ENGLISH | OS Version 1.
Important safety instructions 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9.
WARNING – Do not ingest battery, chemical burn hazard. This product contains a coin/button cell battery. If the coin/button cell battery is swallowed it can cause severe internal burns in just 2 hours and can lead to death. Keep new and used batteries away from children. If the battery compartment does not close securely, stop using the product and keep it away from children. If you think the battery may have been swallowed or placed inside any part of the body seek immediate medical attention.
Other notices Automatic power-off trademark of Google Inc. MS-DOS and Windows are registered trademarks of Microsoft Corporation. All other trademarks or registered trademarks are the property of their respective holders. To avoid wasting power, Pa1000 will by default automatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save any edited data (Keyboard Sets, Styles, Songs, and so on) before taking a prolonged pause.
Contents Part I Part II 1 Let’s start! 3 Introduction 3 Welcome to Pa1000! 7 Before starting to play… 9 Overview of the instrument 15 Setting up the pedals, audio connections, music stand 15 Connecting the pedals 16 Turning the integrated speakers on and off 16 Connecting the headphones 16 Connecting the audio outputs 17 Installing the music stand 18 Powering up 18 Turning the instrument on 19 Calibrating the touch screen 20 Adjust the display brightness 20 Tilting the d
ii| 68 Part III Part IV Playing the Songs 68 Choosing the Songs 73 Playing a Song 75 Mixing two Songs 76 Playing along with the Song 79 Adjusting the volume levels 80 Playing all the Songs in a folder 82 Playing a Jukebox list 85 Lyrics, chords, markers and score 85 Choosing one of the Players 86 Reading the lyrics and chords contained in a Song 88 Reading the lyrics and chords loaded as a text file 90 Reading the lyrics and chords loaded as a CDG file 91 Moving through a Song
177 Part V Quick editing of Sounds 179 Programming the key and velocity range 181 Editing the Digital Drawbars 185 Writing the Sound sets 185 Writing the Keyboard Sets to the library 187 Writing Keyboard Sets into a Style 189 Writing Keyboard Sets into a SongBook Entry 192 Writing Style Settings, Song Settings and MIDI Song Sounds 193 Customizing, recording and editing the Styles and Pads 195 Customizing the Styles 195 Setting the Chord Recognition 199 Automatically holding chords
iv| 288 Editing the MIDI events 292 Copying the Style track settings 293 Importing and exporting the Styles and Pads 293 Importing a Standard MIDI File to a Chord Variation 296 Importing a Standard MIDI File to a Style 299 Importing a MIDI Groove to a Style or Pad 300 Exporting a Chord Variation 302 Converting a MIDI Song to a Style 302 The Style Creator Bot 304 Writing the new/edited Style or Pad Part VI 304 Writing the Styles 306 Writing the Pads 307 Customizing, recording and editin
377 Customizing the Sound 380 Editing the Sounds 382 Setting the Sound’s basic parameters 388 Setting the oscillator’s basic parameters 395 Programming the Damper pedal 399 Equalizing the Sound 400 Setting the Drum Kit’s basic parameters 404 Equalizing the Drum Kit 406 Mixing the Drum Kit layers 407 Mixing and retriggering the drum samples 409 Modulating pitch 414 Programming the pitch envelope (Pitch EG) 418 Programming the filters 421 Modulating the filters 426 Programming th
vi| 503 Connecting the audio inputs 503 Connecting a line audio device, a microphone, a guitar 505 Setting the routing and mixing the effects 509 Shaping the sound of the lead voice 514 Talking with your audience 516 Using the effects and voice harmonization 516 Choosing a Voice/Guitar Preset 521 Harmonizing your voice 523 Doubling your voice 524 Using the effects 527 Controlling the Voice/Guitar Processor via MIDI 530 Editing the Voice/Guitar Presets Part IX 531 Choosing, enabling an
Part XI 807 Controllers 809 Hand controllers Part XII 809 Programming the joystick 811 Programming the keyboard’s velocity and aftertouch 813 Programming the assignable knobs 815 Programming the assignable switches 818 Foot controllers 818 Programming the damper pedal 819 Programming the assignable pedal/footswitch 826 Calibrating the pedal and setting its polarity 827 Global settings and preferences 829 Customizing the user interface 829 Display and control panel preferences 831 Pr
viii| Part XIV 895 File management 897 Managing files in the internal memory 897 Copying, renaming and deleting 900 The Direct data 904 Renaming the User/Direct banks 905 Managing files on disk 905 Overview on file management 910 Loading musical resources and settings 917 Saving musical resources and settings 921 Copying files and folders 924 Deleting files and folders 925 Selecting more items at once 927 Exporting playlists 930 Managing media Part XV 930 Formatting storage devices
Part I: LET’S START! |1
2| Let’s start!
Introduction 01 |3 Introduction Welcome to Pa1000! Many thanks, and congratulation on purchasing the KORG Pa1000 Professional Arranger! We’re sure it’ll give you countless hours of great tones that will feel as good as they sound. Slim, powerful and easy to use With the elegant cabinet, Pa1000 provides a professional and stylish look, that will be much appreciated on stage or at home. The main panel’s logical layout ensures easy access to buttons, knobs and all controls.
4| Let’s start! sound engine allows for fine detail to be accurately reproduced. The integrated sampler and sound editor allows to fill the vast user memory with newly created or imported sounds. All these authentic sounds become alive with KORG’s DNC (Defined Nuance Control) system, allowing the performer to accurately and expressively introduce the most subtle nuances and sound articulation.
Introduction |5 Play and write songs Play Songs in MID and MP3 formats with KORG’s patented XDS Crossfade Dual Sequencer/Player. With both Songs and Styles, you can show lyrics for your singer and chords for your fellow guitarist. Any MIDI Song track can be converted into a readable score. Markers allow for jumping back to a passage you wish to repeat, for example in a piece you are studying or rehearsing.
6| Let’s start! Refine your guitar’s pure sound Guitar FXs let you add pedal and studio effects to a guitar connected to the dedicated Guitar input on the back of the instrument. We selected some of the best guitar effects from the KORG collection, to add the sound of alltube amplifiers, realistic distortion, chorus or delay pedals, and the highestquality studio reverbs. Creative control with the KAOSS effects KAOSS effects give you creative control on your performance.
Introduction |7 Before starting to play… What’s in the box After you get your Pa1000, please check that all the following items are included in the package. If any of the following items is missing, please contact your KORG dealer immediately. ▪▪ Pa1000 ▪▪ Music stand ▪▪ AC power cable ▪▪ Quick Guide What you can add After having purchased Pa1000, you might want to add one of the sturdy pedals and footswitches from the KORG catalogue.
8| Let’s start! Restoring a safety copy To restore a backup, use the Media > Utility > Resources Restore command. If you saved your data with the Media > Save All command, use the Media > Load operations to reload them. Restoring the original factory data In case you want to restore the original factory data, use the Media > Utility > Factory Restore command.
Introduction |9 Overview of the instrument The following pages show the functional areas of the front and real panels. Front panel The front panel is where you can find the instrument’s controls and the loudspeakers. Left speaker Headphones Right speaker Keyboard Speakers Control the output volume of the integrated speakers with the MASTER VOLUME knob. The speakers are automatically deactivated when connecting the headphones.
10| Let’s start! Control panel The control panel is the part of the front panel where you can find the instrument’s controls. Knobs Styles area Display Players area Navigation area Sounds/Set List area Metronome and Tempo area Display Use this touchscreen display to interact with the instrument. The display can be tilted for optimal visualization. There are controls around the display, to help you select the various elements.
Introduction |11 Navigation area Use these controls to go through the menus, pages and parameters, and search for the various musical resources (see page 22). Sounds (and Set Lists) area Sounds are what you can play on the keyboard (see page 3). Here you can choose Sound sets saved as Keyboard Sets in a dedicated library. Or you can choose Set Lists from the SongBook, that are collections of Sound sets with an associated Style or Song.
12| Let’s start! Players area Songs can be played back by the two onboard Players (see page 68). You can play Sounds (selected via the Keyboard Sets) and Pads along with the Songs. Metronome and Tempo area Use these controls to practice with the metronome and control the Tempo of the metronome, the Styles and the Songs (see page 47). Audio input controls Here you will control the audio inputs, the voice and guitar effects, and the voice harmonization and doubling.
Introduction |13 Rear panel The rear panel is where you can find the various connections (see page 15). Holes for the music stand Connectors Battery and Video microSD slot out USB ports Power connector Pedals MIDI ports Audio outputs Audio inputs Music stand A music stand is included with your Pa1000. Insert its legs into the two dedicated holes on the rear panel. Power connector Use this socket to plug in the supplied IEC power cable.
14| Let’s start! USB ports Use these connectors to connect your Pa1000 to a personal computer or a tablet (DEVICE) or to connect an USB memory device, like an USB pendrive, or another musical instrument to be used as a controller (HOST-R). Pedal connectors Use the DAMPER connector to connect a damper pedal, and the ASSIGNABLE connector to connect either a continuous pedal or footswitch.
Setting up the pedals, audio connections, music stand 02 |15 Setting up the pedals, audio connections, music stand Connecting the pedals Connecting the damper pedal Use the PEDAL > DAMPER connector to connect a damper pedal, like the (optional) KORG PS1, PS3 or DS1H. The DS1H pedal supports all the nuances of half-pedaling on some acoustic piano sounds. You can experiment how it works by gradually pressing it down, and gradually releasing it, while playing the Concert Grand Sound.
16| Let’s start! Turning the integrated speakers on and off The integrated speakers are automatically deactivated when inserting a jack into the PHONES connector. They can also be deactivated from the display. Turn the speakers off (or back on) 1 Go to the Global > Audio & Video > MP3/Speakers page. 2 Use the Speakers On/Off checkbox to turn the integrated speakers on or off. 3 Press the EXIT button to return to the previous page.
Setting up the pedals, audio connections, music stand |17 Use either the LEFT or RIGHT connector to output a mono signal. Adjust the output level with the MASTER VOLUME knob. If they are not deactivated, the integrated speakers will work in parallel with the main audio outputs. Installing the music stand A music stand comes with your Pa1000. Insert its legs into the two dedicated holes on the rear panel, as shown in the following illustration. Please note that the latest 0,5 cm (0.
18| Let’s start! 03 Powering up Turning the instrument on Connecting the power cable Plug the supplied power cable into the AC IN socket on the back of the instrument, and the cable plug into a wall power socket. When the cable is connected, the instrument is in standby. Warning: When the instrument is in standby, it is still connected to the power line. Accessing the inside of the instrument can be dangerous.
Powering up |19 Calibrating the touch screen Calibrating the display It may happen (for example, after loading a new operating system) that the Color TouchView™ display has to be recalibrated, to make pointing more accurate. Warning: Do not use sharp objects, or you will damage your screen! 1 Keep the GLOBAL button pressed, until the Touch Panel Calibration page appears. 2 First touch exactly inside the set of arrows in the upper left corner of the display.
20| Let’s start! Adjust the display brightness Brightness can be adjusted to match the ambient’s light. ▪▪ Keep the MENU button pressed, and use the VALUE control to adjust the display brightness. Tilting the display For optimal visibility under any seating position, the display’s tilt angle can be adjusted. Lifting the display 1 Slide the UNLOCK slider toward the left to unlatch the display. 2 When the display is unlatched, adjust the tilt angle by letting it click it at one of the stepped positions.
Powering up |21 Listening to the Demo Songs Access the Demo mode ▪▪ Press the DEMO buttons together. Listen to all the Demo Songs ▪▪ After accessing the Demo mode, do not press any button. All the Demo Songs will be played back. Choose a single Demo Song ▪▪ Touch one of the options on the display (Songs, Sounds, Styles), then choose one of the Demo Songs. Exit from the Demo mode ▪▪ Press any of the MODE buttons.
22| Let’s start! 04 Interface basics The main page The Main page of the Style Play mode appears when turning the instrument on. You can return to this page by pressing the EXIT button while in Style Play mode, or the STYLE PLAY button when in a different mode.
Interface basics |23 The user interface in detail Display and user interface elements Color TouchView graphical user interface Pa1000 features our exclusive easy-to-use TouchView™ graphic interface, based on a touch panel LCD screen. By touching items on the LCD screen, you can select pages, tabs, and parameters, and set parameter values via on‐screen menus and buttons. Operative modes The pages of Pa1000 are grouped in various operating modes.
24| Let’s start! Pages and tabs Parameters are grouped into separate pages, to be selected by touching the corresponding tabs on the lower area of the display. Overlapping windows Several windows, like the Style Select or Sound Select, the Global, the Media, or the Lyrics, overlap the current window. After you select an item in the window, or press the EXIT button, the window closes, and the underlying page is shown again. (The following example is the Keyboard Set Select window).
Interface basics |25 Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected). Pop-up menus When a down-pointing arrow appears next to a parameter name, touch the arrow to open the pop-up menu and choose an option from there (by touching the option, or scrolling the list with the VALUE control). As an alternative, touch the parameter name and use the VALUE control to scroll the list of options.
26| Let’s start! When the Name label is selected on top of a list, keep the SHIFT button pressed while touching one of the arrows on the scrollbar, to jump to the next or previous alphabetic section.
Interface basics |27 Parameters Checkboxes This kind of parameters are on/off switches. Touch them to change their status. On Off Editable names When the Text Edit ( ) button appears next to a name, touch it to open the Text Edit window and edit the name. The virtual keyboard works exactly as a personal computer’s keyboard. Some of the symbols are context-sensitive, and only appear when they can actually be used.
28| Let’s start! As an alternative, touch a numeric field and keep it held. Then move your fingers up (or right) to increase the value, or move it down (or left) to decrease it. This also includes the Tempo numeric field in various pages. Icons Various icons help identifying the type of a file, a folder, a Song. For example: Icon Meaning Folder File of Style bank MID file Selected, highlighted items Any operation on parameters, data or list entries, is executed on highlighted items.
Interface basics |29 Virtual controllers Virtual sliders To change a virtual slider’s position, touch it and keep it held, then slide up or down to change its position. As an alternative, touch it, then use the VALUE control to change its position. Virtual knobs To change a virtual knob’s position, touch it and keep it held, then slide your finger up (or right) to rotate it clockwise, or slide it down (or left) to rotate the knob counter-clockwise.
30| Let’s start! Navigating through the pages Going to a page Through this manual, page addresses are shown as in the following example: Style Play > Mixer/Tuning > EQ Gain Mode Edit section Page Here is how the above works: 1 Press the STYLE PLAY button to go to the Style Play mode. When the instrument turns on, it is already in this mode (this the Main page of the Style Play mode). 2 Press the MENU button on the control panel to see the edit menu of the Style Play mode.
Interface basics 3 |31 Touch the Mixer/Tuning button in the edit menu to choose the Mixer/Tuning section. The selected edit section is always shown in the title bar: Mode Edit section 4 If the page is not yet shown in the display, touch the EQ Gain tab to choose the EQ Gain page. 5 Edit the parameters.
32| Let’s start! 6 Try a different page in the same edit section. Touch the Volume/Pan tab to go to the Volume/Pan page, and edit the parameters. 7 Press the EXIT button to return to the main page of the Style Play mode. If you were in Song Play mode, pressing EXIT would have returned to the main page of the Song Play mode.
Interface basics |33 Selecting the musical resources Opening a Select window When you press one of the STYLE or KEYBOARD SET LIBRARY buttons, or touch the name of a Keyboard Set, Style, Sound, Pad or Voice/Guitar Preset in the display, the corresponding Select window appears. For example, this is the Sound Select window: Type Sounds Groups Groups Pages Previous/Next Pages You can always exit from this window by pressing the EXIT button.
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Part II: PLAYING AND SINGING |35
36| Playing and singing
Playing the Sounds 05 |37 Playing the Sounds Sounds and Keyboard Sets Sounds are the basic element of what you hear from your instrument. Pa1000 contains Sounds from any instrumental family (pianos, strings, synthesizers…). A set of Sounds playing together on the keyboard can be memorized as a Keyboard Set. To automatically recall Sounds and settings, you usually select a Keyboard Set.
38| Playing and singing Choosing your preferred set of Sounds Choosing the ‘My Setting’ Keyboard Set ▪▪ Press the MY SETTING button to choose your preferred Sounds. This is a special Keyboard Set, that is automatically selected when the instrument is turned on. The My Setting Keyboard Set My Setting is a special Keyboard Set, where you can save your preferred settings for things like Keyboard Sounds, Effects, Assignable Switches, a Style to be selected on startup.
Playing the Sounds |39 Choosing the Keyboard Sets Choosing a Keyboard Set from the library Keyboard Sets are contained in a dedicated library, that you can access from the control panel or from the display. Open the Keyboard Set Select window from the control panel 1 Be sure the SET LIST indicator is turned off. 2 Press one of the buttons of the KEYBOARD SET LIBRARY section. You will notice that each of them has an instrument family name printed over it.
40| Playing and singing As soon as you press the button or touch the display, the Keyboard Set Select window appears. Select a Keyboard Set 1 To choose one of the available types of Keyboard Sets, touch the buttons at the top of the window. Type of Kbd Set Meaning Factory Keyboard Sets included at the factory, that cannot be modified. Local Some models could include Local-type Keyboard Sets, that are Factory data customized for a particular country.
Playing the Sounds |41 2 In case you want to choose a different group of Keyboard Sets, either press a different button in the KEYBOARD SET LIBRARY section, or touch one of the tabs on the sides of the Keyboard Set Library Select window. 3 To choose one of the available pages in the selected Keyboard Set group, either touch one of the P1…P6 tabs at the bottom of the window, or repeatedly press the button of the selected group of Keyboard Sets in the KEYBOARD SET LIBRARY section of the control panel.
42| Playing and singing 4 Touch the name of the Keyboard Set you want to choose. 5 If you want to close the Keyboard Set Library Select window (and it does not close by itself), press the EXIT button. In the end, you will see the name of the selected Keyboard Set in the dedicated area of the Main page. The Sounds assigned to the keyboard (shown in the right half of the display) will change.
Playing the Sounds |43 Choosing a Keyboard Set from a Style or a SongBook Entry There are four matched Keyboard Sets in each Style or SongBook Entry, fine-tuned for the containing Style or SongBook Entry. You can choose them from the control panel or from the display. Choose a Keyboard Set from the control panel ▪▪ Press one of the buttons in the KEYBOARD SET section under the display. Select a Keyboard Set from the display 1 While in the Main page, be sure the Kbd Set pane is selected.
44| Playing and singing Display Hold You may prefer to leave a Select window open after you have chosen a Sound, Keyboard Set or Style, to continue trying other elements in that window. Or, you may prefer it automatically closes after you have completed your choice. This is determined by the Display Hold parameter. Turn the Display Hold parameter on or off 1 Go to the Global > General Controls > Interface page.
Playing the Sounds |45 Playing and controlling the Sounds Playing the keyboard The instrument’s keyboard is like a piano keyboard. Just play it! With some Sounds, you can press the keys while they are down, and the sound might vary (for example, you might hear more vibrato). Using the pedals Pedals do different things depending on how they are programmed. The Damper pedal is just that – a damper pedal, sustaining notes until you release the pedal.
46| Playing and singing Using the joystick Moving the joystick left of right usually changes the Sound’s pitch. Moving it forward usually trigger modulation, but this depends on the selected Sounds. With the electro-mechanical organs, pushing the joystick forward changes the rotary speaker’s speed. What it does when pulled back depends on the selected Sounds.
Tempo and Metronome 06 |47 Tempo and Metronome Tempo Setting the Tempo value While an optimal Tempo value is saved with each Style or Song, you can freely adjust it at your will. This will also set the Tempo for the Metronome. Adjust the Tempo value from the control panel ▪▪ Use the TEMPO controls to adjust the Tempo value (or the speed of the MP3 Song). As an alternative, for bigger Tempo changes, keep the SHIFT button pressed and use the VALUE control.
48| Playing and singing Visual Tempo count while the Style is not playing While the accompaniment is not playing, the current Tempo is still beaten by the indicator of the START/STOP button. Tapping the Tempo value In Style Play mode, you can ‘tap’ (beat) the Tempo value. ▪▪ While the accompaniment is not playing, beat the Tempo on the TAP TEMPO button. Beat as many times as indicated by the Meter numerator (for example, three times in 3/4).
Tempo and Metronome |49 Metronome Turning the metronome on and off Turn the metronome on ▪▪ Press the METRONOME ( ) button to turn its indicator on. The Metronome window will open, and the metronome will start playing, beating the current Tempo. Turn the metronome off ▪▪ Press the METRONOME ( will stop. ) button to turn its indicator off. The metronome Setting the meter, accent and volume You can mark the beginning of the measure, by setting the meter and accent.
50| Playing and singing Turn the accent on or off ▪▪ Choose the accent by using the Accent parameter. Accent Meaning Off No accent. On The first beat of each measure is accented. Bell A bell sound is heard at the first beat of each measure. Adjust the metronome volume ▪▪ Adjust the metronome volume by using the Volume parameter. Exit the Metronome window ▪▪ Press the METRONOME ( nome.
Playing the Styles 07 |51 Playing the Styles Choosing the Styles Choosing a Style You can choose a Style from the control panel or from the display. Go to the Style Play mode ▪▪ When turning the instrument on, you are already in Style Play mode. If you are not, press the STYLE PLAY button in the control panel. ▪▪ If you are not in the Main page of the Style Play mode, press the EXIT button to return there.
52| Playing and singing Open the Style Select window from the display ▪▪ Touch the name of the Style in the display. Choose a Style 1 Browse through the Styles in the Style Select window. ▪▪ To choose one of the available types of Styles, touch the buttons at the top of the window. Type of Styles Meaning Factory Styles included at the factory, that cannot be modified. Local Some models could include Local-type Styles, that are Factory data customized for a particular country.
Playing the Styles Label Meaning Fty Factory Usr Internal User Dir Direct User |53 ▪▪ To choose a different group of Styles, touch one of the tabs on the sides of the window. ▪▪ To choose one of the available pages in the selected Style group, touch one of the P1…P6 tabs at the bottom of the window. As an alternative, press again the same STYLE button. 2 Touch the name of the Style you want to choose.
54| Playing and singing What is a Style? Styles are collections of musical patterns in a particular music genre – or ‘musical style’ – offering an eight-parts automatic accompaniment, similar to an eight-member band playing with you. Chords you play on the keyboard will be recognized and will adapt the patterns to suit the music. Different sections can be selected to let you create a complete song in realtime. Accompaniment parts Accompaniment parts are like the members of a band.
Playing the Styles |55 Letting Styles choose the Keyboard Sounds Choosing a Style might automatically choose Keyboard Sounds. This depends on the STYLE TO KBD SET indicator (KBD SET = Keyboard Set). STYLE TO KBD SET indicator Meaning Off Styles do not select a Keyboard Set. On When choosing a Style, Keyboard Set 1 is automatically selected. Blinking Choosing a Variation automatically recalls the corresponding Keyboard Set (1 – 4) inside the Style.
56| Playing and singing Playing a manual accompaniment (Bass & Lower Backing) You can play a simple manual accompaniment, where the chord you play with your left hand is split between the Bass (chord root) and Lower (the remaining notes) Sounds. Playing the manual accompaniment 1 Be sure the Bass & Lower Backing function is active. When it is, the Backing icon appears in the Lower Sound’s area. If the icon does not appear, see below how to activate it.
Playing the Styles |57 Playing the automatic accompaniment Starting and stopping the accompaniment You can manually start and stop the accompaniment. Start the accompaniment 1 Press the START/STOP button. 2 Play some chords with your left hand, while playing a melody with your right hand. On the START/STOP button, a red indicator will mark the first beat, while a green indicator will mark the other beats of the measure.
58| Playing and singing Make the accompaniment start and stop automatically (Synchro Start and Stop) 1 Be sure the SYNCHRO > START indicator is turned on. 2 Press the SYNCHRO > STOP button, to light up both the START and STOP indicators. 3 Play a chord to start the accompaniment, and keep the keys pressed. 4 Lift your hands from the keyboard, and see how the accompaniment will automatically stop.
Playing the Styles |59 to start. The button’s indicator on the selected VARIATION button will be flashing, meaning it is booked after the Intro. 3 Start the accompaniment. Choosing a Variation to play a Verse or Chorus Variations can be used for verses, choruses, bridges or specials. To choose the right Variation for your verse, please note that Variations are of growing ‘density’ and ‘loudness’.
60| Playing and singing Turn the Auto Fill function off ▪▪ When you no longer need this function, press the AUTO FILL button again to turn the indicator off. Programming the Auto Fill You can program how the Auto Fill works. 1 Go to the Global > Mode Preferences > Style 1 page. As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page. 2 3 Use the Auto Fill menu to choose the Auto Fill mode.
Playing the Styles |61 Choosing a Break A break introduces a short pause in your song, creating a suspension and a sense of surprise. Style Element Suggested use Break One-measure break ▪▪ When the Variation is nearing its end, press the BREAK button to play a short musical break. Choosing an Ending To choose the right Ending for your song, please note that Ending 1 plays a sequence with a prerecorded chord sequence and melody, while Ending 2 plays on the chord recognized on the keyboard.
62| Playing and singing Exit from the loop Do one of the following: ▪▪ Press the same Style Element button again, or ▪▪ Select a different Style Element. Keep a Style Element looping while its button is pressed ▪▪ Keep an Intro, Break or Ending button pressed to loop it. Release it when you want the Style Element to exit from the loop. ▪▪ If the Auto Fill function is turned on, keep a Variation button pressed to loop the corresponding Fill.
Playing the Styles |63 Adjusting the accompaniment volume Balancing the accompaniment against the keyboard While playing, you may want to balance the Keyboard Sounds against the Accompaniment Sounds, to make the soloist stand out of the background or go back in the mix. Balance the Accompaniment against the Keyboard Sounds ▪▪ While the accompaniment is playing, use the BALANCE knob to balance between the Accompaniment (Style) and the Keyboard (Keyboard Set) Sounds.
64| Playing and singing Making the accompaniment sparser You can easily turn off any of the accompaniment groups by using the Play/ Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone. If you only want to listen to Drums and Percussions, press the CHORD SCAN buttons on the control panel to turn their indicators off. Press them again to reactivate all the accompaniment sounds.
Playing the Styles |65 Manually playing the Bass line You can play the Bass Sound with your left hand, freeing it from the automatic accompaniment. Turn the Manual Bass function on ▪▪ Press the MANUAL BASS button to turn its indicator on. The automatic accompaniment will stop playing (except for the Drum and Percussion Sounds), and you can manually play the Bass line on the Lower part of the keyboard. When in Manual Bass mode, the volume level of the Bass Sound will be automatically increased.
66| Playing and singing 08 Playing the Pads Choosing the Pad sets Choose the Pads by selecting a Style ▪▪ Choose a Style. The four Pads it contains will be selected. Choose the Pads by selecting a SongBook Entry ▪▪ Choose a SongBook Entry. The four Pads it contains will be selected. What is a Pad? Pads are single-track hits or sequences, that you can instantly play with the dedicated PADS buttons.
Playing the Pads |67 Playing the Pads Starting and stopping the Pads You can play up to four Pads at the same time, by using the dedicated PADS buttons on the control panel. Play the Pads ▪▪ Press one or more PADS buttons to trigger the Pads. ▪▪ Play some chords, and transpose any Pad of the Sequence type. Stop a single Pad ▪▪ Press a PADS button to stop the corresponding Pad. Stop all Pads at the same time ▪▪ Press the PADS > STOP button to stop all the Pads.
68| Playing and singing 09 Playing the Songs Choosing the Songs Choosing a Song Switch to the Song Play mode Press the SONG PLAY button. Title bar Page menu Selected Song (Player 1) Selected Song (Player 2) Selected Style Right-hand/ Upper Sounds Selected Keyboard Set Left-hand/ Lower Sound Tabs recalling other panes Keyboard Set pane Open the Song Select window from the control panel ▪▪ Press the SELECT button in the PLAYER 1 or PLAYER 2 section.
Playing the Songs |69 Open the Song Select window from the display ▪▪ Touch the name of the Song on the display. You can choose either Player 1 (PLY1) or Player 2 (PLY2) to play the Song. Browse through the Songs While in the Song Select window, browse through the files to find the Song you are looking for. Current path Device ▪▪ Choose a storage device by using the Device menu. If the Song is contained in an external USB device, connect the device to one of the USB HOST port.
70| Playing and singing ▪▪ Jump to the folder/directory, containing the Song currently assigned to the Player, by touching the Locate button. Jump to a different alphabetical section 1 If it is not selected, touch the Name label on top of the list. 2 Keep the SHIFT button pressed and touch one of the arrows of the scrollbar to jump to the previous or next alphabetical section.
Playing the Songs |71 What is a MIDI Song MIDI Songs’ jargon name is Standard MIDI File, often abbreviated as SMF. The filename extension is .mid. The Standard MIDI File is the industry standard format for songs, and is used by Pa1000 as the native file format when playing and recording MIDI Songs. The MIDI Karaoke File (.kar) is an extension of the SMF format, and is also supported. It always contains lyrics.
72| Playing and singing Showing the ID number 1 Open the Song Select window. 2 Touch the page menu icon to open the menu, then touch the Show Song Number item to show (or hide) the ID numbers. The Song’s ID number will appear before each Song’s name in the Song Select window. Choosing a Song by number 1 Open the numeric keypad. ▪▪ While in the Song Select window, press the SELECT button. ▪▪ While in any page of the Song Play (or Style Play) mode, press the SELECT button twice.
Playing the Songs |73 Playing a Song Starting, stopping and controlling the Player Pa1000 features two sets of Player controls, one for PLAYER 1 and the other for PLAYER 2. Use the one or the other depending on the Player the Song is assigned to. Set the right mix ▪▪ Move the X-FADER fully toward the Player you want to listen to. Move it fully to the left for Player 1, to the right for Player 2. Start the Player ▪▪ Press the PLAY/STOP ( ) button.
74| Playing and singing ▪▪ Press the PLAY/STOP ( tor will turn on again. ) button again to resume playback. The indica- Stop the Player and return to the beginning of the Song ▪▪ Press the HOME ( ) button to stop the Player and move to the beginning of the Song. The button’s indicator will turn off. Fade In/Out You can start and/or stop a Song with a smooth fade-in or fade-out.
Playing the Songs |75 Mixing two Songs Assign a Song to each of the Players ▪▪ Either use the SELECT buttons in the PLAYER 1 or PLAYER 2 sections, or touch the name of the Song in the display. The full procedure is described above. Start both Players at the same time ▪▪ Keep the SHIFT button pressed, and press any of the two PLAY/STOP ( buttons to start both Players at the same time. ) Mix the two Players ▪▪ During playback, move the X-FADER slider to mix the two Songs.
76| Playing and singing Playing along with the Song Playing the keyboard Play along with the Song ▪▪ While the Song is playing, play on the keyboard. Choose different Sounds from the Keyboard Set Library ▪▪ Choose a different Keyboard Set from the KEYBOARD SET LIBRARY section of the control panel, or by touching the KBD area in the Main page. Choose different Sounds from the Style or SongBook Entry ▪▪ The latest Style or SongBook Entry you selected contain up to four Keyboard Set.
Playing the Songs |77 Muting a Song’s Sound with an assignable switch or footswitch You can mute the melody of a Song by assigning the Song Melody Mute function to an assignable switch or footswitch. This function mutes a track defined as the melody track. If the Song has the melody part assigned to the same track number, you can mute or unmute it by using the assigned switch or footswitch. ▪▪ To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page.
78| Playing and singing Transpose the Songs to play in an easier key You may want to play on the keyboard in an easier key, and transpose a Song in the same key, without transposing the keyboard. Activate transposition on the Players only 1 Go to the Global > Tuning > Transpose Control page. 2 Activate Transpose on the Player, and deactivate it on the Style and Keyboard tracks. Transpose the Songs ▪▪ Use the TRANSPOSE buttons on the control panel.
Playing the Songs |79 Adjusting the volume levels Balancing the Songs against the keyboard While playing, you may want to balance the Keyboard Sounds against the Songs, to make the soloist stand out of the background or go back in the mix. Balance the Songs against the keyboard ▪▪ While the Songs are playing, use the BALANCE knob to balance between the Songs and the Keyboard (Keyboard Set) Sounds.
80| Playing and singing Playing all the Songs in a folder When playing all the Songs in a folder, use the PLAYER 1 controls. Open the Song Select window from the control panel ▪▪ Press the SELECT button. Open the Song Select window from the display ▪▪ Touch the name of the Song in the display. Select the folder containing the Songs to play 1 Browse through the files, until you find the folder containing the Songs to play, and open it.
Playing the Songs |81 Move through the Songs ▪▪ Jump to the next Song in the list by keeping the SHIFT button pressed and pressing the FAST FORWARD ( ) button. ▪▪ Jump to the previous Song by keeping the SHIFT button pressed and pressing the REWIND ( ) button. ▪▪ Press the HOME ( ) button to go back to the beginning of the current Song. Save the list as a Jukebox file ▪▪ If you want to save the list, go to the Song Play > Jukebox Editor edit page and save it as a JBX file.
82| Playing and singing Playing a Jukebox list Creating and editing a Jukebox list Create a Jukebox list 1 Go to the Song Play > Jukebox Editor page. 2 If a list of Songs already exists (because you selected an existing Jukebox file, or used the Song Select > Play All function), touch the Del All button to delete all from the list. 3 Touch the Add or Insert button to open the Song Select window. ▪▪ Add will append a Song at the end of the list.
Playing the Songs |83 ▪▪ Touch the Del All button to delete all Songs from the list. Save the Jukebox list 1 Touch the Save button to open the Save Jukebox File dialog. Please note that you can only save the JBX file in the same folder containing the Song files included in the list. The Jukebox file and Songs will have to be in the same folder. 2 While in the Save Jukebox File dialog, touch the Text Edit ( you want to assign the Jukebox file a new name.
84| Playing and singing Play the Jukebox list 1 While in the Main page of the Song Play mode, touch the Jukebox tab to show the Jukebox pane and see the list of Songs contained inside the selected Jukebox list. 2 Touch the name of the Song you want to start from, then touch the Select button to assign it to the Player. 3 Start and stop the Songs by pressing the PLAY/STOP ( ) button. All the Songs in the list will continue playing one after the other, until you don’t stop them.
Lyrics, chords, markers and score 10 |85 Lyrics, chords, markers and score Choosing one of the Players ▪▪ While in the Lyrics, Score or Markers page, you can touch either the Player 1 or Player 2 button in the title bar to select the corresponding Player. ▪▪ As an alternative, move the X-FADER slider fully to the left to only listen to and see the lyrics, chords, score or markers of Player 1. Move it fully to the right to only listen to and see the lyrics, chords, score or markers of Player 2.
86| Playing and singing Reading the lyrics and chords contained in a Song Reading lyrics and chords Open the Lyrics page ▪▪ Press the LYRICS button on the control panel. The Lyrics page will appear, and you will see the lyrics assigned to the selected Player. Read the lyrics ▪▪ While the Song is playing, lyrics contained in a MIDI or MP3 Song will automatically scroll in the display, in time with the music. Lyrics at the current position will be highlighted.
Lyrics, chords, markers and score |87 Showing chords You can show or hide the chord symbols that might be included as Lyrics events in the MIDI Songs. ▪▪ Be sure the Chord button appears pressed in the Lyrics page to see the chord symbols. Chord symbols (if any) will appear above the lyrics, in time with the music. ▪▪ Be sure the Chord button doesn’t appear pressed in the Lyrics page to hide the chord symbols.
88| Playing and singing Reading the lyrics and chords loaded as a text file If the text has been linked or loaded as a text (TXT) file, it will not scroll automatically while the Song is playing back. You can manually scroll it in one of the following ways. Scroll the text on the display ▪▪ Scroll the text by using the VALUE control or the vertical scrollbar. Scroll the text with a footswitch 1 Go to the Global > Controllers > Foot page, and assign the Text Page Next commands to the footswitch.
Lyrics, chords, markers and score |89 Linking text files to SongBook Entries Lyrics and chords may be contained in a TXT file linked to a SongBook Entry. The same formatting rules described above apply. See Linking text files to SongBook Entries on page 89 for more information. On-the-fly loading of Lyrics and chords from an external text file When no lyrics or chords are contained or associated to the Style or Song, you can load a text (TXT) file after having chosen a Style or Song.
90| Playing and singing Reading the lyrics and chords loaded as a CDG file CDGs are graphic files that change in time with the associated MP3 Song. Read the lyrics and chords in the CDG file ▪▪ Be sure the CDG button appears pressed in the Lyrics page. Loading a CDG file with the same name of the Song Lyrics and chords may be contained into MP3 Songs as a CDG graphic file with the same name of an MP3 Song (MP3+G Song format). For example, if a “MySong.cdg” file exists in the same folder as the “MySong.
Lyrics, chords, markers and score |91 Moving through a Song with the markers Using the markers Song Marker events that might be contained in a MID file (that is, a MIDI Song) can be read by Pa1000. They are immediately shown in the Markers page. Open the Markers page ▪▪ While in Song Play mode, press the MARKER button. Jump to a marker 1 If you like, start the Player by pressing the PLAY/STOP ( ) button. You can jump to a marker even if the Player is not running.
92| Playing and singing Usually, you will create the marker one or two measures before the actual starting point. 3 When you reach the end of the point you need practicing, touch the Add button to create a second marker. 4 Select the first marker, then select the Loop checkbox to repeat (loop) between the first and second marker. 5 If you no longer need them, delete the markers. In any case, they will be automatically removed when choosing a different Song or turning off the instrument.
Lyrics, chords, markers and score 3 Do the same for any following marker. 4 Stop the Player by pressing the PLAY/STOP ( |93 ) button. Delete markers 1 Touch the marker to be deleted in the markers list. 2 Touch the Delete button to delete the selected marker. 3 Save the markers (as described below). Edit the name and position of a marker 1 Touch the marker to be edited in the markers list. 2 Touch the Edit button to start editing the marker. The Edit Marker window will appear.
94| Playing and singing Reading the music score Creating and reading the music score Create the music score 1 Choose a MIDI Song to play with the selected Player. 2 Press the SCORE button to open the Score page. A score of the selected track will be generated. Depending on the content of the track, either notes or chords are shown in the staff.
Lyrics, chords, markers and score Clef Meaning Treble Standard Treble clef. Treble+8 Treble clef with transposition one octave upper. Treble-8 Treble clef with transposition one octave lower. Bass Standard Bass clef. Bass-8 Bass clef with transposition one octave lower. |95 Exit from the Score page ▪▪ When done with the score, press either the SCORE or the EXIT button.
96| Playing and singing Read the note names ▪▪ Touch the Note button to make the note name appear or disappear next to each note. Choosing the chords and note names language Chords and note names are shown either according to the English (A, B, C…) or Italian (Do, Re, Mi…) system, depending on the selected language. ▪▪ Go to the Global > General Controls > Interface page, and use the Language parameter to change the language.
Searching for files and other items 11 |97 Searching for files and other items Using the Search function Searching Depending on the page, you can search for different types of data. For example, while in the Media pages you can only search for files, while in Style Play or Song Play mode you can search for several different types of data (Styles, Songs, Lyrics…).
98| Playing and singing Choose the type of data to look for ▪▪ If needed, use the Type menu to choose the type of item you are looking for. Choose a storage device and folder When searching for Files, Songs or Lyrics, you can choose a storage device and folder where to focus your search. When one of the above types are chosen, the Browse button will be activated. 1 Touch the Browse button to open the File Selector.
Searching for files and other items |99 Type the name and start searching 1 Type the name of the item you are looking for. There is no difference between upper and lower cases (“LOVE” is the same as “Love” or “love”). 2 When finished entering the name, touch the Search button. After a while, the list of items found will start showing on the display. The time needed to complete a search depends on the type and size of the device(s) and the number of items. Only one search at a time can be carried on.
100| Playing and singing Exit from the Search window without stopping the Search operation ) ▪▪ Touch the Cancel button in the display, or press the EXIT or SEARCH ( button on the control panel, to exit from the Search window and carry on other operations. The search will continue in the background. Ask info for an item ▪▪ Touch one of the items found to select it, then touch the Info button to see relevant information. Touch OK to close the Info dialog.
Searching for files and other items |101 A note about searching: the wildcards While searching, the string entered will be searched as a whole word or as part of a word. For example, if you entered “love”, the function will find “Love” and “LoveSong”, or any other word containing the string “love”. You can use the wildcards “?” (any single character) and “*” (any sequence of characters) to search exactly for that string. For example, “*love” will find “MyLove”, but not “LoveSong”.
102|
Part III: SONGBOOK |103
104| SongBook
Using the SongBook 12 |105 Using the SongBook Choosing the SongBook Entries What is the SongBook? The basic idea behind the SongBook is that you always start from a song. By choosing an Entry from the SongBook, you choose a template for that song. Everything you need (style, song, sounds, voice or guitar effects, lyrics, key, tempo value) is there at the touch of a single button.
106| SongBook Choosing the SongBook Entries from the Book list A large database is already included with the instrument. You may browse through this database and choose a SongBook Entry. Choose a SongBook Entry 1 While you are in Style Play or Song Play mode, press the SONGBOOK button to open the Book page. 2 Browse through the Entries. Use the scrollbar or the VALUE control to scroll.
Using the SongBook |107 Pads and Keyboard Sets will also be recalled. Keyboard Set #1 will be selected. Any TXT file associated with the Entry will be shown in the Lyrics page. A Voice/Guitar Preset will also be recalled. 4 Use the START/STOP or PLAY/STOP ( back of the selected Style or Song. ) button to start and stop play- Identifying the type of Entry The icons in the Type column will help you identify the Entry. Type Meaning Style-based Entry.
108| SongBook Choosing the columns seen in the page Due to space constraints, not all labels can be seen on top of the lists. You can decide what to show in the SongBook lists. Please note that the Artist and Key fields of all the supplied Entries have been intentionally left empty. Choose one of the label combinations 1 Choose the Preferences command from the page menu to open the Preferences dialog. 2 Use the Columns menu to choose the set of columns to be shown.
Using the SongBook |109 Filtering the Entries When you are looking for a particular artist, genre or other categories, you may ‘filter’ the list to only see the type of Entries you are looking for. Please note that you can also find items inside the SongBook database by pressing the SEARCH button on the control panel, but while the Search function only searches for names, the Filter function allows for a more refined search on multiple parameters at the same time.
110| 3 SongBook If you like, select a Meter and/or a range of Tempo values to be included in your filter criteria. Delete the filter criteria you don’t need ▪▪ Touch the Clear button to delete the text string or reset the parameter to a default value. ▪▪ Touch the Clear All button to reset all filter criteria. Confirm the filters ▪▪ When done editing the filter parameters, touch the OK button to close the Filter dialog and return to the Book page.
Using the SongBook |111 Getting information on the SongBook Entries You can see some statistical information on the selected SongBook Entry, to see the name of the Entry, the associated Style or Song, the total number of Entries in the SongBook database, the number of filtered Entries in the Book page, the number of available Set Lists, and the number of Entries in the selected list. 1 While in the SongBook, choose an Entry. 2 Go to the SongBook > Info page.
112| SongBook Choosing the SongBook Entries by Song Number You can select a SongBook Entry by entering its unique Song ID Number. Numbers associated with each Entry can be programmed in any of the SongBook Entry edit pages. (See Editing the Song Selection Number on page 125 for more information). To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.
Using the SongBook |113 Editing an existing MIDI Preset You can program or edit your own MIDI Preset for selecting SongBook Entries. A special MIDI channel used as the Control channel is needed to send MIDI messages to select the SongBook Entries, or to receive MIDI messages when selecting them. Configure the Control channel 1 Go to the Global > MIDI > General Controls page and choose a MIDI Preset to be used as a starting point.
114| SongBook ▪▪ Send the following string to select SongBook Entry #100: Initialization string (CC#99, 98) Thousands and hundreds (01xx) Tens and units (xx00) ▪▪ Send the following string to select SongBook Entry #2563: Initialization string (CC#99, 98) Thousands and hundreds (25xx) Tens and units (xx63) Sending MIDI messages when selecting SongBook Entries When the special Control channel is assigned to one of the MIDI OUT channels, MIDI messages are sent on this channel when choosing a SongBook Ent
Using the SongBook |115 Using the Set Lists What are the Set Lists? Set Lists are selections from the full Book list. They allow for smaller, customized lists, suitable for a single gig or your own music preferences. We already included some example lists, that you can use for your own shows. Choosing either the Tile View or List View Set Lists can be used in Tile View or in List View. In Tile View, songs are shown as pages of tiles, and assigned to the SET LIST buttons on the control panel.
116| SongBook 2 Be sure you are in Tile View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it. 3 Use the List pop-up menu to select one of the available Set Lists. The songs in the selected set are assigned to the SET LIST buttons on the control panel. Choose a page The songs in the selected Set List are organized in ‘pages’ of nine (each page matches the SET LIST buttons).
Using the SongBook |117 Songs are assigned to the buttons whose indicator is turned on. Each row of tiles corresponds to a group of three buttons. The indicator on the selected song blinks. Indicator status Meaning Off No song assigned. On Song assigned. Blinking Song selected. Choose the Set List from the display 1 Be sure you are in the SongBook > Set List page. 2 Touch one of the tiles in the display, to choose the corresponding song.
118| SongBook Playing a Set List from the List View The List View shows the selected Set List as a plain list of songs. Select the Set List 1 Press the SET LIST button to open the SongBook > Set List page. 2 Be sure you are in List View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it. 3 Use the List pop-up menu to select one of the available Set Lists. The list of songs in the selected Set List will appear.
Editing the SongBook 13 |119 Editing the SongBook Creating and editing the SongBook Entries Creating a new SongBook Entry You can add your own Entries to the SongBook database. Choose the Style or Song 1 Go to the Style Play or Song Play mode, depending on the type of Entry you want to add to the SongBook database. 2 Select the Style or Song to be added to the SongBook. Assign the Song to Player 1 (only Songs assigned to Player 1 will be saved to the SongBook Entry).
120| SongBook Create a new SongBook Entry 1 Keep the SONGBOOK button pressed for about one second to create a new SongBook Entry. The Write Song dialog will appear. As an alternative, go to one of the SongBook Entry edit pages, and touch the New Song button, then the Write button. 2 While in the Write Song dialog, touch the Text Edit ( ) icon if you want to edit the name of the Entry, then touch OK to save the Entry to the SongBook database.
Editing the SongBook |121 Save over the existing SongBook Entry 1 Go to one of the SongBook Entry edit pages, and touch the Write button to save the settings into the selected SongBook Entry. Touch to Write the SongBook Entry 2 Choose the Rename/Overwrite option to write over the selected Entry. If you prefer to create a new Entry, choose the New Song option instead.
122| 2 SongBook Go to the SongBook > Write page, and touch the Style/Song > Select button to open the Style Select or Song Select window. Touch to choose a different Style or Song 3 Choose a different Style or Song. The Style/Song area will show the Style or Song you just selected. Replaced Style or Song 4 Be sure the Style/Song > Write checkbox is selected, to save the new Style or Song and replace the older one.
Editing the SongBook |123 3 Go to the SongBook > Write page. 4 Select the Keyboard Set > Write checkbox to save the new Keyboard Sets instead of the older ones. 5 Choose a single Keyboard Set location to save the Keyboard Sounds to the selected Keyboard Set inside the SongBook Entry. After choosing the target location you can give the Keyboard Set a new name. 6 If you don’t want to replace the Style or Song, or the Voice/Guitar Preset, be sure the other Write checkboxes are not selected.
124| SongBook 3 Go to the SongBook > Write page. You will see the Voice or Guitar Preset has been replaced. 4 Select the Voice/Guitar Preset > Write checkbox to save the new Keyboard Sets instead of the older ones. 5 If you don’t want to replace the Style or Song, or the Keyboard Sets, be sure the other Write checkboxes are not selected. 6 Touch the Write button to save over the existing SongBook Entry. Saving different Pads With each SongBook Entry, a reference to four Pads is saved.
Editing the SongBook |125 Editing the Song Selection Number Each SongBook Entry can have a unique ID number (up to 9,999). You can type them to quickly recall an Entry (see Choosing the SongBook Entries by Song Number on page 112 for more information). To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.
126| SongBook Editing the database tags The SongBook is a database. You can add to each SongBook Entry special archival data, or tags, that will later help in retrieving specific types of songs by using the SongBook > Book > Filter function. 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Tags page. 3 Edit the SongBook Entry’s database tags. Tag Style-based Entry MID-based Entry MP3-based Entry Genre Music genre associated with the Entry.
Editing the SongBook |127 Editing the Style controls (Synchro/Memory) With Style-based Entries, you can memorize the status of the Style’s Synchro and Memory function status. 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Controls/Lyrics page. 3 Edit the SongBook Entry’s Style controls. 4 Syncro Start / Synchro Stop / Memory status Meaning Unchanged When choosing this SongBook Entry, the status of the corresponding function will be left unchanged.
128| SongBook Linking a text file to the SongBook Entry You can add Lyrics to any Entry as a linked TXT file. Since there is no automatic synchronization between this type of Lyrics and the associated Style or Song, you must scroll them manually (as explained in Reading the lyrics and chords loaded as a text file on page 86). Link Lyrics as a TXT file 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Controls/Lyrics page.
Editing the SongBook |129 Creating and editing the Set Lists Enabling Set List editing Editing the Set Lists is not usually available, to protect Set Lists from accidental changes. Enable Set List editing ▪▪ While in the SongBook, select the Enable Set List Edit command from the page menu. ▪▪ If you will prefer to protect the Set Lists again after editing, deselect the Enable Set List Edit command from the menu. When the list can be edited, a new set of buttons will appear at the bottom of the page.
130| SongBook Select a Set List for editing 1 Go to the SongBook > Set List page. Choose either the List View or Tile View. 2 Use the List pop-up menu to select the Set List to edit. Add Songs to the selected Set List 1 Go to the SongBook > Book page. 2 Browse through the songs in your SongBook database. 3 When you see the song you are looking for, touch it, then touch the Add to list button to add it to the selected Set List.
Editing the SongBook |131 Move or delete songs from the selected Set List 1 Go to the SongBook > Set List page, and touch the song you want to move or remove from the list. 2 Edit the list. ) and Move > Up ( ) buttons on the display to ▪▪ Use the Move > Down ( move the selected Song to a different position in the list. ▪▪ Touch the Del Song button to delete the selected song from the Set List (the song will not, however, be deleted from the Book list).
132| SongBook Deleting a Set List 1 While in the SongBook > Set List page, use the List pop-up menu to select the Set List to delete. 2 Touch the Del List button to delete the selected Set List (the songs it contains will not be deleted from the Book list).
Editing the SongBook |133 Deleting all the SongBook Entries and Set Lists You may want to create you own Book list, removing all the default Entries and Set Lists. 1 Go to any of the SongBook pages. 2 Choose the Initialize SongBook command from the page menu, and confirm. Please note that this operation will permanently delete all the Entries and the Set Lists. To restore the original factory data, use the Factory Restore command in the Media > Utility page, and only select the SongBook.
134| SongBook Using the SongBook with a personal computer Additional software has been created to work together with the SongBook. Editing the SongBook with SongBook Editor You can use KORG’s own SongBook Editor to edit single Entries, the SongBook database and the Set Lists on a Windows PC. With SongBook Editor you can comfortably view and edit a SongBook file on your PC.
Part IV: CUSTOMIZING AND EDITING THE SOUND SETS |135
136| Customizing and editing the Sound sets
Customizing the Keyboard Sets 14 |137 Customizing the Keyboard Sets Playing different Sounds with the left and right hand Splitting the keyboard Split the keyboard into a Lower (left hand) and Upper (right hand) part ▪▪ Press the SPLIT button on the control panel to light up its indicator. The keyboard will be divided into a Lower (left hand) and Upper (right hand) part.
138| Customizing and editing the Sound sets Split, Keyboard modes, Sounds When changing the SPLIT status, the number of Sounds you hear may change. SPLIT indicator Keyboard mode Left hand (Lower) Sounds Right hand (Upper) Sounds Off Full No Lower Sound Up to three Upper Sounds assigned to the full extension of the keyboard On Split A single Lower Sound assigned to the left hand Up to three Upper Sounds assigned to the right side of the keyboard.
Customizing the Keyboard Sets |139 Memorize the local split point The local split point can be memorized into a Keyboard Set. Each Keyboard Set associated to a Style or SongBook Entry can have a different split point. ▪▪ Write the changes to a Keyboard Set. Changing the global split point The global split point is both the general setting you use when there is no ‘local’ split, and a ‘template’ from which to start setting the various local split points saved into the Keyboard Sets.
140| Customizing and editing the Sound sets ‘Global’ and ‘local’ (or temporary) split point You can choose a ‘global’ split point that is not changed when choosing a different Keyboard Set. Or you can choose a ‘local’ split point that is better suited to the individual Keyboard Set, and can change when selecting it. The ‘local’ split point is just temporary, and only becomes permanent when you write a Keyboard Set.
Customizing the Keyboard Sets |141 Playing two or three Sounds at the same time Turning the Keyboard Sounds on or off You can play up to three layered Sounds on the keyboard. This is useful to add, for example, a layer of Strings or Synth Pads to the Grand Piano sound. The Sounds will be assigned to the Upper part of the keyboard. When the SPLIT button indicator is turned off (Full Keyboard mode), the Upper parts will play on the full range of the keyboard, as it happens on an acoustic piano.
142| Customizing and editing the Sound sets Choosing different Sounds You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Keyboard Set. Follow the same procedure when choosing Sounds for the other Sound sets (Accompaniment and MIDI Song tracks, that can be written into the Style Settings or a MIDI Song). Open the Sound Select window from the display 1 Be sure to be in the main page of the Style Play or Song Play mode.
Customizing the Keyboard Sets |143 ▪▪ To choose one of the available types of Sound, touch the buttons at the top of the window. Type of Sound Meaning Factory Standard Pa1000 Sounds, that cannot normally be modified. These are the richest, most modern Sounds of the whole collection. Legacy Legacy Sounds allowing for greater compatibility with older Pa-Series instruments. Local Some models could include Local-type Sounds, that are Factory Sounds customized for a particular country.
144| Customizing and editing the Sound sets Mixing the Keyboard Sounds Adjusting the Sound’s volume At its core, Pa1000 is a mixer. As with any mixer, you can adjust the volume level of each Sound, therefore changing the balance between the different Sounds on the keyboard. Adjust a Sound’s volume from the display 1 While in the Main page, touch the Volume tab to select the Volume pane. Accompaniment Groups Keyboard Sounds 2 Touch the mixer channel whose volume level you want to change.
Customizing the Keyboard Sets |145 Turning the Sounds on or off from the Volume pane Sounds can be muted, in case you don’t want to hear them in the mix. Select the mixer channel ▪▪ Select the mixer channel to turn on or off. Turn a channel off (Mute) ▪▪ Touch the Play icon ( to mute ( ). ) in the mixer channel corresponding to the Sound Turn a channel on (Play) ▪▪ Touch the Mute icon ( to play ( ).
146| 2 Customizing and editing the Sound sets Choose the Solo Track command from the page menu. Deactivate Solo Do one of the following: ▪▪ While in any page where the mixer channels appear, keep the SHIFT button pressed, and touch the mixer channel that is currently in solo. ▪▪ Choose the Solo Track command from the page menu to deselect it.
Customizing the Keyboard Sets |147 Transposing the Upper Sounds to a different octave All Upper Sounds can be transposed to an upper or lower octave at the press of a single button. Transpose the Upper Sounds one octave up ▪▪ Press the UPPER OCTAVE + button on the control panel. Transpose the Upper Sounds one octave down ▪▪ Press the UPPER OCTAVE - button on the control panel. Reset the octave transposition ▪▪ Press both UPPER OCTAVE buttons together.
148| Customizing and editing the Sound sets Using the Ensemble to add harmony There are several types of Ensemble, but with most of them what you play with your right hand will be harmonized with the chords you play with your left hand. Turning the Ensemble on or off Turn the Ensemble function on 1 Be sure the SPLIT indicator is turned on. 2 Press the ENSEMBLE button to light up its indicator. Play chords with your left hand, and a melody with your right hand.
Customizing the Keyboard Sets 2 |149 Use the Type parameter to choose an Ensemble type. Ensemble type Meaning Duet Adds a single note to the melody. Close Adds a closed-position chord to the melody. Open 1 Adds an open-position chord to the melody. Open 2 As the above, but with a different chord shape. Block Block harmonization – very typical of jazz music. Power Ensemble Adds a fifth and an octave to the melody, as heard in hard rock.
150| 3 4 Customizing and editing the Sound sets When they appear, adjust the additional parameters. Additional parameters How it works Value Note Velocity Velocity (dynamics) difference between the melody played -10…0 with your right-hand and the added harmonization notes. Tempo Note duration for the Trill, Repeat or Echo Ensemble options. 1/23…4/4 This is in sync with the Tempo value. Feedback Repetitions of the original note/chord when the Echo option 1…8 is selected.
Advanced editing of the Sound sets 15 |151 Advanced editing of the Sound sets The editing procedure A – Choose a Sound set Sound sets are groups of Sounds that are selected all at the same time. Sound set Type Keyboard Sets (from the library) Sounds assigned to the keyboard, saved in the KEYBOARD SET LIBRARY. Keyboard Sets (from a Style) Sounds assigned to the keyboard, saved in the KEYBOARD SET section and selected with the Styles.
152| Customizing and editing the Sound sets Choose from a SongBook Entry the Keyboard Set whose Sounds and settings to edit ▪▪ Press the SONGBOOK button and choose a SongBook Entry; or press one of the SET LIST buttons to choose the corresponding SongBook Entry. Then choose the Keyboard Set (from the KEYBOARD SET section) whose Sounds you want to edit. Choose a Style whose Sounds and settings to edit ▪▪ Press the STYLE PLAY button, then choose the Style whose Sounds you want to edit.
Advanced editing of the Sound sets |153 B – Access editing 1 Press the MENU button to access editing and see the edit menu. 2 Choose an edit section and edit page to access the parameters. C – Choose a Sound to edit Most editing is to be done on the selected Sounds. Switch between the Keyboard and Style or Song Sounds ▪▪ Repeatedly press the TRACK SELECT button. The display will cycle between the Keyboard and the Style or Song Sounds.
154| Customizing and editing the Sound sets Mixing the Sounds The Volume/Pan page is the internal digital mixer of the instrument. Setting the Volume and Play/Mute status Access the Volume/Pan page ▪▪ Go to the Mixer/Tuning > Volume/Pan page, and find the Volume and Play/ Mute controls. Set the individual Sound’s Volume ▪▪ Keep a virtual volume slider held on the screen, and drag it to the desired level. As an alternative, use the VALUE control to change the volume level of the selected mixer channel.
Advanced editing of the Sound sets |155 Linking the Upper Sound volume sliders The Upper Sound volume sliders can be linked together, to proportionally change all Upper Sounds with a single slider. 1 Go to the Mixer/Tuning > Volume/Pan page. 2 Select or deselect the Upper Volume Link checkbox. Upper Volume Link Meaning On When you change the volume of one of the Upper Sounds, the volume of the other Upper Sounds is changed proportionally. Off You only move a single volume slider.
156| Customizing and editing the Sound sets Adding effects The FX processors Pa1000 includes both insert and master effects (‘effect’ is often abbreviated as FX). ▪▪ Insert effects (IFX) are assigned to a single Sound, and process the whole signal passing through. The most common insert effects are amp simulators, chorus or flanger, overdrive and distortion pedals, compressors, etc.
Advanced editing of the Sound sets |157 Sound/Channel FX Insert FX Group Master FX MIDI Song FX A Up to two (2), freely assignable Two (2), shared between all to any Sound. Up to two (2) ef- Sounds. fects can be assigned to a single Sound. MIDI Song made with a Pa1000 or a KORG PaSeries instrument FX A,B Up to two (2), freely assignable Two (2), shared between all to any Sound. Up to two (2) ef- Sounds. fects can be assigned to a single Sound.
158| Customizing and editing the Sound sets Choosing (and viewing) the FX group In Style Play and Song Play mode, the FX group is fixed and cannot be changed (you can only see it). In Sequencer mode you can freely choose it for each Song track. 1 Go to the Mixer/Tuning > Insert FX or FX Send page. FX group FX group 2 See, or choose the FX group (this latter is only possible in Sequencer mode).
Advanced editing of the Sound sets |159 Activating and choosing the insert effects Each Sound can go to one or more insert effect processors. Activate the insert effects 1 Go to the Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type 2 Turn on or off the insert effect(s) assigned to a Sound. Choose the insert effects 1 While in the Insert FX page, touch the name of the selected effect type, or the ‘x’ symbol under the On/Off button, to open the FX Edit page.
160| Customizing and editing the Sound sets Activating and choosing the insert effects for the Drum Families On Drum tracks, you can access a separate Drum mixer, and add insert effects to each Drum Family. The Drum channel is then sent to the main mixer, and can use the channel’s insert effects. 1 Go to the Mixer/Tuning > Insert FX page. 2 Press the TRACK SELECT button to cycle between the tracks, and find the Drum track.
Advanced editing of the Sound sets |161 Activating and choosing the master effects Each Sound can send its audio signal to one or more master effects. Activate the master effects 1 Go to the Master Effects pages, and choose either the FX group A (Accompaniment, Pads, Song) or B (Keyboard). FX on/off Selected FX 2 Turn on or off the master effect(s). Please keep in mind that master effects are assigned to all the Sounds of the same group.
162| Customizing and editing the Sound sets Adjusting the send level to the master effects You can adjust the level of the direct (dry) signal sent from each Sound/ channel to the master effects. 1 Go to the Mixer/Tuning > FX Send page. 2 On each mixer channel, use the Master knobs to control the level of the direct (dry) signal sent to the corresponding FX processor (inside the selected FX group).
Advanced editing of the Sound sets |163 Adjusting the send to the master effects for the Drum Families On Drum/Percussion tracks, you can access a separate Drum/Percussion mixer, and adjust the level of the direct (dry) signal sent from each Drum Family to separate master effects. The Drum/Percussion channel is then sent to the main mixer, and can use the channel’s master effects.
164| Customizing and editing the Sound sets Including the dry (direct) signal in the master effects The dry (or ‘direct’) signal is the raw sound, without the effects. It should be normally included in the signal coming out from the master effects, to give a sense of presence of the sound’s source. This parameter is not needed for the insert effects, since they always include the dry signal. 1 Go to the Mixer/Tuning > Volume/Pan page.
Advanced editing of the Sound sets |165 Copying the effects To speed up programming, you can copy a single insert or master effect, or all the effects of an FX group (FXA or FXB). You can copy them between different elements (for example, between Styles and Song, or Keyboard Sets and Sounds). The Copy/Paste operation only copies the parameters of the FX Edit page. Parameters contained in other pages, like Dry or FX Send, are not copied.
166| Customizing and editing the Sound sets Copying all the master effects in an FX group Copy the effects 1 Select the source element (Keyboard Set, Style, Song or Sound). 2 Go to the Master Effects > FXA/B page showing the group to be copied. 3 Choose the Copy All Effects command from the page menu. Paste the effects 1 Select the target element (Keyboard Set, Style, Song or Sound). 2 Go to the Master Effects > FXA/B page showing the group to be pasted.
Advanced editing of the Sound sets |167 Equalizing the Sounds The Channel Equalizer Pa1000 includes three-band equalization (EQ) on each individual mixer channel. Each Sound can be individually equalized. Setting the EQ gain 1 Go to the Mixer/Tuning > EQ Gain page. 2 Keep the Gain knob held on the screen, and move it to the desired level. As an alternative, use the VALUE control to change the value of the selected knob. EQ Gain Meaning Hi (High) Gain -18 … +18dB High frequencies equalization.
168| Customizing and editing the Sound sets Adjusting the EQ input sensitivity Extreme equalization gains can overload the audio circuits and lead to distortion. You can however trim the input to avoid overloading. 1 Go to the Mixer/Tuning > EQ Control page. 2 Use the Input Trim knobs to attenuate the level of the signal passing through the equalizer. Input Trim Meaning 0 … 99 Attenuation value. Bypassing the EQ Each EQ can be momentarily bypassed, to check its effect while programing.
Advanced editing of the Sound sets |169 Resetting the EQ You can reset the EQ to the default (that is, ‘flat’) status. 1 Go to the Mixer/Tuning > EQ Control page. Track Reset 2 Reset all the EQs, or a single EQ. Reset the EQ on a single track/channel ▪▪ Touch the Track Reset button corresponding to the channel whose EQ you want to reset. Reset the EQ on all tracks/channels ▪▪ Touch the Reset All Tracks button.
170| Customizing and editing the Sound sets Octave transpose and fine tuning You can set the octave transpose and fine tuning of each Sound. Access the Tuning page ▪▪ Go to the Style Play/Song Play > Mixer/Tuning > Tuning page. As an alternative, keep the SHIFT button pressed and press one of the UPPER OCTAVE buttons to open the Tuning page. Set the octave transpose ▪▪ Use the Oct. Transpose knobs to set the octave transpose for each Sound. Octave Transpose Meaning 0 Standard tuning.
Advanced editing of the Sound sets |171 Programming the sound routing and polyphony Using the internal or external Sounds Usually, the Keyboard, Arranger and Player play the internal Sounds. However, you can choose to let them play an external sound generator. 1 Go to the Track Control > Mode page. 2 Use the Internal/External parameter to connect the corresponding part/ track to the internal and/or external sound generation.
172| Customizing and editing the Sound sets External Sounds and Program Change messages A part/track set to the External status cannot play the internal sounds. Instead of the assigned Sound name, the indicator is shown on a track’s area in the Main page: Control Change/ Program Change area This indicator begins with a remark saying the track is in External (‘E’) mode, and continues with a strings of transmitted Control Change and Program Change data.
Advanced editing of the Sound sets 2 |173 Use the Type parameter to choose the polyphony mode. Type Meaning Drum Drum/Percussion track. This is typically assigned to the Drum and Percussion tracks of the Accompaniment and MIDI Songs. Set a Keyboard Sound to Drum mode, if you don’t want it to be transposed (it will behave as a Drum Kit, even if it is an ordinary Sound).
174| Customizing and editing the Sound sets Quick editing of Drum Kits You can adjust the volume and edit the main parameters for each family of Drum and Percussion instrument for the selected track. A list of families is shown below. These parameters can be accessed only on tracks set to the Drum mode in the Track Controls > Mode page. Use them on tracks with a Drum Kit assigned, or you will not be able to hear any change. Edit the Drum Kits 1 Go to the Track Controls > Drum Edit page.
Advanced editing of the Sound sets 5 |175 Select one of the Drum families, by using the Drum Family icons on top of the page. Drum family icon Drum family Kick drums Snare drums Toms Hi-Hat cymbals Ride, Crash and other cymbals Low-pitched percussions High-pitched percussions Special effects 6 Check the value of the selected parameter for all the Drum families. An overview of the current parameter can be seen under the icons of the Drum families.
176| Customizing and editing the Sound sets Sound parameter Meaning Value Volume Instrument’s family volume. 0 … 127 Attack Attack time. This is the time during which the sound -64 … goes from zero (at the moment when you strike a key) (offset) to it’s maximum level. Decay Decay time. Time to go from the final Attack level to the minimum level. Cutoff Filter cutoff. This sets the sound brightness. Resonance Use the Filter Resonance to boost the cutoff frequency.
Advanced editing of the Sound sets |177 Quick editing of Sounds You can edit the main Sounds parameters. These changes will be saved in a Sound set, and not be part of the internal parameters of the Sounds (that you can edit in Sound Edit mode). Edit the Sounds 1 Go to the Track Controls > Sound Edit page. 2 If you like, start the Style or Song to listen to the changes during playback. 3 If you like, solo the Sound you are editing, to isolate it from the other tracks.
178| Customizing and editing the Sound sets Setting Portamento Portamento is a smooth sliding transition from a note to the following one. ▪▪ Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off. ▪▪ Use the Portamento > Time knob to adjust the speed of portamento. Resetting a track ▪▪ Touch the Reset Track button to reset all changes to the selected track. Resetting all tracks ▪▪ Touch the Reset Family button to reset all edited values.
Advanced editing of the Sound sets |179 Programming the key and velocity range You can program a key and velocity zone for each of the Keyboard Sounds. Key range is useful to create a set of Keyboard Sounds playing in different zones of the keyboard. For example, you may have French Horns and Woodwinds playing in the center range of the keyboard, while only Woodwinds play on the higher range.
180| Customizing and editing the Sound sets Set the Velocity Range ▪▪ Use the Top Vel. and Bottom Vel. parameters to set the Top and Bottom limits of the Sound’s Velocity zone. Velocity Meaning 0 … 127 Velocity value. The Top value is always higher than the Bottom value.
Advanced editing of the Sound sets |181 Editing the Digital Drawbars Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars are memorized in a Keyboard Set, the Style Settings or in a MIDI Song, and may be considered the equivalent of an organ’s preset. A single Digital Drawbars Sound can be assigned to the keyboard, and only one to the accompaniment.
182| Customizing and editing the Sound sets 2 Choose the DRAWBARS Sound. The Drawbars Setting page will appear. 3 If you want to close this window, press the EXIT button. Editing the Digital Drawbars Access Digital Drawbars editing 1 While in the Main page, touch the DRAWBARS Sound to open the Sound Select window. 2 Touch the selected DRAWBARS Sound to open the Drawbars Setting page. Changing the footage ▪▪ Drag the virtual sliders to change the corresponding footages.
Advanced editing of the Sound sets |183 Program the Percussion parameters Percussion adds a percussive sound to the attack segment of the organ sound. Percussion parameters Meaning On/Off Turns percussion on or off. Foot Selects a percussion register. Mode If All, the percussive attack is played on all notes of a chord. If 1st, the percussive attack is played only on the first note of a Value All, 1st chord or a group of held notes. Release all notes to trigger the percussion again.
184| Customizing and editing the Sound sets Rotary parameters Meaning Rotor On/Brake Touch this button to start or stop the rotating speaker. Speed Slow/Fast Touch this button to switch the rotating speaker’s speed (from slow to fast, or vice-versa). Changing the Tone/Noise settings Go to the Tone/Noise page ▪▪ Touch the Tone/Noise tab to show the Tone/Noise page. Program the Tone parameter Tone is the waveshape of the drawbars, producing the raw timbre.
Writing the Sound sets 16 |185 Writing the Sound sets Writing the Keyboard Sets to the library Keyboard Sets can store the Keyboard Sounds and settings. The library is where you organize them by type and family. You can recall these Keyboard Sets by using the KEYBOARD SET LIBRARY buttons. Note: All changes will be lost when choosing a different Keyboard Set, unless you write them. Changes can normally only be saved onto User or Direct Keyboard Sets.
186| Customizing and editing the Sound sets Write to a different Keyboard Set location 1 If you want to save onto a different location, touch the Select button and open the Keyboard Set Library Select window. Choose a location as if you were choosing a Keyboard Set. Blank locations are shown as a series of dashes (‘–––’). 2 When back at the Write Keyboard Set dialog, you may change the name of ) icon to open the virtual keythe Keyboard Set. Touch the Text Edit ( board and edit the name.
Writing the Sound sets |187 Writing Keyboard Sets into a Style Keyboard Sets can store Keyboard Sounds and settings inside a Style. When choosing a Style, four Keyboard Sets matching the selected Style are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display. Note: Changes can normally only be saved onto User and Direct Styles.
188| Customizing and editing the Sound sets Writing the Keyboard Set to a different Style 1 Choose the Style containing the original Keyboard Set. 2 Edit the Keyboard Set. 3 Be sure the STYLE TO KBD SET indicator is turned off. If this indicator was turned on, choosing a Style would also select a different Keyboard Set. 4 Choose the Style where you want to copy the modified Keyboard Set. 5 Write the Keyboard Set into the preferred location, by following the procedure seen above.
Writing the Sound sets |189 Writing Keyboard Sets into a SongBook Entry You can write the changes to the Keyboard Sounds and settings into one of the Keyboard Sets. When choosing a SongBook Entry, four Keyboard Sets matching the selected Entry are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display. Saving Keyboard Sets to a new SongBook Entry You can create a new SongBook Entry, and at the same time save the current Keyboard Sets with it.
190| Customizing and editing the Sound sets Saving a Keyboard Set to the selected SongBook Entry You can save the Keyboard Sounds as a Keyboard Set inside the selected SongBook Entry. 1 Before editing the Keyboard Sounds, go to the SongBook > Book or Set List page, and choose the SongBook Entry where to save them. 2 Press the EXIT button to exit the SongBook. 3 Edit the Keyboard Sounds. 4 Go to the SongBook > Write page.
Writing the Sound sets |191 ▪▪ To overwrite the current SongBook Entry, choose Rename/Overwrite. ▪▪ To create a new SongBook Entry, choose New Song. 8 Touch the New Song Name line if you want to edit the SongBook Entry’s name. 9 Touch OK to save the SongBook Entry. 10 If you want to save more Keyboard Sets, repeat the above procedure for the other four Keyboard Set locations inside the SongBook Entry.
192| Customizing and editing the Sound sets Writing Style Settings, Song Settings and MIDI Song Sounds The Sounds’ configuration can also be written into other elements. ▪▪ To edit additional Style parameters, and save the Style Settings, see the pages starting from Customizing the Styles on page 191. ▪▪ To edit additional parameters of the Song Play mode, and save the Song Play Settings, see the pages starting from Customizing the Songs on page 301.
Part V: CUSTOMIZING, RECORDING AND EDITING THE STYLES AND PADS |193
194| Customizing, recording and editing the Styles and Pads
Customizing the Styles 17 |195 Customizing the Styles Setting the Chord Recognition Choosing where to play chords (Chord Scan area) You can play chords with your left or right hand separately, or with both hands. You can choose the recognition area, depending on the song you are playing and your preferred playing style. The area where chords are recognized depends on the status of the CHORD SCAN indicators.
196| Customizing, recording and editing the Styles and Pads Always play three or more notes to let the arranger recognize a chord. Deactivate chord recognition ▪▪ Press both the CHORD SCAN (LOWER+UPPER) buttons to turn their indicators off. Only the Drum and Percussion tracks will continue to play. Memorize the Chord Scan area ▪▪ Write a Keyboard Set. Choosing how to play chords (Chord Recognition mode) You can play chords in the simplest (even simplified), or the most sophisticate way.
Customizing the Styles 2 |197 Choose how to play chords by using the Chord Recognition menu. Chord Recognition How to play chords One Finger This mode is only available when the SPLIT indicator is turned on. If you turn it off, the mode will automatically switch to Fingered (3 Notes). With this mode, you can compose a chord using a simplified chord playing technique: • Play a single note for a Major chord to be recognized. • Play the root note, plus a white key on the left, for a 7th.
198| Customizing, recording and editing the Styles and Pads Keeping a chord in memory by pressing the Damper pedal You can choose to keep the recognized chord in memory while the Damper pedal is kept pressed. In this case, you can freely play any chord on the keyboard, and the arranger will still play the ‘latched’ chord. This is especially useful when playing in Full Keyboard mode (with the SPLIT indicator turned off), and all the notes you play on the keyboard could be recognized as a new chord.
Customizing the Styles |199 Automatically holding chords and Lower notes (Memory) Using the Memory function You can keep the chords and/or Lower notes in memory even after raising your hand from the keyboard. How this function works depends on the settings of the Memory Mode parameter (see below). ▪▪ Press the MEMORY button to turn its indicator on, and keep the chords and/ or Lower notes in memory. ▪▪ Press the MEMORY button to turn its indicator off.
200| 2 Customizing, recording and editing the Styles and Pads Use the Memory Mode parameter to choose the way the MEMORY button works. Memory Mode Meaning Chord When the MEMORY indicator is on, recognized chords are held even when raising your hand from the keyboard. When the indicator is off, chords are reset when raising your hand. Chord + Lower When the MEMORY indicator is on, recognized chords and the Lower Sound are held until the next note or chord is played.
Customizing the Styles |201 Recognizing the root note (Bass Inversion) The instrument’s internal arranger recognizes chords by analyzing all the notes you play in the chord recognition area, and considering their function in a chord. You can however always force the lowest (leftmost) note of the chord to be considered, for example the chord’s root of a slashed chord (such as ‘C/E’ or ‘F/C’). ▪▪ Press the BASS INVERSION button to turn its indicator on.
202| Customizing, recording and editing the Styles and Pads Setting how velocity controls the accompaniment You can play stronger than a set velocity value to trigger an accompaniment control. 1 Go to the Global > Mode Preferences > Style 2 page. 2 Use the Velocity Control parameter to choose the function to be controlled when playing strongly. Velocity Control Meaning Off The function is turned off.
Customizing the Styles |203 Mixing the grouped Accompaniment Sounds Grouped Accompaniment Sounds As in a mixer, the Accompaniment Sounds can be grouped together. For example, instead of separately muting the guitar and the strings parts in the Accompaniment, you can mute the Accompaniment (ACCOMP) group by touching a single button.
204| Customizing, recording and editing the Styles and Pads Adjusting the (global) Accompaniment groups volume Groups volume is a global setting, that is not meant to change when you select a different Style. To avoid abrupt changes in the volume level of the Accompaniment Sounds during a show, we moved the volume settings to a safer area than the Main page. 1 Go to the Global > Mode Preferences > Style 2 page.
Editing the Style Settings 18 |205 Editing the Style Settings Mixing the individual Accompaniment Sounds Adjusting the volume of the individual Accompaniment Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual Accompaniment Sounds. This will allow for finer balancing between Accompaniment Sounds.
206| Customizing, recording and editing the Styles and Pads As an alternative, you can adjust the levels in the Style Play or Style Record > Mixer/Tuning > Volume/Pan page. 2 Touch the mixer channel whose volume level you want to change. 3 Keep the virtual slider held on the screen, and drag it to the desired level. As an alternative, use the VALUE control to change the volume level of the selected channel.
Editing the Style Settings |207 See the Accompaniment parts mixer ▪▪ While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button to switch to the Accompaniment Sounds. Accompaniment parts As an alternative, you can access these parameters in the Style Play or Style Record > Mixer/Tuning > Volume/Pan page. Turn a channel on (Play) or off (Mute) ▪▪ Select the mixer channel, then touch the Play ( turn the corresponding Sounds on or off.
208| Customizing, recording and editing the Styles and Pads Solo a Sound via menu command As an alternative, you can solo a Sound using a menu command. 1 While in any page where the name of the Sound or the mixer channel corresponding to the Sound to listen in solo appears, touch it to select it. 2 Choose the Solo Track command from the page menu.
Editing the Style Settings |209 Changing the Sounds of the accompaniment parts Style vs. Style Element Sounds You can assign Accompaniment Sounds to the whole Style (saved in the Style Settings), that will not change when changing Style Element (for example, going from Variation 1 to Variation 2). Or you can assign Accompaniment Sounds to each Style Element, to let them change when choosing a different Style Element.
210| 4 Customizing, recording and editing the Styles and Pads Choose Sounds by touching the Sound icon on each track. These Sounds will become part of the Style Settings. They will remain the same for the whole Style, and will not change when choosing different Style Elements. Memorize the assigned Sounds ▪▪ Write the Style Settings. Changing Sounds for each Style Element You can assign Sounds to each accompaniment part of each Style Element (Intro, Variation…).
Editing the Style Settings |211 Digital Drawbars and the accompaniment parts Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars assigned to the accompaniment tracks are memorized in the Style Settings, and may be considered the equivalent of an organ’s preset. You can have a single Digital Drawbars Sound for all the accompaniment parts.
212| Customizing, recording and editing the Styles and Pads Setting the Style controls Remapping Drum Kit instruments You can remap Drum Kit instruments to add variety to the percussive part. Select different Maps and Designations while listening to the Style, and see how they affect the final result. 1 Go to the Style Play or Style Record > Style Controls > Drum Map page. As an alternative, you can access these parameters in the Style Record > Style Track Controls > Drum Map page.
Editing the Style Settings |213 3 Use the Kick and Snare Designation > Kick pop-up menu to replace the original Kick (Bass Drum) sound with a different Kick of the same Drum Kit. 4 Use the Kick and Snare Designation > Snare pop-up menu to replace the original Snare Drum sound with a different Snare of the same Drum Kit. Designation Meaning Off Original Kick or Snare Type 1…3 Kick or Snare replacing the original one Memorize the Drum Kit mapping ▪▪ Write the Style Settings.
214| Customizing, recording and editing the Styles and Pads As an alternative, you can access these parameters in the Style Record > Style Track Controls > Range/Wrap page. 2 Use the Sound Range On/Off checkbox to turn the Key Range on/off for each Sound. A preferred range is set in the Style Record > Element Track Controls > Range page for each track of each Style Element. You can turn it on/off for the whole Style. 3 Kbd Range Meaning On The Sound’s Key Range is considered.
Editing the Style Settings |215 Choosing and mixing the Pads You can assign four Pads to each Style. The new combination of Pads can then be written into the Style Settings. Choosing the Pads Open the Pad Select window 1 Be sure to be in the main page of the Style Play or Song Play mode. If you are not there, press either the STYLE PLAY or the SONG PLAY buttons in the control panel. 2 Select the Pad pane by touching the corresponding tab.
216| Customizing, recording and editing the Styles and Pads ▪▪ To choose one of the available types of Pads, touch the buttons at the top of the window. Pad type Meaning Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below). Sequence Single-track patterns, that can be transposed by playing different chords on the keyboard – exactly as a Style track.
Editing the Style Settings |217 Mixing the Pads Access the Pad page ▪▪ Go to the Style Play or Song Play > Pad/Switch > Pad page. Choose the Pads ▪▪ While in this page, you can choose different Pads by touching the Pad name, and following the procedure seen above. Adjust the volume and pan ▪▪ Use the Volume parameter to set the level of each Pad. ▪▪ Use the Pan parameter to set the position of each Pad in the stereo panorama.
218| 19 Customizing, recording and editing the Styles and Pads Writing the Style Settings Writing the Style Settings Style Settings can save Accompaniment Sounds and settings into a Style. Note: Changes can normally only be saved onto User or Direct Styles, and onto SongBook Entries. They cannot be saved onto Factory Styles.
Writing the Style Settings |219 Writing the Style Settings while in Style Record mode In Style Record mode, you can write the Style Settings together with the Style. ▪▪ While in Style Record mode, choose the Write Style command from the page menu. Its Styles Settings are automatically saved. See Writing the Styles on page 304.
220| Customizing, recording and editing the Styles and Pads 20 The Chord Sequencer Recording Chord Sequences You can record a Chord Sequence, that will play the chords for you. This will be useful, for example, when you have to play a repeated sequence, and prefer to use your left hand to play a solo on the keyboard, or to select the DNC controllers. Please note that the indicator on the CHORD SEQUENCER button will show if a Chord Sequence is ready to play, or in record.
The Chord Sequencer 4 |221 When the Chord Sequence is done, press the CHORD SEQUENCER button again to stop recording. Its indicator will turn steady green, to show there is a sequence in memory. The Chord Sequence will remain in memory until you record a new Chord Sequence, choose a different Style or SongBook Entry, or you turn the instrument off. If the sequence is locked, it will not change when choosing a different Style or SongBook Entry.
222| Customizing, recording and editing the Styles and Pads Starting recording with a switch You can program an assignable switch to be the Chord Sequence Record button. This will let you start recording immediately, without having to enter record-pending. 1 Go to the Pads/Switches > Switch page, and assign the Chord Sequence Record command to one of the assignable switches (#3 recommended). 2 Write the changes to the a Keyboard Set.
The Chord Sequencer |223 Playing back Chord Sequences You can play back the Chord Sequence in memory. The chords driving the automatic accompaniment will be performed by the recorded sequence. Starting the Chord Sequence while the Accompaniment is playing 1 While the accompaniment is playing, press the CHORD SEQUENCER button to start the Chord Sequence. The indicator will start flashing in green. The Chord Sequence will be played back in loop starting from the next measure.
224| Customizing, recording and editing the Styles and Pads Managing the Chord Sequences Writing a Chord Sequence The Chord Sequence can be memorized to the Style Settings or a SongBook Entry. ▪▪ Write the Style Settings or a SongBook Entry, and the Chord Sequence in memory will be automatically saved. For information on how to write the Style Settings, see Writing the Style Settings on page 218. For information on how to write a SongBook Entry, see the Editing the SongBook on page 116.
The Chord Sequencer |225 Deleting a Chord Sequence To start anew, you can delete the Chord Sequence from memory. 1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu. 2 Choose the Delete Sequence option, and touch the OK button to confirm deletion. At this point, you can save the Style Settings or SongBook Entry again, and the Chord Sequence will be gone from them.
226| Customizing, recording and editing the Styles and Pads Importing a Chord Sequence from a Standard MIDI Files You can import a Chord Sequence from a Standard MIDI File (MIDI Song, that is a MID file). 1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu. 2 Choose the SMF option, and use the pop-up menu to choose the Import option.
Recording the Styles and Pads 21 |227 Recording the Styles and Pads How are Styles and Pads made? KORG supplies a huge amount of professionally crafted Styles and Pads with Pa1000. However, you are free to customize them, or create totally new Styles and Pads on your own. Styles and Pads share most of the same structure and recording/editing operations. Here is how they are made.
228| Customizing, recording and editing the Styles and Pads Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table.
Recording the Styles and Pads |229 What happens when you play a chord To summarize, when you play a chord in the chord recognition area, the arranger determines which Style Element is in use, then determines which Chord Variation should be used for the recognized chord, then Style sequences for every track of that Chord Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.
230| Customizing, recording and editing the Styles and Pads The Style structure To explain the Style structure, we can use a tree structure, as shown in the following diagram: Pop Ballad Variation 1 Variation 2 CV1 Drum Perc Bass Acc1 Acc2 Acc3 Acc4 Acc5 CV2 CV3 CV4 CV5 CV6 Variation 3 Variation 4 Intro1 CV1 CV2 Intro 2 Intro 3/C.
Recording the Styles and Pads |231 How Pads are made The Pads A Pad is basically a single-track, single Style Element Style. Most of what applies to Style recording also applies to Pad recording. There are two different categories of Pads: Hit and Sequence. Pad type Meaning Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below).
232| Customizing, recording and editing the Styles and Pads What to record in a Pad Recording a Pad means recording a single track, inside a series of Chord Variations, inside the Pad itself. You don’t need to record all Chord Variations. It is often only needed to record just a single Chord Variation. Recorded MIDI data When recording Styles and Pads, non-supported events are filtered out. Here are the allowed events.
Recording the Styles and Pads |233 Programming the Style Settings, then recording the musical sequences The accompaniment track parameters are to be programmed separately from the actual recording of the musical sequences. 1 While in Style Play or Style Record mode, program the Style Settings as described in the previous pages and the pages dedicated to the more general Sound sets. You will program the containing track’s parameters (like Volume, Pan, Octave Transpose, FX settings…).
234| Customizing, recording and editing the Styles and Pads Accessing the Style/Pad Record mode Accessing Style Record 1 Press the STYLE PLAY button to go to the Style Play mode. 2 If you want to edit an existing Style, choose a Style to edit. You can normally only edit User or Direct Styles. To edit Factory Styles, you must first unprotect them, or copy them to a User location. 3 Press the RECORD button. The Select Record Mode dialog will appear.
Recording the Styles and Pads |235 The main Style Record page Measure counter Beat counter Record parameters Sound Key/Chord and transposition table Mixer The main Pad Record page Measure counter Beat counter Record parameters Sound Pad Volume (not saved) Key/Chord Transposition table Exiting Style/Pad Record ▪▪ While in the Style/Pad Record mode, choose the Exit from Record command from the page menu, or press the RECORD button again.
236| Customizing, recording and editing the Styles and Pads Listening to the recorded Style Testing chords While in Style/Pad Record, the keyboard can play chords to drive the recorded musical patterns, and a piano sound to help you test the patterns. How chords are recognized depends on the status of the SPLIT indicator.
Recording the Styles and Pads |237 Setting the recording parameters Choosing what to record Choosing the Style Element and Chord Variation With Styles, you record a Chord Variation, inside a Style Element, inside a Style. This is the musical sequence you listen when playing a chord. Pads are made of a single Style Element, so you only have to choose the Chord Variation. ▪▪ Go to the Style/Pad Record > Main page to choose the Chord Variation to be recorded, and set the recording parameters.
238| Customizing, recording and editing the Styles and Pads When an asterisk (*) appears next to the abbreviation (CV1* … CV6*), the Chord Variation is empty. Style Element Chord Variation Var1, Var2, Var 3, Var4 CV1 … CV6 Intro1, Intro2, Intro3 (CountIn), Fill1, Fill2, Fill3, Fill4, Break, Ending1, Ending2, Ending3 CV1 … CV2 Adjusting the total Chord Variation length ▪▪ Use the CV Length (Chord Variation Length) parameter to set the length of the Chord Variation (in measures).
Recording the Styles and Pads |239 sures. After you press START/STOP to stop recording, Rec Length is updated to 2, and all measures after the second measure are deleted. Tempo, Meter, Resolution Setting the recording Tempo While recording, you might want to use a different Tempo than the one saved in the Style Settings. This alternative value will allow you, for example, to record at a slower speed, or to experiment with different values while listening what you recorded.
240| Customizing, recording and editing the Styles and Pads Choosing the Resolution ▪▪ Use the Resolution parameter to set quantization during recording. Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythm grid, set with this parameter, thus playing perfectly in time. To quantize after recording, use the Style/Pad Record > Style/Pad Edit > Quantize function.
Recording the Styles and Pads |241 Pad Sync You can decide how the Pad will synchronize to the current Tempo. ▪▪ Go to the Pad Record > Main page, and use the Pad Sync pop-up menu to choose the way the Pad will synchronize. Pad Sync Meaning Off No synchronization. The sequence will start as soon as you press the PAD button. Continued Like a Fill, the pattern will start immediately, in sync with the Arranger’s or active Player’s Tempo.
242| Customizing, recording and editing the Styles and Pads Assigning Sounds to the Style Element and Pads While in Style Record, you can assign different Sounds to each Style Element. These Sounds are used when the Original Sound Set parameter (that you can access in the Style Play > Main > Volume pane, when the accompaniment tracks are shown) is checked. Sounds assigned to the Style Settings are ignored.
Recording the Styles and Pads 3 |243 Go to any page of the Element Track Controls edit section, for example the Style Record > Element Track Controls > Expression page. Original Sounds 4 Touch the icon of the Sound to be replaced, to open the Sound Select window, and choose a Sound. Testing the Sounds ▪▪ Press the START/STOP button to check how the changes work. Press START/ STOP again to stop playback. Assigning a Sound to the Pad track 1 Go to the Pad Record > Main page.
244| Customizing, recording and editing the Styles and Pads Transposing the Sounds while recording While recording, you can transpose the accompaniment tracks, to make recording of low or high keyboard ranges easier. You can set a separate transpose value for each track. 1 Go to the main page of the Style/Pad Record mode. 2 Touch the corresponding mixer channel to choose a Style track. 3 Use the UPPER OCTAVE buttons on the control panel to transpose the selected track.
Recording the Styles and Pads |245 Choosing the original key/chord and the note transposition table You will record the musical sequences in a particular key (say, C), matching a chord shape (say, Major). You will then choose a transposition table according to which they will be transposed and transformed when a different key and a slightly different chord will be recognized.
246| Customizing, recording and editing the Styles and Pads Hint: To conform to KORG specifications, it is advisable to record both the Major and minor Chord Variations for the Intro 1 and Ending 1 Style Elements. Choosing an NTT table for the selected track ▪▪ Use the NTT Type and NTT Table parameters to choose an NTT table (Note Transposition Table) for the selected Style track (or the Pad track) of the current Chord Variation.
Recording the Styles and Pads |247 These are the NTT Type/Table combinations: NTT Type/Table Description Parallel/Root The root note (in CMaj = C) is transposed to the missing notes. Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.
248| Customizing, recording and editing the Styles and Pads Recording a Style or Pad in Realtime Record After having chosen the Style Element and Chord Variation in the Main page, go on recording. Using the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Realtime recording Select the Style track to record ▪▪ While in the Style Record > Main page, touch a track to enable it for record) will appear. ing.
Recording the Styles and Pads 4 |249 Set the track to record again, by repeatedly touching its status icon. The ) will appear again. Record icon ( Record 1 Press the START/STOP button to begin recording. A 1-measure precount will play before the recording actually begins. When it begins, record freely. While recording, the track’s Keyboard Range is ignored, and notes can be recorded and played back over the full keyboard range.
250| 4 Customizing, recording and editing the Styles and Pads When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted. If the note is at the beginning of the sequence, press the note before starting it. 5 When finished, release the Delete Note button and the note to be deleted, and press START/STOP again to stop the sequence. Listening to the results ▪▪ Press the START/STOP button to check how it works.
Recording the Styles and Pads |251 Recording a Style or Pad in Step Record Step Recording allows you to create a new Style or Pad by entering single notes or chords in each track one step at a time. This is very useful when transcribing an existing score, or in need of a higher degree of detail, and is particularly suitable to create drum and percussion tracks.
252| Customizing, recording and editing the Styles and Pads Position the input pointer ▪▪ The Pos parameter shows the current position. This is where you will insert the next event. ▪▪ If you do not want to insert a note or chord at the current position, insert a rest instead, as shown below. ▪▪ To jump to the next measure, filling the remaining beats with rests, touch the Next M. button. Choose a step value ▪▪ Use the Step Time values to choose the step value.
Recording the Styles and Pads |253 ▪▪ To tie the note to be inserted to the previous one, touch the Tie button. A note will be inserted, tied to the previous one. Insert a chord ▪▪ Play a chord instead of a single note. The event name will be the first note of the chord you pressed, followed by the ‘…’ indicator.
254| Customizing, recording and editing the Styles and Pads Step Time = Step Time = Step Time = Off Release F On Press G (continue holding C) (continue holding C) On Press F and C Step Time = Step Time = Off Release G (continue holding C) On Step Time = Off Release D Press D (continue holding C) Step Time = (continue holding C) Step Time = On Press E Off Release E and C (continue holding C) Step Time = Step Time = Tie On Press C On Off Press G (continue holding C) Release G and
Recording the Styles and Pads |255 At this point, you may go on, inserting new events in overdub mode (the previously inserted events will not be deleted). This is very useful when programming a drum or percussion track, where you may want to program the bass drum on a first phase, the snare drum on a second phase, and the hi-hat and cymbals during the following phases. Exit from record 1 When finished recording, touch the Done button to exit the Step Record mode.
256| Customizing, recording and editing the Styles and Pads Recording a Guitar track Simulating a real guitar Guitar Mode allows for easy creation of realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI programming of guitar parts. Just record a few measures, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the guitar, and not generated by simply transposing a written pattern.
Recording the Styles and Pads |257 Preliminary settings Accessing Guitar Mode in Style Record 1 While in the Style Record > Main page, select a track set to the Guitar type. This type of track is usually one of the Acc1…5 Style tracks. To set a track to the Guitar type, go to the Style Record > Style Track Controls > Type/Trigger/Tension page. After having selected a Guitar track, the Style/Pad Record > Guitar Mode page will become available. 2 Go the Style Record > Guitar Mode page.
258| Customizing, recording and editing the Styles and Pads Reading the fingerboard diagram You can see how a chord is composed on the fingerboard diagram. Here is the meaning of the various symbols: Symbol Meaning Red dot Fingered string (i.e., played note). White dot Fifth, playing on the D#2 key. X Non played or muted note. Light grey bar Barré (a finger crossing all the strings, like a mobile capo). Dark grey bar Capo.
Recording the Styles and Pads Vel. Chord Type Vel.
260| Customizing, recording and editing the Styles and Pads Recording strummings ▪▪ Press one of the keys in the octave from C1 to B1 to select a strumming type. By pressing these keys, you play fast strumming samples.
Recording the Styles and Pads |261 Recording single strings ▪▪ Press one of the keys in the octave from C2 to B2 to select single strings (one or more). By pressing these keys, you can play arpeggios or power chords. You can either play a free arpeggio with the six guitar chords assigned to the keys from C to A, or play one of the faster arpeggios on the higher keys.
262| Customizing, recording and editing the Styles and Pads Recording RX Noises RX Noises are noises generated on the guitar during a performance. They allow for increased realism. ▪▪ Press one of the keys in the octave from C7 to B8 to trigger RX Noises. In some cases, the RX zone may extend over this range.
Recording the Styles and Pads Vel. Range 3 |263 from Str. to Str.
264| Customizing, recording and editing the Styles and Pads Vel. Range from Str. to Str.
Recording the Styles and Pads Vel. Range 71 |265 from Str. to Str.
266| Customizing, recording and editing the Styles and Pads 22 Editing the Styles and Pads Editing the track parameters For each Style Element, and the Pad, you can edit various track parameters. Hint: In the edit pages where the Style Element abbreviation appears, you can choose a Style Element by pressing the corresponding button on the control panel (VARIATION1 … ENDING3). To select a Fill, turn the AUTO FILL on, then press the corresponding VARIATION.
Editing the Styles and Pads 1 |267 Go to the Style Record > Element Track Controls > Expression page. Selected Style Element Expression You set the Expression value for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). 3 Use the Expression Monitor indicators to check if Expression (CC#11) messages are contained in the tracks.
268| Customizing, recording and editing the Styles and Pads Adjusting Expression You can quickly and easily adjust the Expression level of all tracks in a Style Element. This allows for a more precise control over the volume level of all Style Element. 1 While in this page, select one of the Style Elements by pressing its button in the control panel. 2 Keep the SHIFT button pressed, and press the TEMPO + button to increase the Expression value of all the Style Element’s tracks, TEMPO - to decrease it.
Editing the Styles and Pads 1 |269 Go to the Style Record > Element Track Controls > Range page. Selected Style Element Keyboard Range You set the Keyboard Range for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). 3 Use the Top and Bottom parameters to set the bottom and top limit of the keyboard range for the corresponding track of the selected Style Element.
270| Customizing, recording and editing the Styles and Pads RX Noise/Guitar In the Noise/Guitar page you can set the RX Noise level and the ‘human feel’ of the Guitar tracks. 1 Go to the Style Record > Element Track Controls > Guitar/Noise page. Selected Style Element RX Noise level Guitar track ‘humanization’ You set the RX Noise and Humanize parameters for the Pad in the Pad Record > Pad Track Controls > Settings page.
Editing the Styles and Pads |271 Pad type When triggered, Pads can play once or loop until you stop them. 1 Go the Pad Record > Pad Track Controls > Settings page. 2 Use the Pad Type pop-up menu to choose the type of Pad. Pad Type Meaning One Shot When you press one of the PAD buttons, the corresponding Pad is only played once. This is useful for playing Hits or Sequences that must only play once.
272| Customizing, recording and editing the Styles and Pads Editing the Chord Table You can assign a Chord Variation to each of the main recognized chord. When a chord is recognized, the assigned Chord Variation will be automatically selected by the arranger to play the accompaniment. 1 Go to the Style Record > Chord Table & Variation > Chord Table page. Selected Style Element With a Pad, go to the Pad Record > Pad Chord Table > Chord Table page.
Editing the Styles and Pads |273 Checking the available Chord Variations You can see which Chord Variations have been recorded (or imported) in the current Style. ▪▪ Go to the Style Record > Chord Table & Variation > Chord Variation page. Dimmed Chord Variations are empty. While in the Chord Table page you can see which Chord Variations have been used in the current Style Element, this page lets you see which Chord Variations are contained in the whole Style.
274| Customizing, recording and editing the Styles and Pads Editing the track type, trigger, tension You can edit the track type, its response to retriggering, and add harmonic tension. 1 Go to the Style Record > Style Track Controls > Type/Trigger/Tension page. You can access these parameters for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3).
Editing the Styles and Pads 3 4 5 |275 Use the Track Type parameter to set the type of the corresponding track. Track Type Meaning Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits made of Drum Sounds. It can be affected by Drum Mapping. With Pads, this is used for both Drum and Percussion sounds. Perc Percussion track. This type of track cannot be transposed, and is used for Drum Kit made of Percussion sounds. It is NOT affected by the Drum Mapping.
276| Customizing, recording and editing the Styles and Pads Editing the Style/Pad sequences You can edit the Style/Pad sequence data in the Style/Pad Record > Style/ Pad Edit section. With Pads, you cannot select a track or Style Element to edit. Quantizing The quantize function may be used to correct any timing mistake after recording, or to give the pattern a ‘groovy’ feeling. 1 Go to the Style/Pad Record > Style/Pad Edit > Quantize page.
Editing the Styles and Pads 4 |277 Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be quantized. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. 5 Use the Bottom Note and Top Note parameters to set key range to edit. These parameters are only available when a Drum or Percussion track is selected.
278| 3 4 Customizing, recording and editing the Styles and Pads Use the Value parameter to choose the transpose value. Value Meaning -127 … 127 Transpose value (in semitones) Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be transposed. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. 5 Use the Bottom Note and Top Note parameters to set key range to edit.
Editing the Styles and Pads 1 Go to the Style/Pad Record > Style/Pad Edit > Velocity page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. 3 4 |279 Track Meaning All All tracks selected. The velocity for all notes of the whole selected Chord Variation will be changed. Drum … Acc5 Selected track. Use the Velocity Value parameter to choose the transpose value.
280| Customizing, recording and editing the Styles and Pads ▪▪ Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time.
Editing the Styles and Pads |281 Cutting out measures You can delete a selected measure (or a series of measures) from the selected Chord Variation. All following events will be moved back, to replace the cut measure(s). 1 Go to the Style/Pad Record > Style/Pad Edit > Cut page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. Track Meaning All All tracks selected Drum … Acc5 Selected track 3 Use the Start parameter to select the first measure to be cut.
282| Customizing, recording and editing the Styles and Pads Deleting data from measures The Delete page is where you delete MIDI events out of the Style. This function does not remove measures from the pattern. To remove whole measures, use the Cut function instead. 1 Go to the Style/Pad Record > Style/Pad Edit > Delete page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. Track Meaning All All tracks selected. After deletion, the selected Chord Variation will remain empty.
Editing the Styles and Pads 3 |283 Use the Event pop-up menu to choose the type of event to delete. Event Meaning All All events. The measures are not removed from the Chord Variation. Note All notes in the selected range. Dup.Note All duplicate notes. When two notes with the same pitch are encountered on the same tick, the one with the lowest velocity is deleted. After Touch After Touch events. Pitch Bend Pitch Bend events. Prog.
284| Customizing, recording and editing the Styles and Pads Deleting Style Elements, Chords Variations or a whole Style You can delete a selected Style Element or Chord Variation, or the whole Style. 1 Go to the Style/Pad Record > Style/Pad Edit > Delete All page. 2 Select the Track to delete. 3 Track Meaning All All tracks of the selected Style, Style Element or Chord Variation. Drum … Acc5 Single track of the selected Style, Style Element or Chord Variation.
Editing the Styles and Pads |285 Copying from a Style You can copy a track, Chord Variation or Style Element from the same or a different Style. Be warned that copying will overwrite all data at the target location. 1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Style page. 2 Use the From Style parameter to choose the source Style. Touch the Select button to open the Style Select window and select the source Style from there.
286| 5 Customizing, recording and editing the Styles and Pads After having set the various parameters, touch Execute. When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation. If you copy a complete Style Element (Var1, End1… etc.), Program Changes are also copied. Copying from a Pad You can copy a Chord Variation or all of a Pad’s Chord Variations.
Editing the Styles and Pads 5 |287 After having set the various parameters, touch Execute. When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
288| Customizing, recording and editing the Styles and Pads Editing the MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a different one, or change its playing strength (that is, velocity value). The Event Edit page ▪▪ Go to the Style/Pad Record > Event Edit > Event Edit page. b. Edit the events a.
Editing the Styles and Pads |289 The Event Edit procedure Here is the general procedure to follow for the event editing. Choose the Style or Pad and access editing 1 While in Style Play mode, access recording by pressing the RECORD button and choosing one of the options (create or edit a Style or Pad). 2 While in the Style/Pad Record > Main page, select the Style Element (Style only) and Chord Variation to edit. 3 Go to the Style/Pad Record > Event Edit > Event Edit page.
290| Customizing, recording and editing the Styles and Pads Filter Meaning Note/RX Noise Notes and RX Noises Program Program Change Control Control Change events. Only the following Control Change numbers are allowed with Styles. Control function CC# Modulation 1 1 Modulation 2 2 Pan 10 Expression (a) 11 CC#12 12 CC#13 13 Ribbon 16 Damper 64 Filter Resonance 71 Low Pass Filter Cutoff 74 Sound Controller 1 (CC#80) 80 Sound Controller 2 (CC#81) 81 CC#82 82 (a).
Editing the Styles and Pads 4 |291 Touch the event to be edited, and edit it. Measure/Position Type Value 1 Value 2 Duration/Length ▪▪ Select the M (Measure), and use the VALUE control to change event’s position. ▪▪ Select the Type parameter, and use the VALUE to change the event type. ▪▪ Select the Value 1 and Value 2 parameters, and use the VALUE control to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
292| Customizing, recording and editing the Styles and Pads Copying the Style track settings Once you have edited a Style track, you can copy and paste its settings to another track, Chord Variation or Style Elements. 1 Choose the Copy command from the page menu to open the Copy Track Settings dialog. 2 Check all the track settings you want to copy. 3 Use the From pop-up menu to choose the source Style Element.
Importing and exporting the Styles and Pads 23 |293 Importing and exporting the Styles and Pads Importing a Standard MIDI File to a Chord Variation You can import Standard MIDI Files created on your preferred external sequencer, and transform them to a Chord Variation. Preparing the MID file The Standard MIDI File to be imported must be programmed as if it was one of Pa1000’s Chord Variations. Here are the rules.
294| Customizing, recording and editing the Styles and Pads MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 232). Some controllers are reset at the end of the pattern. Sounds Sounds assigned to each track are imported, provided the Program Change, Bank Select MSB and LSB events are on the first ‘tick’ of the SMF.
Importing and exporting the Styles and Pads |295 Importing a Standard MIDI File into a Chord Variation 1 Go to the Style/Pad Record > Import/Export > Import SMF page. 2 Use the From Song parameter to choose a MID file to import. Touch the Select button to open the file selector. Only Standard MIDI Files in format 0 can be loaded. 3 Select the Initialize checkbox if you want all settings of the target Style Element or Pad (like Key/Chord, Chord Table, Sounds…) to be reset when loading the SMF.
296| Customizing, recording and editing the Styles and Pads Importing a Standard MIDI File to a Style Preparing a Standard MIDI File ‘separated by markers’ As an alternative to importing individual Chord Variations, you can convert a Standard MIDI File ‘separated by markers’ into a Style. This is a single Standard MIDI File containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).
Importing and exporting the Styles and Pads 4 |297 After having set all the parameters in this page, keep the SHIFT button pressed and touch the Execute button to import the Standard MIDI File. Imported MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 232). Some controllers are reset at the end of the pattern.
298| Customizing, recording and editing the Styles and Pads The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF. Pads always use names of this type: ‘v1cvn’ (they always start with ‘v1’). Below, you can find a screenshot of a test file created in Steinberg Cubase, just as an example of how a SMF separated by markers can look like.
Importing and exporting the Styles and Pads |299 Importing a MIDI Groove to a Style or Pad You can import a MIDI Groove created with the Time Slicing operation (in the Sampling). Importing a MIDI Groove is a step in the general procedure of creating an Audio Groove from an audio sample. You can find the procedure described on page 475. The Import Groove operation is described on page 482.
300| Customizing, recording and editing the Styles and Pads Exporting a Chord Variation You can export a Chord Variation as a Standard MIDI File (MID file), then edit it on your preferred external sequencer. Exporting a Chord Variation to a Standard MIDI File 1 Go to the Style/Pad Record > Import/Export > Export SMF page. The (non editable) To Song parameter shows the name of the Standard MIDI File that will be generated.
Importing and exporting the Styles and Pads |301 Exporting a Style to a Standard MIDI File ‘separated by markers’ As an alternative to exporting single Chord Variations to individual Standard MIDI Files, you can export a whole Style as an SMF separated by markers, that is, a single SMF containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).
302| 24 Customizing, recording and editing the Styles and Pads Converting a MIDI Song to a Style The Style Creator Bot You can convert any commercially or freely available MIDI Song (in Standard MIDI File format) into a complete Pa1000 Style. While Pa1000 includes a state-of-the-art converter of this type, and will most of the times result in a careful recreation of the original song, the quality of results may vary depending on the source song.
Converting a MIDI Song to a Style |303 5 When the conversion is complete, you are asked to write the new Style into a Style location. See the procedure in the next page. 6 After writing, the new Style is automatically selected. Fine-tune it with the functions seen in this part of the manual. 7 In the end, you will get a Style including all the Style Elements, the four Pads, the four Keyboard Sets and a Chord Sequence containing the chords recognized in the source MIDI Song.
304| Customizing, recording and editing the Styles and Pads 25 Writing the new/edited Style or Pad Writing the Styles Styles can be saved into a Style memory location (usually, User or Direct). When saving a Style, its Style Settings are automatically saved. 1 While in Style Record mode, choose the Write Style command from the page menu to open the Write Style dialog. Style name Style bank Style location 2 Touch to open the Style Select window You may change the name of the Style.
Writing the new/edited Style or Pad |305 a location as if you were choosing a Style. Blank locations are shown as a series of dashes (‘–––’). 4 When back at the Write Style dialog, confirm the Write operation by touching the OK button.
306| Customizing, recording and editing the Styles and Pads Writing the Pads Pads can be saved into a Pad memory location. After saving the Pads, assign up to four of them to a Style or SongBook Entry, that will recall them. 1 While in Pad Record mode, choose the Write Pad command from the page menu to open the Write Pad dialog. Pad name Pad bank Pad location 2 Touch to open the Pad Select window You may change the name of the Pad. Touch the Text Edit ( the virtual keyboard and edit the name.
Part VI: CUSTOMIZING, RECORDING AND EDITING THE SONGS |307
308| Customizing, recording and editing the Songs
Customizing the Songs 26 |309 Customizing the Songs How to play a Song – Song Play vs. Sequencer mode The Players are just that – players. So, to prevent undesired changes to the file, no changes made in Song Play mode can be saved. To save changes to a MIDI Song, load and edit it in Sequencer mode. However, you can do on-the-fly edits to the MIDI Song Sounds exactly as you would with the Keyboard Sounds. See the Customizing and editing the Sound sets section for more information.
310| Customizing, recording and editing the Songs Special tracks (Melody, Drum & Bass), Fast Play Choosing the Melody track You might want to define a Player’s track as the Melody track. You will then be able to mute it by using the Song Melody - Mute function, that you can assign to a switch or footswitch. See the Controllers part for information on how to program the controllers. 1 Go to the Global > Mode Preferences > Song & Seq page.
Customizing the Songs 3 |311 Use the SMF Drum & Bass Mode - Bass Trk pop-up menu to choose one of the Song tracks to be used as the Bass track. Letting a MIDI Song start immediately MIDI Songs (MID and KAR files) may contain a silent setup measure at the beginning. You can skip this measure and let the Song start immediately. 1 Go to the Global > Mode Preferences > Song & Seq page. 2 Select the Fast Play checkbox to let the MIDI Songs ignore the silent setup measure at the beginning.
312| Customizing, recording and editing the Songs Mixing the Song Sounds Adjusting the volume of the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual MIDI Song Sounds. However, since MIDI Songs are already dynamically mixed by the original creators, their volume may automatically change during playback. The volume of the MIDI Song tracks will be reset when choosing a different Song.
Customizing the Songs 3 |313 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16. Song tracks 4 Touch the mixer channel whose volume level you want to change. 5 Keep the virtual volume slider held on the screen, and drag it to the desired level. As an alternative, use the VALUE control to change the volume level of the selected channel. 6 When done, press the TRACK SELECT button again to switch back to the main page.
314| Customizing, recording and editing the Songs Muting the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can mute/unmute the individual MIDI Song Sounds. Mute the Song track that you will want to play or sing live (the melody track in a MIDI Song is usually #04). See the Song tracks ▪▪ While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button a first time to switch to Song tracks 1-8, a second time for Song tracks 9-16.
Customizing the Songs |315 Soloing a MIDI Song Sound You can solo a MIDI Song Sound exactly as you would do with a Keyboard Sound. ▪▪ While the Volume pane is shown, or while in any page where the digital mixer appears, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo. ▪▪ As an alternative, while in any page where the name of the Sound or the mixer channel appears, select it and choose the Solo Track command from the page menu.
316| Customizing, recording and editing the Songs Changing the Sounds of the MIDI Song tracks Changing the MIDI Song Sounds You can assign different Sounds to the current MIDI Song. These Sounds will be reset when choosing a different Song. Choose a different Sound for a Song track 1 While in the main page of the Song Play mode, touch the Volume tab to select the Volume pane. 2 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16.
Writing the Song Play Settings 27 |317 Writing the Song Play Settings Writing the default Players’ settings When you choose a different Song, switch to a different mode or turn the instrument off, all changes to the Song will be reset. If you want to preserve the current configuration for all the subsequent MIDI Songs, write it to memory. Write the Song Play Settings ▪▪ Go to the Global > Mode Preferences > Song & Seq. page, and choose the Write Song Play Track & FX command from the page menu.
318| Customizing, recording and editing the Songs 28 Listening the MIDI Songs in Sequencer mode Loading and listening a MIDI Song Listening MIDI Songs in the Sequencer mode is especially useful when you want to check the results of any editing carried on on the Song tracks, without having to switch to the Song Play mode. Loading a MIDI Song 1 Press the SEQUENCER button to go to the main page of the Sequencer mode.
Listening the MIDI Songs in Sequencer mode 2 |319 Touch the name of the Song to open the Song Selection window. Current path Device 3 Browse through the files and folders. When you see the MIDI Song (.mid, .kar) you want to load, touch it, then touch the Load button to load it. Importing a MIDI Song without initializing the current settings While in the Sequencer mode, you can import a MIDI Song without initializing the current Sequencer settings.
320| Customizing, recording and editing the Songs Playing the MIDI Song The main page of the Sequencer mode shows the Song playback controls. Name of the MIDI Song Beat counter and Tempo Alternative starting point Tempo Mode Transport controls While in the main page of the Sequencer mode, use the PLAYER 1 section’s PLAY/STOP ( ), HOME ( ), FAST FORWARD ( ) and REWIND ( ) controls.
Recording MIDI Songs 29 |321 Recording MIDI Songs Multitrack Song Recording In Multitrack Sequencer mode, you will record a MIDI Song by playing live over up to 16 MIDI tracks. Accessing Multitrack Sequencer Recording 1 Press the SEQUENCER button to switch to the Sequencer mode. The main page of the Sequencer mode will appear. 2 Press the RECORD button to open the Song Record Mode Select dialog. 3 Choose the Multitrack Sequencer option and touch OK to access the Multitrack Sequencer Record page.
322| Customizing, recording and editing the Songs Measure and Beat counter Record parameters Track info Sounds and Octave transposition Mixer Setting the recording parameters When you enter the Multitrack Sequencer mode, you could simply start recording. However, there are some additional settings that you might want to do. Select the recording mode ▪▪ Use the Rec Mode pop-up menu to choose the Overdub or Overwrite recording mode.
Recording MIDI Songs |323 Set a starting point (left locator) ▪▪ Set the Start from measure number to choose the alternative starting position from where to start playback. Select the Start from measure checkbox to activate the alternative starting position. When pressing the HOME ( ) button, or using the REWIND ( go back to the beginning, the Song will return to this point. ) button to Choose a quantize resolution for recording ▪▪ Set the recording Resolution.
324| Customizing, recording and editing the Songs fore you begin recording anything. To insert a meter change in the middle of the Song, use the Sequencer > Song Edit > Insert Measure function. Choosing the Sounds and transpose You choose the Sounds in the dedicated Sound area of the Record page. Octave Transpose Sound icon Choose a Sound 1 Touch a Sound icon to select the corresponding track. 2 Touch it again, to open the Sound Select window and choose the Sound for the corresponding Song track.
Recording MIDI Songs |325 Recording Turn on the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Select the track to record 1 Use the TRACK SELECT button to switch between Song Tracks 1-8 and Song Tracks 9-16. 2 Touch the track to record to select it. The Record icon ( ) will appear. Record 1 Press the PLAY/STOP ( ) button to begin recording. A 1-measure precount will play before the recording actually begins. When it begins, record freely.
326| Customizing, recording and editing the Songs Second-take recording You may want to record additional events, or replace a previously recorded track. If so, repeat recording. Prepare to record 1 Press the RECORD button to enter Record mode again. When the Song Record Mode Select dialog box appears, select Multitrack Sequencer again. 2 Select the track to record. 3 Choose the Overwrite Rec Mode if you want to replace recorded data, Overdub if you want to add events to the same track.
Recording MIDI Songs |327 2 Use the Start and End locators to choose the start and end points for recording. 3 Touch a track to record to select it. The Record icon ( 4 Press the PLAY/STOP ( ) will appear. ) button to start playing back the selected track. Recording will automatically begin and end at the Start and End points. 5 Press the PLAY/STOP ( ) button to stop recording. PedalPunch Recording You can use a footswitch to start and stop recording.
328| Customizing, recording and editing the Songs Step Recording a Song Step Recording allows you to create a new Song by entering single notes or chords into each track. This is very useful when transcribing an existing score, or in need for a higher grade of detail, and is particularly suitable to create drum and percussion tracks. In Overdub Step Recording mode you will add to existing events, while in Overwrite Step Recording mode you will overwrite all existing events.
Recording MIDI Songs |329 Choose a step value ▪▪ Use the Step Time values to choose the step value. Choose the relative note duration ▪▪ Use the Duration parameter to set the relative note duration. The percentage is always referred to the step value. Duration Meaning 50% Staccato 85% Ordinary articulation 100% Legato Choose the note velocity ▪▪ Use the Velocity parameter to set the velocity or playing strength of the event to be inserted. Velocity Meaning Kbd Keyboard.
330| Customizing, recording and editing the Songs Insert a chord made of notes with different velocity values You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important note stand out from the chord. 1 Edit the first note’s Velocity value. 2 Press the first note and keep it pressed. 3 Edit the second note’s Velocity value. 4 Press the second note and keep it pressed. 5 Edit the third note’s Velocity value.
Recording MIDI Songs Step Time = Step Time = Step Time = Off Release F On Press G (continue holding C) (continue holding C) On Press F and C Step Time = Step Time = Off Release G (continue holding C) On Step Time = Off Release D Press D (continue holding C) Step Time = |331 (continue holding C) Step Time = On Press E Off Release E and C (continue holding C) Step Time = Step Time = Tie On Press C On Off Press G (continue holding C) Release G and C Go back ▪▪ If you want to go b
332| Customizing, recording and editing the Songs Exit from Record 1 When finished recording, touch the Done button to exit the Step Record mode. A dialog box will appear, asking you to either cancel, discard or save the changes. 2 Touch Cancel to continue editing, No to exit from the Step Record without saving, or Yes to save and exit Step Record.
Recording MIDI Songs |333 Quick Recording a Backing Sequence Song What is a Backing Sequence Song? MIDI Songs are made of up to sixteen ‘tracks’ – that is, separate parts, each one with a different Sound. Usually, MIDI Songs are recorded one track at a time: the drums first, then the bass, then the accompaniment guitar, then the strings… Backing Sequence (Quick Record) makes this much easier and faster: you just record your live performance on the keyboard accompanied by the Styles.
334| Customizing, recording and editing the Songs Accessing the Backing Sequence (Quick Record) mode 1 Press the SEQUENCER button to switch to the Sequencer mode. The main page of the Sequencer mode will appear. 2 Press the RECORD button to open the Song Record Mode Select dialog. 3 Choose the Backing Sequence (Quick Record) option and touch OK to access the Backing Sequence Record page.
Recording MIDI Songs |335 Choose the Style ▪▪ Touch the Style parameter (or press one of the STYLE buttons on the control panel) to open the Style Select window, and choose a different Style. Choose the Sounds ▪▪ Touch the Kbd parameter (or use the KEYBOARD SET LIBRARY buttons) to open the Keyboard Set Select window, and choose a different set of Sounds for the keyboard. You can also use the KEYBOARD SET buttons under the display. Choose a quantize resolution for recording ▪▪ Set the recording Resolution.
336| Customizing, recording and editing the Songs Recording Turn on the metronome ▪▪ Press the METRO ( ) button to turn the metronome on or off while recording. The metronome click will not be recorded with the Song. Select the tracks to record ▪▪ Select or deselect the Backing Sequence grouped tracks (Chord/Acc and Kbd/Pad). This status is reflected by the big status indicator above the track sliders. Track status Meaning Rec The Backing Sequence grouped track is in record.
Recording MIDI Songs |337 A 1-measure precount will play before the recording actually begins. When it begins, record freely. 3 Play as if you were performing live with the Styles. During recording, select any Style Element (Intro, Variation, Fill, Break, Ending…) you like. While recording in Backing Sequence Record mode, you cannot use the Synchro, Tap Tempo, Manual Bass, Balance controls.
338| Customizing, recording and editing the Songs Backing Sequence and MIDI Songs After finishing recording, the Backing Sequence Song will be converted to an ordinary MIDI Song.
Recording MIDI Songs |339 Second-take recording (Overdubbing) You may want to record an additional ‘grouped’ track, or replace a previously recorded track. A good idea may be to record all chords and Style Element changes during the first take, then record Keyboard track during the second take. 1 Press the RECORD button to enter Record mode again. When the Song Record Mode Select dialog box appears, select Backing Sequence (Quick Record) again.
340| Customizing, recording and editing the Songs Using the KAOSS effects while recording While recording, you can use the KAOSS effects as if you were using them live. 1 While in the Backing Sequence Record page, touch the KAOSS button to access the KAOSS page. 2 Choose one of the KAOSS Preset by using the Preset menu or the Favorite buttons. 3 Start recording. 4 If you want to return to the Backing Sequence Record page, while continuing to record, press the EXIT button. 5 End recording.
Recording MIDI Songs |341 Step Recording a Backing Sequence Song The Step Backing Sequence mode allows you to enter single chords, to create or edit the Style (Ch/Acc) part of a Song. This mode lets you enter chords even if you are not a keyboard player, or fix any error made playing chords or selecting Style controls, during a Backing Sequence (Quick Record) recording. In this mode, you can only edit Songs created using the Backing Sequence (Quick Record) recording mode.
342| 3 Customizing, recording and editing the Songs Choose the Step Backing Sequence option and touch OK to access the Step Backing Sequence page. Position indicator Event list Step controls Recording While in edit, the events at the current position are shown by the right-pointing arrowheads ( ) on the left of the event. 1 Use the Measure parameter to go to the desired position in the Song, by using the VALUE control.
Recording MIDI Songs 5 While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. |343 ) Event types These are the events you can enter or edit. Event type Meaning Style Latest selected Style. To insert a Style change at the current position, touch the Style name to open the Style Select window. Any Style Change inserted after the beginning of the measure (i.e., to a position other than Mxxx.01.000) will be effective at the following measure.
344| Customizing, recording and editing the Songs Event type Meaning Length This parameter will let you know where to place the following Style Element Change. For example, if you inserted an Intro event lasting for 4 measures, you can insert 4 empty measure after this event, and a Variation event at the end of the Intro, beginning at the 4th empty measure. Inserting measures ▪▪ Choose the Insert Measures command from the page menu, to insert an empty measure starting from the current measure.
Recording MIDI Songs |345 Deleting selected types of events ▪▪ To delete all events of a specified type starting at the current position, choose from the page menu the Delete All … from Selected command corresponding to the type of event to delete (Styles, Style Elements, Chords, Tempos). To delete all the events of the same type from the whole Song, go back to the M001.01.000 position, and select one of these commands. The events on the very first tick (M001.01.
346| Customizing, recording and editing the Songs 30 Editing the MIDI Songs Editing the Song tracks You can edit the Song data in the Sequencer > Song Edit section. ) button to listen to After modifying something, press the PLAY/STOP ( the edited Song. Use the transport controls to move through the Song. Quantizing The quantize function may be used to correct any timing mistake after recording, or to give the pattern a ‘groovy’ feeling. 1 Go to the Sequencer > Song Edit > Quantize page.
Editing the MIDI Songs 3 |347 Use the Resolution pop-up menu to choose the quantize resolution. Resolution (1/32) … Meaning (1/8) Grid resolution after recording, in musical values. For example, when you select 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all notes are moved to the nearest 1/8 division. A “b…f ” character added after the value means swing-quantization. A ‘3’ after the quantization value means triplet.
348| Customizing, recording and editing the Songs Transposing The transpose function may be used to transpose the selected track(s). 1 Go to the Sequencer > Song Edit > Transpose page. 2 Select the Track to edit. 3 4 Track Meaning All All tracks selected, apart for the tracks set in Drum mode (like the Drum and Percussion tracks). Track 1 … 16 Selected track. Use the Value parameter to choose the transpose value.
Editing the MIDI Songs 6 |349 Select the Include chords checkbox if you want to also transpose the Chord events, for example those recorded with a Backing Song. The Chord events will be shown in the Lyrics and Score pages, so we suggest to transpose them to match the notes and the chord abbreviations shown.
350| 4 Customizing, recording and editing the Songs If you want to use the advanced parameters, allowing you to select a velocity curve and create fade-ins or fade-outs, select the Advanced checkbox. When this parameter is selected, the Intensity, Curve, Start Velocity Value and End Velocity Value parameters become accessible. ▪▪ Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve.
Editing the MIDI Songs 7 |351 After having set the various parameters, touch Execute. Cutting or inserting measures You can delete a selected measure (or a series of measures), or insert new ones in the middle of the Song. 1 Go to the Sequencer > Song Edit > Cut/Insert page. 2 Use the Start parameter to select the first measure to be cut or inserted. 3 Use the Length parameter to choose the number of measures to be cut or inserted.
352| Customizing, recording and editing the Songs Deleting data from measures The Delete page is where you delete MIDI events out of the Song. This function does not remove measures from the Song. To remove whole measures, use the Cut function instead. 1 Go to the Sequencer > Song Edit > Delete page. 2 Select the Track to edit. 3 Track Meaning All All tracks selected Track 1 … 16 Selected track Master Master track. This is where the Tempo, Scale and Effect events are recorded.
Editing the MIDI Songs 4 |353 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be deleted. If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. 5 Use the Bottom Note and Top Note parameters to set key range to delete. These parameters are available only when the All or Note option is selected.
354| Customizing, recording and editing the Songs Copying data You can copy tracks or phrases. 1 Go to the Sequencer > Song Edit > Copy page. 2 Use the Mode parameter to choose a Copy mode. 3 Copy Mode Meaning Merge Copied data are merged with the data at the target position. Overwrite Copied data replace all data at the target position. Use the From Track parameter to choose the source track, and the To Track parameter to choose the target. Track Meaning All All tracks will be copied.
Editing the MIDI Songs |355 Moving data You can shift a track forward or backward by just a few ticks or whole measures. 1 Go to the Sequencer > Song Edit > Move page. 2 Use the Track parameter to choose the track to edit. 3 Track Meaning All All tracks will be moved. Track 1 … 16 Selected track. Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be moved.
356| Customizing, recording and editing the Songs Converting notes to RX Noises You can go to the Utility page to convert notes of a Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an external sequencer. 1 Go to the Sequencer > Song Edit > Utility page. 2 Edit the parameters, and choose the commands. ▪▪ Use the Track parameter to choose a track, then use the Velocity parameter to set the volume level of the RX Noises in the selected track(s).
Editing the MIDI Songs |357 Converting MIDI Song’s notes to chords The Detect Chord function scans the MIDI Song’s tracks to detect chords, and then saves them as Chords events, to be seen in the Lyrics or Score page. 1 Go to the Sequencer > Song Edit > Utility page. 2 Touch the Execute button next to the Detect Chords parameter to automatically analyze the Standard MIDI File, and find chords. This command scans the whole Standard MIDI File, looking for chords.
358| Customizing, recording and editing the Songs Editing the MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected track. You can, for example, replace a note with a different one, or change its playing strength (that is, velocity value). The Event Edit page ▪▪ Go to the Sequencer > Event Edit > Event Edit page. b. Edit the events a. Touch here to choose the track to edit The Event Edit procedure Here is the general procedure to follow for the event editing.
Editing the MIDI Songs |359 Filtering the events shown ▪▪ Go to the Sequencer > Event Edit > Filter page to select the events to hide.
360| Customizing, recording and editing the Songs ▪▪ Select the M (Measure), and use the VALUE control to change event’s position. ▪▪ Select the Type parameter, and use the VALUE to change the event type. ▪▪ Select the Value 1 and Value 2 parameters, and use the VALUE control to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
Editing the MIDI Songs |361 Jump to a different measure 1 Touch the Go/Catch button to go to a different measure. The Go To Measure dialog will appear: 2 Enter a target measure and touch OK to confirm The first event available in the target measure will be selected. Insert events ▪▪ Touch the Insert button to insert an event at the current Position (M). A Note event with default values will be inserted. Delete events ▪▪ Select an event, then touch the Delete button to delete it.
362| Customizing, recording and editing the Songs 31 Saving MIDI Songs Saving the MIDI Song The Song will be lost when the instrument is turned off, or you switch to a different mode. Save it after recording. 1 While in the main page of the Sequencer mode, choose the Save Song command from the page menu. The Save Song window will appear. Current path Storage device This window is very similar to the Media > Save page. Files are filtered, so that can only see MIDI Song files (.mid, .kar).
Saving MIDI Songs |363 ▪▪ If no Song is selected, a new Song file will be created on the target device. To deselect a selected Song, touch anywhere else in the Song list, or select the same storage device again. At this point, press the EXIT button if you prefer to exit without saving the Song. 4 Touch the Save button to save the Song into the current folder. The Save Song dialog box will appear. 5 You may change the name of the Song.
364| 32 Customizing, recording and editing the Songs Recording MP3 Songs Recording and saving an MP3 Song Recording an MP3 Song Prepare for recording ▪▪ Either choose a Style or Song, if you want to record them in the new Song. You can choose either MIDI or MP3 Songs. ▪▪ Choose a Keyboard Set to assign Sounds to the keyboard. ▪▪ Choose a Voice/Guitar Preset to add effects to your voice/guitar.
Recording MP3 Songs |365 Please note that MP3 files recorded with lower sampling rates might not sound very good. With MP3 files there is always a trade-off between higher quality and smaller file size. Quality Meaning Highest 256 kbps High 192 kbps Medium 128 kbps ▪▪ Use the Device pop-up menu to choose a location where to temporary store the recorded MP3 file. This is not the final destination of your file, since you will be able to choose a different location after recording.
366| Customizing, recording and editing the Songs Stop recording ▪▪ Touch the Stop button in the display to stop recording. As an alternative, press the RECORD button. What can you record into an MP3 Song? Everything you sing or play on the keyboard or a guitar, the Styles and the MIDI or MP3 Songs performed by the Players, the events generated by the KAOSS effects, will be recorded.
Recording MP3 Songs |367 Overdubbing MP3 Songs MP3 Songs are compressed audio. Compression replaces the original audio stream with encoded audio, taking less space while preserving high sound quality. Overdubbing is the process of recording audio over existing audio. When overdubbing an MP3 Song in MP3 Record mode, you recompress a compressed file, and artifacts will be amplified. If you transpose the MP3 Song, pitch-shifting artifacts will be added and further degrade the resulting audio.
368| Customizing, recording and editing the Songs 33 Creating text files (lyrics) Creating text files on a personal computer Choosing the right language Pa1000 supports lyrics text in various languages. This however requires that you choose the right language in Pa1000, and save the TXT file with the correct text encoding from a personal computer. To save a TXT file with the correct encoding, you can use a Windows PC or Mac with an advanced text editor.
Creating text files (lyrics) |369 Setting the language on the Pa To correctly read text on your Pa, be sure to set the Language parameter to your language. This can be done in the Global > General Controls > Interface page. 1 Since the instrument must be restarted at the end of this procedure, be sure to first save any unsaved data. 2 While in the Interface page, select a language from the popup menu. 3 The Change command will start flashing. Touch it.
370| Customizing, recording and editing the Songs 6 Select all and copy the selected text. 7 Click on the tab containing the new TXT file. 8 Paste the copied text. 9 Save and assign a name to the new TXT file. 10 Load the file into your instrument, and check it. Editing the TXT file on a Mac 1 Launch BBEdit. 2 Open the original TXT file. 3 In the status bar (in the lower part of the window) find the Text Encoding parameter (it usually defaults to Unicode or Western ISO).
Creating text files (lyrics) |371 4 While in the dialog, choose your language encoding. 5 Next to it in the status bar, find the Line Break Type parameter, usually defaulting to Unix (LF). Click it to open the popup menu, and choose Windows (CRLF). 6 Save a copy of the file by choosing File > Save As. Give the new file a name, and be sure that the Save As dialog box shows the correct Line breaks and Encoding. 7 Load the file into your instrument, and check it.
372| Customizing, recording and editing the Songs ▪▪ Small font in a text editor and the Pa: ▪▪ Big font in a text editor and the Pa: Using imported text as a memo Importing text files may be useful not only to load Lyrics, but also to load notes on the show. Please find below an example of playlist and gig outline.
Part VII: CUSTOMIZING AND EDITING THE SOUNDS |373
374| Customizing and editing the Sounds
Listening and customizing the Sounds 34 |375 Listening and customizing the Sounds Accessing the Sound mode ▪▪ Press the SOUND button in the MODE section of the control panel. The main page of the Sound mode will appear.
376| Customizing and editing the Sounds Listening to individual Sounds While in the Sound mode, the selected Sound can always play across the full keyboard range. The split point will be ignored. Choosing a Sound 1 While in the main page of the Sound mode, touch the name of the Sound to open the Sound Selection window. 2 Browse through the Sounds, and touch the Sound to select. Choosing a Sound while in other modes While in a different mode, you can easily ‘send’ a Sound to the Sound mode.
Listening and customizing the Sounds |377 Customizing the Sound While in the main page of the Sound mode, you can edit some Sound parameters in realtime. This is useful both for on-the-fly adjustments, and for realtime sound manipulation. Using the Realtime Controls ▪▪ Use the Realtime Controls to edit the main parameters of the Sound. All values are offset of the original values memorized in the Sound (they are added to or subtracted from the original values).
378| Customizing and editing the Sounds Realtime Control Meaning Attack Attack time. This is the time during which the sound goes from the Start level (at the moment when you press a key) to the Attack level. Decay Decay time. Time to go from the final Attack level to the beginning of the Sustain. Release Release time. This is the time during which the sound goes from the sustaining phase, to zero. The Release is triggered by releasing a key.
Listening and customizing the Sounds |379 Setting the Voice mode ▪▪ Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). ▪▪ Use the Legato checkbox to activate legato to a mono voice. Legato will make the second note’s attack smoother. Envelope and LFO will not be retriggered. This is particularly effective with wind instrument and analog synth-type sounds.
380| Customizing and editing the Sounds 35 Editing the Sounds You can edit each single parameter of a Sound. Pa1000 is, at its core, a powerful sample-based synthesizer, with advanced analogue-like sound shaping features. Sound generation At the base of each Sound there are Samples, that are recordings of real sounds. Each Sample is assigned to a separate zone of the keyboard together with other Samples to create a Multisample. One or two Multisamples are assigned to each Oscillator.
Editing the Sounds |381 Choosing the oscillators (OSC) While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (1…24 max) to select one of the available oscillators. The number of available oscillators depends on the Oscillators Count parameter (in the Sound > Basic > Sound page). Oscillators If you cannot see the desired oscillator, touch the scroll arrow, until the hidden oscillator is shown in the display.
382| Customizing and editing the Sounds Setting the Sound’s basic parameters Before editing the oscillators, choose the number of oscillators in the Sound, the Sound’s mono/poly mode, and the transpose and legato ranges. ▪▪ Go to the Sound > Basic > Sound page. Setting the oscillators The Oscillator Count section is where you choose how many voices will be used by a single Sound.
Editing the Sounds |383 Limiting the number of oscillators when polyphony is low ▪▪ Use the Low priority parameter to allow the highest-numbered oscillators to be turned off when the instrument is short on voices. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard. Low Priority Meaning 0 No oscillator will be turned off in any case. 1 The highest-numbered oscillator will be turned off, if needed.
384| Customizing and editing the Sounds Polyphony, triggering, legato The Voice Assign Mode section is where you choose polyphony, triggering and legato. Choosing the mono/poly mode ▪▪ Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). Choosing triggering mode ▪▪ When the selected mode is Poly, use the Single Trigger checkbox to choose the triggering mode.
Editing the Sounds |385 Choosing the Mono note priority ▪▪ When the selected mode is Mono, use the Priority pop-up menu to specify which note will be given priority when two or more notes are played simultaneously. Priority Meaning Low The lowest note will take priority. High The highest note will take priority. Last The last note will take priority. Holding notes ▪▪ Select the Hold checkbox to let the notes play even after releasing the keys.
386| Customizing and editing the Sounds The controller can work in two ways: Sound Controller Mode Meaning Booking Activate the controller to ‘book’ its function, then play. The controller will be automatically deactivated. Toggle Use the controller to ‘toggle’ its function between activated and deactivated. The assigned controller type and status is shown by the indicators on the assignable switches. Indicator status Meaning Off No DNC function assigned.
Editing the Sounds |387 Detecting Legato Two notes can be considered legato when there is very little or no time between them (and they can even be overlapping). You can adjust the instrument’s sensitivity to detect legato. Legato can be used as an oscillator trigger, when you assign one of the Legato triggers to the OSC Trigger Mode parameter (in the Sound Edit > Basic > OSC Basic page).
388| Customizing and editing the Sounds Setting the oscillator’s basic parameters Each of the oscillators can play one or two different multisamples (High and Low layers), separated by a velocity switch. ▪▪ Go to the Sound > Basic > OSC page. The multisamples The OSC Multisample section contains the basic parameters of the assigned multisamples.
Editing the Sounds |389 Choosing and setting the multisamples ▪▪ Use the High and Low pop-up menus to choose the multisample’s bank (ROM or RAM). ▪▪ Use the numeric field next to the multisample name to choose the multisample inside the selected bank. Bank Meaning ROM Factory multisamples, supplied by KORG as standard. RAM User multisamples, loaded when loading some User Sounds. The High multisample will be triggered by velocities equal or higher than the Velocity SW L–>H value.
390| Customizing and editing the Sounds Setting octave and fine tuning ▪▪ Use the Oct(ave) parameter to adjust the pitch of the selected oscillator in octave units (-2…+1). The normal octave is 0 (Zero). ▪▪ Use the Transpose parameter to adjust the pitch of the selected oscillator over a range of ±1 octave (-12…+12 semitones). ▪▪ Use the Tune parameter to adjust the pitch of the sample over a range of ±1 octave (-1200…+1200 cents of a semitone) .
Editing the Sounds |391 Oscillator triggering Triggering Mode is how the oscillator will start after pressing a key or a controller. Choosing the oscillator triggering mode ▪▪ Use the first OSC Trigger Mode > Mode pop-up menu to choose the event triggering the selected oscillator. Trigger Mode (What) Meaning Note On The oscillator starts playing when a note is played. Note Off (VOn) The oscillator starts playing when a note is released. Note On Velocity is considered.
392| Customizing and editing the Sounds ▪▪ Use the second OSC Trigger Mode > Mode pop-up menu to choose an additional condition before triggering the selected oscillator. For example, a Normal-triggered oscillator will always play, while a Legato-triggered oscillator will only play when a note is played legato. Trigger Mode (How) Meaning Normal The oscillator always plays when a key, or another triggering control chosen in the first menu, is pressed.
Editing the Sounds |393 Trigger Mode (How) Meaning Cycle 2 As the above, for use with a different (and parallel) group of oscillators. Having two Cycle Trigger Modes allows for cycling stereo multisamples. Random As the above, but with a random selection of oscillators within the assigned group. Choosing a delay before note start ▪▪ Use the Delay parameter to set a lapse (0…5000ms) between pressing a key (or in general triggering the oscillator) and hearing the beginning of the sound.
394| Customizing and editing the Sounds Setting the velocity and key zone You can limit the selected oscillator to play inside a defined velocity zone and key range. This will allow for creating different key and velocity layers. ▪▪ Go to the Sound > Basic > Velocity/Range page. Setting a velocity zone ▪▪ Use the Velocity Zone (Top and Bottom) parameters (0…127) to specify the velocity zone for the selected oscillator.
Editing the Sounds |395 Programming the Damper pedal Programming the pedal Pa1000 carefully recreates the way an acoustic piano Damper pedal works. ▪▪ Go to the Sound > Basic > Damper Mode page. Choosing a Damper pedal mode ▪▪ Use the Damper Mode pop-up menu to choose how the Damper pedal will work on the selected oscillator. Damper Mode Meaning Normal The Damper pedal works as usual: by keeping it pressed, the note decay is lengthened, to simulate the longer note decay of an acoustic piano.
396| Customizing and editing the Sounds Damper Mode Meaning Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly. Do not use Repedaling in Sounds used by Style tracks. Programming the Resonance/Halo You can program the Resonance/Halo effect that is enabled by the Resonance/Halo Damper Mode (see above).
Editing the Sounds |397 Triggering notes when pressing or releasing the Damper pedal Special effects can be achieved by triggering notes with the Damper pedal. ▪▪ Go to the Sound > Basic > Damper Trigger page. The parameters in this page apply to the Sound as a whole, and not to a single oscillator. As warned by the message on the lower area of the display, triggered notes must fall out of the Transpose Range programmed in the Sound > Basic > Sound page.
398| Customizing and editing the Sounds Playing a note when releasing the Damper pedal The Damper Off Trigger parameters allow to play a note when releasing the Damper pedal (Damper Off). Releasing the Damper pedal can play a special sample assigned to a particular note (for example, Damper pedal release noise in the ‘Grand Piano Demo’ Sound). ▪▪ Choose a Note, and set its Velocity.
Editing the Sounds |399 Equalizing the Sound You can use a three-band, semi-parametric equalizer on each oscillator. ▪▪ Go to the Sound > Basic > EQ page. Activating the EQ ▪▪ Select the Enable checkbox to activate the equalizer on the selected oscillator. Trimming and programming the EQ ▪▪ Use the Trim knob to limit the level of the signal passing through the equalizer (0…99). Extreme equalization values can overload the audio circuits and lead to distortion.
400| Customizing and editing the Sounds Setting the Drum Kit’s basic parameters When editing a Drum Kit, you first choose and set the percussive samples assigned to each key and velocity layer. ▪▪ Go to the Sound > DrumKit > DrumKit page. Selecting and setting a key The key can be selected and programmed in the KEY section. Choosing the key to edit ▪▪ Use the KEY parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
Editing the Sounds |401 Selecting the dry or ambient portion of the sound You can separately listen to the dry or ambient portion of the percussive samples while editing. ▪▪ Use the Dry+Amb menu to choose the dry and/or ambient portion of the sound. Layer and velocity switch After having selected a key to edit, choose the velocity layer. Choosing the layer to edit ▪▪ Use the radio buttons in the Layer Selector & Velocity Sample Switch area to select the layer to edit.
402| Customizing and editing the Sounds Choosing a drum sample ▪▪ Use the Drum Sample parameters to assign a different drum sample to each layer. You can use velocity to switch between the available samples. Offset and Level can be adjusted independently for the various drum samples. Use the pop-up menus to choose the bank (ROM or RAM). Use the numeric field next to the sample name to choose the sample inside the selected bank. Bank Meaning ROM Factory samples, supplied by KORG as standard.
Editing the Sounds |403 ▪▪ Use the AMS and Int(ensity) parameters to choose the AMS modulation source and its intensity. When the Intensity parameter has a positive value, the selected Offset point will depend on the AMS value. For example, with the Velocity AMS, playing softly will select the Off or 1st Offset, while playing loudly will select the 6th or No Attack Offset.
404| Customizing and editing the Sounds Equalizing the Drum Kit Each of the drum samples can be processed with a three-band, semi-parametric equalizer. ▪▪ Go to the Sound > DrumKit > EQ page. Choosing the key to edit ▪▪ Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard. The Layers and Assign parameters are the same of the Sample Setup page. Trimming and programming the EQ ▪▪ Select the Enable checkbox to activate the equalizer on the selected layer.
Editing the Sounds ▪▪ Use the EQ controls to create the equalization curve. EQ Control Meaning Value Low Gain Low frequencies equalization. This is a shelving -18…+18dB curve filter. Mid (Middle) Gain Middle frequencies equalization. This is a bell -18…+18dB curve filter. Mid (Middle) Freq Centre frequency of the middle frequencies 0.100…10kHz equalization. Hi (High) Gain High frequencies equalization. This is a shelving -18…+18dB curve filter.
406| Customizing and editing the Sounds Mixing the Drum Kit layers You can see all the drum samples, dry/ambient levels, and velocity switches of the available layers in a single page. While in this page, you can see which layer is playing. ▪▪ Go to the Sound > DrumKit > Velocity Switch Levels page. View which layer is playing ▪▪ Play a note on the keyboard. Depending on the velocity, an indicator will turn on on the extreme right of the page, next to the layer that is playing.
Editing the Sounds |407 Mixing and retriggering the drum samples You can choose a triggering mode, and mix the key (usually a percussive sound with its different velocity layers) with the other keys. All layers of the selected key will get the same settings. ▪▪ Go to the Sound > DrumKit > Voice/Mixer page. Choosing the key to edit ▪▪ Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
408| Customizing and editing the Sounds Creating exclusive groups Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing. Exclusive Group Meaning None No Exclusive Group assigned. The selected key will not be stopped by any other key. 1…127 Exclusive Groups assigned to the selected key.
Editing the Sounds |409 Modulating pitch Pitch can change depending on the note and the activated controllers. Pa1000 also includes LFO generators that can modulate the pitch. ▪▪ Go to the Sound > Pitch > Pitch Mod page. Controlling pitch The oscillator’s pitch can follow the natural scale, or a different pitch ‘slope’. Setting the Pitch Slope ▪▪ Use the Pitch Slope parameter (-1.0…+2.0) to change pitch depending on the note position on the keyboard. Normally you will leave this parameter at +1.0.
410| Customizing and editing the Sounds The diagram shows how the Pitch Slope and pitch are related: Pitch +2 +1 2oct 1oct 1oct 0 –1 C4 C5 Key Controlling the pitch with physical controllers ▪▪ Use the Pitch Mode pop-up menu to set the Pitch Bend direction. Pitch Mode Meaning Normal Linear bending. Fixed Scale When this parameter is turned on on an oscillator, Pitch Bend and Sub Scale have no effect on its tuning. The relevant parameters are greyed out and non-selectable.
Editing the Sounds |411 Choosing a pitch modulation source ▪▪ Use the Pitch > AMS (Alternate Modulation Source) pop-up menu to select a modulation source for the pitch of the selected oscillator. A list of the available AMS sources is in the Appendix. The Intensity parameter (-12.00…+12.00) specifies the depth and direction of the effect produced by the AMS. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.
412| Customizing and editing the Sounds The Pitch EG > AMS and Pitch EG > Intensity will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG. Pitch change (level) Note-on Note-off Softly played (Intensity (Pitch EG) setting) Note-on Note-off Strongly played with a positive (+) value Note-on Note-off Strongly played with a negative (–) value Programming Portamento Portamento adds a slide between notes (a smooth change in pitch from one note to the next).
Editing the Sounds |413 Controlling the LFO Use the LFO 1/2 parameters to controls the LFO (Low Frequency Oscillation) on the selected oscillators. LFO generators are programmed in the Sound Edit > LFO > LFO 1 and LFO 2 pages. ▪▪ Use the LFO 1/2 Int parameter to set the intensity (-12…0…+12) of the corresponding LFO. Negative values will invert the LFO shape. ▪▪ Use the JS+Y parameter to set the intensity (-12…0…+12) of the corresponding LFO when the joystick is pushed forward.
414| Customizing and editing the Sounds Programming the pitch envelope (Pitch EG) Pa1000 includes a pitch envelope generator (Pitch EG) that can vary the pitch over time. ▪▪ Go to the Sound > Pitch > EG page. You can see the shape of the envelope in the diagram on top of the page. Setting the Pitch EG levels and times Pitch EG can be programmed by setting the Level and Time parameters of the envelope segments. Time-varying pitch settings (when Pitch EG Intensity = +12.
Editing the Sounds |415 The actual amount of pitch change will depend on the Pitch EG > Intensity parameters (see the Sound > Pitch > Pitch Mod page). For example, with an Intensity setting of +12.00, a Level setting of +99 would raise the pitch one octave, and a Level setting of –99 would lower the pitch one octave. ▪▪ Use the Time parameters (0…99) to specify the time over which the pitch change will occur.
416| Customizing and editing the Sounds If the Intensity is a positive (+) value, a setting of + will increase the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.
Editing the Sounds |417 time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
418| Customizing and editing the Sounds Programming the filters As in a subtractive analogue synthesizer, filters are the main agents of the sound’s timbre quality. Envelope and modulation allow for timbral shift over time, making the sound alive. Choosing the filters You can choose one of two filters for the selected oscillator. ▪▪ Go to the Sound > Filter > Filter Type page. Choosing the filter type ▪▪ Use the Filter Type radio buttons to choose the type of filter for the selected oscillator.
Editing the Sounds |419 Trimming the filter input ▪▪ Use the Trim parameter (00…99) to adjust the level at which the audio signal generated by the selected oscillator is input to filter A. If this value is too high, the sound may distort when Resonance is set to a high value, or when you play a chord. Programming the filters Programming filter A ▪▪ Use the Filter A > Frequency parameter to set the cutoff frequency of filter A (00…99).
420| Customizing and editing the Sounds With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting. The resonance level is determined by summing the Resonance and Intensity values.
Editing the Sounds |421 Modulating the filters You can modulate the filter cutoff frequency of the selected oscillator. Modulation will add dynamic timbre variation. Programming realtime filter modulation ▪▪ Go to the Sound > Filter > Modulation page. When the filter type is Low Pass Resonance, the parameters for filter B will not be editable (dimmed). Tracking the cutoff frequency across the keyboard Keyboard Tracking changes the timbre quality across the keyboard.
422| Customizing and editing the Sounds ▪▪ Use the Ramp Low/High parameters to specify the slope of the keyboard tracking (-99…+99). Cutoff frequency High Ramp=+99 High Ramp=+62 High Ramp=0 High Ramp=–43 Low Ramp=+99 High Ramp=–99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62 Low Ramp=–99 Low Key High Key Key ▪▪ Set the Intensity to A and Intensity to B parameters (-99…+99) to specify the depth and direction of the changes applied to filters A and B.
Editing the Sounds |423 ▪▪ Use the AMS pop-up menu to select a modulation source for the filter EG applied to the cutoff frequency of filters A and B. ▪▪ Use the Int to A/B parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on filter A/B. The sum of the settings for Velocity to A/B, Intensity to A/B, and (AMS) Intensity to A/B will determine the depth and direction of the effect produced by the filter EG.
424| Customizing and editing the Sounds Applying LFO to the filters You can use LFO to apply cyclic modulation to the cutoff frequency of the filters. This will create cyclical changes in tone on the selected oscillator. ▪▪ Go to the Sound > Filter > LFO Mod page.
Editing the Sounds |425 For example if the AMS is Joystick Y+, higher settings of this parameter will allow greater change to be applied to LFO 1/2 when you move the Joystick up in the Y axis.
426| Customizing and editing the Sounds Programming the filter envelope (Filter EG) You can create an envelope to vary over time the cutoff frequency of the filters on the selected oscillator. ▪▪ Go to the Sound > Filter > EG page. You can see the shape of the envelope in the diagram on top of the page. Setting the Filter EG levels and times Filter EG can be programmed by setting the Level and Time parameters of the envelope segments. The result will depend on the filter type.
Editing the Sounds |427 ▪▪ Use the Level parameters (-99…+99) to specify the amount of cutoff frequency change. EG Level Meaning Start Change in cutoff frequency at the time of note-on. Attack Change in cutoff frequency after the attack time has elapsed. Break (Break Point) Change in cutoff frequency after the decay time has elapsed. Sustain Change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off occur.
428| Customizing and editing the Sounds Modulating the Filter EG Modulating the Filter EG levels ▪▪ Use the Level Modulation > AMS parameter to select the source that will control the Level parameters of the filter EG. ▪▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the AMS. With a setting of 0, the levels specified by the Frequency parameter will be used.
Editing the Sounds |429 Modulating the Filter EG times ▪▪ Use the Time Modulation > AMS 1/2 parameters to select a modulation source for the Time parameters of the filter EG. ▪▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on the Time parameters. With a setting of 0, the filter EG times will be just as specified by the Time settings.
430| Customizing and editing the Sounds Programming amplitude and pan You can program the amplitude and pan of each oscillator. Amplitude is the volume of the oscillators. Pan is the position of the oscillators in the stereo panorama. With amplitude envelope you can make the sound volume vary over time. Setting the basic amplitude and pan values You can set the basic volume and pan values of the selected oscillator. ▪▪ Go to the Sound > Amp > Level/Pan page.
Editing the Sounds |431 Setting the pan’s basic position ▪▪ Use the Pan parameter to set the stereo position (panorama) of the selected oscillator. This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key instead. Pan Meaning Rand(om) The sound will be heard from a different location at each note-on. L-63…C00…R+63 Sound placed from Left (L) to Right (R). A value of C00 is Center (C). The pan of a Sound can be controlled by CC#10 (Pan).
432| Customizing and editing the Sounds Modulating amplitude Modulating the amplitude level of each oscillator makes the sound alive and ever-changing. ▪▪ Go to the Sound > Amp > Modulation page. Tracking the amplitude across the keyboard Use the Keyboard Track parameters to adjust the volume of the selected oscillator across the keyboard. ▪▪ Use the Key Low/High parameters (C–1…G9) to specify keyboard tracking for the note number at which keyboard tracking will begin to apply.
Editing the Sounds |433 Here is an example of volume changes produced by keyboard location and Ramp settings: Volume Ramp Low=+99 Ramp High=+99 Ramp Low=0 Ramp High=0 Ramp Low=–99 Ramp High=–99 Key Low Key Key High Modulating amplitude Use the Amp Modulation parameters to specify how the volume of the selected oscillator will be affected by velocity. ▪▪ Use the Velocity Intensity parameter (-99…+99) to link velocity and volume.
434| Customizing and editing the Sounds axis. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard. Modulating amplitude with the LFOs LFO is a cyclic modulation. Applied to the amplitude it produces an effect usually called ‘tremolo’. ▪▪ Go to the Sound > Amp > LFO page.
Editing the Sounds |435 Programming the amplitude envelope (Amp EG) You can create time-varying changes in the volume of the selected oscillator. ▪▪ Go to the Sound > Amp > EG page. The diagram on top of the page shows the Amplitude envelope line. Setting the Amp EG levels and times Amp EG can be programmed by setting the Level and Time parameters of the envelope segments.
436| Customizing and editing the Sounds ▪▪ Use the Time parameters (0…99) to specify the time over which the volume level is reached. EG Time Meaning Attack Time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound. Decay Time over which the volume will change from when it reaches the attack level until it reaches the break point level.
Editing the Sounds |437 When Intensity has a positive (+) value, a setting of + for this parameter will allow the AMS to raise the EG level, and a setting of – will allow AMS to lower the EG level. With a setting of 0 there will be no change.
438| Customizing and editing the Sounds With positive (+) values of Intensity, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
Editing the Sounds |439 Programming the LFO LFO (Low Frequency Oscillation) can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator (LFO 1 and LFO 2). ▪▪ Go to the Sound > LFO > LFO 1 or LFO 2 page, depending on the LFO to program. Choosing the LFO waveform and settings You can choose the LFO waveform, program it and synchronize it.
440| Customizing and editing the Sounds Choosing the LFO waveform and frequency ▪▪ Use the Waveform parameter to choose the LFO waveform. The numbers appearing on the right of some of the LFO waveforms indicate the phase at which the waveform will begin.
Editing the Sounds |441 Synchronizing the LFO with the key strokes ▪▪ Select the Key Sync checkbox to synchronize the LFO to the key strokes. Key Sync Meaning On The LFO will restart each time you play a note, and an independent LFO will operate for each note. Off The LFO effect that was started by the first-played note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).
442| Customizing and editing the Sounds Modulating LFO frequency Use the Frequency Modulation parameters to set the two alternate modulation sources to adjust the speed of the LFO for the selected oscillator. ▪▪ Use the AMS 1/2 pop-up to choose the modulation sources that will adjust the frequency of the selected oscillator’s LFO. LFO 1 can be modulated by LFO 2. ▪▪ Use the Intensity parameters (-99…+99) to set the modulation depth and direction.
Editing the Sounds |443 Synchronizing the LFOs Use the Frequency MIDI/Tempo Sync parameters to synchronize the LFO to the Player’s Tempo. ▪▪ Select the MIDI/Tempo Sync checkbox to synchronize the LFO to the Player’s Tempo. The values specified in Frequency and Frequency Modulation will be ignored. ▪▪ Use the Base Note pop-up menu to choose a note length, and the Times parameter to choose a multiple of it. This will be the LFO frequency.
444| Customizing and editing the Sounds Adding effects to the Sound You can send the Sound to the effects of the FX B Group (usually reserved to the Keyboard Sounds). ▪▪ Go to the Sound > Effects > FX B page. Activating and choosing the insert effects Each Sound can go into an insert effect processor. Activate the insert effects ▪▪ Use the Insert FX > On/Off button to turn on or off the insert effect.
Editing the Sounds |445 You can adjust the Wet/Dry mix of the insert effects, but we suggest not to touch it, unless you are editing the effects. 4 When finished editing, press the EXIT button to return to the previous page. Activating and choosing the master effects Each Sound can send its audio signal to two master effects. Activate the master effects ▪▪ Use the Master Effects > On/Off buttons to turn on or off the master effects.
446| Customizing and editing the Sounds Setting the effect parameters All the parameters in this page are the same seen for the Sound sets. Please check the Customizing and editing the Sound sets section. ▪▪ Use the Send controls (0…127) to set the level of the Sound signal going to the Master FXs. ▪▪ Select the Dry > On checkbox to add the dry signal to the effected signal. If this is not selected, only the effected signal will be heard.
Editing the Sounds |447 Sound Edit utilities Listening to a single oscillator ▪▪ Choose the Solo Oscillator command from the page menu to solo the selected oscillator, and mute the other oscillators. ▪▪ Choose it again to unmute all oscillators. When this function is activated, the Solo OSC [n] indicator (n = oscillator number) blinks on the page header. While in this situation, you can select a different oscillator to be soloed.
448| Customizing and editing the Sounds Copying Drum Kits You can copy the Drum Kit from a different Drum Kit. 1 Choose the Copy Drum Kit command from the page menu. The Copy Drum Kit dialog will appear. 2 Touch the From Drum Kit button to open the Sound Select window, and choose the source Drum Kit. 3 Use the From Key parameters to choose the range of keys to copy from. 4 Use the To Key parameter to choose the key from which to start copying. 5 Touch the OK button to confirm.
Editing the Sounds |449 AMS (Alternate Modulation Sources) When the AMS abbreviation is encountered, an Alternate Modulation can be applied to the corresponding parameter. Alternate Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
450| Customizing and editing the Sounds AMS Description Note JS+Y & AT/2 (Joy Stick +Y & After Touch/2) Joystick +Y (vertical up- The effect will be controlled by the ward) direction and After joystick +Y (vertically upward) and Touch by after touch. In this case, the effect of after touch will be only half of the specified intensity.
Editing the Sounds Diagrams of the AmpKTrk sources follow.
452| 36 Customizing and editing the Sounds Writing the Sounds Writing the edited Sound After editing, you can save all the edited parameters into a User Sound location in memory. Note: Changes can only be saved onto User Sounds. 1 While in Sound Edit mode, choose the Write Sound command from the page menu to open the Write Sound dialog. Sound name Sound bank Sound location 2 Touch to open the Sound Select window You may change the name of the Sound.
Writing the Sounds |453 ▪▪ To save over a Factory Sound location, deselect the Protect > Factory checkbox in the Global > Mode Preferences > Media page. When replacing a Factory Sound, please be warned that all Keyboard Sets, Styles and Songs making use of it will be modified as well. Use this feature with great care! ▪▪ To restore the original data, please use the Factory Restore command in the Media > Utility page.
454| 37 Customizing and editing the Sounds Making new sounds with Sampling Creating new Sounds or Audio Grooves Pa1000 includes a full-featured sampler, that allows you to create new Samples, new Multisamples and new synced Audio Grooves. In addition to recording, you can load Samples, Multisamples, Sounds and banks of Sounds from various formats.
Making new sounds with Sampling |455 Accessing and exiting the Sampling mode ▪▪ While in Sound mode, press the RECORD button to enter Sampling mode. Please note that no sound will be heard when you first enter Sampling mode. ▪▪ While in Sampling mode, choose the Exit from Record command from the page menu, or press the RECORD button to exit Sampling mode.
456| Customizing and editing the Sounds Loading samples and multisamples Loading samples You can load samples in the following formats. Sample format Meaning KSF KORG’s native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-Series arrangers. File names must have the .ksf extension. AIFF Apple Mac’s preferred format for audio. File names must have the .aif extension. WAVE Microsoft Windows preferred format for audio. File names must have the .wav extension.
Making new sounds with Sampling |457 While in this window, you can press the SEARCH button, and use the Search function to find samples in the various media. 2 Browse through the files, then select the sample to load, and touch the Load button. 3 After loading a sample, you can edit it in the other pages of the Sample section, then add it to a multisample. If it is an Audio Groove, continue editing it with the Time Slice function.
458| 1 Customizing and editing the Sounds While in any of the Sample or Multisample pages, choose the Import command from the page menu, to open the Load Sample window. While in this window, you can press the SEARCH button, and use the Search function to find files in the various media. 2 Browse through the files, then select the one to load, and touch the Load button.
Making new sounds with Sampling |459 Importing SF2 files When importing an SF2 file, you can choose between a single multisample or the whole bank: ▪▪ Choose MultiSample to choose a single Multisample (that is, SF2 Instruments); touch the multisample number and dial in the corresponding number. ▪▪ Choose Complete bank to import all the multisamples from the selected bank. Check Override Sample Names if you want to assign the sample names a progressive number.
460| Customizing and editing the Sounds Recording samples or audio grooves Connecting the sources and setting the levels Before starting to record, prepare the sources to be sampled. Connecting the source and accessing Sampling 1 With its MASTER VOLUME control set to zero, connect the source to be sampled (for example, a microphone or a CD player) to the relevant audio input(s) on the rear of the instrument. When the source has been connected, move the MASTER VOLUME control to a position other than zero.
Making new sounds with Sampling |461 Watch at the meters in the display to check the input level. Red means near distortion (signal clipping), so ideally, the meter bar should never go to red. When the Clip indicators turn red, the signal is too hot and is distorting. Also, check the microphone level with the LEVEL indicator in the AUDIO IN section on the control panel. It should never go to red, and stay to orange (green means too low an input signal).
462| Customizing and editing the Sounds Editing the samples After recording, loading or importing, you can edit the samples. ▪▪ Go to the Sampling > Edit page. This page allows you to cut, trim or normalize a sample, as well as edit the loop points. The sample can be played over the full keyboard. Choosing the sample to edit 1 Touch the name of the sample on top of the page to open the Sample Select window. 2 Touch the name of a sample to select it.
Making new sounds with Sampling |463 Use the Zoom controls to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maximum or minimum value has been reached. Increase the vertical size Decrease the horizontal size Full zoom out Increase the horizontal size Decrease the vertical size Full zoom in Changing the sample length When recording, you may have included exceeding materials at the beginning and/or ending of the sample.
464| Customizing and editing the Sounds When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sample Start in ordinary sounds (that is, a guitar, a piano, a voice…).
Making new sounds with Sampling |465 Cutting away part of the sample You can cut away the selected part of the sample. 1 While in the Edit page, use the Start and End points to choose the segment to cut away. 2 Choose the Cut command from the page menu. Cutting away the unused parts of the sample (trimming/ cropping) You can cut away the non-selected parts of the sample. 1 While in the Edit page, use the Start and End points to choose the segment to preserve.
466| Customizing and editing the Sounds Editing the loop After editing the sample, you can fine-tune the loop. ▪▪ Go to the Sampling > Loop page. The loop is a cycling portion of a sampled sound. Looping is a technique used to reduce the sampling time, cycling a portion of the sound to create the sustaining phase of the sound. After the attack stage, most sounds repeat the same waveform during their sustain stage.
Making new sounds with Sampling |467 Protecting the loop length ▪▪ Use the Loop Lock to fix the length of the loop being edited. When it is closed, moving the Loop Start automatically moves the Loop/Sample End point, or vice versa. This is convenient when you are creating a rhythm loop to match a specific tempo.
468| 3 Customizing and editing the Sounds Use the Curve radio buttons to specify how the volume will change in the crossfaded region. Curve Meaning Linear The volume will change linearly. Power The volume will change non-linearly. Sometimes a setting of Linear will produce the impression that the volume has dropped in the middle of the crossfade curve. In such cases, use Power.
Making new sounds with Sampling |469 Getting information on the Sampling memory In case you receive a message warning about not enough Sampling memory available, you can check what is filling it up. You will then be able to delete some data or compress the samples. ▪▪ Go to the Sampling > Info page. ▪▪ Use the Sampling area to get information on the number of samples, drum samples and multisamples in the Sampling memory. Parameter Meaning Samples Number of samples in memory.
470| Customizing and editing the Sounds Parameter Meaning Mono Time Remaining memory in seconds. This value is given for mono samples. With stereo samples, this time has to be halved. Bytes Remaining memory in Bytes. This value is given for mono samples. With stereo samples, this time has to be halved. Largest block Largest contiguous block of memory. This is the maximum size of a sample you can write to memory.
Making new sounds with Sampling |471 Writing, exporting or deleting the samples Writing the sample If you are creating an ordinary Sound or Drum Kit, write the sample to the internal memory. 1 While in any page of Sample editing section, choose the Write command from the page menu to open the Write Sample dialog. 2 You may change the name of the sample. Touch the Text Edit ( open the virtual keyboard and edit the name.
472| Customizing and editing the Sounds Exporting samples You can export the sample in edit in one of two popular computer audio file formats (WAVE and AIFF). 1 While in any page of the Sample section, choose the Export command from the page menu, to open the Export Sample window. 2 Choose a target location, then touch the Save button to make the Export Sample dialog appear: 3 You may change the name of the sample. Touch the Text Edit ( open the virtual keyboard and edit the name.
Making new sounds with Sampling |473 Deleting samples You can delete a sample, all the unused samples, or all the samples. Accessing the Delete Sample dialog ▪▪ While in any page of Sample editing section, choose the Delete command from the page menu to open the Delete Sample dialog. Deleting a sample ▪▪ Select the Selected option, choose the sample to be deleted, and touch OK to confirm.
474| Customizing and editing the Sounds Compressing the User Samples Pa1000 can read and play compressed User Samples. It can compress User Samples when saving them, or in batch. Sample compression allows for doubling the available Sampling memory. Compressed samples can no longer be decompressed. If you want to keep the original samples, please save a copy before compressing them. Compressing User Samples when writing them You can compress a User Sample while writing it to the internal memory.
Making new sounds with Sampling |475 Creating multisamples After having recorded, loaded or imported all the needed samples, you can create a multisample. The multisample is a way of organizing several samples on the keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit. Later, the multisample will be assigned to an oscillator in an ordinary Sound. ▪▪ Go to the Sampling > Multisample > Edit page.
476| Customizing and editing the Sounds Reading the multisample diagram The keyboard diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big ‘–’ and ‘+’ buttons on its side to scroll the diagram one octave lower or upper. Assigning samples to the keyboard Creating a new zone By default, a new multisample contains a single zone. ▪▪ Touch the Insert button to split the current zone in half, and create a new zone (Index) on the left of the selected one.
Making new sounds with Sampling |477 Assigning a sample to the selected zone A zone always corresponds to a single sample. ▪▪ Use the Sample parameter to choose a sample. To create a silent zone, create it and assign no sample to it. Editing the selected sample ▪▪ Toutch the Edit Sample button to go to the Sampling > Sample > Edit page with the selected sample. Setting the zone parameters ▪▪ Use the Original Note parameter to automatically transpose the assigned sample on the keyboard.
478| Customizing and editing the Sounds Overview of the assigned samples and zones You can see the overall map of the samples assigned to the zones, and edit their range on the keyboard. ▪▪ Go to the Sampling > Multisample > Key Assign page. Multisample diagram Samples Zones ▪▪ Scroll the zones by using the list of samples on the left of the page. Use the big button with an arrow on top and to the bottom of the list to scroll the list up or down.
Making new sounds with Sampling |479 Writing, exporting or deleting the multisamples Writing the multisample Before creating a Sound, save the multisample organizing the samples on the keyboard to the internal memory. 1 While in any page of Multisample editing section, choose the Write command from the page menu to open the Write Multisample dialog. 2 You may change the name of the multisample. Touch the Text Edit ( icon to open the virtual keyboard and edit the name.
480| Customizing and editing the Sounds 2 Choose a target location, then touch the Save button to make the Export MultiSample dialog appear: 3 You may change the name of the multisample. Touch the Text Edit ( icon to open the virtual keyboard and edit the name. ) When done editing the name, confirm by touching the OK button under the virtual keyboard. 4 When back to the Export Multisample dialog, confirm saving by touching the OK button.
Making new sounds with Sampling |481 Use this option with care, since you may delete samples you would like to preserve, to be later used in new multisamples still to be created. Deleting all the multisamples ▪▪ Select the All Multisamples option, and touch OK to confirm. Deleting all the samples, multisamples and drum samples ▪▪ Select the All Samples, Multisamples, Drum Samples option, and touch OK to confirm. Select this command to delete all samples, multisamples and drum samples from the RAM memory.
482| Customizing and editing the Sounds Creating new Sounds from multisamples You can create a new Sound while in Sound mode. 1 Go to the Sound mode. 2 Choose a Sound similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu. 3 Go to the Sound > Basic > OSC page. 4 Select one of the available oscillators from the radio buttons on the right side of the page.
Making new sounds with Sampling |483 Creating new Drum Kits from percussive samples You can create a new Drum Kit while in Sound mode. 1 Go to the Sound mode. 2 Choose a Drum Kit similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu. 3 Go to the Sound > DrumKit > DrumKit page. 4 Use the KEY parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
484| Customizing and editing the Sounds Assigning the new Sound or Drum Kit to a part/track The new Sounds or Drum Kits are contained in the User banks. Assign them to the Keyboard, Accompaniment or Song tracks, as you would do with any other Sound or Drum Kit. Drum Kits are better suited for the Drum or Percussion track. When done, save the Sound set (Keyboard Set, SongBook Entry, Style Settings, MIDI Song) to preserve your editing.
Making new sounds with Sampling |485 Creating Audio Groove Slices with Time Slicing Creating separate samples from a sliced audio groove After recording or loading an audio groove, you must ‘slice’ it to create a series of separate percussive samples, a multisample to organize them on the keyboard, and a MIDI Groove containing the original sequence converted to MIDI events. In the end, you will save it as a new Sound.
486| Customizing and editing the Sounds Slicing 1 Go to the Sampling > Time Slice page. 2 Use the Meter parameter to specify the Meter of the original sample. 3 Use the Measure parameter to specify the number of measures of the original sample. Usually, you will load a groove 1- or 2-measures long. 4 The BPM (Beats Per Minute) parameter specifies the tempo (in Beats Per Minute) of the original sample. This value is automatically calculated, based on the Start, End, Meter and Measures parameters.
Making new sounds with Sampling |487 The generated multisample Each individual sample generated from slicing the audio groove will be assigned to a different key.
488| Customizing and editing the Sounds Testing the generated Drum Kit ▪▪ To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above. ▪▪ To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, you can play the original pattern.
Making new sounds with Sampling |489 Extending the sample tails When using the sliced grooves with a Tempo slower than the original, an annoying gap may be heard between a sample and the following one. The Extend function allows you to fix this problem by adding a ‘tail’ to all samples, making their decay smoother and more musical. 1 After slicing and testing the groove, use the Extend function if needed. 2 Go to the Sampling > Time Slice page.
490| 4 Customizing and editing the Sounds Use the Extend Mode pop-up menu to specify if the added ‘tail’ must decay in a linear way, or sustain for a longer time and then fall suddenly. Choose the Extend method suitable for the processed materials. Extend Mode Meaning Normal Most suitable for percussive sound with a short (but not immediate) decay. The ‘tail’ envelope is linear, and the level decays fast. Long Most suitable for cymbals, whose sound should be sustained up until the next note.
Making new sounds with Sampling |491 Writing the Audio Groove Slices When the Time Slicing procedure is completed, you can save the data as a new Sound, together with a series of separate percussive samples, a multisample arranging them on the keyboard. A MIDI Groove containing the original sequence converted to MIDI events will also be created. 1 While in the Sampling > Time Slice page, choose the Write command from the page menu.
492| Customizing and editing the Sounds Using the Audio Groove Slices in a Style or Pad After generating the Audio Groove Slices, you can use them in a Style or Pad, by importing the MIDI Groove to a track, and assigning the corresponding Sound to the same track. Imported grooves can play at different Tempo values. However, please remember that they will not be transposed when playing different chords, since they are still audio data, that cannot be transposed by the Arranger.
Making new sounds with Sampling |493 Assigning the Sound to the Style or Pad track After having imported the MIDI Groove, assign the Sound generated by the Time Slicing procedure to the track playing the MIDI Groove. Assigning the Sound to a Style 1 Go to the Style Play mode, and choose the User Style to which to assign the Sound. 2 Go to the Style Play > Main page, and choose the Volume pane. 3 Use the TRACK SELECT button to see the accompaniment tracks (Style Tracks View).
494| Customizing and editing the Sounds Using the Audio Groove Slices in other Sounds You can use the multisample and samples generated by a Time Slicing operation in other Sounds. 1 Go to the Sound mode, and choose a Sound similar to the one you want to assign the multisample to. If you prefer to start from blank programming, choose the Initialize Sound command from the page menu. 2 Go to the Sound > Basic > OSC page, and select one of the oscillators.
Part VIII: AUDIO IN/ OUT, VOICE AND GUITAR PROCESSOR |495
496| Audio In/Out, Voice and Guitar Processor
Connecting the audio outputs and setting the final effects 38 |497 Connecting the audio outputs and setting the final effects Connecting the audio outputs Connect the audio outputs as described in Connecting the audio outputs on page 16. The internal speakers will work in parallel with the main audio outputs.
498| Audio In/Out, Voice and Guitar Processor Programming the master effects The mastering suite helps making the sound louder, clearer, fuller, and more polished. These effects apply to the final stage of the audio path, just before the audio outputs. Choosing a Limiter or Master EQ Preset You can quickly program the Limiter or Master EQ parameters by choosing a Preset. 1 Go to the Global > Limiter/Master EQ > Limiter or Master EQ page.
Connecting the audio outputs and setting the final effects |499 Programming the Limiter ▪▪ Use the In/Out indicators to check the level of the audio entering and coming out of the Limiter. Be sure the indicators never go to the red area (since this means distortion). If the input level is too high, decrease the level of the Sounds, Styles, Songs that are playing. If the output level is too high, decrease the level of the Gain Adjust control.
500| Audio In/Out, Voice and Guitar Processor Accessing the Master EQ 1 Go to the Global > Limiter/Master EQ > Master EQ page. Turning the Master EQ on/off ▪▪ Use the On/Off button to turn the EQ on/off. Programming the EQ ▪▪ Look at the results of any edit in the diagram. The diagram shows the EQ curve. Its shape changes depending on the various parameter values. ▪▪ Use the Input Trim parameter to adjust the level of the signal entering the EQ.
Connecting the audio outputs and setting the final effects |501 ▪▪ Use the Q parameter to adjust the ‘quality’ of the EQ filter; higher values correspond to narrower, more accurate filters. Use higher values for nearsurgical correction on isolated frequencies, lower values for more musical, softer equalization. Band Value All Bands 0.5...
502| Audio In/Out, Voice and Guitar Processor Writing a Limiter or Master EQ Preset Open the Write Limiter or Master EQ Preset dialog 1 Go to the Global > Limiter/Master EQ > Limiter or Master EQ page. 2 Choose the Write Limiter Preset or Write Master EQ Preset command from the page menu to open the Write Limiter Preset or Write Master EQ Preset dialog. Write over the current Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button.
Connecting the audio inputs 39 |503 Connecting the audio inputs Connecting a line audio device, a microphone, a guitar Choose the audio input depending on the audio device to be connected. After connecting an audio device, choose the correct impedance and routing to the audio outputs. Please note that, for safety reasons, the input is always muted when turning the instrument on.
504| Audio In/Out, Voice and Guitar Processor Connecting a microphone Use the AUDIO IN > LEFT connector to connect a microphone. This is an unbalanced (TS) 6.35 mm, or 1/4”, jack connector. You will need an adapter to connect a microphone with an XLR connector. Microphone types There are two main types of microphones that you can connect to your Pa1000: dynamic and condenser. Dynamic microphones do not require powering.
Connecting the audio inputs |505 Setting the routing and mixing the effects Selecting the impedance and routing By default, the audio inputs are enabled for a microphone. You can use the following procedure to select a different input impedance and signal routing, or re-enable the microphone input. 1 Go to the Global > Audio & Video > Audio In page. 2 Use the Audio In pop-up menu to choose the correct routing and impedance.
506| Audio In/Out, Voice and Guitar Processor Audio In Meaning Guitar The LEFT audio input will go to the Guitar Processor (included in the FX block), then to the final mix, together with the sounds generated by Pa1000. The RIGHT audio signal will be replicated on both audio outputs. Both inputs will be recorded when recording an MP3 Song. Adjusting the audio input gain After connecting an audio device, you can adjust the input gain.
Connecting the audio inputs |507 The input level is also shown by the MIC/IN label in the Main page > Volume pane while you sing or play. MIC/IN color Meaning Off No signal entering. Green Low- to mid-level signal entering. Orange Slight overload in the signal path. Red Clipping is occurring in the signal path. For more accurate control of the microphone or guitar input, you can check the input level in the Global > Mic Setup > EQ/Dynamics page, or the Global > Guitar Setup > Setup page.
508| Audio In/Out, Voice and Guitar Processor With a guitar, keep the level so that this indicator remains green most of the time (even at signal peaks). For best results, keep the input level low (not exceeding -20 dB, as shown in the input meter). Turning the audio input on and adjusting the volume The audio input can be quickly turned on or off, and its volume in the mix adjusted, right from the control panel.
Shaping the sound of the lead voice |509 40 Shaping the sound of the lead voice The lead voice is your voice, or the one of your singer, entering the microphone input. You can apply effects, before sending it to the Voice Processor. Setting the lead voice general controls While in the Global > Mic Setup > Setup page, you can set the mute, volume, vibrato and bending controls for the lead voice.
510| Audio In/Out, Voice and Guitar Processor Mixing the lead voice ▪▪ While in the Global > Mic Setup > Setup page, use the Lead > Level and Pan knobs to adjust the level and pan of the Lead Voice.
Shaping the sound of the lead voice |511 Adding EQ, compression and gate to the lead voice While in the Global > Mic Setup > EQ/Dynamic page, you can program equalization, compression and gate for the lead voice. Programming the EQ This is an extremely flexible 3-band EQ with frequency and gain-adjustable high and low shelving bands, as well as a fully parametric band with Q control. ▪▪ Use the On/Off button to turn the EQ on or off.
512| Audio In/Out, Voice and Guitar Processor Programming the compressor This is a compressor optimized for vocals. Be sure to reduce the level of your amplification when adjusting the compressor, because high settings can cause more gain and thus feedback. Compression can be quite subtle until you educate your ears.
Shaping the sound of the lead voice |513 Programming the gate The Gate control helps in minimizing feedback, and reducing the amount of audible effects processing on sounds entering the mic other than your voice. A typical, fixed gate works by shutting off, or reducing the level of any signal below a threshold that you set. When you sing louder than that threshold, the gate will open and your vocal will come through the amplification system.
514| 41 Audio In/Out, Voice and Guitar Processor Talking with your audience Soloing your voice (TalkOver) ▪▪ Go to the Main page > Mic pane, and touch the TalkOver button to talk to your audience. The background music will be softened, and the voice effects switched off. ▪▪ Touch the same button again to turn the TalkOver function off. Setting the Talk mode and level 1 Go to the Global > Mic Setup > Setup page.
Talking with your audience |515 ▪▪ Use the Background Music Level control to set the level to which the volume of all Sounds (Keyboard, Style, Player, Pad…) will be reduced when TalkOver is engaged. 100% corresponds to no level reduction.
516| Audio In/Out, Voice and Guitar Processor 42 Using the effects and voice harmonization Choosing a Voice/Guitar Preset When the LEFT audio input is set as a microphone input, you can choose voice effect presets. When it is set as a guitar input, you can choose guitar effect presets. Voice Presets contain settings for the voice effects and harmonization. Guitar Presets contain settings for the guitar effects.
Using the effects and voice harmonization |517 Select a Voice/Guitar Preset As soon as you press the button or touch the display, the Voice/Guitar Preset Select window appears. 1 In case you want to choose a different group of Voice/Guitar Presets, touch one of the tabs on the sides of the Voice/Guitar Preset Select window. 2 Touch the name of the Voice/Guitar Preset you want to choose.
518| Audio In/Out, Voice and Guitar Processor In the end, you will see the name of the selected Voice/Guitar Preset in the dedicated area of the Mic pane. The voice/guitar effects will change. ▪▪ When changing the Voice/Guitar Preset, the Global parameter is automatically deselected. ‘Global’ and ‘local’ (or temporary) Voice/Guitar Preset You can choose a ‘global’ Voice/Guitar Preset that is good for all your show, and does not change when choosing a different SongBook Entry.
Using the effects and voice harmonization |519 Voice Presets Chord 1 Note Mixed Octaves Dirty Vinyl Chord (Harm.
520| Audio In/Out, Voice and Guitar Processor Choosing a Voice/Guitar Preset with a SongBook Entry When choosing a SongBook Entry, the Voice/Guitar Preset might change. This will happen if the Global checkbox in the Main page > Mic/Guitar tab is not selected. Changing the global Voice/Guitar Preset The global Voice/Guitar Preset is the general setting you use when there is no ‘local’ Voice/Guitar Preset in a SongBook Entry.
Using the effects and voice harmonization |521 Harmonizing your voice Harmonization adds a choir of voices to your lead voice. Activating and setting the harmony voices Choose a Voice Preset 1 Be sure the LEFT audio input is set as a microphone input. 2 Press the PRESET button in the AUDIO IN section, and choose a Voice Preset containing the desired harmonization type. By default, these are some useful Presets to test harmonization: Voice Preset Harmonization Type Chord (Harm.
522| Audio In/Out, Voice and Guitar Processor Playing harmony 1 Play on the keyboard. Depending on the chosen harmonization type, you will play chords or separate melody lines. 2 Sing along with the chords and melody lines you play on the keyboard.
Using the effects and voice harmonization |523 Doubling your voice Doubling adds a second, subtly modified voice to your lead voice, making it thicker and stronger. Choose a Voice Preset ▪▪ Press the PRESET button in the AUDIO IN section, and choose a Voice Preset containing the desired doubling type. Try any of the presets in the Double group, and sing to try it. Turn doubling on or off ▪▪ Use the HARMONY/DOUBLE button to turn doubling on or off.
524| Audio In/Out, Voice and Guitar Processor Using the effects Effects can add ambience, improve or transform your lead voice or guitar sound, add a pedal or rack effect, add a guitar amplifier and cabinet model. They are always included in any Voice/Guitar Preset as separate FX blocks, that you can turn on/off or edit. Accessing the effect controls ▪▪ Go to the Main page > Mic/Guitar pane. Turning the effects on or off ▪▪ Use the FX1, FX2 or FX3 effect block buttons to turn each effect on or off.
Using the effects and voice harmonization |525 Choosing different effects Next to each FX on/off button, you can see an abbreviation indicating the corresponding type of effect. 1 Touch the type of effect to open the corresponding FX Edit page. 2 Touch the name of the effect to choose a different effect for the block in edit. 3 Press the EXIT button to return to the main page.
526| Audio In/Out, Voice and Guitar Processor Adjusting the effects level Adjust the voice effects level from the control panel ▪▪ Use the AUDIO IN > FX knob to adjust the effects level for the voice. (For safety reasons, this does not work with a guitar). Adjust the voice effects level from the display ▪▪ Go to the Style Play/Song Play > Voice Preset > FX page, and use the FXs Level knob to adjust the FX send level for the voice.
Using the effects and voice harmonization |527 Controlling the Voice/Guitar Processor via MIDI You can control the Voice/Guitar Processor via MIDI, for example by connecting a MIDI pedalboard to the MIDI IN port of Pa1000. Choosing a MIDI channel The controlling device must transmit on the MIDI channel selected as the Voice/Guitar Processor’s MIDI channel. 1 Go to the Global > Midi > Midi In Control page. 2 Use the Voice/Guitar Processor > Channel parameters to select one of the MIDI channels.
528| Audio In/Out, Voice and Guitar Processor Choosing a Voice/Guitar Preset Voice/Guitar Presets can be selected by sending a series of messages on the MIDI channel assigned to the Guitar Processor. ▪▪ Control Change #00 (Bank Select MSB) message with value ‘0’. ▪▪ Control Change #32 (Bank Select LSB) message to choose the type of preset. Type of Preset CC32 Value Factory 0 User 1 Local 2 ▪▪ Program Change message to choose the preset.
Using the effects and voice harmonization |529 Live control of the guitar effect parameters You can control a guitar FX parameter via MIDI, by using one of the MIDI pedalboard pedals. Please note that when a pedalboard has two pedals or more, its leftmost pedal usually sends the Volume control (CC#07). 1 Be sure your pedalboard is sending data on the same MIDI channel of the Pa1000’s Guitar Processor. 2 Program one of the pedals to transmit the MIDI Control Change message you prefer.
530| Audio In/Out, Voice and Guitar Processor 43 Editing the Voice/Guitar Presets You can create your custom voice/guitar effect chain, to be saved into a Voice/Guitar Preset and assigned to a SongBook Entry. Accessing Voice/Guitar Preset editing 1 Press the STYLE PLAY or SONG PLAY button in the MODE section of the control panel to go to the corresponding mode. 2 Press the MENU button and touch the Voice/Guitar Preset button in the edit menu to choose the Voice/Guitar Preset section.
Editing the Voice/Guitar Presets |531 Choosing, enabling and mixing the effects While in the Style Play/Song Play > Voice/Guitar Preset > FX page, you can choose a Voice/Guitar Preset, turn on/off the various effect blocks, choose the effects for each block, and mix them in the Voice/Guitar Preset. Choosing the Voice/Guitar Presets ▪▪ Use the Select button to choose a different Voice/Guitar Preset. Choosing the effects 1 Touch the name of an effect to access editing.
532| Audio In/Out, Voice and Guitar Processor Editing the harmony voices Accessing Harmony editing When the LEFT audio input is set as a microphone input, you can edit the Voice Preset’s Harmony. 1 Go to the Style Play/Song Play > Voice Preset > Harmony/Double page. 2 Use the Select button to choose a Voice Preset including Harmony. 3 Be sure the Harmony block is selected, as in the image above. 4 Touch the Harmony preset name to open the Harmony Edit page. 5 Edit the effect parameters.
Editing the Voice/Guitar Presets |533 Setting the general harmony parameters The top area of the page contains general parameters. Choosing the Harmony set ▪▪ Use the Set pop-up menu to choose settings for the Harmony block. Choosing the harmony type ▪▪ Use the Type pop-up menu to choose the type of harmonization. Harmony Type Meaning Chord Chords are to be played on the keyboard, received from a MIDI Song or via MIDI.
534| Audio In/Out, Voice and Guitar Processor ▪▪ Use the Song Play Control pop-up menu to choose a source for chords or notes controlling harmony in the Song Play mode. Control source (Song Play) Meaning Off No track sends chords notes to the Harmony module. Chords can still be received via MIDI. Track 01…16 Chords or notes are received from one of the Player tracks. Chord Scan Play chords or notes in the area chosen with the CHORD SCAN buttons in the control panel.
Editing the Voice/Guitar Presets |535 Adjusting the level ▪▪ Use the Level parameter to adjust the level of the Harmony effect. Setting portamento time ▪▪ Use the Portamento parameter to set the portamento time. Portamento is a delayed response to the pitch movement of your singing voice. It is also referred to as ‘Glide’ in synthesizers. The range of values equals approximately how long the upwards or downwards slide will take to reach each new note.
536| Audio In/Out, Voice and Guitar Processor Programming the individual harmony voices The center area of the page contains parameters to program the individual voices. It is different, depending on the selected Harmony Type. Harmony Type Individual Voice Box Chord Scale Shift Notes ▪▪ Use the V1…V3 buttons to choose the harmony voice to program.
Editing the Voice/Guitar Presets |537 Choosing the Shift for Shift-type harmonies ▪▪ Use the Shift pop-up menu to choose the interval the harmony voice is shifted relative to the input note. The values range from -24 semitones to +24 semitones. Programming the envelope for Notes-type harmonies ▪▪ Use the Smooth parameter to make the voice attack smoother and better in tune. At low values, Smoothing acts like pitch correction for the harmony voices.
538| Audio In/Out, Voice and Guitar Processor Programming the expression, EQ and internal mix The bottom area of the page contains general parameters to control expression and mix the lead voice and effect. Humanizing the harmony voices ▪▪ Use the Humanize pop-up menu to choose a humanization style. The term ‘humanize’ simply means the application of processes designed to increase realism.
Editing the Voice/Guitar Presets |539 Adding vibrato ▪▪ Use the Vibrato pop-up menu to choose a vibrato style. Vibrato assists in providing separation between your dry singing voice and the harmonies as well as to add some movement to the rigid pitch contour in Notes mode harmony. Even the smallest amount of vibrato applied to your harmony voices can achieve this. Like the Humanize effects, each voice is treated slightly differently by the Vibrato algorithm so the voices don’t all sound exactly the same.
540| Audio In/Out, Voice and Guitar Processor Editing the Double voice Accessing Double editing When the LEFT audio input is set as a microphone input, you can edit the Voice Preset’s Double. 1 Go to the Style Play/Song Play > Voice Preset > Harmony/Double page. 2 Use the Select button to choose a Voice Preset including Double. 3 Be sure the Double block is selected, as in the image above. 4 Touch the Double preset name to open the Double Edit page. 5 Edit the effect parameters.
Editing the Voice/Guitar Presets |541 Programming the Double parameters The Double effect uses the same type of Humanization technology as in the Harmony effect to create up to two overdubbed versions of your voice. The two voices are set to unison intervals as opposed to the moveable intervals available for the harmony voices. Unlike simple detune or micro-shift techniques available with the μMod effect, Double simulates the sound of a vocalist overdubbing their vocal part multiple times.
542| Audio In/Out, Voice and Guitar Processor Editing the Voice/Guitar Effects Accessing FX editing When the LEFT audio input is set as a microphone or guitar input, you can edit the Voice/Guitar Preset’s FX. 1 Go to the Style Play/Song Play > Voice/Guitar Preset > FX page. 2 Touch an FX preset name to open the FX Edit page. 3 Edit the effect parameters. Please find information on the effects and their parameters in Effects for the Sounds, Voice, Guitar on page 549.
Editing the Voice/Guitar Presets |543 Creating new presets by assembling FX blocks You can quickly create a new Voice/Guitar Preset by assembling various effect blocks from other presets. Start from a preset similar to the one you want to create, and edit it. Creating a new User Preset 1 While in the Main > Mic/Guitar pane, or the Style Play/Song Play > Voice/ Guitar Preset pages, touch the name of the Voice/Guitar Preset to open the Voice/Guitar Preset Select window.
544| 2 Audio In/Out, Voice and Guitar Processor Go to the Main page > Voice/Guitar pane, or one of the Style Play/Song Play > Voice/Guitar Preset pages, and touch the abbreviation or the name of the effect you want to copy. This will open the FX Edit page. 3 While in the FX Edit page, choose the Copy FX command from the page menu to copy the selected effect, then press the EXIT button to return to the previous page.
Editing the Voice/Guitar Presets 3 |545 While in the FX Edit page, choose the Paste FX command from the page menu to paste the effect, then press the EXIT button to return to the previous page. Copy more FX blocks ▪▪ Repeat the above procedure for all the FX blocks you wish to copy. Writing the edited preset ▪▪ While in the Style Play/Song Play > Voice/Guitar Preset page, choose the Write Voice/Guitar Preset command from the page menu to save the preset. For more details, see the next page.
546| Audio In/Out, Voice and Guitar Processor Writing a Voice/Guitar Preset Voice/Guitar Presets can store the Voice/Guitar effects settings for instant recall. The library is where you organize them by type. Note: Changes can normally only be saved onto User Voice/Guitar Presets. They cannot be saved onto Factory Voice/Guitar Presets.
Editing the Voice/Guitar Presets |547 Saving a Voice/Guitar Preset with a Keyboard Set, Style or Song If you want to save the selected Voice/Guitar Preset together with the Keyboard Sets, Styles or Songs, you can create a new SongBook Entry based on them. Choose the Voice/Guitar Preset, together with the desired Keyboard Sets, Style or Song, then keep the SONGBOOK button pressed for about one second to create a new SongBook Entry.
548| Video Out and Audio IN
|549 Part IX: EFFECTS FOR THE SOUNDS, VOICE, GUITAR
550| Effects for the Sounds, Voice, Guitar
The effects |551 44 The effects Editing the effects Editing the insert effects (IFX) 1 Go to the Style Play or Song Play > Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type 2 While in the Insert FX page, touch the name of the selected effect type, or the ‘x’ symbol under the On/Off button, to open the FX Edit page. Selected FX FX edit parameters FX mix and modulation 3 If you want, use the pop-up menu on top of the page to choose a different effect.
552| Effects for the Sounds, Voice, Guitar Editing the master effects (MFX) 1 Go to the Master Effects > FX A/B page containing the master effect you want to edit. 2 While in the FX A or FX B page, touch the name of the assigned effects to open the FX Edit page. Selected FX FX edit parameters FX mix and modulation 3 If you want, use the pop-up menu on top of the page to choose a different effect. 4 Edit the effect parameters, as described in the following pages.
The effects |553 Editing the voice/guitar effects (FX1, 2, 3) 1 Go to the Style Play or Song Play > Mic/Guitar pane. FX on/off and type 2 Touch the abbreviation of the effect type (REV, DEL…) next to the FX on/off button to open the FX Edit page. Selected FX FX edit parameters FX mix and modulation 3 If you want, use the pop-up menu on top of the page to choose a different effect. 4 Edit the effect parameters, as described in the following pages.
554| Effects for the Sounds, Voice, Guitar Mixing the dry (direct) signal and the effects ▪▪ While in the FX Edit page, use the Wet/Dry parameter to set the balance between the Wet (effected) and Dry (direct) signal inside the corresponding FX processor. ▪▪ With master effects, you can set this value directly from the W/D parameters in the Master Effects > FX page. We suggest not to change the insert effects’ internal mix, unless you are trying to achieve a particular effect.
The effects |555 Set the modulation intensity ▪▪ While in the FX Edit page (for both the insert or master effects), use the Amt (Amount) parameter to set the intensity of modulation. This is an offset to the normal value received from the source. Feeding the master effects back to the MFX1 input Master effects are set in parallel, but you can set them in a serial chain by sending the output of the MFX2 processor back to the input of the MFX1 processor.
556| Effects for the Sounds, Voice, Guitar Adapting reverb to the room size Pa1000 includes a master offset for all the reverbs. Use it to adjust reverb tails to the room where you are playing. Use negative values when you are in a very reverberant room, positive values if the room is too dry. 1 Go to the Global > General Controls > Basic page. 2 Use the Reverb Offset parameter to change the reverb master. Reverb Offset Meaning -50 … +50 Value subtracted or added to the reverb length.
The effects |557 Effects list The following list contains all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages. REV (Reverb) St.HarmonicChorus AMP (Amplifier) O–verb1 Classic Chorus GuitarAmp + P4EQ Reverb Hall Multitap Cho/Delay GuitarAmp + Cabinet Reverb SmoothHall Stereo Flanger Amp Clean Combo Reverb Wet Plate St. Random Flanger Amp Clean Combo + Cab Reverb Dry Plate St. Env.
558| Effects for the Sounds, Voice, Guitar St.Exciter/Enhncr MISC (Miscellaneous) Exciter - Limiter Stereo Isolator Stereo Decimator Exciter-Cho/Flng St. Random Filter St. Analog Record Exciter - Phaser St. MultiModeFilter Doppler Exciter - Mt.Delay Talking Modulator Scratch OD/HG - Cho/Flng 2Voice Resonator Auto Reverse OD/HG - Phaser Vox Treble Booster P4EQ - Cho/Flng OD/HG - Mt.Delay Vocoder3 P4EQ - Phaser Decimator - Comp P4EQ - Mt. Delay Cho/Flng - Mt.
Effect parameters 45 |559 Effect parameters REV (Reverbs) O–verb The O-verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reflections and the main reverberant wash, and via separate controls for the high, mid, and low decay times. The O-verb also includes randomization, for richer and smoother reverb timbres.
560| d Effects for the Sounds, Voice, Guitar Rolloff 0…100 This controls a lowpass filter on the output of the effect. Pre Delay [msec] 0…1360 Sets the delay time from the dry sound Diffusion 1 0…100 Diffusion 2 0…100 Diffusion 1 and 2 soften the sound before it enters the reverb core, shaping the timbre of the initial reflections. Setting both diffusers to around 50 generally produces sufficient diffusion for smooth reverbs; extremely high levels may cause ringing.
Effect parameters i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |561 e: Diffusion Reverb Size, Time, and Diffusion: Size / Reverb Time / Diffusion Reverb Time: small large Size: small large Diffusion: small large Reverb Hall This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.
562| Effects for the Sounds, Voice, Guitar Reverb Dry Plate This plate reverb simulates dry (light) reverberation. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Pre Delay Thru EQ Trim LEQ + HEQ Pre Delay Reverb EQ Trim Right a FX Amt Reverb Time [sec] 0.1…10.
Effect parameters |563 Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Louder Level Reverb - Hall / Plate Type Dry Reverb Pre Delay Thru Time Pre Delay Reverb Time Reverb Room This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.
564| Effects for the Sounds, Voice, Guitar e EQ Trim 0…100 Sets the EQ input level f Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or midhigh) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0…+15.
Effect parameters |565 Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.
566| Effects for the Sounds, Voice, Guitar a: Type This parameter selects the decay curve for the early reflection. Early Reflections - Type Sharp Loose Modulated Reverse Dry Pre Delay ER Time Early Reflections Hi Dens This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Early Reflections). You can create a very smooth and dense sound.
Effect parameters d EQ Trim 0…100 Sets the input level of EQ applied to the effect sound e Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0…+15.
568| Effects for the Sounds, Voice, Guitar b [R]Pre Delay [msec] 0…200 Sets the delay time of the reverb sound and gate control signal c [R]EQ Trim 0…100 Sets the EQ input level Reverb Balance 0…100 Sets the reverb effect balance [R]PreLEQ Fc Low, Mid-Low Selects the cutoff frequency (low or mid-low) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer [R]PreLEQ Gain [dB] –15.0…+15.
Effect parameters |569 When “[G]Envelope Select” is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output. Normally, set “[G]Input Reverb Mix” to Dry (the gate is controlled only by the dry sound). If you wish to extend the gate time, set the “[G]Input Reverb Mix” value higher and adjust the “Threshold” value.
570| Effects for the Sounds, Voice, Guitar DEL (Delay) L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound.
Effect parameters h Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |571 e: High Damp [%] e: Low Damp [%] These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back. g: Spread This parameter sets the pan width of the effect sound.
572| Effects for the Sounds, Voice, Guitar d L Feedback –100…+100 Sets the feedback amount for the left channel Src Off…Tempo Selects the modulation source of feedback amount Amt L –100…+100 Sets the modulation amount of the left channel feedback R Feedback –100…+100 Sets the feedback amount for the right channel Amt R –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the dampi
Effect parameters |573 St. Multitap Delay (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds.
574| Effects for the Sounds, Voice, Guitar j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2 a: Mode You can change how the left and right delay signals are panned by modifying the routing of the left and right delay as shown in the figure above.
Effect parameters |575 St. Mod Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.
576| Effects for the Sounds, Voice, Guitar g h i j k L LFO Phase [deg] –180…+180 Sets the phase obtained when the left LFO is reset L Depth 0…200 Sets the depth of the left LFO modulation R LFO Phase [deg] –180…+180 Sets the phase obtained when the right LFO is reset R Depth 0…200 Sets the depth of the right LFO modulation L Delay Time [msec] 0.0…1000.0 Sets the delay time for the left channel L Feedback –100…+100 Sets the feedback amount of left delay R Delay Time [msec] 0.0…1000.
Effect parameters |577 St. Dynamic Delay (Stereo Dynamic Delay) This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.
578| Effects for the Sounds, Voice, Guitar a: Control Target This parameter selects no level control, delay output control (effect balance), or feedback amount control. a: Polarity b: Threshold b: Offset c: Attack d: Release The “Offset” parameter specifies the value for the “Control Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “Wet/Dry” value with “Control Target”=Output level, or the “Feedback” value with “Control Target”=Feedback).
Effect parameters |579 St. AutoPanningDly (Stereo Auto Panning Delay) This stereo delay effect pans the delay sound left and right using the LFO. Stereo In - Stereo Out Left High Damp Low Damp Delay FX Amt Pan Depth Feedback Delay High Damp Low Damp Pan Right FX Amt LFO Phase LFO: Tri / Sin a LFO Shape L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel L Feedback –100…+100 Sets the feedback amount for the left channel R Delay Time [msec] 0.0…1360.
580| h i Effects for the Sounds, Voice, Guitar Panning Depth 0…100 Sets the panning width Src Off…Tempo Selects the modulation source for the panning width Amt –100…+100 Set the modulation amount of the panning width Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Tape Echo This effect simulates a tape echo unit with three playback heads.
Effect parameters e Tap2 Level 0…100 Sets the Tap2 output level Pan L, 1…99, R Sets the stereo image of tap2 FB Amt –100…+100 Sets the Tap2 feedback amount Tap3 Level 0…100 Sets the Tap3 output level Pan L, 1…99, R Sets the stereo image of tap3 FB Amt –100…+100 Sets the Tap3 feedback amount Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3 Src Off…Tempo Selects the modulation source of feedback amount Amt –100…+100 Sets the feedback amount High Damp [%] 0…100 Set
582| Effects for the Sounds, Voice, Guitar d: FB Amt e: FB Amt f: FB Amt g: Feedback The feedback output from Tap 1, 2, and 3 is mixed according to the “FB Amt,” and then the final amount of feedback is specified by “Feedback.” Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
Effect parameters e f g High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |583 a: BPM b: Rhythm Pattern With the te
584| a b c d Effects for the Sounds, Voice, Guitar BPM MIDI, 40.00… 300.
Effect parameters |585 a: Time Over? You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Stereo BPM Delay This stereo delay enables you to set the delay time to match the song tempo.
586| d e Effects for the Sounds, Voice, Guitar L Feedback –100…+100 Sets the feedback amount for the left channel Src Off…Tempo Selects the modulation source of feedback amount Amt L –100…+100 Sets the modulation amount of the left channel feedback R Feedback –100…+100 Sets the feedback amount for the right channel Amt R –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the dam
Effect parameters |587 St.BPM Mtap Delay (Stereo BPM Multi tap Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
588| Effects for the Sounds, Voice, Guitar g h i j High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Spread –100…+100 Sets the width of the stereo image of the effect sound Src Off…Tempo Selects the modulation source of the effect sound’s stereo image width Amt –100…+100 S
Effect parameters a Modulation Mode LFO, D-mod Switches between LFO modulation control and modulation source control b D-mod Modulation L/R:+/+, L/R:+/– Reversed L/R control by modulation source Src Off…Tempo Selects the modulation source that controls delay time Response 0…30 Sets the rate of response to the modulation source LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the Waveform LFO Sync Off, On Switches LFO reset off/on Src Off…Tempo Select
590| j k l Effects for the Sounds, Voice, Guitar L Delay Base Note … Selects the type of notes to specify the left channel delay time Times x1…x32 Sets the number of notes to specify the left channel delay time Feedback –100…+100 Sets the feedback amount of left delay R Delay Base Note … Selects the type of notes to specify the right channel delay time Times x1…x32 Sets the number of notes to specify the right channel delay time Feedback –100…+100 Sets the feedback amount of right dela
Effect parameters |591 St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) This stereo auto panning delay enables you to set the delay time to match the song tempo. Stereo In - Stereo Out Left Delay High Damp Low Damp FX Amt Pan Depth Feedback Delay High Damp Low Damp Pan Right FX Amt Tempo BPM BPM Base Note x Times Base Note x Times LFO: Tri / Sin a b c d e LFO Phase LFO Shape BPM MIDI, 40.00… 300.
592| Effects for the Sounds, Voice, Guitar f Panning Freq [Hz] 0.02…20.00 Sets the panning speed g MIDI Sync Off, On When this is on, the pan LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |593 Tape Echo BPM This is a tape echo that lets you synchronize the delay time to the tempo of the song. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt (3) Feedback (2) (1) Feedback Amt + Trim Pre Tone Tape Saturation High / Low Damp Wah Flatter Right Tempo PM ase ote Times Level Pan Delay Tap2/3 Position Delay Time FX Amt PM D-mod a b c BPM (Delay) MIDI, 40.00… 300.
594| g Effects for the Sounds, Voice, Guitar Tap2 Level 0…100 Sets the Tap2 output level Pan L, 1…99, R Sets the stereo image of tap2 FB Amt –100…+100 Sets the Tap2 feedback amount Tap3 Level 0…100 Sets the Tap3 output level Pan L, 1…99, R Sets the stereo image of tap3 FB Amt –100…+100 Sets the Tap3 feedback amount Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3 Src Off…Tempo Selects the modulation source of feedback amount Amt –100…+100 Sets the depth by which f
Effect parameters |595 b: Time Over? You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Classic Tape Echo This models a famous analog tape echo unit. On the original device, “echo” was created by a playback head, and the “delay time” was specified by adjusting the speed of the motor.
596| Effects for the Sounds, Voice, Guitar d Low Damp [%] 0…100 Sets the damping amount in the low range e Input Level Dmod –100…+100 Amount of input level modulation Src Off…Tempo Selects the modulation source of Input Level Dmod.
Effect parameters d Loop Base Note … Selects the type of notes to specify the delay time Times x1…x32 Sets the number of notes to specify the delay time e REC Control Src Off…Tempo Selects control source for recording f RST Control Src Off…Tempo Selects control source for reset g Manual REC Control REC Off, REC On Sets the recording switch h Manual RST Control Off, RESET Sets the reset switch i Pan L100…L1, C, R1… R100 Sets the stereo image of the effect Src Off…Tempo Selects t
598| Effects for the Sounds, Voice, Guitar b: Loop BPM Sync c: BPM d: Loop Base Note d: Times If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is determined by “BPM,” “Loop Base Note,” and “Times.” Even in this case, the delay time cannot exceed 10,800 msec.
Effect parameters |599 e: REC Control Src g: Manual REC Control “REC Control Src” selects the modulation source that controls recording. If this modulation is on, or if “Manual REC Control” is set to On, you can record the input signal. If a recording has already been carried out, additional signals will be overdubbed. The effect is off when a value for the modulation source specified for the “REC Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.
600| a Effects for the Sounds, Voice, Guitar L Delay Time [msec] 0…5460 Sets the delay time of TapL Level 0…50 Sets the output level of TapL C Delay Time [msec] 0…5460 Sets the delay time of TapC Level 0…50 Sets the output level of TapC R Delay Time [msec] 0…5460 Sets the delay time of TapR Level 0…50 Sets the output level of TapR Feedback (C Delay) –100…+100 Sets the feedback amount of TapC Src Off…Tempo Selects the modulation source for the TapC feedback Amt –100…+100 Sets the
Effect parameters |601 St/Cross Long Delay (Stereo/Cross Long Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.
602| j Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source LCR BPM Long Dly The L/C/R delay enables you to match the delay time with the song tempo.
Effect parameters e Feedback (C Delay) –100…+100 Sets the feedback amount of TapC Src Off…Tempo Selects the modulation source for the TapC feedback Amt –100…+100 Sets the modulation amount of the TapC feedback High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level h Spread 0…50
604| Effects for the Sounds, Voice, Guitar St. BPM Long Dly (Stereo BPM Long Delay) The stereo delay enables you to match the delay time with the song tempo. Stereo In - Stereo Out Left Delay Input Level D-mod High Damp Low Damp FX Amt Feedback Input Level D-mod Delay High Damp Low Damp Right Tempo BPM a b c d FX Amt BPM Base Note x Times Base Note x Times Adjust [%] Adjust [%] BPM MIDI, 40.00… 300.
Effect parameters e R Feedback –100…+100 Sets the feedback amount for the right channel R Amt –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the damping amount in the low range h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and d
606| Effects for the Sounds, Voice, Guitar MOD (Modulation) Stereo Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Effect parameters e Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source for the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth f EQ Trim 0…100 Sets the EQ input level g Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.
608| Effects for the Sounds, Voice, Guitar Black Chorus/Flanger This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinctive tone. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Mode & Intensity + + Chorus Input Gain - + + Mono Right Wet / Dry LFO a b Output Mode Stereo Speed [Hz] 0.10…10.
Effect parameters |609 St.HarmonicChorus (Stereo Harmonic Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.
610| Effects for the Sounds, Voice, Guitar g h i Feedback –100…+100 Sets the feed back amount of the chorus block High Damp [%] 0…100 Sets the high range damping amount of the chorus block Low Level 0…100 Sets the low range output level High Level 0…100 Sets the high range (chorus) output level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source f: High/Low Split Point This pa
Effect parameters |611 Classic Chorus This models a famous chorus unit that was built into a guitar amp. Although it does not provide a chorus and vibrato select switch, you can use the “Wet/ Dry” and “Bus” settings to produce their effect. The “Speed,” “Depth,” and “Manual” parameters allow an even wider range of sounds than the original unit. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Stereo (L-D&R-W) + Chorus Right LFO a Mono Wet / Dry Output Mode Wet / Dry Speed [Hz] 0.
612| Effects for the Sounds, Voice, Guitar Multitap Cho/Delay (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.
Effect parameters e f g Tap4 (270) [msec] 0…1000 Sets the Tap4 (LFO phase=270 degrees) delay time Depth 0…30 Sets the Tap4 chorus depth Level 0…30 Sets the Tap4 output level Pan L6…L1, C, R1… R6 Sets the Tap4 stereo image Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Src Off…Tempo Selects the modulation source of Tap1 feedback amount and effect balance Amt –100…+100 Sets the Tap1 feedback amount and modulation amount Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry s
614| Effects for the Sounds, Voice, Guitar Stereo Flanger This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left FX Amt Flanger Feedback Flanger Right LFO Phase LFO: Tri / Sine High Damp FX Amt LFO Shape a Delay Time [msec] 0.0…50.
Effect parameters g h Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the feedback damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |615 g: Feedback h: Wet/Dry The peak shape of the positive and negative “Feedback” value is different.
616| Effects for the Sounds, Voice, Guitar a Delay Time [msec] 0.0…50.0 Sets the delay time from the original sound b LFO Waveform Step-Tri, Random Selects the LFO Waveform LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects the modulation source used for both LFO speed and step speed Amt –20.00… +20.00 Sets the modulation amount of LFO speed LFO Step Freq [Hz] 0.05…50.
Effect parameters |617 St. Env. Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. Stereo In - Stereo Out Left FX Amt Flanger Feedback Flanger Right D-mod a FX Amt D-mod EG Attack/Decay EG High Damp Sweep Mode L Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the left-channel delay time L Dly Top [msec] 0.0…50.
618| Effects for the Sounds, Voice, Guitar c: Sweep Mode c: Src This parameter switches the flanger control mode. With “Sweep Mode” = EG, the flanger will sweep using the envelope generator. This envelope generator is included in the envelope flanger, and not related to the Pitch EG, Filter EG, or Amp EG. The “Src” parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received.
Effect parameters |619 Classic Flanger This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Feedback + Flanger Right LFO Sync a Wet / Dry Reset Offset LFO Speed [Hz] 0.10...10.0 Sets the speed of LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –10.00… +10.
620| Effects for the Sounds, Voice, Guitar Stereo Phaser This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Effect parameters f h j Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source for the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth Resonance –100…+100 Sets the resonance amount High Damp [%] 0…100 Sets the resonance damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulati
622| Effects for the Sounds, Voice, Guitar St. Random Phaser (Stereo Random Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect.
Effect parameters f Manual 0…100 Sets the frequency to which the effect is applied Src Off…Tempo Selects the modulation source for the LFO modulation Amt –100…+100 Sets the modulation amount of the LFO modulation g Depth 0…100 Sets the depth of LFO modulation h Resonance –100…+100 Sets the resonance amount High Damp [%] 0…100 Sets the resonance damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic
624| c Effects for the Sounds, Voice, Guitar Sweep Mode EG, D-mod Determines whether the flanger is controlled by the envelope generator or by the modulation source Src Off…Tempo Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the flanger to sweep (when D-mod is selected for Sweep Mode) EG Attack 1…100 Sets the EG attack speed EG Decay 1…100 Sets the EG decay speed e Resonance –100…+100 Sets the resonance amount f
Effect parameters |625 Orange Phaser This phaser pedal is a favorite on many recordings. It’s useful for adding sparkle, animating chord passages, and widening and fattening the sound. The original had only a speed control; this version adds depth, control of the center frequency, and more. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Resonance + Phaser Right LFO a Wet / Dry Speed 0.10…10.00 This controls the speed of the phaser’s LFO.
626| Effects for the Sounds, Voice, Guitar Small Phaser This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Color + Phaser Right LFO a Wet / Dry Speed 0.10…10.00 This controls the speed of the phaser’s LFO. The default is 1.00 Hz. Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
Effect parameters Phaser - Cho/Flng (Phaser - Chorus/Flanger) This effect combines a mono phaser and a chorus/flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Phaser + Phaser Resonance FX Amt Chorus/Flanger Chorus/Flanger EQ LEQ HEQ Trim Phaser Feedback FX Amt Right LFO: Tri / Sine LFO: Tri / Sine Normal Output Mode Wet Invert Cho/Flng FX Amt + – FX Amt PHASER a [P]LFO Frequency [Hz] 0.02…20.
628| Effects for the Sounds, Voice, Guitar i [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source St. Phaser + Trml (Stereo Phaser + Tremolo) This effect combines a stereo phaser and tremolo, with linked LFOs.
Effect parameters c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
630| Effects for the Sounds, Voice, Guitar f: Phaser Wet/Dry i: Wet/Dry PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT Wet/Dry sets the balance between the final phaser and tremolo output level and the dry sound. Stereo Tremolo This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.
Effect parameters d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
632| Effects for the Sounds, Voice, Guitar St. Env. Tremolo (Stereo Envelope Tremolo) This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that becomes deeper and faster as the input gets more quiet.
Effect parameters |633 d: LFO Frequency [Hz] d: Envelope Amount [Hz] e: Depth e: Envelope Amount The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but also modulates the Depth to 0–so the tremolo doesn’t have any effect.
634| e Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Ensemble This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
Effect parameters |635 c: Shimmer This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer. Ensemble LFO Level Shimmer Time Polysix Ensemble This models the ensemble effect built PolySix programmable polyphonic synthesizer.
636| Effects for the Sounds, Voice, Guitar Stereo Vibrato This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
Effect parameters g h Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source of the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |637 a: Autofade Src b: Fade-In Delay [msec] b: Fade-In Rate d: LFO Frequency Mod When “LFO Frequency Mod” is set to AUTOFA
638| Effects for the Sounds, Voice, Guitar U-Vibe Modeled on the most famous chorus/vibrato pedal effect unit. This effect simulates a rotating speaker and produces a wonderfully seductive and ‘watery’ tone. Interestingly enough, the guy responsible for this great pedal is also responsible for the birth of the KORG Nuvibe and Valve Reactor Technology. a b c d Speed [Hz] 1…100 Sets the speed of the U-Vibe effect Src Off…Tempo Selects a modulation source for the U-Vibe effect Amt –10.00… +10.
Effect parameters |639 St. Auto Fade Mod. (Stereo Auto Fade Modulatiom) This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.
640| a Effects for the Sounds, Voice, Guitar Autofade Src Off…Tempo Selects the modulation source that starts AutoFade Fade-In Delay [msec] 00…2000 Sets the fade-in delay time Rate 1…100 Sets the rate of fade-in LFO Frequency Mod D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the LFO frequency modulation Wet/Dry Mod D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the effect balance modulation LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Cha
Effect parameters |641 St. Biphase Mod. (Stereo Biphase Modulation) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analogtype, unstable modulated sound.
642| Effects for the Sounds, Voice, Guitar f g h L Pre Delay [msec] 0.0…50.0 Sets the delay time for the left channel R Pre Delay [msec] 0.0…50.
Effect parameters a LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the curvature of the LFO Waveform b LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
644| Effects for the Sounds, Voice, Guitar You’ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels. Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees LFO Phase = 90 degrees L-In L-In LFO Phase = 180 degrees L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In Left L-In R-In R-In R-In Right Center Output Stereo Image St.
Effect parameters a OSC Mode Fixed, Note (Key Switching between specifying the oscillator Follow) frequency and using a note number Pre LPF 0…100 Sets the damping amount of the high range input to the ring modulator Fixed Frequency [Hz] 0…12.00k Sets the oscillator frequency when OSC Mode is set to Fixed Src Off…Tempo Selects the modulation source for the oscillator frequency when OSC Mode is set to Fixed Amt –12.00k… +12.
646| Effects for the Sounds, Voice, Guitar a: OSC Mode This parameter determines whether or not the oscillator frequency follows the note number. a: Pre LPF This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of harmonics, the effect may sound dirty. In this case, cut a certain amount of high range. b: Fixed Frequency [Hz] This parameter sets the oscillator frequency when “OSC Mode” is set to Fixed.
Effect parameters c d e f g Preset Type V1, C1, V2, C2, V3, C3 Selects the effect type when Mode=Preset Src Off…Tempo Selects the modulation source that will change the effect type Amt –5…+5 Sets the modulation amount for changing the effect type Custom Mix Vibrato, 1:99…99:1, Chorus Sets the mix level of the direct sound when Mode=Preset Src Off…Tempo Selects the modulation source that will control the mix level of the direct sound Amt –100…+100 Sets the modulation amount for control
648| Effects for the Sounds, Voice, Guitar c: Amt If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1›C1›V2›C2›V3›C3. Rotary Speaker This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately. The effect also simulates the stereo microphone settings.
Effect parameters e Rotor Acceleration 0…100 Determines how quickly the rotor rotation speed in the low range is switched Rotor Ratio Stop, 0.50…2.00 Adjusts the (low-frequency) rotor speed. Standard value is 1.00.
650| Effects for the Sounds, Voice, Guitar c: Manual Speed Ctrl If you wish to control the rotation speed manually, instead of switching between Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don’t want to use manual control, set this to Off. d: Horn Acceleration e: Rotor Acceleration On a real rotary speaker, the rotation speed accelerates or decelerates gradually after you switch the speed.
Effect parameters |651 Rotary SpeakerOD (Rotary Speaker Overdrive) This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.
652| f g h i j Effects for the Sounds, Voice, Guitar Horn/Rotor Balance Rotor, 1…99, Horn Sets the volume balance between the high-range horn and low-range rotor Manual SpeedCtrl Off…Tempo Sets a modulation source for direct control of rotation speed Horn Acceleration 0…100 Sets how quickly the horn rotation speed changes Horn Ratio Stop, 0.50…2.00 Adjusts the (high-frequency) horn rotation speed. Standard value is 1.00.
Effect parameters |653 DYN (Dynamics) Stereo Compressor This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.
654| h Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Sets the Balance between the wet and Wet dry signal Src Off…Tempo Selects a modulation source for Wet/Dry Amt –100…+100 Sets the modulation amount for Wet/Dry a: Envelope Select This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently.
Effect parameters |655 Dyn. Compressor (Dynamic Compressor) This effect reduces the dynamic range of the input signal, to regulate the level and give a ‘punchy’ effect. It is useful for guitar, piano, and drum sounds. This is a true stereo effect; you can link the left and right channels, or use each channel separately.
656| Effects for the Sounds, Voice, Guitar Stereo Limiter The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter.
Effect parameters g h Side PEQ Cutoff [Hz] 20…12.00k Sets the EQ center frequency for the trigger signal Q 0.5…10.0 Sets the EQ bandwidth for the trigger signal Gain [dB] –18.0…+18.
658| Effects for the Sounds, Voice, Guitar Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced. Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 Louder Level Dry Input Level Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold Ratio=Inf : 1 Time d: Attack d: Release These parameters set the attack time and release time.
Effect parameters |659 f: Trigger Monitor Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Usually, set this to Off. f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB] These parameters are used to set the EQ applied to the trigger signal. The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal.
660| Effects for the Sounds, Voice, Guitar g High Offset [dB] –40…0 Gain of the high-range trigger signal h Gain Adjust [dB] –Inf, –38…+24 Sets the output gain Src Off…Tempo Selects the modulation source for the output gain Amt –63…+63 Sets the modulation amount of the output gain Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source i e: Low Offset [dB] f: Mid Offset [dB] g: Hig
Effect parameters d Release 1…100 Sets the release time e Low Offset [dB] –40…0 Sets the low range gain of trigger signal f Mid Offset [dB] –40…0 Sets the mid range gain of trigger signal g High Offset [dB] –40…0 Sets the high range gain of trigger signal h Gain Adjust [dB] –Inf, –38…+24 Sets the output gain Src Off…Tempo Selects the modulation source for the output gain Amt –63…+63 Sets the modulation amount of the output gain Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet
662| Effects for the Sounds, Voice, Guitar Stereo Gate This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Effect parameters h Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |663 c: Threshold d: Attack d: Release “Threshold” specifies the level at which gating occurs when “Envelope Select” is set to L/R Mix, L Only, or R Only. “Attack” and “Release” specify the attack time and release time of the gate.
664| Effects for the Sounds, Voice, Guitar e: Delay Time [msec] This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.
Effect parameters |665 AMP (Amplifier) Pa1000 includes accurate guitar and bass amplifier and cabinet modeling. Some of the effects combine an amplifier and a cabinet model. Modelling amplifiers Pa1000 comes with a wide selection of the best amps, that offer the widest possible array of great tones.
666| Effects for the Sounds, Voice, Guitar Modelling speaker cabinets The accurate amp models can be paired with speaker cabinet models of the same quality. The output stage of a tube amp works in close harmony with the varying impedance curve of the speaker(s) it is driving. This intimate and vital relationship plays a major role in producing the warm, punchy sound and pleasing feel of tube amps.
Effect parameters |667 Amplifier types These are the available amplifier types. Amp Type Meaning VOX AC15 VOX AC15 manufactured in 1962 VOX AC15TB VOX AC15TB (an AC15 modified by the addition of a top boost circuit).
668| Effects for the Sounds, Voice, Guitar Cabinet types When a cabinet can be chosen, these are the available types. Cabinet Type Meaning TWEED - 1x12 Open-back cabinet with one 12” Alnico magnet speaker, typically used for blues. It is usually paired with the Tweed Amp. TWEED - 4x10 Open-back cabinet with four 10” 8 Ohm Alnico magnet speakers, wired in parallel for a total of 2 Ohms impedance. BLACK - 2x10 Open-back cabinet with two 10” ceramic magnet 35 Watt speakers.
Effect parameters |669 Amp + Cabinet combinations These are the recommended combinations of guitar amp models and cabinet simulators: Amp Type Cabinet Type VOX AC15 VOX AC15 - 1x12 VOX AC15TB VOX AC15 - 1x12 VOX AC30 VOX AC30 - 2x12 VOX AC30TB VOX AC30 - 2x12 UK BLUES UK H30 - 4x12 UK 70’S UK H30 - 4x12 UK 80’S UK T75 - 4x12 UK 90’S UK T75 - 4x12 UK MODERN UK T75 - 4x12, US V30 - 4x12 US MODERN US V30 - 4x12 US HIGAIN US V30 - 4x12, UK T75 - 4x12 BOUTIQUE OD UK H30 - 4x12 BOUTIQU
670| Effects for the Sounds, Voice, Guitar GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a four-band equalizer. By using this in conjunction with St. Guitar Cabinet (Stereo Guitar Cabinet), you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.
Effect parameters e Post P4EQ Thru, On Selects through or on for the equalizer f Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of |671 Band 1 g Q 0.5…10.0 Sets Band 1’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 1 Band2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 h Q 0.5…10.0 Sets Band 2’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 2 Band3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 i Q 0.5…10.
672| Effects for the Sounds, Voice, Guitar GuitarAmp + Cabinet As the above, minus the EQ, plus the cabinet.
Effect parameters e Cabinet Type TWEED - 1x12, TWEED - 4x10, Selects the cabinet type BLACK - 2x10, BLACK - 2x12, VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12, UK H30 - 4x12, UK T75 - 4x12, US V30 - 4x12 f g Cabinet Trim 0…100 Sets the input level Cabinet Air 0…100 Sets the mic position Noise Gate On/Off On, Off Switches Gate on/off Threshold 0…100 Sets the level at which gating is applied Attack 1…100 Sets the attack time Release 1…100 Sets the release time Wet/Dry Dry, 1:9
674| Effects for the Sounds, Voice, Guitar Amp Clean Combo This models the clean channel of a amp that went on sale in 1975 and contained two 12” speakers. As the name suggests, it produces a clean tone with a tight sounding character, and a deep and compact low-end. When pushed hard the bass tends to crumble. The original amp doesn’t have a Presence control but does have a Bright Switch. The Presence control on your Pa1000 emulates this switch when Off and On, plus all points in-between.
Effect parameters Amp Clean Combo + Cab As the above, plus cabinet.
676| Effects for the Sounds, Voice, Guitar Amp California This 45W American combo amp with four 10” speakers, produced in South California during the years 1963–1968, was known for its big, clean sound and its warm and husky sound when driven heavily. This amp’s medium output and powerful sound was a favorite in clubs. Original’s tube compliment: 4 x 12AX7 in the preamp, 1 x 5AR4 rectifier tube, 2 x 6L6 tubes in the power amp, plus 2 x 12AT7 tubes.
Effect parameters Amp California + Cab As the above, plus cabinet.
678| Effects for the Sounds, Voice, Guitar Amp Tweed This 40W American-made tweed-covered 1957 model combo amp with two 12” speakers is known for its rich, clean tone that is ideal for classic rock, blues, and country. By raising the volume you can also produce a powerful and punchy overdrive sound. It quickly became a favorite of the greatest bands of the ’60s, and is what you can call ‘the classic tone’.
Effect parameters Amp Tweed + Cab As the above, plus cabinet.
680| Effects for the Sounds, Voice, Guitar Amp Modded OD This models the Overdrive channel of a 100W boutique amp head produced in North Hollywood. Its beautifully deep and rounded low-end, delightfully transient midrange attack and sweet treble, with an harmonically rich overdrive, the lushest clean tone, woody attack and blooming sustain, make it an instant pleasure to play. Original’s tube compliment: 2 x 12AX7s in the preamp, 1 x 12AX7s rectifier, 4 x EL34s (or 6L6s) in the power amp.
Effect parameters Amp Modded OD + Cab As the above, plus cabinet.
682| Effects for the Sounds, Voice, Guitar St. Guitar Cabinet (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet.
Effect parameters |683 Gtr. Cabinet + NR (Guitar Cabinet + Noise Reduction) Guitar cabinet and Noise Reduction.
684| Effects for the Sounds, Voice, Guitar OD/HI-GAIN a b e f g [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion Drive 1…100 Sets the degree of distortion [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.
Effect parameters |685 OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.
686| g h i j Effects for the Sounds, Voice, Guitar Mid1Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1 (peaking type) Q 0.5…10.0 Sets the band width of Mid/High EQ 1 Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1 Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2 (peaking type) Q 0.5…10.
Effect parameters |687 be controlled by the modulation source specified in the “Wah Sweep Src” parameter. d: Pre Low-cut Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion. d: Drive e: Output Level The degree of distortion is determined by the level of input signal and the setting of “Drive”. Raising the “Drive” setting will cause the entire volume level to increase. Use the “Output Level” parameter to adjust the volume level.
688| Effects for the Sounds, Voice, Guitar c Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hi-gain distortion d Drive 1…120 Sets the degree of distortion Pre Low-cut 0…10 Sets the low range cut amount of the distortion input Output Level 0…50 Sets the output level Src Off…Tempo Selects the modulation source for the output level Amt –50…+50 Sets the modulation amount of the output level Low Cutoff [Hz] 20…1.
Effect parameters |689 Comp - Amp Sim (Compressor - Amp Simulation) This effect combines a mono compressor and an amp simulation. You can change the order of the effects.
690| Effects for the Sounds, Voice, Guitar Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an overdrive/high-gain distortion. You can change the order of the effects.
Effect parameters h [O]Wet/Dry Dry, 1 : 99…99 : 1, Wet Sets the overdrive effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the overdrive Amt –100…+100 Sets the Wet/Dry modulation amount for the overdrive i Routing Comp › OD/HG, Switches the order of the compressor OD/HG › Comp and overdrive j Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |691 Wah - Am
692| c d Effects for the Sounds, Voice, Guitar [W]LFO Frequency [Hz] 0.02…20.
Effect parameters b c [D]Sampling Freq [Hz] 1.00k…48.
694| e Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) This simulates a bass amp (with gain and drive) and speaker cabinet.
Effect parameters i Cabinet Type LA - 4x10, MODERN Selects the cabinet type - 4x10, METAL - 4x10, CLASSIC -8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI 1x12 & 1x18 j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Amp Type i: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type STUDIO
696| Effects for the Sounds, Voice, Guitar Bass Amp Model This simulates a bass amp. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt + Volume Bass Amp Model Right FX Amt D-mod a Amp Type Selects the amplifier type LA STUDIO An amp that is typical of the LA sound. JAZZ A combo amp favored by jazz bassists. GOLD PANEL An amp distinctive for its eye-catching gold panel and clean sound. SCOOPED An amp typical of 80’s sounds.
Effect parameters Bass Amp+Cabinet (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet.
698| i Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Amp Type h: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type LA STUDIO LA - 4x10, LA - 1x18 JAZZ JAZZ - 1x15 GOLD PANEL MODERN - 4x10 SCOOPED METAL - 4x10 VALVE2 CLASSIC - 8x10 VALVE CLASSIC - 8x10 CLASSIC COMBI - 1x12 & 1x18 St.
Effect parameters a Trim b Cabinet Type c 0…100 Sets the input level Selects the cabinet type LA - 4x10 Four 10” speakers / LA sound cabinet MODERN - 4x10 Four 10” aluminum-cone speakers / modern cabinet METAL - 4x10 Four 10” aluminum-cone speakers / modern cabinet CLASSIC - 8x10 Eight 10” speakers / classic cabinet UK - 4x12 Four 12” speakers / UKmanufactured cabinet STUDIO - 1x15 One 15” speaker / studio combo cabinet JAZZ - 1x15 One 15” speaker / jazz combo cabinet VOX AC100 - 2x15
700| Effects for the Sounds, Voice, Guitar Tube PreAmp Model (Tube PreAmp Modeling) This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt + Tube Pre Amp1 Invert + – Tube Pre Amp2 Right a Output Level FX Amt Tube1 Low Cut [Hz] Thru, 21…8.
Effect parameters |701 b, f: Saturation [%] With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response. Mic/Pre Amp - Saturation Out Saturation = 0 Saturation = 50 Saturation = 100 In Bias = 0 c: Tube1 Bias This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of this value will produce distortion even at low gain levels.
702| Effects for the Sounds, Voice, Guitar St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (Tube PreAmp Model (Tube PreAmp Modeling)). Stereo In - Stereo Out Left FX Amt Tube Pre Amp1 + Tube Pre Amp2 – Output Level Invert Tube Pre Amp1 + – Tube Pre Amp2 Right FX Amt Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.
Effect parameters a Mic Type Vintage Dynamic, Multi Selects the type of mic Condenser, Percussion Condenser, Drums Dynamic, Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic b Mic Position Close, On, Off, Far Sets the mic placement distance c Tube Low Cut [Hz] Thru, 21…8.00k Sets the frequency of the low cut filter High Cut [Hz] 53…20.00k, Thru Sets the frequency of the high cut filter Tube Gain [dB] –24.0…+24.
704| Effects for the Sounds, Voice, Guitar St. Mic + PreAmp (Stereo Mic Modeling + PreAmp) This is a stereo mic and preamp simulator (Mic Model+PreAmp (Mic Modeling + PreAmp)). For example you might use this to simulate micing of a stereo source such as a rotary speaker.
Effect parameters |705 FILT (EQ and Filters) St.Parametric4EQ (Stereo Parametric 4-Band EQ) This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
706| Effects for the Sounds, Voice, Guitar h i Band4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4 Q 0.5…10.0 Sets the bandwidth of Band 4 Gain [dB] –18.0…+18.0 Sets the gain of Band 4 Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source b: Band1 Type c: Band4 Type Selects a filter type for Band 1 and 4.
Effect parameters |707 St. Graphic 7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.
708| Effects for the Sounds, Voice, Guitar P4EQ – Exciter (Parametric 4-Band EQ - Exciter) This effect combines a mono four-band parametric equalizer and an exciter. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + Exciter FX Amt Exciter Trim Right FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.
Effect parameters |709 P4EQ - Wah (Parametric 4-Band EQ – Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection.
710| Effects for the Sounds, Voice, Guitar g h i j [W]Sweep Mode Auto, D-mod, LFO Selects the control from auto-wah, modulation source, and LFO Src Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod [W]LFO Frequency [Hz] 0.02…20.
Effect parameters a b c d e Frequency Bottom 0…100 Sets the lower limit of the wah center frequency Frequency Top 0…100 Sets the upper limit of the wah center frequency Sweep Mode Auto, D-mod, LFO Selects the control from auto-wah, modulation source, and LFO Src Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod Respon 0…100 Sets the response speed when Sweep Mode = Auto or D-mod Envelope Sens 0…100 Sets the sensitivity of auto-wah Envelope Shape –100…+100 Se
712| Effects for the Sounds, Voice, Guitar a: Frequency Bottom a: Frequency Top The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings.
Effect parameters |713 c: Envelope Shape This parameter determines the sweep curve for auto-wah. Envelope Shape Level Envelope value = 0...+100 value = 0...–100 Time d: LFO Frequency [Hz] e: MIDI Sync When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO Frequency parameter setting. When “MIDI/Tempo Sync”=On, the LFO speed follows the “BPM”, “Base Note”, and “Times” settings.
714| Effects for the Sounds, Voice, Guitar St. Vintage Wah (Stereo Vintage/Custom Wah) This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.
Effect parameters g MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
716| Effects for the Sounds, Voice, Guitar VOX Wah This effect is modeled on two legendary VOX wah pedals: the V847 and the V848 Clyde McCoy model. Thanks to their unique ‘throaty’ tone, these are the only wah pedals that many professionals will consider putting under their feet. Played musically, they can make your melody lines cry like a baby—or howl like a man possessed! A great tonal trick is to find a ‘sweet spot’ within the range of the Wah pedal and then leave it there.
Effect parameters |717 St.Exciter/Enhncr (Stereo Exciter/Enhancer) This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.
718| Effects for the Sounds, Voice, Guitar i Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Exciter Blend This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values. b: Emphasis Freq This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
Effect parameters |719 Stereo Isolator This is a stereo effect that separates the input signal into low, mid, and highfrequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.
720| g Effects for the Sounds, Voice, Guitar Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source St. Random Filter (Stereo Random Filter) This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation.
Effect parameters d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
722| Effects for the Sounds, Voice, Guitar a: LFO Phase [degree] Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect. LFO Phase 0 –180 –90 +90 +180 [degree] 0 [degree] a: LFO Waveform b: LFO Frequency [Hz] c: LFO Step Freq [Hz] When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed.
Effect parameters |723 i: Wet/Dry The effect sound’s phase will be reversed when you set this parameter in the negative range of values. St. MultiModeFilter (Stereo Multi Mode Filter) This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.
724| Effects for the Sounds, Voice, Guitar e f LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.00 Sets the modulation amount of LFO speed MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |725 Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
726| Effects for the Sounds, Voice, Guitar h MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |727 f: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value. f: Resonance This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound.
728| c Effects for the Sounds, Voice, Guitar MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00…300.00 MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Base Note d e f g h i … Selects the type of notes that specify the LFO speed Times x1…x32 Sets the number of notes that specify the LFO speed Mod.
Effect parameters |729 When “Control Mode” = Manual, the “Resonance” parameter sets the intensity of resonance. If the “Resonance” parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower. When “Control Mode” = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between specified pitches an octave apart in turn.
730| Effects for the Sounds, Voice, Guitar VOX Treble Booster Vintage booster of high frequencies. a Drive 0...99 Amount of the boost effect b Level 0...
Effect parameters |731 Vocoder This effect applies the timbral character of a different signal (the modulator) to the input signal (the carrier). A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a microphone. A special effect is also achieved by using rhythm or effect sounds. Strings or distortion guitar sounds with a lot of harmonics are suitable as Carrier signals.
732| Effects for the Sounds, Voice, Guitar i j Low Gain [dB] –12...+12 Sets the low-range output level of the vocoder High Gain [dB] –12...+12 Sets the high-range output level of the vocoder Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source e: Formant Shift By offsetting the Carrier filter, you can adjust the height of the frequency range to which the vocoder effect is applied.
Effect parameters |733 You can add reverb to the Vocoder, by way of the to MFX1 parameter. To create a new Song making use of the Vocoder, enter the Sequencer > Backing Sequence mode with a Keyboard Set including the Vocoder effect. Please note that the voice and effect will not be recorded in the Song.
734| Effects for the Sounds, Voice, Guitar FREQ (Frequency) St. Sub Oscillator (Stereo Sub Oscillator) This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver. Stereo In - Stereo Out Left Envelope Sens Pre LPF D-mod Note No.
Effect parameters f Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |735 a: OSC Mode b: Note Interval b: Note Fine The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver.
736| Effects for the Sounds, Voice, Guitar Grain Shifter This effect cuts extremely short samples (‘grains’) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.
Effect parameters |737 a: Duration c: LFO Sample Cycle [Hz] Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously. Sample Cycle / Duration Sample Cycle Duration In Out Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal.
738| Effects for the Sounds, Voice, Guitar d e Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source d: Input Level Dmod [%] d: Src This parameter sets the dynamic modulation of the input level. Input Level Input Level Dmod Input Level x1.
Effect parameters b Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount by steps of a semitone Src Off…Tempo Selects the modulation source of pitch shift amount Amt –24…+24 Sets the modulation amount of pitch shift amount Fine [cents] –100…+100 Sets the pitch shift amount by steps of a cent Amt –100…+100 Sets the modulation amount of pitch shift amount d Delay Time [msec] 0…2000 Sets the delay time e Feedback Position Pre, Post Switches the feedback connection f Feedback –10
740| Effects for the Sounds, Voice, Guitar b: Pitch Shift [1/2tone] b: Src b: Amt c: Fine [cents] c: Amt The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. The amount of modulation will use the b: Amt value plus the c: Amt. The same Modulation Source is used for both Pitch Shift and Fine. e: Feedback Position f: Feedback When Feedback Position is set to Pre, the pitch shifter output is again input to the pitch shifter.
Effect parameters b c d e Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount in steps of a semitone Src Off…Tempo Selects the modulation source of pitch shift amount Amt –24…+24 Sets the modulation amount of pitch shift amount Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent Amt –100…+100 Sets the modulation amount of pitch shift amount BPM MIDI, 40.00… 300.
742| Effects for the Sounds, Voice, Guitar d: Time Over? You can set the delay time up to 5,290msec. If the delay time exceeds this limit, the error message “OVER!” appears on the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.
Effect parameters e Depth –100…+100 Sets the LFO modulation depth for pitch shift amount Src Off…Tempo Selects the modulation source of the depth of modulation Amt –100…+100 Sets the modulation amount of the depth of modulation f Pan L, 1 : 99…99 : 1, R Sets the panning effect sound and dry sound separately g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |743 a: Pitch Sh
744| Effects for the Sounds, Voice, Guitar St. Pitch Shifter (Stereo Pitch Shifter) This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other.
Effect parameters i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |745 a: L/R Pitch When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered. St.
746| Effects for the Sounds, Voice, Guitar c d e Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent Amt –100…+100 Sets the modulation amount of pitch shift amount Sets the modulation amount of pitch shift amount BPM MIDI, 40.00… 300.
Effect parameters |747 MISC (Miscellaneous) Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).
748| Effects for the Sounds, Voice, Guitar d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |749 St. Analog Record (Stereo Analog Record) This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable. Stereo In - Stereo Out Left EQ Trim Pre EQ EQ Trim Pre EQ Analog Record Simulation Right FX Amt FX Amt a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m.
750| Effects for the Sounds, Voice, Guitar b: Flutter This parameter enables you to set the depth of the modulation caused by a warped turntable. e: Click Level This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes.
Effect parameters a LFO Mode Loop, 1-Shot Switches LFO operation mode Src Off…Tempo Selects the modulation source of LFO reset b LFO Sync Off, On Switches between LFO reset on and off when LFO Mode is set to Loop c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
752| Effects for the Sounds, Voice, Guitar When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the “Src” field is turned on. At this time if you do not set the “Src” parameter, the Doppler effect will not be created, and no effect sound will be output. The effect is off when a value for the modulation source specified for the “Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher.
Effect parameters |753 Scratch This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable.
754| Effects for the Sounds, Voice, Guitar a: Scratch Source b: Response The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modulation source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.
Effect parameters |755 Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).
756| Effects for the Sounds, Voice, Guitar When “Rec Mode” is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec. If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single. If you record only one note, set “Rec Mode” to Multi. The “Reverse Time” parameter specifies the maximum duration of the reverse playback. The part in excess of this limit will not be played in reverse.
Effect parameters |757 P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger) This effect combines a mono four-band parametric equalizer and a chorus/ flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + FX Amt Chorus/Flanger Chorus/Flanger Trim Feedback + – Normal Output Mode Wet Invert Cho/Flng FX Amt Right LFO: Tri / Sine FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.
758| h Effects for the Sounds, Voice, Guitar [F]Cho/Flng Wet/ Dry -Wet, -1:99… Dry…99:1, Wet Sets the effect balance of the chorus/flanger Src Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger Amt –100…+100 Sets the Wet/Dry modulation amount for the chorus/flanger i [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/ flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source)
Effect parameters P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 Q 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB] –18…+18 Sets the gain of Band 2 [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 Q 0.5…10.
760| Effects for the Sounds, Voice, Guitar P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay) This effect combines a mono four-band parametric equalizer and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + Multitap Delay FX Amt Feedback Trim Delay High Damp (1) Right (2) Mt.Dly FX Amt FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.
Effect parameters i j [D]Mt.
762| Effects for the Sounds, Voice, Guitar COMPRESSOR a [C] Sensitivity 1…100 Sets the sensitivity b [C]Attack 1…100 Sets the attack level Output Level 0…100 Sets the compressor output level c [C]EQ Trim 0…100 Sets the EQ input level d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ [W]Frequency Bottom 0…100 Sets the lower limit of the wah center frequency Frequency Top 0…100 Sets the upper limit of the wah center frequency
Effect parameters |763 Comp - P4EQ (Compressor - Parametric 4-Band EQ) This effect combines a mono compressor and a four-band parametric equalizer. You can change the order of the effects.
764| Effects for the Sounds, Voice, Guitar i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Comp - Cho/Flng (Compressor - Chorus/Flanger) This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.
Effect parameters g [F]Cho/Flng Wet/Dry -Wet, -1:99… Dry…99:1, Wet Src Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger Amt –100…+100 Sets the Wet/Dry modulation amount for the chorus/flanger h [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger i Routing Comp › Flanger, Flanger › Comp Switches the order of the compressor and chorus/flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dy
766| Effects for the Sounds, Voice, Guitar Comp - Phaser (Compressor - Phaser) This effect combines a mono compressor and a phaser. You can change the order of the effects.
Effect parameters j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |767 Comp - Mt. Delay (Compressor - Multitap Delay) This effect combines a mono compressor and a multitap delay. You can change the order of the effects.
768| Effects for the Sounds, Voice, Guitar h [D]Mt.Delay Wet/Dry Dry, 1 : 99…99 : 1, Wet Sets the multitap delay effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the multitap delay Amt –100…+100 Sets the Wet/Dry modulation amount for the multitap delay i Routing Comp › Mt.Delay, Mt.
Effect parameters d [E]Trim 0…100 Sets the parametric EQ input level e [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 Q 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB] –18…+18 Sets the gain of Band 2 [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 Q 0.5…10.
770| Effects for the Sounds, Voice, Guitar Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced. Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 Louder Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Dry Level Input Level Threshold Ratio=Inf : 1 Time Limiter - Cho/Flng (Limiter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
Effect parameters c [L]Gain Adjust [dB] –Inf, –38…+24 Sets the limiter output gain [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO LFO Waveform Triangle, Sine Selects the LFO Waveform [F]Delay Time [msec] 0.0…1350.
772| Effects for the Sounds, Voice, Guitar Limiter - Phaser This effect combines a mono limiter and a phaser. You can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing Limiter + Phaser Limiter Gain Adjust Resonance + – Normal Output Mode Wet Invert Phaser FX Amt Right Envelope - Control FX Amt Phaser LFO: Tri / Sine FX Amt LIMITER a b [L]Ratio 1.0 : 1… 50.
Effect parameters i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS Source) Amt –100…+100 Amount of modulation source (Dynamic |773 Modulation Limiter - Mt.Delay (Limiter - Multitap Delay) This effect combines a mono limiter and a multitap delay. You can change the order of the effects.
774| Effects for the Sounds, Voice, Guitar LIMITER a [L]Ratio 1.0 : 1… 50.0 : 1, Inf : 1 Sets the signal compression ratio Threshold [dB] –40…0 Sets the level above which the compressor is applied [L]Attack 1…100 Sets the attack time Release 1…100 Sets the release time [L]Gain Adjust [dB] –Inf, –38…+24 Sets the limiter output gain [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time Tap1 Level 0…100 Sets the Tap1 output level [D]Tap2 Time [msec] 0.0…1360.
Effect parameters |775 Exciter - Comp (Exciter – Compressor) This effect combines a mono exciter and a compressor. You can change the order of the effects.
776| Effects for the Sounds, Voice, Guitar Exciter – Limiter This effect combines a mono exciter and a limiter. You can change the order of the effects.
Effect parameters Exciter - Cho/Flng (Exciter – Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
778| Effects for the Sounds, Voice, Guitar i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Exciter - Phaser This effect combines a mono limiter and a phaser.
Effect parameters g [P]Phaser Wet/Dry -Wet, -1:99… Dry…99:1, Wet Sets the phaser effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the phaser Amt –100…+100 Sets the Wet/Dry modulation amount for the phaser h [P]Output Mode Normal, Wet Invert Selects the phaser output mode i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS Source) Amt –100…+100 Amount of modulation source (Dynamic Modulation Exciter - Mt.
780| f Effects for the Sounds, Voice, Guitar [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount g [D]High Damp [%] 0…100 Sets the damping amount in the high range h [D]Mt.
Effect parameters b e f g [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18 Sets the gain of Low EQ [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1 (peaking type) Q 0.5…10.
782| Effects for the Sounds, Voice, Guitar OD/HG - Phaser (Overdrive/Hi.Gain - Phaser) This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects.
Effect parameters i j k l [P]Manual 0…100 Sets the frequency to which the effect is applied Depth 0…100 Sets the depth of LFO modulation Resonance –100…+100 Sets the resonance amount [P]Phaser Wet/Dry -Wet, -1:99… Dry…99:1, Wet Sets the phaser effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the phaser Amt –100…+100 Sets the Wet/Dry modulation amount for the phaser [P]Output Mode Normal, Wet Invert Selects the phaser output mode Routing OD/HG › Phaser, Phaser
784| b e f g Effects for the Sounds, Voice, Guitar [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18 Sets the gain of Low EQ [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/ High EQ 1 (peaking type) Q 0.5…10.
Effect parameters |785 Decimator - Comp (Decimator - Compressor) This effect combines a mono decimator and a compressor. You can change the order of the effects.
786| Effects for the Sounds, Voice, Guitar Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) This effect combines a mono chorus/flanger and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left + EQ LEQ HEQ Trim Right Chorus/Flanger Feedback FX Amt Multitap Delay Chorus/Flanger Feedback Delay (2) (1) Cho/Flng FX Amt High Damp Mt.Dly FX Amt FX Amt LFO: Tri / Sine CHORUS/FLANGER a [F]LFO Frequency [Hz] 0.02…20.
Effect parameters i j [D]Mt.
788| c d e f g h Effects for the Sounds, Voice, Guitar Tap2 (180) [msec] 0…2000 Sets the Tap2 (LFO phase=180 degrees) delay time Depth 0…30 Sets the Tap2 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation source for the control of Tap2 output Tap3 (060) [msec] 0…2000 Sets the Tap3 (LFO phase=60 degrees) delay time Depth 0…30 Sets the Tap3 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation
Effect parameters i j Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Src Off…Tempo Selects the modulation source for the Tap output level, feedback amount, and effect balance Amt –100…+100 Sets the modulation amount of Tap1 feedback amount Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |789 b, c, d, e, f, g: Status These parameters set the output status of each Tap.
790| Effects for the Sounds, Voice, Guitar PianoBody/Damper (PianoBody/Damper Simulation) This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.
Effect parameters |791 a: Sound Board Depth This parameter sets the intensity of resonance of the piano sound board. b: Damper Depth b: Src This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The “Src” parameter selects the modulation source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal).
792| Effects for the Sounds, Voice, Guitar DMS (Dynamic Modulation Sources) When the Src or DMS abbreviation, or the symbol is shown, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
Effect parameters |793 Gate1, Gate1+Dmpr (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed. Gate1,Gate1+Dmpr Note 1 2 1 3 2 3 Dmpr Damper Pedal On Off Gate1 Gate1+Dmpr Time Gate2, Gate2+Dmpr (Gate2+Damper) This is essentially the same as for Gate 1 or Gate 1 + Dmpr.
794|
|795 Part X: KAOSS EFFECTS
796| KAOSS Effects
Using the KAOSS effects 46 |797 Using the KAOSS effects The KAOSS page What are the KAOSS effects? KAOSS is a KORG technology, allowing for live generation of MIDI events and simultaneous control of multiple parameters via a control surface. In Pa1000, it lets you transform the music flow, or do creative and interactive ‘liquid mixing’. For example, you can smoothly morph between Variations and Drum Kit types, to create an evolving and always renewed arrangement.
798| KAOSS Effects Going to the KAOSS page You can go to the KAOSS page by touching the KAOSS tab in the main page of the Style Play or Song Play mode. ▪▪ In Style Play mode: Recognized chord KAOSS pad Selected Preset Selected Favorite Preset Tabs recalling other panes Effects parameters ▪▪ In Song Play mode: Song’s Tempo and Beat KAOSS pad Selected Preset Selected Favorite Preset Tabs recalling other panes Effects parameters When you leave this page, the KAOSS is automatically stopped.
Using the KAOSS effects |799 Choosing the KAOSS Presets Choosing a KAOSS Preset or Favorite Presets A series or KAOSS Presets is already supplied with the instrument. You can choose a separate KAOSS Preset for the Style Play and the Song Play mode. Choose a KAOSS Preset from the library ▪▪ Use the pop-up menu in the top left corner of the page to choose one of the presets from the library containing all the presets.
800| KAOSS Effects Assigning a KAOSS Preset to one of the Favorite Preset buttons You can assign any of the presets from the library to one of the Favorite Preset buttons. This way, you will have a set of favorite presets always ready. The Favorites can be different for the Style Play and Song Play mode. 1 Choose one of the KAOSS Presets by using the pop-up menu in the top left corner of the page. 2 Touch the Assign button under the Favorite Preset buttons.
Using the KAOSS effects |801 KAOSS Preset list The following table contains all the Factory KAOSS Presets. Some of the presets can be chosen both in Style Play and Song Play mode. Some can only be chosen in Style Play mode. Please note that time-based effects can require a few moments, before starting to work.
802| KAOSS Effects KAOSS Preset X-Axis Y-Axis Works on HalfDouble&Bending D&B Speed Attack&Decay Style, Song Tracks HalfDouble&Halo D&B Speed FX&Release HalfDouble&Filter D&B Speed Cutoff&Resonance RhytSpeed&Balance D&B Speed D&B Balance DrumDecim&Filter Drum Decimator Cutoff&Resonance DrumDecim&Envelope Drum Decimator Attack&Decay Decimator&Halo Decimator FX&Release Decimator&Balance Decimator D&B Balance Decimator&Transp Decimator Transpose NoteMirror&Transp Mirror Note
Using the KAOSS effects Preset for the Style Play only KAOSS Preset X-Axis Y-Axis Works on Density1&Filter Density Cutoff&Resonance Style Tracks Density1&RhythmRig Density Rig Set Density1&HalfDouble Density D&B Speed Density2&DrumDecim Density Drum Decimator Density2&Halo Density FX&Release Density2&Repeater2 Density Loop Length Density3&Filter Density Cutoff&Resonance Density3&Balance Density D&B Balance Density4&Halo Density FX&Release Ending Den1&Rep Density Loop Lengt
804| KAOSS Effects Using the KAOSS effects Using the KAOSS effects is just a matter of letting the instrument play, or playing some notes, and swiping your finger in the KAOSS pad area to change the music flow. Starting the original music flow Transformation vs. Arpeggiator There are two general categories of KAOSS effects: ▪▪ Transformation effects, where the music flow generated by the Arranger or Player is processed to create new music.
Using the KAOSS effects |805 Using the KAOSS pad Check the effect’s parameters assigned to the X/Y axis ▪▪ See the name of the parameters under the pad. Axis Meaning X Finger movement from left to right, right to left. Y Finger movement from top to bottom, bottom to top. Change the parameters’ value ▪▪ To change the parameters’ value, move your finger in the KAOSS pad. Touch the pad area Parameters value Depending on the selected preset, the grid in the KAOSS pad will change.
806| KAOSS Effects Freeze the current values Do one of the following: ▪▪ Keep the SHIFT button pressed, and touch an area of the KAOSS pad, then release the SHIFT button and finally raise your finger. You are free to continue moving your finger, or to release it to freeze the current values. ▪▪ Press the SHIFT button while the finger is touching the KAOSS pad, then raise your finger and finally release the SHIFT button. The values of the latest position of your finger will be frozen.
|807 Part XI: CONTROLLERS
808| Controllers
Hand controllers 47 |809 Hand controllers Programming the joystick Assigning functions to the joystick The left/right (X-, X+) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound programming. The up/forward movement (Y+) is usually Modulation, and sometimes a different Sound parameter, depending on the Sound programming. The down/ backward movement (Y-) can be assigned to various controls, or is left unused.
810| Controllers Setting the Pitch Bend range Pitch Bend range is defined for each Sound set, and can change with different Keyboard Sets, SongBook Entries or Styles. 1 Go to the Mixer/Tuning > Tuning page. 2 Use the Pitch Bend Sens(itivity) knobs to set the Pitch Bend range for each Sound. 3 PB Sensitivity Meaning 0 No pitch bend allowed. 1 … 12 Maximum up/down pitch bend range (in semitones). 12 = ±1 octave. Write the changes to a Sound set (Keyboard Set, Style Settings).
Hand controllers |811 Programming the keyboard’s velocity and aftertouch Assigning functions to velocity and aftertouch Velocity usually controls the Sound’s loudness, while aftertouch controls modulation. However, they can be assigned to other roles by each individual Sound. Assigning Sound parameters can be done in Sound Edit. Assigning aftertouch to the Sounds You can activate/deactivate aftertouch on each Keyboard Sound. 1 Go to the Keyboard/Ensemble > Aftertouch page.
812| Controllers Adjusting the velocity and aftertouch sensitivity You can define how the keyboard responds to your striking velocity and aftertouch pressure. 1 Go to the Global > Controllers > Hand page. 2 Use the Velocity Curve parameter to set the sensitivity of the keyboard to your playing strength. 3 Velocity Curve Meaning Fixed No dynamic control available. Dynamic values are fixed, as in classic organs. When this option is chosen, you can set the fixed velocity value.
Hand controllers |813 Programming the assignable knobs Assigning a function to the assignable knobs You can program the ASSIGNABLE KNOBS as a global setting. 1 Go to the Global > Controllers > Hand page. 2 Choose a function for each of the knobs. Functions assignable to the knobs Knob function Meaning Off No function assigned Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied. Style Drum&Perc.Vol.
814| Controllers Knob function Meaning Mic/Guitar Preset FX1 Level Volume of the corresponding FX. Mic/Guitar Preset FX2 Level Guitar Preset FX3 Level FX CC12 Ctrl FX CC13 Ctrl Standard FX controllers, used as DMS modulations. How they work depends on the Effects programming.
Hand controllers |815 Programming the assignable switches Assigning a function to the assignable switches You can program the ASSIGNABLE SWITCHES in a different way for each Keyboard Set. Choosing a different set of Sounds may therefore change the controls assigned to these switches, to match the different types of Sounds. 1 Go to the Style Play/Song Play > Pad/Switch > Switch page. 2 Use one of the Switch 1…3 menus to choose a command to be assigned to the corresponding switch.
816| Controllers Switch function Meaning Sound Down Selects the previous Sound. Synchro Start Same functions as the control panel buttons with the same name. Synchro Stop Kbd Upper 1 Mute Mute of the corresponding Keyboard Sound. Kbd Upper 2 Mute Kbd Upper 3 Mute Kbd Lower Mute Style Drum Mute Mute of the corresponding Style’s Accompaniment Sound. Style Percussion Mute Style Bass Mute Style Acc1…5 Mute Style Acc 1-5 Mute Mute/Unmute all the Acc tracks at once.
Hand controllers |817 Switch function Meaning Text Page Next Text Page Prev These options let you move to the previous or next page, when reading a text file automatically loaded with a Song or SongBook Entry, or manually loaded from the Lyrics page. Set List Next Moves to the next SongBook Entry in the selected Set List. Set List Prev Moves to the previous SongBook Entry in the selected Set List. Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81).
818| Controllers 48 Foot controllers Programming the damper pedal You can connect a footswitch, or a dedicated damper pedal, to the PEDAL > DAMPER connector on the back of the instrument. This pedal always works as a Damper pedal. Assigning the Damper pedal to the Sounds You can activate/deactivate the damper pedal on each Keyboard Sound. This is useful, for example, to only sustain some Upper Sounds and not the others. 1 Go to the Keyboard/Ensemble > Joystick/Pedal page.
Foot controllers |819 Programming the assignable pedal/ footswitch Assigning a function to the pedal/footswitch You can connect a footswitch or expression pedal to the PEDAL > ASSIGNABLE connector on the back of the instrument. Depending on the connected type of pedal, you will choose a suitable function. Program the pedal/footswitch 1 Connect the pedal or footswitch to the PEDAL > ASSIGNABLE connector. 2 Go to the Global > Controllers > Foot page.
820| Controllers Functions assignable to a footswitch Footswitch function Meaning Off No function assigned. Style Start/Stop Same functions as the control panel buttons with the same name. Play/Stop Player 1 Play/Stop Player 2 Go to Beginning - Player 1 Go to Beginning - Player 2 Chord Seq. Record Chord Seq.
Foot controllers |821 Footswitch function Meaning Kbd Set 1…4 Selects the corresponding Keyboard Set from the KEYBOARD SET section under the display. Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display. Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET section under the display. Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY.
822| Controllers Footswitch function Meaning Quarter Tone Turns Quarter Tone on/off. Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks. Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled. SubScale Preset 01…04 Same functions as the Scale Preset buttons in the display. Chord Latch Holds the recognized chord until the pedal is released.
Foot controllers |823 Functions assignable to an expression pedal Pedal function Meaning Master Volume Master Volume control Accompaniment Volume Volume of the Accompaniment Sounds Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied.
824| Controllers Assigning the Expression pedal to the Sounds Expression is a relative level control, always subtracted from the Volume value. It can be assigned to any continuous pedal (also called a Volume/ Expression pedal). As an example, imagine you have a Piano sound assigned to Upper 1, and a Strings sound assigned to Upper 2. If you turn the Expression switch on on Upper 2, and off on Upper 1, you can use a continuous pedal to control only the Strings’ volume, while the Piano remains unchanged.
Foot controllers |825 2 Use the PB Sensitivity parameter to set the Pitch Bend range (in semitones). 3 Write the changes to a Keyboard Set. Change the Glide time 1 Go to the Global > General Controls > Basic page. 2 Use the Glide > Time parameter to set the glide time.
826| Controllers Calibrating the pedal and setting its polarity If needed, you might have to calibrate the pedals to use their full range of values, without any ‘dead spot’. Also, this procedure allows to choose the pedal’s polarity. 1 Go to the Global > Controllers > Foot page. 2 Touch the Calibration button in the area of the button to calibrate, to make the Damper & Pedal/Footswitch Calibration dialog appear.
|827 Part XII: GLOBAL SETTINGS AND PREFERENCES
828| Global settings and preferences
Customizing the user interface 49 |829 Customizing the user interface Display and control panel preferences Choosing the chords and alphanumeric keyboard language You can choose the language used to show chord names and the characters that can be inserted using the alphanumeric virtual keyboard. Please note that some of the characters can only be used when editing SongBook Entry names. 1 Since the instrument must be restarted at the end of this procedure, be sure to first save all unsaved data.
830| Global settings and preferences Control panel illumination You can adjust the button indicators’ brightness, to adapt the control panel glowing/luminosity to the ambient light. 1 Go to the Global > General Controls > Interface page. 2 Use the Panel Backlight pop-up menu to select one of the available luminosity degrees.
Customizing the user interface |831 Program Change and activity indicators Showing/Hiding the Program Change number You can make Program Change numbers be shown next to Sound names in the Sound Select window. Please note that Program Change numbers are always shown in the various Track Info areas. 1 Go to the Global > General Controls > Interface page. 2 Select/deselect the Program Change > Show checkbox.
832| Global settings and preferences Showing/Hiding the track’s activity You can turn on/off the Track Activity display. When it is turned on, you can monitor events coming from the internal Sounds or the MIDI messages. Incoming events are shown by the color changing on each track’s label. 1 Go to the Global > General Controls > Interface page. 2 Select/deselect the Track Activity > Show checkbox.
Automatic selection and locking 50 |833 Automatic selection and locking Automatically choosing Styles and Keyboard Sets Preferred Styles and Keyboard Sets can be assigned to the STYLE and KEYBOARD SET LIBRARY buttons. They are also assigned to the side tabs in the Style Select and Keyboard Set Library Select windows.
834| 4 Global settings and preferences Choose the Write Auto Select Preferences command from the page menu to save the Style assignment to all banks. Automatically selecting the Keyboard Sets from the library When the Auto Select > Keyboard Set Library parameter is activated, pressing one of the KEYBOARD SET LIBRARY buttons, or touching the name of a bank in the Keyboard Set Library Select window, automatically selects the Keyboard Set you latest selected in that bank.
Automatic selection and locking |835 Locking parameters to prevent changes In various pages, next to some parameters, you can find a lock ( ) icon. All these locks are collected in the Global > General Controls > Lock pages for easy access. Locking the Tuning parameters 1 Go to the Global > General Controls > Lock > Tuning page. 2 Select/deselect the desired locks. Tuning lock Meaning Master Transpose Prevents Master Transpose from changing when choosing a SongBook Entry.
836| Global settings and preferences SongBook Entries, Keyboard Sets, and the sub-scale If you want that choosing a SongBook Entry also changes the sub-scale, the SubScale/Quarter Tone has to be unlocked. However, if you don’t want that choosing a Keyboard Set (by pressing one of the KEYBOARD SET buttons under the display) also changes the sub-scale, lock the SubScale/Quarter Tone Keyboard Set 1-4. Locking the Control parameters 1 Go to the Global > General Controls > Lock > Control page.
Automatic selection and locking |837 Control lock Meaning Assignable Switches When locked, selecting a Keyboard Set will not change the functions assigned to the Assignable Switches. Upper 1 FXs When choosing the Upper 1 Sound, the Sound’s or the Keyboard Set’s effect settings can be selected. • If this lock is closed, the Keyboard Set’s effect parameters are left unchanged. • If this lock is open, the Sound’s effect parameters are selected.
838| Global settings and preferences Locking the Style parameters 1 Go to the Global > General Controls > Lock > Style page. 2 Select/deselect the desired locks. Style locks Meaning Style Tracks Volume When this lock is closed, choosing a different Style does not change the volume of the accompaniment tracks. This is useful when you create your own User Styles, and prefer to dynamically adjust the volume by using the internal mixer.
System preferences 51 |839 System preferences Setting the date and time for file saving Pa1000 includes a battery-backed system calendar and clock. This allows for automatically adding a time-stamp to the files, when they are created or edited. 1 Go to the Global > General Controls > Clock & Power page. 2 Set the Month/Day/Year and Time values. Use the Time numeric field to input the time, in the ‘hour:minute:second’ format.
840| Global settings and preferences Automatic power off Pa1000 can automatically enter standby after two hours of not being used, to save power and help preserving the environment. 1 Go to the Global > General Controls > Clock & Power page. 2 Select/deselect the Auto Power Off checkbox. When this parameter is checked, a few minutes before automatic standby a message will warn you that the instrument is going to be put in standby. All unsaved data currently in editing or recording will be lost.
Master Transpose and Tuning 52 |841 Master Transpose and Tuning Master Tuning You can fine tune the instrument (in cents of a semitone), to adapt it to an acoustic instrument that is not possible to tune (for example an acoustic piano without a professional tuner or the right tools, or a period instrument). 1 Go to the Global > Tuning > Master page. 2 Use the Master Tuning parameter to fine tune the instrument.
842| Global settings and preferences Master Transpose Transposing the whole instrument The instrument’s key can be transposed to make singing or playing together with another instrument more comfortable. Master Transpose settings are also sent to any GM-compliant instrument. The transpose value is usually shown in the page header. Transpose down from the control panel ▪▪ Use the TRANSPOSE > FLAT ( ) button to lower the Master Transpose in steps of one semitone.
Master Transpose and Tuning |843 MP3 Songs and Master Transpose MP3 Songs can be transposed inside the range of -5…+6 semitones. This range is enough to cover all keys, while avoiding excessive audio degradation. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3 Song will actually play 5 semitones lower (Just Fourth Down).
844| Global settings and preferences Displaying transposed chord abbreviations in MIDI Songs When changing the Master Transpose, chord abbreviations contained in MIDI Songs are transposed and correctly shown in the display. Master Transpose must be applied to the Player, but not to the Keyboard. Please note that chords contained in a linked TXT file or shown in a CDG file are not transposed. When is Master Transpose applied? You can decide when the Master Transpose will take effect.
Master Transpose and Tuning |845 Transpose Meaning Off No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, transposed. Next Measure When you press either of the TRANSPOSE buttons, the new transpose setting will not take effect until the first beat of the next measure is reached.
846| Global settings and preferences Master Transpose and Scale You can define the relation between the Scale and the Master Transpose. 1 Go to the Global > Tuning > Transpose Control page. 2 Use the Position > Scale and Transpose pop-up menu to choose where transposition will apply in relation to the Scale. Transpose position Meaning Post-KB/Pre-Scale When this option is selected, notes will be transposed immediately after they leave the keyboard. The Scale will be applied to the transposed notes.
Scale 53 |847 Scale Main Scale Choosing the main scale The main scale is usually applied to all or most of the Sounds. Some Sounds may use an alternative sub-scale. Some Style Elements may use alternative sub-scales. The main scale is used wherever there is no sub-scale assigned. Choose the main scale 1 Go to the Global > Tuning > Scale page. 2 Use the Main Scale pop-up menu to choose the main scale of the instrument.
848| Global settings and preferences Scales list Scale Description Equal Equal tuning, the standard scale for modern Western music. It is made of 12 identical semitones. Pure Major Major chords in the selected key are perfectly tuned. Pure Minor Minor chords in the selected key are perfected tuned. Arabic An Arabic scale, using quarters of tone.
Scale |849 Sub-Scale Choosing a sub-scale for the Keyboard and/or Accompaniment Sounds You can assign a different scale (a sub-scale) to the Keyboard Sounds. This will allow, for example, to play a piano solo with the Stretch tuning, while the backing tracks continue to play in the Equal tuning. A different sub-scale can be associated to each Keyboard Set. You can also assign a sub-scale to all the Sounds of the Style, separate from the Sounds of a MIDI Song (that will still use the main scale).
850| Global settings and preferences Assigning the sub-scale to the Keyboard and/or Accompaniment Sounds 1 Go to the Global > Mode Preferences > Style 2 page. 2 Use the Scale Mode parameter to choose the Sounds to which to apply the sub-scale. All the other Sounds will use the main scale.
Scale |851 2 Program the User scale, as explained below. To make programming easier, this sub-scale can only be a User scale. 3 Select the checkbox corresponding to the track(s) to which you want to apply the sub-scale. The root key of this scale can dynamically change while you play, to allow for retuning the Style depending on the song section. How to retune the Style is explained later in this chapter.
852| Global settings and preferences ▪▪ Use the numbers appearing in each note of the keyboard diagram to fine tune each note pitch. Detuning is referred to Equal tuning considered as zero detune. Detuning Meaning -99 … +99 Note detuning in cents or a semitone. Zero is no detuning (Equal tuning), ±50 is a full quarter tone up or down, ±99 is nearly one whole semitone up or down. Memorize the User sub-scale into a Sound set ▪▪ Write the changes to a Sound set (Keyboard Set, Style Settings, Style).
Scale |853 Quarter Tone Sub-Scale (Scale Presets) Editing a Quarter Tone sub-scale (Scale Preset) Quarter Tone scales (Scale Presets) are custom scales where detuning can be activated or deactivated while playing. Changing note tuning while playing is typical of Middle East/Arabic music. The detuning interval is usually next to a quarter tone. You can save up to four Quarter Tone scales into the Scale Presets. The Scale Presets are global and do not change with Keyboard Sets, Styles or Songs.
854| Global settings and preferences ▪▪ In the right-side scale diagram, turn on (black dot shown) the scale degree you want to be detuned, and turn off (black dot hidden) the scale degree that will use the standard tuning. When no preset is selected, a default scale is automatically recalled. This scale assigns a -50 cent value (equivalent to a quarter tone down) to all notes, and turns all scale degrees off.
Scale |855 Using the Quarter Tone sub-scales (Scale Presets) You can instantly recall a Quarter Tone sub-scale, by just choosing one of the Scale Presets. Activate the Quarter Tone sub-scale 1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes. 2 Touch the Quarter Tone button to make it appear selected. The Scale Preset buttons will appear. Choose a Scale Preset ▪▪ Touch one of the Scale Preset buttons to choose the corresponding Scale Preset.
856| Global settings and preferences Use the Quarter Tone sub-scale ▪▪ Touch any note whose pitch you want to lower, making a big dot appear on the note diagram. ▪▪ Touch the note again to make the dot disappear, and reset to standard tuning. Scale alteration made in this page is momentary and is not memorised. It is only meant to allow for quick scale alteration while playing. Deactivate the Quarter Tone sub-scale ▪▪ Touch the Quarter Tone button to make it appear deselected.
Scale |857 Use the Quarter Tone function 1 Lower some note pitches. Keep the Quarter Tone switch or footswitch pressed. The keyboard will not play at this time. Press the notes whose pitch you want to lower. Release the switch or footswitch. The black dots will appear in the keyboard diagram of the Sub-Scale pane from the main page of the Style Play and Song Play modes. 2 Play with your new scale. The pitch of the notes you pressed are now lowered. 3 Reset the original scale.
858| Global settings and preferences Retuning the Style while playing Style Element Scale, Chord Follow, Retune Style While in the Style Record > Element Track Controls > Scale page, you can program a sub-scale for each Style Element, and enable the sub-scale on each track of the Style Element. This scale starts from a root key, that can change with each recognized chord, or after a deliberate command. Depending on your style of music, you will choose how to retune the Style.
Scale |859 Assigning the Retune Style command to an assignable switch or footswitch Assign the Retune Style command to an assignable switch 1 Go to the Style Play/Song Play > Pad/Switch > Switch page. 2 Use one of the Switch 1…3 menus to choose a command to be assigned to the corresponding switch. Since the first two switches are usually assigned to the Sound Controllers, we suggest you use Switch #3. 3 Write the changes to a Keyboard Set.
860| Global settings and preferences Retune with a footswitch 1 Just before having to retune the Style, press the footswitch. 2 Play a chord in the chord recognition area. The root of the chord will be the new root of the scale.
|861 Part XIII: MIDI
862| MIDI
Connecting MIDI devices |863 54 Connecting MIDI devices Introduction to MIDI Ports, channels, messages What is MIDI? MIDI stands for Musical Instruments Digital Interface. This interface lets you connect two musical instruments, or a computer and various musical instruments. From a software point of view, MIDI is a protocol that describes messages for playing notes and controlling them.
864| MIDI There are various messages, but here are the most commonly used: MIDI Message CC# Note On Meaning This message instructs an instrument to play a note on a specific channel. Notes have both a name (C4 standing for the center C) and a number (60 being the equivalent for C4). A Note Off message is often used to say the note has been released. Together with the Note On message, a Velocity value is always sent. This value tells the instrument how loud the note must play.
Connecting MIDI devices |865 MIDI standards Standard MIDI Files Standard MIDI Files (abbreviated as SMF) are a practical way of exchanging songs between different instruments and computers. Pa1000 uses the SMF format as its default MIDI Song format, so reading a song from a computer, or saving a song that a computer software can read, is not a problem at all. The internal Player is compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack).
866| MIDI Special MIDI channels The Control channel You can set a MIDI IN channel as the Control channel (in the Global > MIDI > MIDI IN Channels page), to select Styles, Keyboard Sets and SongBook Entries from an external device (see the Appendix for a list of messages corresponding to Pa1000’s internal data). On this special channel you can also send controls to start/stop the Arranger and Players, and select the Style Elements (see later in this part).
Connecting MIDI devices |867 The Chord 1 and Chord 2 channels Two special Chord channels (programmed in the Global > MIDI > MIDI IN Control page) can be used to receive notes for chord recognition. These notes will be combined with the notes received on the special Global channel. Contrary to the Global channel, the Chord channels are not affected by the split point.
868| MIDI Connecting via the MIDI interface You can use the MIDI connectors to connect external controllers (master keyboard, MIDI guitar, wind controller, MIDI accordion…) or additional musical instruments (for example, your preferred piano expander). You can also use the USB HOST port for a simpler connection to a controller. You can also use the MIDI connector to connect a personal computer through a MIDI interface. However, you can use the USB DEVICE port for a simpler connection.
Connecting MIDI devices |869 Connecting via the USB DEVICE port The USB DEVICE port can be used for MIDI communication between Pa1000 and a personal computer. Use a standard A-to-B USB cable to connect your instrument and computer. A dedicated software driver can be found in our web site. Installing the KORG USB MIDI Driver KORG USB-MIDI Driver system requirements Be sure your personal computer meets the requirements, as described in the documents accompanying the driver.
870| MIDI Installing the KORG USB-MIDI Driver on Mac OS X 1 Double-click on KORG USB- MIDI Driver v.n.n.n.dmg to open a virtual drive in the Finder (‘n.n.n’ meaning the version number). 2 Double-click on KORG USB-MIDI Driver.pkg to run the installer. 3 Follow the instructions appearing on screen. 4 When installation is completed, eject the virtual drive, and connect the USB DEVICE port of your Pa1000 to one of the USB ports of your Mac by using a standard A-to-B USB cable.
Connecting MIDI devices |871 Quick settings using MIDI Presets Using the MIDI Presets Connecting an instrument to a master keyboard, a personal computer or a tablet, usually requires some programming. To help you configure the MIDI channels, we have provided some MIDI Presets, that will automatically configure the MIDI parameters according to your needs. Choosing a MIDI Preset 1 Go to the Global > MIDI > General Controls page.
872| MIDI Parameter MIDI IN Channel MIDI OUT Channel Default Master Kbd Player 1 Player 2 1 Ply 1 Tr 1 Global Ply 1 Tr 1 Ply 2 Tr 1 2 Ply 1 Tr 2 Control Ply 1 Tr 2 Ply 2 Tr 2 3 Ply 1 Tr 3 - Ply 1 Tr 3 Ply 2 Tr 3 4 Ply 1 Tr 4 - Ply 1 Tr 4 Ply 2 Tr 4 5 Ply 1 Tr 5 - Ply 1 Tr 5 Ply 2 Tr 5 6 Ply 1 Tr 6 - Ply 1 Tr 6 Ply 2 Tr 6 7 Ply 1 Tr 7 - Ply 1 Tr 7 Ply 2 Tr 7 8 Ply 1 Tr 8 - Ply 1 Tr 8 Ply 2 Tr 8 9 Ply 1 Tr 9 - Ply 1 Tr 9 Ply 2 Tr 9 10 Ply 1 Tr 10 - Ply
Connecting MIDI devices Parameter MIDI IN Channel MIDI OUT Channel Accordion 1 Accordion 2 Accordion 3 Tablet 1 Global Upper 1 Upper 1 - 2 Lower Lower Lower - 3 Bass - Bass - 4 - Upper 2 Upper 2 - 5 - Upper 3 Upper 3 - 6 - - - - 7 - - - - 8 - - - - 9 - Bass - - 10 Drum Drum Drum - 11 Percussion Percussion Percussion - 12 Acc 1 Acc 1 Acc 1 - 13 Acc 2 Acc 2 Acc 2 - 14 Acc 3 Acc 3 Acc 3 - 15 Acc 4 Acc 4 Acc 4 - 16 Acc 5 Acc 5
874| MIDI You will use the supplied MIDI Presets in the following cases: MIDI Preset Use Default Generic settings, good for most situations Master Kbd When connecting to an external master keyboard Player 1 Player 2 When using an external sound generator (an expander or a virtual instrument) driven by either Player 1 or Player 2. When programming a song on an external sequencer and Pa1000’s Sequencer mode. Accordion 1 Different configurations for connecting a MIDI accordion.
Connecting MIDI devices |875 Writing a MIDI Preset Open the Write Midi Preset dialog 1 Go to the any page of the Global > MIDI section. 2 Choose the Write Midi Preset command from the page menu to open the Write Midi Preset dialog. Write over the current MIDI Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button. Write to a different MIDI Preset location 1 If you want to choose a different location, use the Midi Preset pop-up menu.
876| MIDI Synchronizing Tempo with other instruments Sending the MIDI Clock The Arranger or the selected MIDI Song can send a synchronization message to the other devices. 1 Go to the Global > MIDI > General Controls page. 2 Select the Clock Send parameter to send the internal MIDI Clock to the MIDI IN and USB ports. When the MIDI Clock signal is sent, you can slave another instrument to the Pa1000 Tempo, Start/Stop and Play/Stop commands.
Connecting MIDI devices |877 1 Go to the Global > MIDI > General Controls page. 2 Use the Clock Source pop-up menu to choose a MIDI Clock source for the Style Play and Sequencer modes. Clock Source Meaning Internal MIDI Clock is generated by the Pa1000’s Arranger or Players internal metronome. When in Song Play mode, the Internal clock is always used. External MIDI MIDI Clock is received from the MIDI IN or USB ports. In Style Play or Sequencer mode, Pa1000 is slaved to an external device.
878| MIDI MIDI data routing, processing and transposing Connecting the keyboard to the internal or external sounds The ‘local’ controls (keyboard, physical controllers) can be connected to the internal sounds directly, or echoed back from an external device. 1 Go to the Global > MIDI > General Controls page. 2 Use the Local Control On parameter to connect or disconnect the keyboard and controllers to the internal sounds.
Connecting MIDI devices |879 Converting notes to RX Noises RX Noises are special ambience or mechanical sounds that allow Sounds to be more realistic. They are usually located above C7, depending on the Sound. 1 Go to the Global > MIDI > General Controls page. 2 Select the Note to RX Noise checkbox to convert incoming notes to RX Noises.
880| MIDI Transposing the notes received Applying master and octave transposition to the notes received 1 Go to the Global > Tuning > Transpose Control page. 2 Use the Mode > Midi In Notes checkbox to determine if notes received on the MIDI IN and USB ports have to be transposed. Midi In Transpose Meaning On Notes received on the MIDI IN and USB ports are transposed according to the Master Transpose. Off Data received on the MIDI IN and USB ports are not transposed.
Connecting MIDI devices |881 Midi In Octave Meaning On Notes received on the MIDI IN and USB ports are transposed according to the Octave Transpose setting for each Sound. Off Data received on the MIDI IN and USB ports are not transposed. Applying octave transposition to the Upper and Lower parts 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Upper Trk Octave Transp. and Lower Trk Octave Transp. parameters to transpose the MIDI notes received on the Upper and Lower parts.
882| MIDI Playing muted tracks via MIDI 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Track Mute Active checkbox to determine if notes received on the USB port will play on muted tracks. Track Mute Active Meaning On No received MIDI data can play on muted tracks. Off Received MIDI data can play on muted tracks. Choosing a fixed velocity value for the incoming notes You can set a fixed velocity value for the notes received from MIDI.
Connecting MIDI devices 2 3 |883 Use the Note Velocity Value parameter to set a fixed Note On velocity value for all the notes received via MIDI. This is useful when playing Pa1000 with an organ or a MIDI accordion, often sending a fixed velocity value. Midi In Velocity Meaning Normal Received velocity values are left unchanged. 40 … 127 All received velocity values are converted to the selected value.
884| MIDI Programming the MIDI channels Programming the MIDI IN channels 1 Go to the Global > MIDI > MIDI IN Channels page. 2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI channel. Track Meaning Off Nothing assigned Lower Keyboard’s Lower Sound Upper 1...3 One of the Keyboard’s Upper Sounds Pad 1...4 One of the Pad Sounds Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...
Connecting MIDI devices |885 Programming the MIDI OUT Channels 1 Go to the Global > MIDI > MIDI OUT Channels page. 2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI channel. Track Meaning Off Nothing assigned Lower Keyboard’s Lower Sound Upper 1...3 One of the Keyboard’s Upper Sounds Pad 1...4 One of the Pad Sounds Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...
886| MIDI Filtering out MIDI messages You can set up to eight filters for the MIDI data received or sent. Filters are applied to all MIDI channels at the same time. 1 Go to the Global > MIDI > Filters page. 2 Use the Midi In Filters pop-up menus to choose filters on the data received. 3 Use the Midi Out Filters pop-up menus to choose filters on the data sent.
Connecting MIDI devices |887 Programming the special Chord channels 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Chord 1 Channel and Chord 2 Channel parameters to assign the special Chord channels to a MIDI channel. Chord channel Meaning Off Special Chord channel not activated. 1…16 Assigned Chord channel. Two special Chord channels can be used to receive notes for chord recognition.
888| MIDI Connecting Pa1000 to a personal computer or tablet You can program a new song on a personal computer or tablet connected to Pa1000. The computer has to run sequencing or notation software. When a song is ready, you can transfer it to the internal drive of Pa1000, and read it with the internal Players. Connection and settings 1 Install the KORG USB MIDI Driver, as explained earlier in this part. 2 Connect Pa1000 and the computer or tablet via the USB DEVICE port.
Connecting MIDI devices |889 Control Change messages The following is a table including all Control Change messages, and their effect on various functions of the instrument. Note that not all controllers are available in all operative modes.
890| MIDI CC# CC Name Pa1000 Function 72 Release Release time 73 Attack Attack time 74 Filter cutoff Filter cutoff (Brilliance) 75 Decay Time Decay time 76 Lfo1 Speed Vibrato speed 77 Lfo1 Dpt Vibrato depth 78 Lfo1 Dly Vibrato initial delay 79 FilterEgþ 80 Gen.pc.5 Sound Controller 1 81 Gen.pc.6 Sound Controller 2 82 Gen.pc.7 83 Gen.pc.
Connecting MIDI devices |891 (*) The following NRPN messages are recognized in Song Play and Sequencer mode only. These controls are reset when stopping a Song, or choosing a different Song.
892| MIDI Controlling the Arranger and Players via MIDI You can remotely control the Arranger and Players via MIDI. Please note that the Program Change and Control Change numbers shown in this page follow the 0-127 numbering system. Selecting the Style Elements You can remotely select the various Style Elements, by sending Program Change messages on the Control channel.
Connecting MIDI devices |893 Selecting the Keyboard Sets (from a Style or SongBook Entry) You can remotely select the Keyboard Sets of a Style or SongBook Entry (buttons under the display). ▪▪ With Styles, you will send Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel. If a Style is already selected, just send the Program Change message.
|895 Part XIV: FILE MANAGEMENT
896| File management
Managing files in the internal memory 55 |897 Managing files in the internal memory Copying, renaming and deleting Copying musical data You can copy the following data into a User/Direct location. User Direct User Direct Keyboard Set Type √ √ Sound Type √ — Style √ √ Pad √ √ Voice Preset √ √ Guitar Preset √ √ Copying Factory data into User/Direct locations would make them editable.
898| File management ▪▪ To select more items, keep the SHIFT button pressed and touch all the items to be copied. ▪▪ If you want to copy a whole bank, choose the Select All (Bank) command from the page menu to select all the items in the current bank. ▪▪ You can deselect one of the selected items by touching it while still keeping the SHIFT button pressed. You can deselect all items by touching a single item. 4 Choose the Copy and Paste command from the page menu to copy the selected items.
Managing files in the internal memory |899 Deleting musical data You can delete any Keyboard Set, Sound, Style, Pad, Voice or Guitar Preset. If Factory data are protected, remove protection by unchecking the Protect > Factory parameter in the Global > Mode Preferences > Media page. 1 While in the Keyboard Set Library, Sound, Style, Pad, Voice Preset, or Guitar Preset Select window, select the item to be deleted.
900| File management The Direct data Direct data are additional Keyboard Sets, Styles, Pads, Voice and Guitar Presets, SongBook Entries and Set Lists, residing in a storage device like the internal drive or a removable USB drive. They can be considered as an extension of the internal memory. Direct Keyboard Sets, Styles, Pads, Voice and Guitar Presets are immediately accessed by selecting the Direct type of data while in the relevant Select window.
Managing files in the internal memory |901 4 Browse though the drives and folders, and select the SET folder to be used as the Direct set of banks. 5 Touch the Select button to confirm. Please note that you can only have a single Direct folder of Keyboard Sets, Styles, SongBook. 6 If you select a folder from a different Pa-Series instrument, you are asked if you want to convert the data to a format that Pa1000 can read.
902| File management Deselecting the Direct folder You can deselect the Direct banks, and make them disappear. 1 Go to the Global > Mode Preferences > Media page. 2 Touch the Direct Folder > Browse button to open the file selector. 3 Touch the Deselect button to remove any assignment.
Managing files in the internal memory |903 Save an item into a Direct location ▪▪ After editing the Keyboard Set, choose the Write Kbd Set to Library command from the page menu, and write the Keyboard Set onto the Direct banks. ▪▪ While in Style/Pad Record, choose the Write Style/Pad command from the page menu, and write the new or edited Style/Pad onto the Direct banks.
904| File management Renaming the User/Direct banks You can rename the User and Direct User banks, to create your own sets of Keyboard Sets, Styles, Pads, Voice or Guitar Presets. 1 Open the Keyboard Set, Style, Pad, Voice or Guitar Select window, and select the User or Direct type of data. 2 Choose the Rename User Banks command from the page menu to open the Rename User Banks dialog. 3 Assign the Direct User tabs any name you like.
Managing files on disk 56 |905 Managing files on disk Overview on file management You can access the Media pages by pressing the MEDIA button. Media pages are where you manage files and storage devices. Media page structure Most Media pages share some basic elements. Labels File list Scrollbar Current path Device Browsing through the files You can see the files and folders in the center of the Media pages. ▪▪ Scroll the file list by using the scrollbar.
906| File management Changing the list view You can touch one of the labels on top of the file list to change the order in which files are shown. For example, by touching the Name label, the list is alphabetically re-ordered according to the file names. The selected label appears highlighted, showing the currently selected ordering. If you touch the highlighted label again, the alphabetic order changes from ascending to descending, or vice-versa.
Managing files on disk |907 You can access the following mass storage device types: Device Type DISK Internal drive SD Optional internal microSD USB-F Optional device connected to the front (F) USB HOST ports USB-R Optional device connected to the rear (R) USB HOST ports Types of files The following table describes all the file and folder types Pa1000 can read or write. Extension File/folder type SET All the User data. This is a reserved folder containing other reserved folders.
908| File management Extension File/folder type MP3 MP3 file (MP3 Song) TXT Plain text file Pa1000 can also read (but not write) the following types of data. Extension File type PKG Operating System and Musical Resource files KAR Karaoke file CDG CD+Graphics file PCG KORG Triton Programs KSF Korg Trinity/Triton Sample SF2 Sound bank format by Creative Labs. Ordinary data and reserved data Each device (and the internal memory) can contain files and folders.
Managing files on disk Media structure MYDATA.SET KEYBOARDSET BANK01.PRF STYLE 1-1 70’s Guitar Pop … 1-48 Soft Beat 2 BANK … .PRF BANK … .STY BANK09.PRF BANK12.STY 09-1 Mandolin … 09-48 Asian Flute USER01.STY 1-1 MyPiano1 … 1-48 MyPiano48 1-1 User 1 … 1-48 User 48 USER … .PRF USER12.STY 9-1 MyMandolin … 9-48 MyAsianFlute 1 Standard Ki t … 128 Orchestral Kit MULTISMP RAM.KMP 8-1 Double … 8-8 Auto Reverse USER01.
910| File management Loading musical resources and settings Loading files or folders You can load all the memory content, a separate type of musical resources, a separate bank, or a single resource. Choose the data to be loaded 1 Go to the Media > Load page. 2 If loading from an external device, connect the device to the USB HOST ports. 3 Use the Device pop-up menu to choose the source device. 4 Touch an item (file or folder) in the file list to select it. 5 Browse through the folders.
Managing files on disk |911 In this example you are choosing a target where to load a bank of Styles: Name of the Style bank being loaded Name of the target bank in memory In this example you are choosing a target where to load a single Style: Name of the Style being loaded Name of the target location in memory 2 Touch here to open the Select window Touch OK to confirm. After confirming, any item you are overwriting will be deleted.
912| File management Loading data from other instruments Loading Global data from Pa-Series instruments Being unique to each instrument, Global data (Preferences, MIDI Presets, Voice Presets, etc.) cannot be loaded from other KORG Pa-Series instruments. They are therefore discarded when loading a SET folder generated by an instrument other than Pa1000.
Managing files on disk |913 Loading data from Pa-Series instruments You can load most data from KORG Pa-Series instruments. The following table shows what you can load from the other instruments. Please keep in mind that, depending on the actual data, you could not be able to directly load SET folders; in this case, open the folder, and load each bank or individual item separately. Please save the converted data as a new SET folder after loading all the needed data.
914| File management Load from Loaded data Pa3XLe, Pa900, Pa600, Pa300, HAVIAN 30 You can load most data as if they were Pa1000 data. There are however a few exceptions to be considered: • Performances and STSs are converted to Keyboard Sets. • Due to the different order in memory, Factory Styles must be manually reassigned to SongBook Entries by using the KORG SongBook Editor software. • Favorite Style banks no longer exist, so you are prompted to load them into the User locations.
Managing files on disk |915 Loading data from i-Series instruments Pa1000 is compatible with the Styles of the older KORG i-Series instruments. You can load them as if they were ordinary Pa1000 data. 1 Copy the old i-Series data into an USB device, or transfer them to the internal memory of Pa1000. 2 Go to the Media > Load page. 3 Use the Device pop-up menu to select the device containing the i-Series data. 4 If you are reading an i30 file, select the SET folder, then touch the Open button.
916| File management Merging data When loading all User data, or all data of a specified type, most data loaded from a storage device are merged with data already existing in memory. For example, if there is data in the first three USER Style banks in memory (USER01, USER02, USER03), and there is only the USER01 Style bank in the storage device, the USER01 bank will be overwritten, while USER02 and USER03 banks will be left unchanged.
Managing files on disk |917 Saving musical resources and settings Saving files or folders You can save all the memory content, a separate type of musical resources, a separate bank, or a single resource. Pa1000’s proprietary data has to be saved into special folders with the ‘.set’ filename extension. These special folders can be saved inside ordinary folders. Choose the data to be saved 1 Go to the Media > Save page. 2 Touch an item (file or folder) in the file list to select it.
918| File management Choose the target device After touching Save, the target device appears: 1 If saving to an external device, connect the device to the USB HOST ports. 2 Use the Device pop-up menu to choose the target device. Choose an existing SET folder You can save data into an existing SET folder. If you are saving data that is not yet in the target folder, data will be merged. Otherwise, it will be overwritten.
Managing files on disk 3 |919 When back at the Create New SET Folder dialog, touch the OK button to create the new SET folder and exit the dialog. Save the data ▪▪ Save all the memory content, a type or data, single banks or items as described below. Saving all data 1 After having selected an existing SET folder or having created a new one, touch the Save button to confirm.
920| File management Saving single items 1 When saving single items, choose a target location in the storage device. In this example you are choosing a target where to save a single Style: Name of the Style being saved Name of the target location in the storage device 2 Touch OK to confirm. After confirming, any item you are overwriting will be deleted.
Managing files on disk |921 Copying files and folders Copying files or folders You can copy files and folders. Folders can be generic or SET folders. In addition, you can copy the content of the generic folder you are in. You can copy inside the same device, or from a device to a different one (both devices must be connected to Pa1000 during the copy operation). To preserve data structure integrity, during Copy operations you can’t open SET folders and copy only one of the files it contains.
922| File management Choose the target device After touching Copy To, the target device appears: Current path Device 1 If copying to an external device, connect the device to the USB HOST ports. 2 Use the Device pop-up menu to choose the target device. Choose a target and confirm copying ▪▪ Select an existing folder, and touch the Copy command to confirm. If no folder is selected, you will copy into the current folder.
Managing files on disk |923 Overwriting existing files or folders When copying files, a file or folder with the same name of the file or folder being copied might be found in the target device. In this case, Pa1000 will ask you if you want to overwrite it. When a duplicate file or folder is met, the following dialog will appear: Overwrite Meaning Cancel The procedure is interrupted. No The file or folder is not overwritten. The source file or folder is not copied.
924| File management Deleting files and folders Deleting files or folders You can delete files and folders from a storage device. Choose the data to be deleted 1 Go to the Media > Delete page. 2 If deleting from an external device, connect the device to the USB HOST ports. 3 Use the Device pop-up menu to choose the source device. 4 Touch an item (file or folder) in the file list to select it. 5 Browse through the folders. Touch the Open button to open the selected folder.
Managing files on disk |925 Selecting more items at once While in the Copy and Delete pages, you can select several files or folders at the same time before executing the operation. Files or folders can be selected consecutively (that is, in a row), or discontinuously (that is, with other files or folders in the middle).
926| File management Deselect the files or folders ▪▪ To deselect one or more files or folders, without deselecting everything, keep SHIFT pressed and touch the file or folder to be deselected. ▪▪ To deselect everything, select any other file or folder. All selected files and folders will be deselected.
Managing files on disk |927 Exporting playlists Exporting a list of Songs as a text file A list of the Songs contained inside a folder or a Jukebox list, or the SongBook and Set Lists, can be exported, to be printed and be used as the playlist of the show. Exporting a list of songs contained in a folder 1 Open the Song Select window. 2 Browse through the files and folders, and open the folder whose content you would like to export as a text file.
928| File management Exporting a Jukebox list 1 While a Jukebox file is assigned to Player 1, choose the Export Jukebox List command from the page menu to open the Write Jukebox List dialog. 2 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the device’s root. When saved, the text file will be named after the selected Jukebox file. For example, a Jukebox file named ‘Dummy.jbx’ will generate a ‘Dummy.txt’ file.
Managing files on disk |929 Exporting a SongBook Book list or Custom List 1 While you are in the SongBook > Book or SongBook > Set List page, choose the desired list filtering. 2 Choose the Export as Text File command from the page menu to open the Export as Text File dialog. 3 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the device’s root. 4 ) icon to open You may change the name of the list.
930| 57 File management Managing media Formatting storage devices Formatting a storage device The Format function lets you initialize a device. Pa1000 uses a PC-compliant device format (DOS FAT16 and FAT32). Warning: Formatting a storage device deletes all the data it contains! Choose the device to be formatted 1 Go to the Media > Format page. 2 If formatting an external device, connect the device to the USB HOST ports. 3 Use the Device pop-up menu to choose the device.
Managing media |931 Also, if you try to rename the internal volume when Pa1000 is connected to a PC through the USB port, the original name is automatically restored. 2 ) icon to open the virtual keyboard and edit the Touch the Text Edit ( name. When done editing the name, confirm by touching the OK button under the virtual keyboard. Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files.
932| File management Backing up and restoring musical resources A set of file backup and restore utilities can be found in the Media > Utility page. Backing up the musical resources You can backup the internal data (musical resources and settings) to a storage device. Backup should only be used for archiving purpose, since you will not be able to load individual data from a backup archive.
Managing media |933 Choose the target device and folder After touching Execute, the target device appears: 1 If you are making a backup to an external device, connect the device to the USB HOST ports. 2 Use the Device pop-up menu to choose the target device. 3 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder. 4 Select the folder where to backup the data, then touch the Backup command to confirm.
934| File management Restoring the musical resources You can restore data from a backup archive created with the Full Resource Backup command. Choose the restore command 1 Go to the Media > Utility page. 2 Select the Resource Restore option, then touch the Execute button to see the file selector. Choose the source device and folder 1 If you are restoring from an external device, connect the device to the USB HOST ports. 2 Use the Device pop-up menu to choose the target device.
Managing media |935 Restoring the original musical resources After an OS update, or when you want to erase all changes to your Factory and User data, and restore your Pa1000 to the same condition it was when new, use the Factory Restore operation. Warning: This command deletes all data from memory (including your custom data). 1 Go to the Media > Utility page. 2 Select the Factory Restore option, then touch the Execute button. 3 A dialog will appear, with a list of types of data to be restored.
936| File management Connecting the internal drive to a personal computer In order to exchange files, you can access the internal drive of Pa1000 from a personal computer. You don’t need any dedicated driver to connect Pa1000 and the personal computer. Connect Pa1000 to the personal computer ▪▪ Use a standard USB cable to connect the USB DEVICE port of Pa1000 to an USB port of the personal computer.
Managing media |937 Disable USB communication 1 When finished transferring the files, you can disconnect Pa1000 from the personal computer. ▪▪ On a Windows PC, select the dedicated command by clicking on the USB ) with the right mouse button. device icon ( ▪▪ On a Mac, select the USB device icon ( ), then select the Eject command or drag the drive icon to the eject icon in the Dock ( ).
938| File management Storage device organization Creating folders You can create generic folders, where to store any type of data (other folders, Songs, SET folders…). 1 While in any of the Media pages, browse through the folders to find the place where to create a new folder. Touch the Open button to open the selected folder. Touch the Close button to close the current folder. 2 Choose the Create New Folder command from the page menu to open the Create New Folder dialog.
Managing media |939 2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard. 3 When back at the Rename dialog, touch the OK button to confirm the new name. Getting information on the selected items ▪▪ While in any of the Media pages, select one or more items and choose the Object(s) Info command from the page menu. Select this command to see the size of any selected file or folder.
940| File management Rename the storage device ) icon to ▪▪ While in the Device Information dialog, touch the Text Edit ( open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard. Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files. We suggest to give the device the same name it had before formatting.
Managing media |941 Changing the media display preferences You can choose what to see when a file selector window opens in the Media Preferences page. Hiding unknown files To make file lists cleaner and easier to browse through, files that cannot be used can be hidden when using the Media operations. 1 Go to the Global > Mode Preferences > Media page. As an alternative, keep the SHIFT button pressed and press the MEDIA button to open the Media page.
942| File management Protecting storage devices and files You can protect media and files in the Media Preferences page. Protecting the media You can protect the internal drive from writing. 1 Go to the Global > Mode Preferences > Media page. As an alternative, keep the SHIFT button pressed and press the MEDIA button to open the Media page. 2 Select the Media Protect checkbox to protect the internal drive.
Managing media |943 Removing protection from Factory data Factory Keyboard Sets, Sounds, Styles, Pads, Voice and Guitar Presets are normally protected, to avoid overwriting the standard musical resources. You can, however, remove this protection and use any Factory location as if they were User locations. Local resources are Factory data, therefore protected together with the other Factory resources. 1 Go to the Global > Mode Preferences > Media page.
944| File management Care of storage devices Pa1000 can save most of the data contained in memory to the internal drive, an internally installed microSD card, or to external devices (like hard drives or USB memory sticks) connected to the USB HOST ports. Here are some precautions when handling these devices. Internal drive write protection You can protect the internal drive from writing, by using the software protection found in the Global > Mode Preferences > Media page (Media Protect checkbox).
Part XV: APPENDIX |945
946| Appendix
Musical Resources 58 |947 Musical Resources The following pages list all the musical resources supplied as standard with your Pa1000.
948| Appendix Styles This list shows the Styles as they appear in the Style Select window. The table also includes MIDI data used to remotely select the Styles on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Musical Resources Style CC 0 CC 32 PC Style Piano Ballad 0 1 12 6/8 Piano Ballad 0 1 13 Orchestral Bld 1 0 1 Orchestral Bld 2 0 Unplugged 0 Guitar Ballad |949 CC 0 CC 32 Slow Waltz 2 0 2 9 3/4 Flamenco 0 2 10 14 Flamenco 0 2 11 1 15 Swing Fox 0 2 12 1 16 Slow Fox 0 2 13 0 1 17 Fox Shuffle 0 2 14 70’s Ballad 0 1 18 Foxtrot 0 2 15 Unplugged Heaven 0 1 19 Boogie Woogie 0 2 16 Groovy Ballad 0 1 20 Big Band Jump 0 2 17 Analog Ballad
950| Appendix Style CC 0 CC 32 PC Style CC 0 CC 32 PC ChaCha Remix 0 3 18 Release My Dance 0 3 19 80’s Rock 0 4 14 Rock Punch 0 4 15 Counting Dance 0 3 20 Rolling Blues 0 4 16 Funky Disco 0 3 70’s Disco Remix 0 3 21 Alabama Rock 0 4 17 22 Clean Rock 0 4 18 70’s Disco 0 3 23 Stadium Ballad 0 4 19 Bailando Dance 0 3 24 Rolling Rock 0 4 20 Brother Dance 0 3 25 Magic Rock 0 4 21 Tacata Dance 0 3 26 Prison Rock 0 4 22 Kuduro Dance
Musical Resources Style CC 0 CC 32 PC Finger Picking 0 5 7 Slow Country 0 5 8 West Coast 0 5 Style |951 CC 0 CC 32 PC Cumbia 0 6 13 Joropo 0 6 14 9 Habanera 0 6 15 Country Hit 0 5 10 Guitar Bossa 0 6 16 Country Strum 0 5 11 Meditation Bossa 0 6 17 CountryQuickStep 0 5 12 Organ Bossa 0 6 18 3/4 Country 0 5 13 Pop Bossa 0 6 19 Modern Country 0 5 14 Cool Bossa 0 6 20 Country Pop 0 5 15 Fast Bossa 0 6 21 Country Beat 1 0 5 16
952| Appendix Style CC 0 CC 32 PC Reggaeton 1 0 7 2 Reggaeton 2 0 7 3 BachaTango 0 7 Hot Merengue 0 Modern Salsa 0 Bomba Dance CC 0 CC 32 PC Big Band Shuffle 0 8 2 Latin Jazz Band 0 8 3 4 Afro-Cuban Jazz 0 8 4 7 5 BeBop 0 8 5 7 6 Medium JazzWaltz 0 8 6 0 7 7 Fast Jazz Waltz 0 8 7 Tortura Dance 0 7 8 Bigger Band 0 8 8 Gipsy Dance 0 7 9 Serenade Band 0 8 9 Limbo 0 7 10 Medium Big Band 0 8 10 Bamba 0 7 11 Fast Big Band 0 8
Musical Resources Style CC 0 CC 32 PC Style Fast Smooth Jazz 0 Smooth JazzWaltz 0 8 37 8 38 Jazzy Lounge 0 8 39 Fifty Shades 0 9 0 Special Agent 0 9 SpaghettiWestern 0 Burt’s Bounce 0 ScreenEpicMarch1 ScreenEpicMarch2 |953 CC 0 CC 32 Detroit Backbeat 0 10 3 EveryBody Bros 0 10 4 Soul Bros 0 10 5 Blues 0 10 6 Soul 0 10 7 1 Talkin’ Funk 0 10 8 9 2 Donald Mood 0 10 9 9 3 Capital Soul 0 10 10 0 9 4 Soul Power 0 10 11 0 9 5 Level Fun
954| Appendix Style CC 0 CC 32 PC Style CC 0 CC 32 Little Shuffle 0 10 38 Raspa 0 11 23 Slow & Jazzy 0 10 39 Irish Slow Waltz 0 11 24 Irish Fast Waltz 0 11 25 World PC Libertad Tango 0 11 0 Irish Fox 0 11 26 Spanish Dance 0 11 1 Irish QuickStep 0 11 27 Hawaiian 0 11 2 German Polka 0 11 28 Casatchock 0 11 3 Classic Schlager 0 11 29 Greek Rumba 0 11 4 German Waltz 0 11 30 Xasapiko 0 11 5 Vienna Waltz 0 11 31 Sirtaki 0 11 6 Muse
Musical Resources |955 Keyboard Set Library This list shows the Keyboard Sets as they appear in the Keyboard Set Library Select window. The table also includes MIDI data used to remotely select the Keyboard Sets on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change. Keyboard Set CC 0 CC 32 PC Piano & EP 0 Keyboard Set CC 0 CC 32 PC Natural Wurly 16 0 28 Amp&Comp.
956| Appendix Keyboard Set CC 0 CC 32 PC BX3 Hi Perc. 16 1 8 BX3 Jazz Org. V. 16 1 BX3 4 Layers V. 16 1 Hot BX3 Y+ 16 1 Full DWB 1 Y+ 16 Full DWB 2 Y+ 16 DWB Perc.Org. 1 DWB Perc.Org. 2 Keyboard Set CC 0 CC 32 PC Steel Guitar 16 2 1 9 Clean Ch.
Musical Resources Keyboard Set CC 0 CC 32 PC Strings Keyboard Set |957 CC 0 CC 32 PC Swell Brass DNC 16 4 2 Real Violin 16 3 0 Horn Section 16 4 3 Serenade Violin 16 3 1 Smooth Band 16 4 4 Choir & Soprano 16 3 2 Warm Brass 16 4 5 Bell & Strings 16 3 3 SaxEns.& Brass V 16 4 6 Movie Strings 16 3 4 Club Mute Sect.
958| Appendix Keyboard Set CC 0 CC 32 PC Keyboard Set CC 0 CC 32 PC Soft Trombone 16 5 12 Cool Oboe 16 6 14 Miles Trumpet 16 5 13 Whistle 16 6 15 Sweet Flugel 16 5 14 Shakuhachi 16 6 16 eXp Trombone 16 5 15 Real Clarinet 16 6 17 Club Sax & Trp 16 5 16 Kenny Soprano 16 6 18 Band Trumpet V. 16 5 17 Jazz Baritone 2 16 6 19 Trump.& Clarinet 16 5 18 Sweet Alto Sax 1 16 6 20 Muted Trp.
Musical Resources Keyboard Set CC 0 CC 32 PC Symph Synth 16 7 3 Fing.
960| Appendix Sounds The following table lists all Factory Sounds as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change. Sound CC00 CC32 PC Grand Piano Concert Grand 121 13 0 Grand Piano Demo Pop Grand 121 12 0 Factory/E.
Musical Resources Sound Club E. Piano CC00 CC32 PC 121 11 4 Sound Bandoneon Sync |961 CC00 CC32 PC 121 12 23 Suit E.Piano 1 121 20 4 Bandoneon Short 121 13 23 Suit E.Piano 2 121 21 4 Tango Accordion 121 10 23 Classic Wurly 1 121 17 4 Classic Musette 121 29 21 Classic Wurly 2 121 12 4 Musette 1 121 3 21 R&B E.
962| Appendix Sound BX3 Full CC00 CC32 PC Sound CC00 CC32 PC 121 6 16 Strat N Cln DNC 121 38 27 BX3 Jazz 121 20 16 Strat N Cln Mute 121 22 28 BX3 Jazz Pc. 121 9 18 Strat B DI DNC 121 45 27 BX3 Gospel 121 37 16 Strat B DI Mute 121 28 28 Gospel Organ 1 121 38 16 Strat B Ovd DNC 121 5 29 Organ Low 1 121 39 16 Strat B Ovd Mute 121 6 29 Organ Low 2 121 15 16 33X B Dst DNC 121 17 30 Organ Low Pc.
Musical Resources Sound RealSteel Gtr ST CC00 CC32 PC Sound 121 28 25 Full Strings |963 CC00 CC32 PC 121 2 49 Real El. Gtr ST1 121 28 27 i3 Strings 121 5 48 Real Nylon Gtr 121 17 24 Pizz. Ensemble 121 1 45 Steel Gtr RX 121 35 25 Pizz. Section 121 2 45 Chorus Guitar 121 3 27 Tremolo Strings 121 1 44 New Stra.Guitar 121 7 27 Octave Strings 121 8 48 Stra. Vel. Pro 121 16 27 Class.Contrabs 121 1 43 Processed E.
964| Appendix Sound Full Vox Pad CC00 CC32 PC Sound 121 9 91 Oberkr. Tuba CC00 CC32 PC 121 1 58 Vocalesque 121 2 54 Factory/Brass Fresh Breath 121 7 91 Big Band Brass 1 121 32 61 Vocalscape 121 3 54 Big Band Brass 2 121 4 61 Heaven 121 3 91 Horns Swell1 DNC 121 38 61 Airways 121 3 53 Horns Swell2 DNC 121 45 61 Factory/Trumpet & Trbn.
Musical Resources Sound CC00 CC32 PC Sound Brass Impact 121 4 55 Brass Hit 121 25 61 Factory/Sax Tenor Sax DN1 121 16 66 |965 CC00 CC32 PC Whistle Robin 121 7 78 Whistle Sine 121 1 78 Flute 121 9 73 Jazz Flute Expr.
966| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Moving Bell 121 5 98 OB Pad 121 12 89 Far Memories 121 14 91 Future Pad 121 5 91 S&H Pad DNC 121 10 96 Big Panner 121 4 63 Techno Stab DNC 121 3 93 Bell Pad 121 6 98 VCF Modulation 121 3 101 Krystal Bell 121 3 98 Wave-Sequence 121 4 96 80’s Pop Synth 121 2 93 Jurassic Pad 121 3 88 Next Analog 121 16 89 Cinema Pad 121 5 95 Air Clouds 121 1 97 Pisco Pad 121 2 99 Meditate 121 2 9
Musical Resources Sound CC00 CC32 PC Sound Saw Solo 121 27 81 MonoSaw Detune 121 17 MonoSaw 2 Oct. 121 18 MonoSaw 3 Oct.
968| Appendix Sound CC00 CC32 PC Factory/Bass Sound Disclosure Bass CC00 CC32 PC 121 16 39 Real Ac. Bass 1 121 13 32 Jungle Bass 121 13 38 Acoustic Bass 1 121 14 32 Jungle Reso. 121 5 39 Robert Bass 121 21 39 MM Fretless B.RX 121 8 35 Wide Bass 121 21 38 Woofer Pusher 1 121 9 35 JB Finger BsDN1 121 29 33 Picked E.
Musical Resources Sound CC00 CC32 PC Harpsi 16’ 121 5 6 Digi Bell Harpsi Korg 121 4 6 Legacy/Accordion Clav Snap 121 3 7 Sticky Clav 121 4 7 121 5 4 Legacy/E. Piano Pro Dyno EP Sound |969 CC00 CC32 PC 121 4 98 Sweet Harmonica 121 1 22 Cassotto NorTune 121 14 21 Acc. Clarinet NT 121 20 21 Acc. Piccolo NT 121 22 21 Pro Stage EP 121 6 4 Sweet Musette 121 11 21 Studio EP 121 7 4 Musette 2 121 4 21 Suit Case88 EP2 121 33 4 Musette Clar.
970| Appendix Sound Jimmy Organ V. CC00 CC32 PC Sound 121 10 18 Tibia & Kinura CC00 CC32 PC 121 31 16 BX3 Rock 1 V. 121 10 16 Tibia Vox Glock 121 32 16 BX3 Rock 2 V. 121 1 18 Post Horn Trem. 121 29 16 BX3 Rock 3 V. 121 5 18 Legacy/Guitar BX3 Rock 4 V. 121 12 18 Nylon Bossa 121 4 24 Dirty B 121 3 18 Nylon Vel. Harm. 121 10 24 Killer B 121 2 18 Nylon Guitar 121 15 24 BX3 Short Decay 121 7 17 Nylon Gtr Pro1 121 8 24 Super BX Perc.
Musical Resources Sound Hackbrett CC00 CC32 PC Sound 121 6 25 |971 CC00 CC32 PC Clean Guitar RX1 121 14 28 Guitar & Strings 121 7 24 Clean Guitar RX2 121 15 28 Rhythm E.Guitar 121 7 28 Clean Guitar RX3 121 16 28 Chorus Gtr DNC 121 34 27 Clean Guitar RX4 121 17 28 Muted Guitar 121 19 28 Clean Guitar RX5 121 18 28 E.Gtr Harmonics 121 2 31 Clean Guitar RX6 121 20 28 Solo Dist.
972| Appendix Sound Strings Ens. 1 CC00 CC32 PC Sound 121 21 48 Doolally CC00 CC32 PC 121 2 53 Strings Ens. 2 121 3 49 Legacy/Trumpet & Trbn. Strings Ens. 3 121 22 48 JazzTrumpet1 DNC 121 24 56 Movie Strings 1 121 5 49 JazzTrumpet2 DNC 121 27 56 Movie Strings 2 121 6 49 JazzTrumpet3 DNC 121 28 56 OrchestraTutti 2 121 19 48 JazzTrumpet4 DNC 121 30 56 SopranoChoirDNC 121 6 53 JazzTrumpet5 DNC 121 35 56 Stereo Strings 121 3 48 Trumpet Expr.
Musical Resources Sound Ob.Tuba&E.Bass 1 CC00 CC32 PC Sound 121 4 58 |973 CC00 CC32 PC Jazz Sax 3 DNC 121 16 65 Ob.Tuba&E.Bass 2 121 5 58 Soprano Sax DNC 121 5 64 Concert Trp.
974| Appendix Sound Clarinet 1 DNC CC00 CC32 PC Sound 121 13 71 Korgmatose CC00 CC32 PC 121 13 90 SoloClarinet DNC 121 16 71 Reoccuring Astra 121 6 95 Clarinet 2 DNC 121 19 71 Astral Dream 121 1 95 Clarinet 3 DNC 121 20 71 Reso Down 121 2 97 Jazz Flute 1 DNC 121 13 73 Crimson 5ths 121 1 86 Jazz Flute 2 DNC 121 14 73 Freedom Pad 121 7 89 Orch.
Musical Resources Sound CC00 CC32 PC Sound Thin Analog Lead 121 4 87 Legacy/Ethnic Glide Lead 121 9 81 Fire Wave 121 10 81 Old & Analog 121 8 80 |975 CC00 CC32 PC Mandolin Key Off 121 10 25 War Pipes 121 1 109 Sitar Sitar 121 7 104 Power Synth 121 3 89 Hit in India 121 5 55 Mega Synth 121 9 90 Tambra 121 6 104 Digital PolySix 121 7 90 Indian Stars 121 3 104 Flip Blip 121 7 55 Bali Gamelan 121 2 112 Reso Sweep 121 1 90 Ukulele Gtr 12
976| Appendix Sound Slap Bass 1 CC00 CC32 PC Sound 121 6 36 Poinker Bass CC00 CC32 PC 121 8 39 Slap Bass 2 121 6 37 GM/XG/Piano Slap Bass 3 121 7 37 AcousticPiano GM 121 0 0 DynaSlapBass RX 121 3 37 Ac. Piano Wide 121 1 0 Super Bass 2 121 1 36 Ac. Piano Dark 121 2 0 FunkSlapBass RX 121 3 36 Bright Piano GM 121 0 1 The Other Slap 121 5 37 Bright PianoWide 121 1 1 SlapFingerBassRX 121 4 36 E.
Musical Resources Sound CC00 CC32 PC E.Grand Piano KP 0 1 2 E. Grand Detuned 0 32 2 Layered E.Grand1 0 40 2 Layered E.Grand2 0 41 2 Honky-Tonk XG 0 0 Honky-Tonk KP 0 1 E. Piano 1 XG 0 0 4 E.
978| Appendix Sound Drawbar Org. 2 CC00 CC32 PC Sound CC00 CC32 PC 121 3 16 Slow Rotary 0 65 18 Perc.Organ GM 121 0 17 Fast Rotary 0 66 18 Det. Perc. Organ 121 1 17 Church Organ XG 0 0 19 Percussive Org 2 121 2 17 Church Organ 3 0 32 19 Rock Organ GM 121 0 18 Church Organ 2 0 35 19 Church Organ GM 121 0 19 Notre Dame 0 40 19 Church Oct. Mix 121 1 19 Organ Flute 0 64 19 Detuned Church 121 2 19 Trem. Org.
Musical Resources Sound CC00 CC32 PC Sound Overdrive Gtr GM 121 0 29 Guitar Pinch 121 1 DistortionGtr GM 121 0 Feedback DistGtr 121 1 30 Acoustic Bass GM |979 CC00 CC32 PC Gtr Feedback 0 65 31 29 Gtr Harmonic 0 66 31 30 GM/XG/Bass 121 0 32 Dist. Rhythm Gtr 121 2 30 Finger Bass GM 121 0 33 Gtr Harmonic GM 121 0 31 Finger Slap Bass 121 1 33 Guitar Feedback 121 1 31 Picked E.
980| Appendix Sound Fretless Soft CC00 CC32 PC Sound CC00 CC32 PC 0 34 35 Pizzicato Str.GM 121 0 45 Synth Fretless 0 96 35 Harp GM 121 0 46 Smooth Fretless 0 97 35 Yang Chin 121 1 46 Slap Bass 1 XG 0 0 36 Timpani GM 121 0 47 Resonant Slap 0 27 36 Violin XG 0 0 40 Punch Thumb Bass 0 32 36 Slow Atk Violin 0 8 40 Slap Bass 2 XG 0 0 37 Viola XG 0 0 41 Velo. Sw.
Musical Resources Sound Strings Ens.
982| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Brass Section 3 0 40 61 Baritone Sax XG 0 0 67 Hit Brass 0 41 Mellow Brass 0 42 61 Oboe XG 0 0 68 61 English Horn XG 0 0 69 Synth Brass 1 XG 0 0 62 Bassoon XG 0 0 70 Quack Brass Res.
Musical Resources Sound Wire Lead CC00 CC32 PC Sound 121 1 84 |983 CC00 CC32 PC Sequenced Analog 0 96 81 Voice Lead GM 121 0 85 Calliope XG 0 0 82 Fifths Lead GM 121 0 86 Pure Lead 0 65 82 Bass & Lead GM 121 0 87 Chiff XG 0 0 83 Lead Soft Wrl 121 1 87 Rubby 0 64 83 New Age Pad GM 121 0 88 Charang XG 0 0 84 Warm Pad GM 121 0 89 Distorted Lead 0 64 84 Sine Pad 121 1 89 Wire Lead X 0 65 84 Polysynth GM 121 0 90 Voice Lead XG 0 0 85
984| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Bowed Glass XG 0 0 92 Tiny Bells 0 18 98 Glacier 0 64 Metallic Pad XG 0 0 92 Round Glocken. 0 35 98 93 Glocken.
Musical Resources Sound CC00 CC32 PC Sound Echo Drops XG 0 0 102 Echoes 0 8 Echo Pan X 0 14 Echo Bell X 0 Big Pan Synth Piano Creation Star Dust |985 CC00 CC32 PC Kanoun X 0 97 107 102 Kalimba XG 0 0 108 102 Bag Pipes XG 0 0 109 64 102 Fiddle XG 0 0 110 0 65 102 Shanai XG 0 0 111 0 66 102 GM/XG/Percussive 0 67 102 Tinkle Bell GM 121 0 112 0 68 102 Agogo GM 121 0 113 Pan Reso X 0 69 102 Steel Drums GM 121 0 114 Star Theme XG 0 0 1
986| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Melodic Tom XG 0 0 117 Car Engine 121 1 125 Melodic Tom 3 0 64 Real Tom 0 65 117 Car Stop 121 2 125 117 Car Pass 121 3 125 Rock Tom 0 66 117 Car Crash 121 4 125 Synth Drum XG Analog Tom 0 0 118 Siren 121 5 125 0 64 118 Train 121 6 125 Electric Perc.
Musical Resources |987 DNC Sounds and controls The following table lists the DNC Sounds and their DNC controls. DNC, DN1 and DN2 Sounds use different sets of controls.
988| Appendix Sound Name CC 00 PC 32 Legato SC1 In Out Note On SC2 Note Off Note On Y+ Y– Note Off After Touch Factory/Strings & Vocal Violin DNC 121 9 40 < ±9st: Smth > ±9st: Gliss Up/ Down >G4: 8Gls U 8Gl D Balzato Mordente Real Violin DNC 121 7 40 < ±9st: Smth > ±9st: Gliss Up/ Down >G4: 8Gls U 8Gl D Balzato Mordente Violin Expr. DNC 121 5 40 < ±9st: Smth > ±9st: Gliss Up/ Down Oct Gliss U Balzato Mordente Conc.
Musical Resources Sound Name CC PC Legato Y– After Touch Gliss Down Growl More Vib. Riff Down Gliss Down Growl More Vib. Riff Down Gliss Down Growl More Vib. Riff Down Gliss Down Growl More Vib. Riff Down Gliss Down Growl More Vib. Fall Down Riff Down Gliss Down Growl More Vib. Riff Up Fall Down Riff Down Gliss Down Growl More Vib. 67 Riff Up Fall Down Riff Down Gliss Down Growl More Vib. 15 73 Riff Up Fall Down Gliss Up Gliss Down Frull More Vib.
990| Appendix Sound Name CC 00 PC 32 Legato In SC1 Out Note On SC2 Note Off Note On Y+ Y– After Touch Note Off JB Pick Bs DN2 121 19 34 Finger Slap Mute Vibrato PBs Fing.Pop DN1 121 33 33 Mute Harm Ghost Vibrato PBs Fing.Pop DN2 121 34 33 Pick Slap Mute Vibrato PBsFing.Vint.
Musical Resources |991 Drum Kits The following table lists all Factory Drum Kits as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
992| Appendix Drum Kit Power Kit 2 CC00 CC32 PC Drum Kit CC00 CC32 PC 120 0 19 Brush Kit 5 120 0 41 Latin Perc.Kit 1 120 0 65 Standard Kit 5 120 0 7 Latin Perc.Kit 2 120 0 68 Orchestra Kit 120 0 49 Percussion Kit 120 0 64 Bdrum&Sdrum Kit 120 0 50 Standard PercKit 120 0 69 Log Drum 121 4 12 i30 Perc. Kit 120 0 67 Reverse Tom 121 2 117 Trinity Perc.
Musical Resources |993 Multisamples The following table contains all the Factory Multisamples. # Multisample # Multisample # Multisample 0 Grand Piano 3 OT L 31 Acoustic Piano Res OT R 62 E.Piano Rx Kon L 1 Grand Piano 3 OT R 32 Piano Leakage-L 63 E.Piano Rx Kon R 2 Grand Piano 5 OT L 33 Piano Leakage-R 64 E.Piano Rx Kof L 3 Grand Piano 5 OT R 34 Hammer Noise-L 65 E.Piano Rx Kof R 4 Grand Piano 6 OT L 35 Hammer Noise-R 66 E.
994| Appendix # Multisample 93 Harpsichord1 Lt 94 95 # Multisample # Multisample 127 50s E.Organ Dark 161 Pipe Positive Harpsichord1 Key Off 128 E.Organ CX 3 162 Pipe Mixture Harpsichord1 Release 129 E.Organ Perc. O1W 163 Pipe Full 1 L 96 Harpsichord1 Bump On 130 E.Organ Perc. 1 164 Pipe Full 1 R 97 Harpsichord1 Bump Off 131 E.Organ Perc. 2 165 Pipe Full 2 98 Harpsichord2 132 E.Organ Perc. 3 166 El Organ Toy 99 Harpsichord2 Key Off 133 E.Organ Perc.
Musical Resources # Multisample # Multisample # Multisample 195 Flute Gliss Down Sus 229 Clarinet 1 Vibrato f 263 Alto Sax p 196 Flute 230 Clarinet 1 GlissUp 264 Alto Sax f 197 Flute Falls 231 265 Alto Sax GM 198 Flute Gliss Up 232 Clarinet 1 Fall 199 Flute Gliss Down 200 Flute Frull 201 Flute Voice Clarinet 1 GlissUp Sus |995 266 Alto Sax Growl 233 Clarinet 2 267 Soprano Sax Vibrato 234 Clarinet 3 268 Soprano Sax Straight 235 Double Reed M1 269 Soprano Sax GM 202 Flute Ja
996| # Appendix Multisample 297 Accordion Noise KeyOn # 331 Multisample Trombone 4 Soft # Multisample 365 Trumpet Doit 298 Accordion Noise KeyOff 332 Trombone 4 Bright 366 Trumpet Fall 299 Accordion Change Voice 333 Trombone 5 Straight fff 367 TRP CupMute Vib p 300 Harmonica 1 334 Trombone Slur Up 368 TRP MuteHarm Vib p 335 Trombone Fall 369 TRP MuteHarm Vib mf 336 Trombone GM 370 TRP MuteHarm Vib f 301 Harmonica 1 Fall 302 Harmonica 2 303 Harmonica 3 Wah 337 2 Trombones mf L 371
Musical Resources # Multisample # Multisample # Multisample 399 Voice Female Woh 433 Strings Ensemble St R 467 Ac.Gtr RX noises R 400 Voice Female Wah 434 Strings Ensemble GM L 468 Ac.Gtr finger off L 401 435 Strings Ensemble GM R 469 Ac.
998| # 501 Appendix Multisample Nylon Gtr1 Harmonics R # Multisample # Multisample 535 FS B RX Noise Clean 1 569 G335 B Dw DI 6 502 Nylon Gtr2 p 536 FS B RX Noise Clean 2 570 G335 B Ghost DI 503 Nylon Gtr2 mf 537 FS RX Noise DI 1 571 504 Nylon Gtr2 f 538 FS RX Noise DI 2 572 G335 B Mute DI 2 505 Nylon Gtr2 Atk 539 FS RX Noise DI 3 573 G335 B Mute DI 3 506 Nylon Gtr2 GM 540 Tele M Dw Clean 1 574 G335 B Mute DI 4 575 G335 B Mute DI 5 Tele M Dw Clean 2 G335 B Mute DI 1 507 FS N Dw Cl
Musical Resources # Multisample # |999 Multisample # 603 Stra P2 Ghost Dw 637 El.Guitar Harmonics 671 604 Stra P2 Fret Nuances 638 El.Guitar Gliss Down 672 Ac.Bass Natural 605 Stra P2 Key Off 639 El.Guitar Gliss Up 673 Ac.Bass Natural Key Off 606 Stra RX1 (Old Compatib) 640 El.Guitar Noise 674 Ac.Bass Natural Ghost 607 Stra RX2 641 675 Acoustic Bass1 608 El.Guitar Stra 54 p 642 Jazz Guitar1 El.Guitar Fret Noise Multisample El.Guitar PowerChord3 676 Acoustic Bass2 mf 609 El.
1000| # Appendix Multisample # Multisample # Multisample 705 JB Slap 1 739 Bass Almb Fingered p 706 JB Slap 2 740 Bass Almb Fingered f 774 E.Bass Fretless 2 707 JB Slap Ghost 741 775 Finger Bass GM 708 PB FS Finger 1 742 Bass Fjazz PickMute p Bass Fjazz Fingered 773 E.Bass Fretless 1 776 Picked Bass GM 709 PB FS Finger 2 743 Bass Fjazz PickMute f 777 Slap Bass 1 GM 710 PB FS Finger 3 744 Bass Fjazz Ghost 778 Slap Bass 2 GM 711 PB FS Finger 4 745 E.
Musical Resources # Multisample # Multisample # Multisample 807 Berimbau Op A Rel 2 841 Syn Flute Pad 808 Berimbau Op A Rel 3 842 Syn Bass Reso 876 Ghost 809 Berimbau Cax atk p 843 Syn Bass FM1 877 Syn Air Pad 810 Berimbau Cax atk f 844 Syn Bass FM2 878 Dream Str 875 Syn Ghostly 811 Berimbau Cax rel p 845 Syn Bass FM2LP 879 Syn AirVortex 812 Berimbau Cax rel f 846 Syn Bass TB 880 Syn Palawan 813 Berimbau Crash Leg p 847 R&B Saw Bass 881 814 Berimbau Crash Leg f 848 R&B Squa
1002| # Appendix Multisample # Multisample # Multisample 909 DWGS Clav.
Musical Resources |1003 Drum Samples The following table contains all the Factory Drum Samples. DF: Drum Family.
1004| Appendix # Drum Sample DF # Drum Sample DF # Drum Sample DF 93 BD Jazz Hi 3 BD 127 BD Dance3 BD 161 BD Electribe08 BD 94 BD Jazz Hi 4 BD 128 BD House1 BD 162 BD Electribe09 BD 95 BD Jazz Hi 5 BD 129 BD House2 BD 163 BD Electribe10 BD 96 BD Jazz Hi 6 BD 130 BD House3 BD 164 BD Electribe11 BD 97 BD Jazz Low 1 BD 131 BD House4 BD 165 BD Electribe12 BD 98 BD Jazz Low 2 BD 132 BD House5 BD 166 BD Electribe13 BD 99 BD Jazz Low 3 BD 133 BD
Musical Resources # Drum Sample DF # Drum Sample DF # 195 SD Ldw A 5 SD 229 SD Crv+Rim Stage f SD 196 SD Ldw A 6 197 SD Ldw B 1 SD 230 SD Crv Open Stage mf SD 231 SD Crv Open Stage f 198 SD Ldw B 2 SD 232 199 |1005 Drum Sample DF 263 SD LdwBB1B OpRim2 SD SD 264 SD LdwBB1B OpRim3 SD SD 265 SD LdwBB1B OpRim4 SD SD Crv OpRim Stage f SD 266 SD LdwBB2 OpRim1 SD SD Ldw B 3 SD 233 SD Crv Gate1 p SD 267 SD LdwBB2 OpRim2 SD 200 SD Ldw B 4 SD 234 SD Crv Gate1
1006| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 297 SD Spr Std f SD 331 SD Pop mf GM SD 365 SD Maple2 pp SD 298 SD Spr StdRim p SD 332 SD Pop f GM SD 366 SD Maple2 p SD 299 SD Spr StdRim mf SD 333 SD Pop+Rim mf GM SD 367 SD Maple2 mp SD 300 SD Spr StdRim f SD 334 SD Pop+Rim f GM SD 368 SD Maple2 mf SD 301 SD Spr Open ff SD 335 SD Black SD 369 SD Maple2 f SD 302 SD Spr OpRim mf SD 336 SD S Gate1 GM SD 370 SD Maple2 ff SD 303 S
Musical Resources # Drum Sample DF # SD J std p SD 400 SD J std mf 401 |1007 Drum Sample DF # 433 SD Dance08 SD 467 SD 434 SD Dance09 SD 468 SD Vintage1 SD SD 435 SD Dance10 SD 469 SD Vintage2 SD 402 SD J std+rim p SD 436 SD Dance11 SD 470 SD Vintage3 SD 403 399 SD J std f SD J std+rim mf Drum Sample DF SD Tiny SD SD 437 SD Dance12 SD 471 SD Vintage4 SD 404 SD J std+rim f SD 438 SD Dance13 SD 472 SD Vintage5 SD 405 SD Dry1 SD 439 SD Dance14 SD
1008| Appendix # Drum Sample DF # Drum Sample DF # Drum Sample DF 501 SD Brush S1 5 SD 535 SDTap&Swirl S3 SD 569 Rim Pop 2 SD 502 SD Brush S1 6 SD 536 SDTap&Swirl S4 503 SD Brush S2 1 SD 537 SDTap&Swirl S5 SD 570 Rim Pop 3 SD SD 571 Rim Pop 4 SD 504 SD Brush S2 2 SD 538 SDTap&Swirl S6 SD 572 Rim Pop 6 SD 505 SD Brush S2 3 SD 539 SD JBrush loop SD 573 Rim Pop 7 SD 506 SD Brush S2 4 SD 540 SD JBrush mid SD 574 Rim1 st Room SD 507 SD Brush S2 5 SD
Musical Resources # Drum Sample DF # 603 Sidestick Dance SD 604 SideStick Dry 605 SideStick Amb |1009 Drum Sample DF # Drum Sample DF 637 Tom Rock Low 2 Tm 671 Tom Brush Mt Hi 5 Tm SD 638 Tom Rock Low 3 Tm 672 Tom Brush Mt Hi 6 Tm SD 639 Tom Rock Floor Hi 1 Tm 673 Tom Brush Op Hi 1 Tm 606 DrumStick Hit SD 640 Tom Rock Floor Hi 2 Tm 674 Tom Brush Op Hi 2 Tm 607 SD 641 Tm 675 Tom Brush Op Hi 3 Tm 608 DrumStick Hit Amb DrumStick Hit GM SD 642 Tom Rock Floor L
1010| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 705 Tom2 Hi p Tm 739 Tom Brush2 (sd open) Tm 773 HH Rock Cl 5 HH 706 Tom2 Hi f 707 Tom2 Mid p Tm 740 Tom Brush2 (sd close) Tm 774 HH Rock Cl 6 HH Tm 741 Tom Brush3 Hi mf Tm 775 HH Rock Cl 7 HH 708 Tom2 Mid f Tm 742 Tom Brush3 Hi f Tm 776 HH Rock Op 1 HH 709 Tom2 Low p Tm 743 Tom Brush3 Hi f GM Tm 777 HH Rock Op 2 HH 710 Tom2 Low f Tm 744 Tom Brush3 Mid mf Tm 778 HH Rock Op 3 HH
Musical Resources # Drum Sample DF # Drum Sample DF # 807 HH Natural Op2 mf HH 841 HH Brush Nat Op d 1 HH 808 HH Natural Op3 HH 842 HH Brush Nat Op d 2 809 HH Natural Op4 HH 843 HH Brush Nat Op d 3 810 HH Natural Cl p HH 844 HH Brush Nat Op d 4 HH |1011 Drum Sample DF 875 HH3 Sizzle HH HH 876 HH4 Closed1 HH HH 877 HH4 Closed2 HH 878 HH4 Foot HH HH4 Foot Open HH 811 HH Natural Cl mf HH 845 HH Brush Nat Op d 5 HH 879 812 HH Natural pedal Cl HH 846 HH Brush N
1012| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 909 HH Syn. Closed HH 943 Ride Z20 cup1 Cy 977 Ride Rivet Amb Cy 910 HH Syn.
Musical Resources # Drum Sample DF 1011 Splash Pop 4 # # Drum Sample |1013 Drum Sample DF DF Cy 1045 Dance Claps2 LP 1079 DJ Vinyl Sliced 12 SFX 1012 Splash U11 1 Cy 1046 Dance Claps3 LP 1080 DJ Vinyl Sliced 13 SFX 1013 Splash U11 2 Cy 1047 Dance Claps4 LP 1081 DJ Vinyl Sliced 14 SFX 1014 Splash U11 3 Cy 1048 Dance Claps5 LP 1082 DJ Vinyl Sliced 15 SFX 1015 Splash U11 4 Cy 1049 Dance Claps6 LP 1083 DJ Vinyl Sliced 16 SFX 1016 Splash 8’ edge1 Cy 1050 Dance Conga Lo
1014| Appendix # Drum Sample DF # Drum Sample DF # Conga1 Lo Closed Slap LP 1181 Drum Sample DF 1113 Samba Whistle HP 1147 Quinto2 Open mp LP 1114 Samba Whistle Lp HP 1148 Conga1 Lo Heel LP 1182 Quinto2 Open Flam LP 1115 Cuica Open 1 LP 1149 Conga1 Lo Toe LP 1183 Quinto2 Open Slap LP 1116 Cuica Open 2 LP 1150 Open Hi Conga 1 LP 1184 Quinto2 Muffled LP 1117 Cuica Open 3 LP 1151 Open Hi Conga 2 LP 1185 Quinto2 C.
Musical Resources # Drum Sample DF 1215 Bongo1 Hi StickBounce LP 1249 Baya Nail a 1216 Bongo1 Hi Cuptone LP 1217 LP LP 1252 Baya Ge Bongo1 Hi Slap 1218 Bongo2 Lo Open a # Drum Sample Drum Sample DF LP 1283 Low Timbale 2 LP 1250 Baya Nail b LP 1284 Low Timbale 3 LP 1251 LP 1285 Low Timbale 4 LP LP 1286 Low Timbale 5 LP Baya Nail c DF # |1015 1219 Bongo2 Lo Open b LP 1253 Baya Up LP 1287 Timbales1 Lo Op mp LP 1220 Bongo2 Lo Mute LP 1254 Baya UpDown a LP 1288 Timba
1016| # Appendix Drum Sample DF # Timbales2 Lo Rim LP 1351 1318 Timbales2 Hi Edge 1319 Timbales2 Hi Rim1 1320 Timbales2 Hi Rim2 LP 1321 1317 Timbales2 Paila Drum Sample DF Jingle Bell LP LP # Drum Sample DF HP 1385 Wood Block 8 LP 1352 Bells Open HP 1386 Castanet Amb LP 1353 Finger Cymbal HP 1387 Castanet 1 a LP 1354 Marc Tree Amb HP 1388 Castanet 1 b LP HP 1355 Marc Tree HP 1389 Castanet 1 c LP 1322 Cowbell Amb HP 1356 Marc Tree GM HP 1390 Castanet 2 LP 1323
Musical Resources # Drum Sample DF # Drum Sample DF # |1017 Drum Sample DF LP 1487 WD Ethno SD1 SD 1419 Caxixi2 b HP 1453 Dumbek j 1420 Caxixi2 c HP 1454 Dumbek k LP 1488 WD Ethno SD2 SD 1421 Caxixi3 Hard HP 1455 Djembe L Basstone a LP 1489 WD Ethno SD3 SD 1422 Caxixi3 Soft HP 1456 Djembe L Basstone b LP 1490 WD Ethno SD4 SD 1423 Shaker Amb HP 1457 Djembe L Basstone c LP 1491 WD Ethno SD5 SD 1424 Shaker1 PuE_Sh a HP 1458 Djembe L Open LP 1492 WD Ethno SD6 SD 14
1018| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 1521 M.E.1 Pand Pattern4 LP 1555 M.E.1 Darbuka6 Dom Ak LP 1589 M.E.2 Ramazantek 1522 M.E.1 Rek Dom Ak HP 1556 M.E.1 Davul HP 1590 M.E.2 Renk LP 1523 M.E.1 Rek Jingle HP 1557 M.E.1 Hollo1 LP 1591 M.E.2 Renkbir LP 1524 M.E.1 Rik1 LP 1558 M.E.1 Hollo2 LP 1592 M.E.2 Renkiki LP 1525 M.E.1 Rik2 LP 1559 M.E.1 Kup1 LP 1593 M.E.2 Tefacik LP 1526 M.E.1 Rik3 LP 1560 M.E.1 Kup2 LP 1594 M.E.
Musical Resources # Drum Sample DF # Drum Sample 1623 Stadium SFX 1657 Bubble DF # Drum Sample SFX 1691 Slice Groove A 007 |1019 DF SFX 1624 Applause Amb SFX 1658 Bubble GM SFX 1692 Slice Groove A 008 SD 1625 Applause SFX 1659 Church Bell SFX 1693 Slice Groove A 009 BD 1626 Scream SFX 1660 Telephone Ring SFX 1694 Slice Groove A 010 SD 1627 Laughing SFX 1661 Xylophone Spectr SFX 1695 Slice Groove A 011 SD 1628 Footsteps1 SFX 1662 Cricket Spectrum SFX 1696 Slice Gro
1020| # Appendix Drum Sample DF # Drum Sample 1725 Slice Groove B 009 SFX 1759 Grv SD3 1726 Slice Groove B 010 SFX 1727 Slice Groove B 011 SFX 1728 Slice Groove B 012 SFX 1729 Slice Groove B 013 1730 Slice Groove B 014 1731 DF # Drum Sample DF SD 1793 Grv HH Closed14 HH 1760 Grv SD4 SD 1794 Grv HH Closed15 HH 1761 Grv SD5 SD 1795 Grv HH Closed16 HH 1762 Grv SD6 SD 1796 Grv HH Closed17 HH SD 1763 Grv SD7 SD 1797 Grv HH Open1 HH SD 1764 Grv SD8 SD 1798 Grv HH Open2
Musical Resources # Drum Sample 1827 Grv Fx10 DF # Drum Sample DF # Drum Sample |1021 DF SFX 1861 Grv Slice9 SFX 1895 88 Claps LP 1828 Grv Fx11 SFX 1862 Grv Slice10 SFX 1896 88 Claves LP 1829 Grv Fx12 SFX 1863 Grv Slice11 SFX 1897 88 Cowbell HP 1830 Grv Fx13 SFX 1864 Grv Slice12 SFX 1898 88 Maracas HP 1831 Grv Fx14 SFX 1865 Grv Slice13 SFX 1899 99 SD1 SD 1832 Grv Fx15 SFX 1866 Grv Slice14 SFX 1900 99 SD2 SD 1833 Grv Fx16 SFX 1867 Grv Slice15 SFX 1901 99 HH
1022| # Appendix Drum Sample DF # Drum Sample DF # 1950 Slice Groove K 041 SD 1971 Drum Sample DF Slice Groove K 062 HH 1929 Slice Groove K 020 SD 1930 Slice Groove K 021 BD 1951 Slice Groove K 042 SFX 1972 Slice Groove K 063 BD 1931 Slice Groove K 022 BD 1952 Slice Groove K 043 BD 1973 Slice Groove K 064 SD 1932 Slice Groove K 023 SD 1953 Slice Groove K 044 SD 1974 Slice Groove K 065 BD 1933 Slice Groove K 024 SD 1954 Slice Groove K 045 SFX 1975 Slice Groove K 066
Musical Resources Pads The following table contains all the Factory Pads. # Pad # HIT - Drum Pad # Pad HIT - Percussion 31 Windchimes 2 1 88 Cowbell 1 Agogo 1 32 Windchimes 3 2 88 Crash 2 Agogo 2 HIT - World 1 3 China 3 Castanet 1 1 Baya 1 4 Crash 1 4 Castanet 2 2 Baya 2 5 Crash 2 5 Conga Hi 3 China Gong 6 Rev.
1024| Appendix # Pad # Pad # Pad 12 Sagat 1 14 Elastick Pad 4 Cat 13 Sagat 2 15 Rave 5 Church Bell 14 Tef 1 16 Dance Remix 6 Crickets 15 Tef 2 17 Vintage Sweep 7 Dist. Slide 1 16 Tef 3 18 You Decide 8 Dist. Slide 2 17 Tef 4 HIT - Voice 9 Dog 18 Tef 5 1 Aah ! 10 Door Creak 19 Tef 6 2 Hit it ! 11 Door Slam HIT - Orchestral 3 Laughing 12 Footsteps 1 1 Brass Fall 4 Scream 13 Footsteps 2 2 Orch.Cymbal 1 5 Uuh ! 14 Heart Beat 3 Orch.
Musical Resources # Pad # Pad # Pad 14 River 3 Perc Latin 1 11 Grv HipHop 6 15 Seashore 4 Perc Latin 2 12 Grv Funk 1 16 Siren 5 Perc Latin 3 13 Grv Funk 2 17 Starship 6 Perc Mix 14 Grv Funk 3 18 Thunder 7 Perc Soft 15 Grv House 1 19 Train 8 Perc Conga 16 Grv House 2 20 Wind 9 Perc Conga+Ride 17 Grv Analog 21 Side Wind 10 Perc Conga+Mix 18 Grv Garage 1 SEQ - Drum 11 Perc Conga+Bongo 19 Grv Garage 2 1 Drum DrumBasSolo 12 Perc Conga+Tamb.
1026| Appendix # Pad # Pad # Pad 7 Piano Accomp 7 15 Gtr Nylon Strum1 3 Solo Kalimba 2 8 Piano Accomp 8 16 Gtr Nylon Strum2 4 Solo Steel Drums 9 Piano Accomp 9 17 Gtr Nylon Strum3 5 Solo Vibes 10 Piano Arpeg. 1 18 Gtr Nylon Strum4 6 Solo Gtr Dist. 11 Piano Arpeg.
Musical Resources # Pad # Pad # Pad 11 Synth Seq 11 SEQ - Misc&SFX 12 Nature – Storm 12 Synth Portam. 1 1 13 Synth Portam. 2 2 Military 1 13 Metronome 3/4 Military 2 14 PreCount 3/4 14 Synth Portam. 3 3 Military 3 15 Metronome 4/4 15 Synth Portam.
1028| Appendix 59 Recognized chords The following pages show the main recognized chords, when the selected Chord Recognition mode is Fingered 3-Notes.
Recognized chords Minor 3-note T T 4-note T Minor 7th 4-note T Minor 6th 2-note T Minor-Major 7th 3-note T 4-note T Diminished T Diminished 7th 3-note T 4-note 3-note T Diminished Major 7th 4-note T T T T Minor 7th 5 4-note T T Augmented 3-note T Augmented 7th 4-note T T T T T T Augmented Major 7th 4-note T T T T No 3rd, no 5th No 3rd 2-note 1-note = constituent notes of the chord T = can be used as tension T |1029
1030| 60 Appendix Connecting an external display You can connect Pa1000 to a TV or video monitor, to read lyrics and chords with your fellow musicians or audience. Connect the external video monitor ▪▪ Use the VIDEO OUT connector to connect Pa1000 to a TV set or video monitor. Depending on the type of video monitor, you can use a cable of the RCA-toRCA type (if the monitor is equipped with a Video Composite input), or the RCA-to-SCART type (if the monitor is equipped with a SCART connector).
Connecting an external display |1031 Select the video standard ▪▪ Use the System menu to select the video standard. System Meaning PAL Used in most European, South American, Asian and African countries. This setting can be also used with SECAM TV sets (used in France, Russia, and some African countries); in this latter case, however, the picture is shown in black & white. NTSC Used in North America, Central America and part of South America.
1032| 61 Appendix Installing the options Replacing the clock backup battery You can replace the clock backup battery with a standard lithium battery (model CR2032). Do not use replacements different than the one suggested by KORG, or you risk to damage the instrument! Precautions ▪▪ Installation of the battery is done at the user’s own risk. KORG will assume no responsibility for any data loss, damage or injury resulting from its improper installation or use.
Installing the options 2 |1033 From the back of the instrument, use the cross-point screwdriver to unscrew the fixing screw (a), then remove the cover (b) and keep it apart. The screw (a) will remain attached to the cover.
1034| 3 Appendix With the help of your fingernail, lift the exhausted battery (c) from its lower side, and remove it from the battery slot, being very careful not to let it fall inside the instrument. ⓒ 4 Insert the new battery (d) into the empty battery slot, being sure the positive (+) side is facing up. Be very careful not to let it fall inside the instrument.
Installing the options 5 |1035 Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).
1036| Appendix Installing a microSD card To expand the available onboard storage memory, you can install an (optional) microSD card. The card can be installed by the user. Do not use parts different than the one suggested by KORG, or you risk to damage the instrument! Please consider a card containing localized musical resources could have already been installed by your KORG Distributor. If you are not sure, contact them before removing the installed card.
Installing the options 2 |1037 From the back of the instrument, use the cross-point screwdriver to remove the fixing screw (a), then remove the cover (b) and keep it apart. The screw (a) will remain attached to the cover. ⓐ ⓑ ⓑ 3 In case there is a microSD card already installed, push on it to unlock it, and remove it, being very careful not to let it fall inside the instrument.
1038| 4 Appendix Insert the microSD card (c) into the empty card slot, being sure the connector side is facing up and toward the instrument. Gently push the card, until you hear a click sound meaning it is properly inserted. Warning: Be sure to insert the card correctly, or it may slip inside the instrument! ⓒ 5 Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).
Shortcuts 62 |1039 Shortcuts Shift functions You can keep the SHIFT button pressed, and press another button on the control panel to directly jump to an edit page or dialog box. Shift + Functions Various modes Dial, Up/Down Tempo Change Scroll Arrows When a list is shown: Goes to Next/Previous alphabetical section of the currently selected column Sound Sends the Sound assigned to the selected track to the Sound mode Global Selects the Global > MIDI > General Controls page.
1040| Appendix Shift + Functions Assignable Switch (any) Selects the Pad/Switches > Switch page Song Play mode Song Play Selects the Global > Mode Preferences > Song & Seq page Play/Stop (Player 1 or 2) Sync Start of either Players JukeBox >> Play the next Song in the JukeBox list << Play the previous Song in the JukeBox list Lyrics Display Load a TXT file Sequencer mode Sequencer Selects the Global > Mode Preferences > Song & Seq page Microphone Mute Selects the Global > Mic/Guitar Setup >
Shortcuts Long keypress Functions SongBook Create a new SongBook Entry and opens the Write Song window (only if pressed outside the SongBook) Record Opens the MP3 Record dialog box Global mode Global Touch Panel Calibration Special functions Other available shortcuts are the following ones.
1042| Appendix 63 Troubleshooting In case of problems, please check the following list to find a solution. Problem Solution General problems Power does not turn on Make sure that (1) the power cable is plugged into the outlet, (2) the cable is plugged into the connector on the back of the instrument, (3) and is not damaged, (4) there are no problems with the mains. Is the POWER indicator turned on? If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
Troubleshooting |1043 Problem Solution The selected Style or Song cannot start Make sure that the Clock parameter is set to Internal. If you are using the MIDI Clock of another device (like a sequencer), you must set the MIDI Clock parameter to MIDI or USB, and make sure that the external device transmits MIDI Clock data. Does not respond to MIDI messages Make sure that the MIDI or USB cable is connected correctly.
1044| Appendix 64 Specs Feature Pa1000 Keyboard 61 semi-weighted keys (C2 – C7) with velocity and aftertouch System Upgradable operating system, Multitasking, Load while play Sound Generator EDS-X (Enhanced Definition Synthesis – eXpanded) Filters with resonance, 3-band EQ on each Sound Polyphony 128 voices, 128 oscillators Effects Accompaniment/Song: 2 insert effects; 2 master effects (148 types) Keyboard Sounds: 1 insert effect; 2 master effects (148 types) Final mastering effects: Limiter,
Specs |1045 Feature Pa1000 Styles Factory: More than 430 Factory Styles, freely reconfigurable sets User: 1,152 locations, including User and Direct banks Eight Accompaniment tracks, 4 Keyboard Sets, 4 Pads per Style; Style Settings (Sounds and Arranger parameters) on each Style Guitar Mode 2, Parallel and Fixed NTT (Note Transposition Table) Style/Pad Record with Step Record, Track and Event Edit Style Creator Bot (MIDI Song to Style Converter) Style controls: 3 Intros, 4 Variations, 4 Fills, Break, 3
1046| Appendix Feature Pa1000 SongBook Fully programmable music database, based on Styles, MIDI Songs (MID and KAR files), MP3 Songs, with automatic selection of Style Play and Song Play modes User definable Set Lists, with Entries selectable from the control panel Filtering and sorting options Compatibility Pa-Series models: Styles, Performances/Keyboard Sets, Programs/ Sounds, Songs, SongBook Entries, Pads ‘i-Series’ models: Styles Pads Four Assignable Pads + Stop buttons Pad Record function Gen
Specs |1047 Feature Pa1000 Display 7” Wide capacitive color TouchView™ TFT display – Manual tilt system Video Out RCA connector Clock Internal System Clock Power Consumption 100-240 Volts, 50/60 Hz, 25 Watt normal / < 0.3 Watt in standby Dimensions (W x D x H) 1030 x 378.3 x 133 mm / 40.55” x 14.89” x 5.36” Weight 10.75 kg / 23.
Change Control Pitch Bend Aftertouch Velocity Number: Note Mode Basic Channel Function O Mono (Channel) O O O O 65, 5 71, 72, 73 74, 75 O O O 38 7, 11, 16 64, 66, 67 O O 12, 13 10, 91, 93, 96 O O 6 O O O O O O O O O 1, 2 O O O O O O 8n, V=0–127 O 9n, V=1–127 0–127 0–127 0, 32 O O O 8n, V=0–127 Note Off Poly (Key) O 9n, V=1–127 Note On **************** 0–127 **************** Altered True Voice 3 X X 1–16 Default 1–16 Changed 1–16 Recognized
X O X All Notes Off Active Sense Reset X O O (123-124) X O O O O X X X O 0–127 O 0–127 O RPN (LSB, MSB) NRPN (LSB, MSB) Sound Controller (1, 2) Vibrato Rate, Depth, Delay Mode 2: OMNI ON, MONO Mode 4:OMNI OFF, MONO Mode 3:OMNI OFF, POLY X: No O: Yes *5: Transmitted only when the Clock Send parameter (Global mode) is set to on. *4: Includes Inquiry, Master Volume and Transpose messages, FX settings, Quarter Tone settings. GM Mode On.
1050|
IMPORTANT NOTICE TO CONSUMERS THE FCC REGULATION WARNING (FOR USA) This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy Web www.korg.com © KORG Italy 2017.
