns you create. Each pattern can have up to 32 notes.
Setup Instant Gratification 1. 2. 3. Set up your MIDI keyboard so that it outputs the entire keyboard range on MIDI channels 1, 2, and 3. This procedure varies with the type of keyboard you own. Put Xtreme Lead into Multi mode. This is located on the MIDI Mode page in the Master menu. From the main screen, turn the arpeggiator “on” for MIDI channels 1 and 2. (We’re only using two for now to keep it simple.) Select a different preset for each MIDI channel while you’re at it.
Basic Operations Front Panel Basic Operations Control Button A-D E-H I-L Volume Control FILTER FIL TER CUTOFF ATT TTACK ACK WILD 1 FILTER FIL TER RES DECA DECAY/RLS Y/RLS WILD 2 Edit Menu Master Menu SHAPE MOVEMENT WILD 3 IMAGE RATE RA TE WILD 4 MASTER Cursor Controls Power Switch EDIT DEMOS VOLUME A/E/I B/F/J C/G/K POWER D/H/L AUDITION ARP/BEA ARP/BEATS TS SAVE/COPY SA VE/COPY HOME/ENTER MIDI Display Headphone Jack Front Panel Realtime Control Knobs Audition Button Arp/Beats B
Basic Operations Front Panel Audition Button O L.E.D. Beat Markers • The Audition LED flashes off quickly on each downbeat and flashes off for a longer period on the Riff Loop. 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.
Basic Operations Front Panel Controller Modes Data Entry Control Front Panel Controller Modes The Data Entry Control is a stepped, variable control switch used to change parameter values. The wheel increments or decrements the current value one unit with each click. This control incorporates acceleration, which advances the value faster if the Data Entry Control is turned quickly. The Real-time Controller Knobs serve three purposes: 1. 2. 3.
Basic Operations Front Panel Controller Modes Quick Edit This mode uses the Controller knobs to “Quick-Edit” the currently selected preset without having to enter the Preset Edit menu. This mode is only active when on the Preset Select screen and when “Quick-Edit” is enabled in the Master menu (see “Knob Preset Quick-Edit” on page 85). Initial controller values can be stored in every preset. When you move a knob with Quick-Edit enabled, the Initial Controller Value is updated with the knob’s new value.
Basic Operations Front Panel Controller Modes When you turn a knob, the field value jumps to the current knob value. You can still use the Data Entry Control for editing by moving the cursor to the desired field. L1 A/E/I KEY: LO C-2 FADE 000 B/F/J HIGH G8 C/G/K FADE 000 D/H/L To move through menus horizontally, use the Data Entry Control (the page’s title field is the default cursor position).
Basic Operations Main Screen Main Screen The Preset Select screen is Xtreme Lead’s default screen (also called the main screen) and is active when you have not selected any of the other button-activated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 16 MIDI channels.
Basic Operations Main Screen • Select banks independently of the of the preset number by locating the cursor on the Bank field and turning the Data Entry Control. MIDI BANK SELECT MSB LSB cc00 cc32 USER USER USER USER 00 00 00 00 00 01 02 03 Bank 0 Bank 1 Bank 2 Bank 3 XTREME XTREME XTREME XTREME 07 07 07 07 00 01 02 03 Bank 0 Bank 1 Bank 2 Bank 3 This chart shows the MSB and LSB numbers needed to select preset banks over MIDI. Select a bank, then send the program change number.
Basic Operations Main Screen Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This control operates like the balance control on your home stereo system. Channel Pan is the same parameter as MIDI pan controller #10, and changes made over MIDI are shown in the display. Pan Position C01 V127 P01R 0793 bts: Logic A:off USER Note: Pan settings in the preset ADD algebraically with the Channel Pan setting.
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 Xtreme Lead can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously. þ 1. 2. 3. O Save the Multisetup using the instructions provided in Chapter 3:Multisetup. 4. To Set Up Xtreme Lead for Multitimbral Operation Set the MIDI mode to “multi mode,” using the MIDI mode function in the Master menu.
Arpeggiator/Beats Menu Arpeggiator/Beats Menu Xtreme Lead’s SuperBEATS mode allows you to trigger, latch and unlatch synced loops and grooves from separate keys on your keyboard. Select a SuperBEATS Riff and then choose any one of Xtreme’s 1024 presets. Now by playing 24 assignable keyboard keys, you can bring specific Parts in and out. This is Macro-Music! XL-1 can also run up to 16 simultaneously synced arpeggiators, each with a different preset sound.
Arpeggiator/Beats Menu SuperBEATS Base Tempo _ To control Riffs using MIDI clock, be sure to set Riff Tempo (page 54) to “use current tempo”. Xtreme Lead contains an internal Master Clock. The Master Clock controls SuperBEATS, arpeggiators, synchronizes the LFOs when in tempo-based mode, controls the times of tempo-based envelopes, and can be used as a modulation source in the PatchCords section. There are two tempo values shown in the display.
Arpeggiator/Beats Menu SuperBEATS Instr/Wild 9. Perc3/Fill1 10. Perc4/Fill2 11. Perc5/Fill3 12. Perc6/Fill4 13. Inst1/Wild1 14. Inst2/Wild2 15. Inst3/Wild3 16. Inst4/Wild4 For each BEATS Riff, you have 2 Grooves, 4 Fills which correspond to the four parts of the Main and Alternate groove, and 4 Instrument parts. By adding and removing parts, you control the complexity of the groove.
Arpeggiator/Beats Menu SuperBEATS O Starting BEATS mode with the Start/Stop key allows you to start the sequencer rolling silently. Then you can bring Parts in and out using the “Busy” control. • Start/Stop Trigger • Clear Parts O If Mute is set to 1-bar, the Part mutes for 1 bar then un-mutes. O Start/Stop doesn’t clear latched parts when it stops the sequencer.
Arpeggiator/Beats Menu SuperBEATS BEATS MODE BtsCh: Basic Status: P TrigCh:Basic Beats Channel (BtsCh) • 01-16 . . . . . Selects the MIDI channel on which BEATS play. • Basic . . . . . . BEATS play on the MIDI channel displayed in the Main Screen. Trigger Channel (TrigCh) • 01-16 . . . . . . . Selects the MIDI channel on which Trigger Keys will be active. • Basic . . . . . . . . Sets the Trigger Keys to the MIDI channel displayed on the Main Screen.
Arpeggiator/Beats Menu SuperBEATS BEATS Controllers BEATS can be controlled using the front panel real-time controllers or external MIDI continuous controllers. Controllers are patched to BEATS via the Preset PatchCords located in the Edit menu. The following Preset PatchCord destinations control BEATS. Beat Velocity Group 1-4 (BtsVelG1 -> BtsVelG4) Parts assigned to one of the four BEATS groups can have their velocity scaled by the controller input.
Arpeggiator/Beats Menu SuperBEATS O A PatchCord amount of 50% is enough to drive Beat Busy to the maximum setting. Bidirectional Mod Wheel: Set Mod Wheel to BtsBusy with a Cord amount of +100, then add a DC bias to BtsBusy with a Cord amount of -50. Wheel now adds or subtracts “Busyness”. Suppose the pitch wheel (which can output both positive and negative values) were connected to Beat Busy and four Key Triggers are down.
Arpeggiator/Beats Menu SuperBEATS Beats Trigger Layout _ Save your Beats Trigger Layouts and all other Arp/BEATS parameters using the “Save Setup” function located in the Save/Copy menu. This screen assigns the BEATS triggers to keyboard notes on the BEATS channel. For each Part, Group and Control Key you can select the following options: • Key . . . . . . . . . Selects which keyboard key triggers the Part • Latch . . . . . . . . The first key press turns the Part on, the next turns it off. • Unlatch .
Arpeggiator/Beats Menu SuperBEATS Beats Trigger Offset This function slides the Beats Trigger keys (assigned in the previous screen) up and down the keyboard. This makes it easy to change the keyboard location of the trigger keys without having to re-assign each key. A positive offset moves the group of triggers up the keyboard by the designated number of keys. Negative offsets move the trigger group lower on the keyboard.
Arpeggiator/Beats Menu SuperBEATS Beats Part Transpose 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.
Arpeggiator/Beats Menu SuperBEATS 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. þ 1. 2. 3. 4. 5.
Arpeggiator/Beats Menu SuperBEATS 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 þ 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.
Arpeggiator/Beats Menu SuperBEATS 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.
Arpeggiator/Beats Menu Arpeggiators Arpeggiators An arpeggiator moves a pattern of notes sequentially over a range of the keyboard. Xtreme Lead 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 Edit menu), or globally in the Arpeggiator menu. The preset and master arpeggiators have the same parameters which we define in this chapter.
Arpeggiator/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 Edit menu. See “Preset Patchcords” on page 159. The following Preset PatchCord destinations control the Arpeggiators. Arpeggiator Resolution (ArpRes) This control changes the Arpeggiator Note Value.
Arpeggiator/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.
Arpeggiator/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 ......
Arpeggiator/Beats Menu Master Arpeggiator Parameters Velocity 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). Bear in mind that velocity values do not have an effect on the sound unless the preset is programmed to respond to velocity. MASTER ARPEGGIATOR Velocity Gate Time The Gate Time parameter works together with the Note Value parameter.
Arpeggiator/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.
Arpeggiator/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.
Arpeggiator/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.
Arpeggiator/Beats Menu Master Arpeggiator Parameters Keys Pressed Notes Sound Arp Plays Notes Sound Pre-Delay Duration Post-Delay R ec R ec Recycle yc le o n y c l e o N o - Pre Dly n/ This parameter works together with the Duration and Pre/Post Delay parameters. When these are enabled without one of the Recycle options turned on, the pattern or arpeggio normally stops.
Arpeggiator/Beats Menu Master Arpeggiator Parameters Key Range 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 61).
Arpeggiator/Beats Menu Master Arpeggiator Parameters Editing a User Arpeggiator Pattern Xtreme Lead 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. This is different from the Edit menu where you must Save a preset before it will be overwritten.
Arpeggiator/Beats Menu Master Arpeggiator Parameters 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#.
Arpeggiator/Beats Menu Master Arpeggiator Parameters 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.
Arpeggiator/Beats Menu Master Arpeggiator Parameters User Pattern Name The User Pattern Name page lets you enter a name for any User Arpeggiator Pattern. PTRN S01 þ 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 Spinach 3. 4. 5.
Arpeggiator/Beats Menu Multi-Channel Arpeggiating Multi-Channel Arpeggiating One of the coolest features in XL-1 is its ability to run multiple arpeggiators at the same time. The interactions of multiple note sequences can be complex and fascinating. XL-1 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.
Arpeggiator/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.
Arpeggiator/Beats Menu Using a MIDI Interface to Channelize Data 72 E-MU Systems
Master Menu The Master menu contains functions that affect the overall operation of Xtreme Lead. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed. þ 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 Xtreme Lead. 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 Xtreme Lead to other instruments.
Master Menu Defining Master Parameters Velocity Curve 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 lets you select one of thirteen master velocity curves or to leave the data unaltered (linear).
Master Menu Defining Master Parameters MIX OUTPUT channel 16: use preset MIX OUTPUT channel 15: Send 1 The Sends function as effect processor inputs (effect sends). The four Effect Sends allow you to get the most out of the two effect processors. For example, with Effect B set to an echo algorithm, you could route one MIDI channel to Send 3 and set the effect amount to 80%. Another MIDI channel could be routed to Send 4 with an effect amount of only 5%.
Master Menu Master Effects Master Effects The digital effect processors can be programmed as part of the preset (using the Edit menu) so that effects will change along with the preset. However, there are only two effect processors, and so you cannot have a different effect on each preset when in Multi mode. The Master Effects settings assign the effect processors “globally” for all presets to provide a way to use the effects in Multi mode.
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. Room 1 23. BBall Court 2. Room 2 Room 3 Hall 1 Hall 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 24.
Master Menu Master Effects FXA Parameters: Decay/HF Damping FxB -> FxA This page lets you define the parameters of the selected Effects algorithm. Use this page to setup the effect decay, high frequency damping amount and to route “B” effects through the “A” effects. See “Effect Parameters” on page 179 for more details. FXA FXA Send Amounts DECAY 040 HFDAMP 096 These parameters set the effects amounts for each of the four stereo effects busses.
Master Menu Master Effects B Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. FXB Parameters: Feedback/LFO Rate Delay Time Chorus 1 Chorus 2 Chorus 3 Chorus 4 Chorus 5 Doubling Slapback Flange 1 Flange 2 Flange 3 Flange 4 Flange 5 Flange 6 Flange 7 Big Chorus Symphonic 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. FEEDBK 000 LFORATE 003 DELAY 0 These parameters set the effects amounts for each of the four stereo effects busses.
Master Menu MIDI Parameters MIDI Parameters MIDI Mode MIDI parameters control how the Xtreme Lead 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 Xtreme Lead unit to respond to the MIDI channels reserved for the other devices. MIDI ENABLE channel 01: On Because the MIDI Enable function only makes sense if you are in Multi mode, Xtreme Lead disables this feature when in Omni or Poly mode.
Master Menu MIDI Parameters O Programs and presets are the same thing. “Preset” is E-MU’s term for MIDI Program.
Master Menu MIDI Parameters O Xtreme Lead factory presets have certain synth parameters assigned to each controller letter and so these are “Global” controller assignments. For example, assigning a MIDI controller to “A” in this screen would let you control filter Fc for all the factory presets. See “Front Panel Knob Functions” on page 203.
Master Menu MIDI Parameters Following are a few of the standardized MIDI Switch numbers. 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. (See “Clock Modulation” on page 98.
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. þ 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 Xtreme Lead. 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 Xtreme Lead 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 User Key Tuning O The user key tuning can be used to tune individual percussion instruments. Screen Viewing Angle User Key Tuning lets you create and modify 12 user definable tuning tables. The initial frequency of every key can be individually tuned, facilitating the creation of alternate or microtonal scales. Using the cursor keys and the Data Entry Control, select the user table number, the key name, the coarse tuning and the fine tuning.
Programming Basics This chapter explains how Xtreme Lead sounds are constructed and contains important background information on how to create your own custom presets. Your initial involvement with Xtreme Lead 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 Xtreme Lead. 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 Xtreme Lead has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration. Ra ndo m T r i a ngl e Sawtooth S i ne S qu a r e 33% Pulse 25% Pulse 16% Pulse 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.
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 Layer R Gain Chorus Pitch Freq. Amp Envelope Gen. LFOs Mod Wheel L Z-Plane Filter Instrument Glide All the modulation destinations are summing nodes.
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. These modulation processors are independently programmable on each of the four layers. 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 101) 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 Xtreme Lead).
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 Xtreme Lead’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 80 Amplitude 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 60 40 Band Pass Filter 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 Xtreme Lead 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). By choosing any four of the 12 standard functions, the four sliders on your keyboard 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 21-24.
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 for MORE and so the MIDI specification was later amended to include Bank Select Commands.
Programming Basics Stereo Mix Outputs Stereo Mix Outputs This feature is useful for adding signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. The routing can be performed according to MIDI channel from the Mix Output screen in the Master menu. Simply assign each channel to the desired output. Master Menu MIX OUTPUT channel 01: Send 2 To route a particular preset to a Send, first go to the Mix Output screen in the Master menu and set the MIDI channel to “Preset”.
Programming Basics Stereo Mix Outputs OUTPUT SECTION & EFFECTS PROCESSORS FX Sends Send 1 15% PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 S E N D 1 FX Sends Send 1 0% Send 3 20% Ch 1 PRESET Ch 2 SEND 2 Ch 3 SEND 3 Effect A B➟A Send 2 0% Send 4 15% Mix Output Hall 1 Chorus M A I N Effect B S E N D 2 S E N D 3 Ch 16 SEND 4 MASTER MENU S E N D 4 The Mix Output screen in the Master menu assigns each MIDI channel to a Send (1-4) or to “Preset”.
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 123 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. þ 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 Xtreme Lead 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 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 154 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 in the display.
Edit Menu Defining Layer Parameters þ 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 þ 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 þ 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 150). 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 Xtreme Lead Filter Types order filters, XL-1 would be limited to 32 voices. See page 72 for more information about filters. Xtreme Lead Filter Types This screen allows you to choose the type of filter for the current layer. L1 FILTER Phazer 2 E4 Ord 6 Type PHA Filter Name Order Type Description Smooth 02 LPF Typical OB type low-pass filter with a shallow 12 dB/octave slope. Classic 04 LPF 4-pole low-pass filter, the standard filter on classic analog synths. 24 dB/octave rolloff.
Edit Menu Xtreme Lead Filter Types 142 E-MU Systems Filter Name Order Type Description Swept3>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut. The bandwidth of the filter is three octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end of the spectrum. DJAlkaline 12 EQ+ Band accentuating filter, Q shifts “ring” frequency. AceOfBass 12 EQ+ Bass-boost to bass-cut morph TB-OrNot-TB 12 EQ+ Great Bassline “Processor.
Edit Menu Filter Envelope Filter Name Order Type Description FlangerLite 06 FLG Contains three notches. Frequency moves frequency and spacing of notches. Q increases flanging depth. AngelzHairz 12 FLG Smooth sweep flanger. Good with vox waves. eg. I094, Q =60 DreamWeava 12 FLG Directional Flanger. Poles shift down at low Q and up at high Q. MeatyGizmo 12 REZ Filter inverts at mid-Q. DeadRinger 12 REZ Permanent “Ringy” Q response. Many Q variations.
Edit Menu Filter Envelope There are three mode options: • Time-based: Defines the Filter Envelope rates from 0 to 127 (approximately 1 ms to 160 seconds). The Master clock has no affect on timebased rates. L1 FILT ENV Attack 1 RATE 84 LEVEL 100% • Tempo-based: The Filter Envelope times vary based on the master tempo setting and are displayed in values such as 1, 2, 3, etc. Note values are displayed instead of a number when the time corresponds to an exact note value.
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. Xtreme Lead 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 Note: Flip-Flop Footswitches 1 & 2 remain in their last condition when a new preset is selected. Flip-Flop Footswitch 3 resets to the Off condition whenever a new preset is selected.
Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the Xtreme Lead.
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 Common Preset Parameters Preset Effects This section of the Edit menu chapter describes parameters that affect all layers in the preset. Xtreme Lead 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 Send 1 15% PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 S E N D 1 FX Sends Send 1 0% Send 3 20% Ch 1 PRESET Ch 2 SEND 2 Ch 3 SEND 3 Effect A B➟A Send 2 0% Send 4 15% Mix Output Hall 1 Chorus M A I N Effect B S E N D 2 S E N D 3 Ch 16 SEND 4 MASTER MENU S E N D 4 The Mix Output setting in the Master Menu determines if the Preset’s Mix Output routing will be used.
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 Preset Patchcords Preset PatchCords give you real-time control of global parameters. The effect processors are a powerful synthesis tool and this feature lets you control and use them in exciting new ways. For example, you can dynamically adjust the effects mix during a sequence or live performance. There are many exciting performance possibilities using Preset PatchCords to control BEATs and Arpeggiator parameters.
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 Xtreme Lead, 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, Xtreme Lead 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 Xtreme Lead 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 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.
Programming Tutorial There is so much you can do with the Xtreme Lead 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 Xtreme Lead.
Programming Tutorial Editing Presets þ 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 0050 org:Dance 8. ROM:XLEAD 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 Xtreme Lead. 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 y Dc Atk 1 Percussion Rls2 Sustain time Organ Strings s1 At level Dcy2 Rl k1 Piano Key Down Key Released Every instrument in Xtreme Lead 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. þ 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. þ 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 Linking Presets 176 E-MU Systems
Effects Effects Overview Xtreme Lead 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,” the Proteus 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 The Effects Send is programmed for each layer in the Edit menu. These routings can be overruled in the Master menu Mix Output screen by changing the submix setting from “preset”, which uses the preset routing, to Send1-Send4. In the diagram below, MIDI channel 1 is programmed to obey the preset routing which in this case is Send 1.
Effects Effect Types Effect Types Effect Parameters 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 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 Xtreme Lead’s preset effects. þ 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. þ 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 for a look at how effects are programmed. 1 Master FX Preset FX Effects are part of the Preset (Omni or Poly Mode) 2 Master FX Preset FX Ch 1 Master Effects 3 (Multi mode) Preset Ch 16 FX Master FX Preset FX Ch 1 (Multi mode) Selected FX Control Channel Preset FX Ch 16 One Channel's Preset determines the Effect Settings þ 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 Xtreme Lead 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 Xtreme Lead 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. When in “Quick Edit” mode, this menu always defaults to the “Save to Preset” page of this menu with the cursor on the second line. You can use the Data Entry Control to navigate to other pages that support copying information.
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 þ 1. 2. 3. 4. 5. 6. 7. 8. Copy PatchCords To Copy a Layer Select the Preset and Layer you want to copy information into. Press the Save/Copy menu button. 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. Select the layer of the source preset in the first field on the right.
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 þ 1. 2. 3. 4. 5.
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 þ 1. 2. 3. 4. XLEAD 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 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. All Multisetups are user programmable. A Multisetup includes ALL the following parameters: • Preset/Volume/Pan/Arp/Beats assignments for each of the 16 MIDI channels.
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 þ 1. 2. 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. þ 1. 2. 3. 4.
Save/Copy Menu Multisetups 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 Xtreme Lead 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 Multisetups 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 Xtreme Lead 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. TheFlash ID is the MSB of the MIDI Bank Select command used to select the Sound Bank.
Save/Copy Menu Multisetups Duplicate Flash This utility allows you to duplicate Flash SIMMs using Xtreme Lead. Both Sound and Preset data is copied when a Flash SIMM is duplicated. A factory sound SIMM cannot be copied using this utility. WARNING: dangerous voltages are exposed inside Xtreme Lead! Make sure power is completely disconnected from Xtreme Lead before removing the top panel. Replace the top panel before restoring power to the unit. The two sound SIMM sockets in Xtreme Lead are marked 0 and 1.
Save/Copy Menu Multisetups 202 E-MU Systems
Appendix This section provides some of the more technical information about XL-1. In this appendix, you will find information about velocity curves, MIDI commands and PatchCord charts. Front Panel 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. Match the controller knobs on your MIDI controller to the Realtime Controller Assignments in the Master menu to control these functions.
Appendix Presets Presets XL-1 Preset Categories The XL-1 presets are organized in categories according to the types of sound.
Appendix Preset Listing Preset Listing User Bank 0, XLEAD Bank 0 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. 42.
Appendix Preset Listing Preset Listing User Bank 1, XLEAD Bank 1 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. 42.
Appendix Preset Listing Preset Listing User Bank 2, XLEAD Bank 2 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. 42.
Appendix Preset Listing Preset Listing User Bank 3, XLEAD Bank 3 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. 42.
Appendix Riff Listing Riff Listing 0. KEY-C3.mid 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. 42. 43.
Appendix Riff Listing Riff Listing 132. SYN-Enviroment 133. SYN-Grind Me 134. SYN-Nordica 135. SYN-Octivate 136. SYN-Orion 137. SYN-Quadra 138. SYN-Saint 139. SYN-Sinner 140. SYN-South E2 141. SYN-Tran 3track 142. SYN-Tripper 143. VOX-Bliss 144. VOX-Zephr 145. WAL-Abyss 146. WAL-CRide 147. WAL-Love 2bee 148. WAL-Mammoth 149. WAL-Raverot 150. XTR-Booty Q 151. BTS-C-Man 152.
Appendix Instrument Listing Instrument Listing This section lists the raw instruments in the XL-1 ROM set. Instruments consist of either multisamples or single samples. 0. None 41. Audity Synth 2 82. Zeek Bass 1. Sine Wave 42. Audity Synth 3 83. Audity Bell 1 2. Saw Wave 43. Audity Synth 4 84. Audity Bell 2 3. Square Wave 44. Audity Synth 5 85. Audity Bell 3 4. Triangle Wave 45. Audity Synth 6 86. Audity Bell 4 5. Audity Saw 46. Audity Synth 7 87. Audity Bell 5 6. Audity Square 47.
Appendix Instrument Listing Instrument Listing Turbo 168. Looped Perc 29 213. 1 Shot Perc 22 124. Interference 169. Looped Perc 30 214. 1 Shot Perc 23 125. 1 Shot Bass 170. Looped Perc 31 215. 1 Shot Perc 24 126. 1 Shot Dis Bass 1 171. Looped Perc 32 216. 1 Shot Perc 25 127. 1 Shot Dis Bass 2 172. Looped Perc 33 217. 1 Shot Perc 26 128. 1 Shot Dis Bass 3 173. Looped Perc 34 218. 1 Shot Perc 27 129. 1 Shot Perc Bass 174. Looped Perc 35 219. 1 Shot Perc 28 130. 1 Shot Grind 175.
Appendix Instrument Listing Instrument Listing 303. Analow 348. Perco 259. 1 Shot Perc 68 304. Moog Tri 349. Not So Mini 260. 1 Shot Perc 69 305. Moog Sub 350. Spitt 261. 1 Shot Perc 70 306. Moogy 351. Tap 262. 1 Shot Perc 71 307. Fat Sun 352. Juno Sub 263. 1 Shot Perc 72 308. Analog 353. Complex Sub 264. 1 Shot Perc 73 309. Q 1 354. Full Octave 265. 1 Shot Perc 74 310. Q 2 355. Deep Pocket 266. 1 Shot Perc 75 311. Q 3 356. JP4 267. 1 Shot Perc 76 312. Planet 357.
Appendix Instrument Listing Instrument Listing 214 E-MU Systems 393. Hits 438. Rast Keys 483. Rezzy 394. Pipe Organ 439. ARP Sync 484. Hi Octaves 395. DrawbarOrgan 440. Narrow Synth 485. Dreemy 396. Perc Organ 441. Fat Attack 486. Phat 397. Org Day 442. ARP Lead 487. Tekno 398. Disco Organ 443. Synthetic 488. Life 399. DX Organ 444. Overtone 489. Classic 400. JX Organ 445. Buzz Saw 490. Dreamer 401. Tone Organ 446. Blipper 491. Paddy 402. Simple Organ 447. Full Synth 492.
Appendix Instrument Listing Instrument Listing 528. Riff Trip 572. Cowbell 616. Dance 24 529. Cyber Pan 573. Agogos 617. Dance 25 530. Groove Thing 574. Misc 1 618. Dance 26 531. Science 575. Misc 2 619. Dance 27 532. Under Pad FM 576. kit:1 620. Organ 1 533. Sci Fi 577. kit:2 621. Organ 2 534. Synth Siren 578. kit:3 622. Organ 3 535. Metal 579. kit:4 623. Organ 4 536. Vinyl 1 580. kit:5 624. Organ 5 537. Vinyl 2 581. kit:6 625. Organ 6 538. Vinyl 3 582. kit:7 626.
Appendix Instrument Listing Instrument Listing 216 E-MU Systems 660. Siren Loop 705. Gtr Wawa 3 750. Wazzup? 661. Bell 706. Gtr Wawa 4 751. Barker 662. Klank 707. Gtr Wawa 5 752. Plunger 663. Metal 708. Gtr Wawa 6 753. Skipper 664. Slinky Q 709. Heavy Guitar 754. Fast 665. Space Whip 710. HeavyGtrDive 755. Kick 1 666. Short Quack 711. Drum Stab 756. Kick 2 667. Quack Ahhh 712. Guit On It 757. Kick 3 668. Bowser Bark 713. Jazz Short 758. Kick 4 669. Chiffin 714. Blamp 759.
Appendix Instrument Listing Instrument Listing 795. Kick 41 839. Snare 28 883. Snare 72 796. Kick 42 840. Snare 29 884. Snare 73 797. Kick 43 841. Snare 30 885. Snare 74 798. Kick 44 842. Snare 31 886. Snare 75 799. Kick 45 843. Snare 32 887. Snare 76 800. Kick 46 844. Snare 33 888. Snare 77 801. Kick 47 845. Snare 34 889. Snare 78 802. Kick 48 846. Snare 35 890. Snare 79 803. Kick 49 847. Snare 36 891. Snare 80 804. Kick 50 848. Snare 37 892. Snare 81 805. Kick 51 849.
Appendix Instrument Listing Instrument Listing 218 E-MU Systems 927. Tom 10 971. Hat 5 1015. Hat 49 928. Tom 11 972. Hat 6 1016. Hat 50 929. Tom 12 973. Hat 7 1017. Hat 51 930. Tom 13 974. Hat 8 1018. Hat 52 931. Tom 14 975. Hat 9 1019. Hat 53 932. Tom 15 976. Hat 10 1020. Hat 54 933. Tom 16 977. Hat 11 1021. Hat 55 934. Tom 17 978. Hat 12 1022. Hat 56 935. Tom 18 979. Hat 13 1023. Hat 57 936. Tom 19 980. Hat 14 1024. Hat 58 937. Tom 20 981. Hat 15 1025. Hat 59 938.
Appendix Instrument Listing Instrument Listing 1059. Cymbal 15 1104. Bell 11 1149. Clap 5 1060. Cymbal 16 1105. Bell 12 1150. Clap 6 1061. Cymbal 17 1106. Bell 13 1151. Clap 7 1062. Cymbal 18 1107. Bell 14 1152. Clap 8 1063. Shaker 1 1108. Bell 15 1153. Clap 9 1064. Shaker 2 1109. Bell 16 1154. Clap 10 1065. Shaker 3 1110. Bell 17 1155. Clap 11 1066. Shaker 4 1111. Bell 18 1156. Clap 12 1067. Shaker 5 1112. Bell 19 1157. Clap 13 1068. Shaker 6 1113. Bell 20 1158. Clap 14 1069.
Appendix Instrument Listing Instrument Listing 1194. Misc 27 1195. Misc 28 1196. Misc 29 1197. Misc 30 1198. Misc 31 1199. Misc 32 1200. Misc 33 1201. Misc 34 1202. Misc 35 1203. Misc 36 1204. Misc 37 1205. Misc 38 1206. Misc 39 1207. Misc 40 1208. Misc 41 1209. Misc 42 1210.
Appendix Trigger Layouts Trigger Layouts BEATS trigger layouts are saved when you save a Multisetup. Multisetups 59-62 contain four different BEATS Trigger layouts for you to check out. You may want to design your own trigger layout and when you do, be sure to save it in one of the Multisetup locations. Note that none of these are write-protected (like the factory multisetup). They are initialized with these layouts, but you are free to overwrite them at will.
Appendix Trigger Layouts Part 14 Part 16 Part 7 Part 9 Part 11 Mute Trigger Hold Group 2 Setup 60 This layout is similar to the basic layout, except that the groups and functions are on the left of the main triggers. It is setup so that it takes advantage of a 76-key keyboard by starting at E0 instead of C1. However, it can be shifted up to facilitate use on a 61-key keyboard as well.
Appendix Trigger Layouts Part 16 Start/Stop Mute Part 14 Part 15 Part 11 Part 12 Part 13 Part 9 Part 10 Setup 62 Parts 1-8 on the first 8 white keys, 9-16 on the first 8 black keys, Groups are on the white keys under parts 14-16, and the Control Functions are on the remaining keys.
Appendix Velocity Curves Velocity Curves This section provides diagrams and descriptions of the XL-1 velocity curves. 120 100 Result Velocity Result Velocity 120 Linear 80 60 40 20 100 Curve 1 80 60 40 20 0 0 0 20 40 60 80 100 120 0 Played Velocity 80 100 120 120 Result Velocity Result Velocity 60 Compresses velocity range.
Appendix Velocity Curves Velocity Curves 120 100 Result Velocity 120 100 Curve 6 80 60 40 20 Curve 7 80 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 120 100 Result Velocity Result Velocity 120 100 Curve 12 80 60 40 20 0 226 E-MU Systems 60 Curve 13 40 20 0 0 PatchCord Amount Chart 80 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 MIDI MIDI MIDI Implementation Chart MIDI Information Transmitted Recognized MIDI Channels --- 1-16 Note Numbers --- 0-127 Program Change --- 0-127 Bank Select Response? No Yes Modes: Omni (Mode 1) Mono (Mode 2) Poly (Mode 3) Mode 4 (Y/N) Multi (Mode 5) No No No No No Yes Yes Yes No Yes Note On Velocity No Yes Note Off Velocity No No Channel Aftertouch No Yes Poly (Key) Aftertouch No No Pitch Bend No Yes Active Sensing No No System Reset No No Tune Request N
Appendix MIDI MIDI Information Transmitted Recognized 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 stand MIDI files Export stand MIDI files No No No No Remarks Extension Capability NOTES: Pan: -64 = hard left, +63 = hard right Product ID for XL-1 = 0F (15) MIDI Device Inquiry Responses Family MSB 0x04 (Musical Instruments) L
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 230 E-MU Systems Audio Channels: 64 MIDI: MIDI In, MIDI Out, MIDI Thru MIDI Channels: 16 Presets: 512 user presets. (The number of ROM presets is determined by the sound SIMMs installed.) Filters: 6th Order (50 different types) Audio Outputs: 2 polyphonic analog outputs, 20-bit ∆∑ DACs Max.
Appendix Warranty Warranty Please read this warranty, as it gives you specific legal rights.
Appendix Warranty When returning your unit to the EMU factory, you will be issued a Return Merchandise Authorization (RMA) number. Please label all cartons, shipping documents and correspondence with this number. EMU suggests you carefully and securely pack your unit for return to the factory. (Do not send the power cord or operation manual.) Send the unit to E-mu Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must pre-pay shipping charges to EMU; EMU will pay return shipping charges.
Index Index Symbols “+” modulation polarity 151 “±” modulation polarity 151 Numerics 19-tone tuning 161 1-bar trigger 50 2-pole filters 112 4-pole filters 112 6-pole filters 112 A A effect types 179, 180 absolute value processor 101 aftertouch, mono 93 algorithm FXA 181, 182 FXB 181, 183 master FXA 78 master FXB 79 all layers 121, 123 alternate tuning 161 amount, patchcord 116, 150 amplifier 134 amplitude 140, 168 amplitude envelope 135 amplitude modulation 92 arp controls 57 arp extension 57 arp gate 57
Index home/enter 34, 43, 73 master menu 33 save/copy 34 bypass effects 184 C calibration 87 category instrument 41 preset 41 center frequency 113 change filter type 172 MIDI preset 83 preset 27 voice 165 channel arpeggiator 40 MIDI enable 82 MIDI select 38 pan 40 selection, MIDI 38 volume 39 chorus 179, 189 width 167 chorus, effect 189 chorusing 137, 167 clear part 44 clock divisor 93 MIDI 44 clock modulation 99 coarse tuning 134, 166 comb filter 142, 180 comb filter, effect 189 connection instructions 22
Index E edit menu button 33 editing presets 165 user patterns 66 effect decay 180 FXA decay 79 FXA HF Damping 79 FXB->FXA 79 type B 80 effect diagram 154, 155, 157 effect send diagram 155 effect sends 76 effects A type 179 B into effect A 186 B submix routing 80 B type 179 busses 177 by channel number 186 channel number setup 186 chorus 189 decay 180 delay 180, 190 description 188 distortion 190 doubling 189 dual tap delay 190 feedback 180, 190 flanger 189 FXB feedback 80 FxB>FxA 181 global 185 HF damping
Index type 169, 172 type, changing 172 Z-plane 114, 115, 140 fine tuning 134, 166 fingered glide solo mode 139 first key 104 flange effects 179 flanger, effect processor 189 flashing LEDs 34, 44 flip-flop processor 102 footswitch 22, 84, 93 free running, LFO 147 frequency center 113 cutoff 111 filter 143, 152 frequency modulation 92 front panel knobs 203 FX cords 159 FX mode 77, 184 FXA algorithm 181, 182 FXA Parameters 157 FXB -> FXA 186 FxB -> FxA 181, 182 FXB Algorithm 157 FXB algorithm 181, 183 FXB mas
Index L lag processor 101 lagamount 103 latch beats part 50 latch beats 29 latch keys 44 latch mode, arpeggiator 64 layer selecting 123 layer, copying a 192 layering presets 175 layers instrument 91 layers, definition 123 legato 138 LFO 145 effect B 80 flanger 190 key sync 147 master FXB rate 80 rate 180 rate, effect 80 tricks & tips 146 trigger 98 variation 149 waveforms 97 waveshape 146 link preset 163 linking presets 163, 164, 175 looping envelopes 96 low frequency oscillator 93, 97, 145 delay 148 free
Index latch 64 MIDI 81, 177 mono 229 multi 81, 177, 229 non-transpose 138 omni 81, 184, 229 poly 81, 184, 229 quick edit and real-time controller 36 real-time controllers only 35 solo 138 time-based 171 modulation amplitude 92 clock 99 destinations 100 note-on 100 polarity 151 processors 101, 105 random 94 routing 150 sources 93, 94 sources & destinations 152 wheel 84 modulation, definition 92 mono aftertouch 93 mono A-I, assign group 139 mono mode 229 morph filter 114 multi channel arp 31 multi mode 81, 1
Index preset architecture 123 audition 25 category 27, 41 changing 27 copying 192 editing 165 effects 154, 181 links 163, 164, 175 listing 211 MIDI changes 83 naming 122 quick edit 85 random 198 saving a 191 selecting 26, 38 user 89 preset lag 103 preset ramp 103 processor 4x gain 102 absolute value 101 diode 102 effect 177 flip-flop 102 modulation 105 quantizer 102 summing amp 101 switch 101 product description 9 program change, receive 83 program/preset map send/receive 88 program->preset map 82 programm
Index screen viewing angle 90 selecting a MIDI channel 38 selecting presets 26, 38 send preset effect 153 send amount FXA 79, 157, 158 send amounts 177 sends effect 76 sequence using multisetups in a 196 setup basic 22 studio 23 signal path 115, 177 slapback 189 slapback, effect 189 solo layer 164 solo mode 138 song start, MIDI 55, 65 sound navigator selecting instruments 124 sound navigator 41 sound start 137 sources, modulation 152 specifications, technical 230 split keyboard 163 splitting the keyboard 1
Index U unlatch beats part 50 user, presets 89 user key tuning 90 user pattern arpeggiator 66 naming 69 repeat 68 velocity 68 V vallotti tuning 161 variation, LFO 149 velocity arpeggiator 60 crossfade 128 curve 75, 224 key 93 preset link 163 release 93 user pattern 68 vibrato, effect processor 190 viewing angle 90 viewing angle, screen 90 voices, changing 165 voices, stolen 139 voltage setting 24 volume control 33 control #7 39 curve 167 envelope 115, 135, 136, 167, 168 preset link 163 volume envelope 95
