ENGLISH | OS Version 2.
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.
Important safety instructions ▪▪ Read these instructions. ▪▪ Keep these instructions. ▪▪ Heed all warnings. ▪▪ Do not use this apparatus near water. ▪▪ Clean only with dry cloth. ▪▪ Unplug this apparatus during lightning storms or when unused for long periods of time. ▪▪ Refer all servicing to qualified service personnel.
Other notices Automatic power-off To avoid wasting power, HAVIAN 30 will by default automatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save your data (Performances, Styles, Songs, and so on) before taking a prolonged pause. Data handling Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to the internal memory or to an external USB device.
Contents Part I Part II 7 Let’s start! 9 Introduction 9 Welcome to HAVIAN 30! 12 Before starting to play… 14 Overview of the instrument 19 Setting up the accessories 19 Connecting the damper pedal 20 Connecting the audio outputs 22 Assembling the music stand 23 Powering 23 Turning the instrument on 24 Calibrating the touch screen 25 Listening to the Demo Songs 27 Interface basics 27 The main page 28 The user interface in detail 35 Navigating through the pages 38 Sele
2| 84 Part III Part IV Part V Lyrics, chords, score and markers 84 Reading lyrics and chords 89 Reading the music score 93 Moving through a Song with the markers 96 Searching for files and other items 96 Using the Search function 101 The SongBook 103 Using the SongBook 103 Choosing the SongBook Entries 112 Using the Custom Lists 113 Editing the SongBook 113 Creating and editing the SongBook Entries 122 Creating and editing the Custom Lists 126 Using the SongBook with a perso
184 Changing the Sounds of the Accompaniment parts 187 Setting the Style controls 189 Writing the Style Settings 189 Writing the Style Settings 190 Recording the Styles 190 Overview on the Styles 194 Accessing the Style Record mode 196 Preparing to record 205 Recording a Style in Realtime Record 208 Recording a Style in Step Record 213 Recording a Guitar track 222 Editing the Styles 222 Editing the individual MIDI events 226 Editing the Style patterns 237 Editing the Sounds and
4| 309 Saving MIDI Songs Part VII 309 Saving the MIDI Song 311 Recording MP3 Songs 311 Recording and saving an MP3 Song 315 Customizing and editing the Sounds 317 Listening and customizing the Sounds 317 Accessing the Sound Edit mode 319 Listening to individual Sounds 320 Customizing the Sound 323 Editing the Sounds 325 Setting the Sound’s basic parameters 330 Setting the oscillator’s basic parameters 336 Programming the Damper pedal 340 Equalizing the Sound 341 Setting the Dru
Part IX 451 Chorus, Flanger, and Phaser (Cho/Fln Phaser) 472 Modulation and Pitch Shift (Mod./P.
6| 683 Part XI Installing the KORG USB MIDI Driver 685 Connecting HAVIAN 30 to a personal computer or tablet 686 Control Change messages 689 Controlling the Styles and Player via MIDI 691 File management 693 Managing files Part XII 693 Overview on file management 698 Loading musical resources and settings 703 Saving musical resources and settings 707 Copying files and folders 710 Deleting files and folders 711 Selecting more items at once 713 Formatting storage devices 715 B
Part I: LET’S START! |7
8| Introduction
Welcome to HAVIAN 30! 01 |9 Introduction Welcome to HAVIAN 30! Many thanks, and congratulation on purchasing the KORG HAVIAN 30 Digital Ensemble Piano. We’re sure it’ll give you countless hours of great piano and band instrument tones that will feel as good as they sound! The real piano experience So much of the HAVIAN 30 digital ensemble piano has been designed to give you a great piano experience. The high-quality, weighted piano-like keybed gives you a completely authentic feel and touch.
10| Introduction As good in tour or at home HAVIAN 30 is a compact, lightweight digital piano that you can comfortably take with you on stage. But add the optional modern, stylish dedicated stand, with support for the damper pedal (included) and a pair of (optional) headphones, and you will be able to have it anywhere in your home – a stylish piece of furniture. Use it for rehearsing or practicing guided by the built in programmable metronome.
Welcome to HAVIAN 30! |11 Your music book What is a huge collection of Styles and Songs, without an effective form of organization? The HAVIAN 30 has the one most known to musicians: the SongBook, a music database allowing for fast song retrieving based on name, artist, genre or tempo. Styles and Songs are easily recalled by the SongBook. The SongBook can even be edited from a personal computer through our free editor.
12| Introduction Before starting to play… What’s in the box After you get your HAVIAN 30, 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.
Before starting to play… |13 Making a safety copy of your data In case you like to customize your musical resources, we suggest you use the Media > Utility > Full Resources Backup command to make frequent backup copies into compact and easy-to-store archives. Also, you can use the Media > Save All command to save individual files that you can separately reload one by one. Restoring a safety copy To restore a backup, use the Media > Utility > Resources Restore command.
14| Introduction 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, the loudspeakers and the music stand. Loudspeakers Music stand holes Loudspeakers Keyboard Loudspeakers The output volume of the integrated loudspeakers can be controlled via the VOLUME knob. The speakers are automatically deactivated when connecting the headphones.
Overview of the instrument |15 Control panel The control panel is the part of the front panel where you can find the instrument’s controls. Display Styles area Player area Navigation area Metronome and Tempo area Sounds area Display Use this touchscreen display to interact with the instrument. Display navigation aids for blinds and visually impaired Marks on the border of the display will help you build a virtual grid of references, to quickly locate objects on the screen with your fingers.
16| Introduction Styles area Styles supply the automatic Accompaniment with a virtual band (see page 59). Player area Songs can be played and controlled by the Player (see page 71). Sounds area Sounds, organized in Performances and STSs, are what you can play on the keyboard (see page 48). Navigation area Use these controls to go though the menus, pages and parameters, and search for the various musical resources (see page 27).
Overview of the instrument |17 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 54). Rear panel The rear panel is where you can find the various connections (see page 19).
18| Introduction Pedal connector This is where you will connect the supplied DS2H damper pedal, or any other pedal or footswitch. Phones/Line Out connector This connector will serve as an Headphone connector (default setting) or a Line Out connector (see page 20). Power supply connector and Power cable holder Use this port to connect the power supply unit, and the cable holder to keep the cable in order.
Connecting the damper pedal |19 02 Setting up the accessories Connecting the damper pedal Connecting the DS2H damper pedal Use the PEDAL connector to connect the supplied KORG DS2H damper pedal. This pedal supports all the nuances of half-pedaling on some Grand Piano sounds. You can experiment how it works by gradually pressing it down, and gradually releasing it, while playing one of the Grand Piano RX Sounds.
20| Setting up the accessories Connecting the audio outputs Connecting the headphones Connect a pair of headphones to the PHONES/AUDIO OUT connector. You can use headphones with an impedance of 16-200 Ohms (50 Ohms suggested). When connecting the headphones, the speakers are automatically deactivated. Adjust the output level with the VOLUME knob.
Connecting the audio outputs |21 Set the output level to Line Out (or back to Headphones) 1 Go to the Global > Audio & EQ > MP3/Speakers page. 2 Choose the output level by using the Phones/Audio Out > Level pop-up menu. 3 Press the EXIT button to return to the previous page.
22| Setting up the accessories Assembling the music stand To assemble the music stand, insert its legs into the dedicated holes on the back of the instrument.
Turning the instrument on 03 |23 Powering Turning the instrument on Connecting the power adapter Plug the supplied power adapter AC cable into a wall power socket, and the DC power adapter cable into the DC IN 15V connector on the back of the instrument. To avoid cable jamming, fix the power cable to the dedicated cable holder. 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.
24| Powering Calibrating the touch screen Calibrating the screen From time to time (for example, after loading a new operating system), calibrating your Color TouchView™ display may be necessary to make pointing more precise. To be more accurate, use a tablet stylus or the tip of a pen cap. 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.
Listening to the Demo Songs |25 Listening to the Demo Songs Playing 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 (Full Songs, Solo Instruments, Styles), then choose one of the Demo Songs.
26| Powering Exit from the Demo mode ▪▪ Press any of the MODE buttons.
The main page |27 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.
28| Interface basics The user interface in detail Display and user interface elements Color TouchView graphical user interface HAVIAN 30 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 HAVIAN 30 are grouped in various operating modes.
The user interface in detail |29 Edit menus and sections Pages are grouped in sections, to be selected by touching the corresponding buttons in the edit menu that opens up when you press the MENU button. 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, the Global, the Media, or the Lyrics, overlap the current window.
30| Interface basics Dialogs Similar to selecting windows, dialogs overlap the underlaying page. Touch one of the button on the display to give HAVIAN 30 an answer, and the dialog will close. Page menus Touch the down-pointing arrow icon on the upper right corner of each page, and a menu with suitable commands for the current page will appear. Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected).
The user interface in detail |31 Lists and scrollbars Files on storage media, as well as other kinds of data, are shown as lists. Use the scrollbar to scroll the list content. Also, you can use the VALUE dial to scroll. 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.
32| Interface basics Parameters Checkboxes This kind of parameters are on/off switches. Touch them to change their status. 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.
The user interface in detail |33 The virtual numeric keypad works exactly as the numeric keypad of a personal computer. 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.
34| Interface basics 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 dial 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.
Navigating through the pages |35 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.
36| 3 Interface basics 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.
Navigating through the pages |37 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.
38| Interface basics Selecting the musical resources Opening a Select window When you press the STYLE, SOUND, or one of the PERFORMANCE buttons, 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. In HAVIAN 30, Select windows automatically close after a few seconds, or after you select something.
Selecting the musical resources |39 Using the display navigation aids If you are blind or visually impaired, you can explore and use the Select windows with your fingers, thanks to the reference marks around the display. We suggest you to leave the Display Hold parameter on. Choosing the type The upper row of dots corresponds to the type of elements (Factory, User, etc…).
40| Interface basics Choosing the element When you are in the desired page, you can choose the element with the help of the grid created intersecting the lines coming from the small linear marks around the display.
Part II: PLAYING AND SINGING |41
42| The Easy Mode
Turning the Easy Mode on or off 05 |43 The Easy Mode Turning the Easy Mode on or off You can turn the Easy Mode on or off by using the page menu. Turn the Easy Mode on 1 Touch the little down-pointing arrow on the top right corner of the display to open the page menu. 2 Touch the Easy Mode menu item to make the checkmark appear next to it, and activate the Easy Mode. Turn the Easy Mode off 1 Touch the little down-pointing arrow on the top right corner of the display to open the page menu.
44| The Easy Mode The Easy Style Play page Title bar Page menu Selected Style Right-hand/ Upper Sounds Selected Performance (may change to Selected STS) Left-hand/ Lower Sound Touch to set the split point Touch to open the Mixer page STSs Touch to open the Effects page Switching to the Style Play mode This is the operative mode automatically selected when turning the instrument on. If you are not there, press the STYLE PLAY button.
The Easy Style Play page |45 Play/Mute icon The Mute ( ) icon may appear on the right of the Sound’s name. Touch the instrument family icon to turn the Sound on (Play) or off (Mute). Mixer Touch the Mixer button to adjust the Sound volume and pan. Effects Touch the Effects button to choose and adjust the effects. Split Point Touch the Split Point button, and play the lowest note of the Upper part of the keyboard to set the new split point. STS Use these icons to see the name of the available STSs.
46| The Easy Mode The Easy Song Play page Title bar Page menu Selected Song Right-hand/ Upper Sounds Selected Performance (may change to Selected STS) Left-hand/ Lower Sound Touch to set the split point Touch to open the Mixer page STSs Touch to open the Effects page Switching to the Song Play mode To go to this operative mode, press the SONG PLAY button. Selected Song Touch here to open the Song Select window and choose a different Song.
The Easy Song Play page |47 Mixer Touch the Mixer button to adjust the Sound volume and pan. Effects Touch the Effects button to choose and adjust the effects. Split Point Touch the Split Point button, and play the lowest note of the Upper part of the keyboard to set the new split point. STS Use these icons to see the name of the available STSs. Touch them to select the corresponding STS.
48| Playing the Sounds 06 Playing the Sounds Playing Grand Piano Choosing the Grand Piano Sound ▪▪ Press the GRAND PIANO ( ) button to choose the Grand Piano Sound. Choosing the Sounds Choosing a Performance You can choose a Performance from the control panel or from the display. Open the Performance Select window from the control panel ▪▪ Press one of the buttons of the PERFORMANCE section. You will notice that each of them has an instrument family name printed over it.
Choosing the Sounds |49 Open the Performance Select window from the display ▪▪ While in the Main page, touch the name of the selected Performance. Select a Performance As soon as you press the button or touch the display, the Performance Select window appears.
50| Playing the Sounds 1 In case you want to choose a different group of Performances, either press a different button in the PERFORMANCE section, or touch one of the tabs on the sides of the Performance Select window. 2 To choose one of the available pages in the selected Performance group, either touch one of the P1…P5 tabs at the bottom of the window, or repeatedly press the button of the selected group of Performances in the PERFORMANCE section of the control panel.
Choosing the Sounds |51 3 Touch the name of the Performance you want to choose. 4 If you want to close the Performance Select window (and it does not close by itself), press the EXIT button. In the end, you will see the name of the selected Performance in the dedicated area of the Main page. The Sounds assigned to the keyboard (shown in the right half of the display) will change.
52| Playing the Sounds Choosing an STS You can choose an STS from the control panel or from the display. Choose an STS from the control panel ▪▪ Press one of the buttons in the STS section. Select an STS from the display 1 While in the Main page, be sure the STS Name pane is selected. If it isn’t, touch the STS Name tab to select it. 2 Touch one of the STS names in the display to select it. You will see the name of the selected STS highlighted in the dedicated area of the Main page.
Choosing the Sounds |53 Sound, Performance, STS Sounds are the basic element of what you hear from your instrument. A set of Sounds can be memorized into a Performance or STS. A Performance is a single memory location that can remember the Keyboard Sounds and all their transposition, effects, etc… A Performance can be stored in one of the Performance bank locations. Single Touch Settings (STS) are similar to Performances, but are associated to a Style or SongBook Entry.
54| Tempo and Metronome 07 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). Adjust the Tempo value from the display 1 If it is not highlighted, touch the Tempo value in the display.
Tempo |55 Beating (‘tapping’) the Tempo value In Style Play mode, you can beat the Tempo value. Activate the Tap Tempo function ▪▪ While the Accompaniment is not playing, keep the SHIFT button pressed and press the METRO button. The Tap Tempo window will open. Beat the Tempo value ▪▪ Beat the Tempo on the START/STOP button. Beat as many times as indicated by the Tap indicator. At the end, the Accompaniment will start playing with the ‘tapped’ Tempo.
56| Tempo and Metronome Let the Style or Song change the Tempo value ▪▪ Press the TEMPO > LOCK ( ) button again to turn its indicator off. When choosing a different Style or Song, the memorized Tempo value will be recalled. Tempo Change events found in the Style pattern or the MIDI Song may still change the Tempo.
Metronome |57 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.
58| Tempo and Metronome Turn the accent on or off ▪▪ Choose the accent by using the Accent parameter. Metronome Mode Meaning Normal No accent. Accent 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 EXIT button to exit the window without stopping the metronome.
Choosing the Styles |59 08 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 to the Main page. Open the Style Select window from the control panel ▪▪ Press the STYLE button.
60| Playing the Styles 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 Standard Styles, that cannot be modified. User Locations where you can load new Styles from an external device, or save new or edited Styles.
Choosing the Styles |61 ▪▪ 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…P5 tabs at the bottom of the window. As an alternative, press again the STYLE button. 2 Touch the name of the Style you want to choose. 3 If you want to close the Style Select window (and it does not close by itself), press the EXIT button.
62| Playing the Styles 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.
Choosing the Styles |63 The Piano Styles To enjoy a very light accompaniment, choose the Styles in the Piano Style bank. These will offer a simple left hand Piano accompaniment for those times when you just want to practice your right hand; or the classic jazz trio, with just bass, drums, and a Piano. You can turn off any of the accompaniment part by using the Mute/Play buttons in the Main > Volume pane.
64| Playing the Styles Playing a Style Starting and stopping the Style 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. While the Accompaniment is playing, please note the various indicators in the display. Beat indicator Pattern length in measures Recognized chord Tempo value Stop the Accompaniment ▪▪ Press again the START/STOP button.
Playing a Style |65 Make the Accompaniment start and stop automatically (Synchro Start and Stop) 1 Press the SYNCHRO > START/STOP button again, to light up both the START and STOP indicators. 2 Play a chord to start the Accompaniment, and keep the keys pressed. 3 Lift your hands from the keyboard, and see how the Accompaniment will automatically stop. Make the Accompaniment stop automatically (Synchro Stop) 1 Press the SYNCHRO > START/STOP button again, to leave only the STOP indicator lightened.
66| Playing the Styles 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’. This means that Variation 1 will be the ‘sparsest’ and the ‘quietest’ of the arrangements, while Variation 4 will be the ‘densest’ and ‘loudest’ of them. Usually, you will use Variation 1 for the first verse, Variation 4 for the last chorus.
Playing a Style |67 Automatically play a Fill, then a Variation ▪▪ Press one of the VARIATION buttons. The Fill with the same number of the previous Variation will be automatically selected. For example, if you are going from Variation 2 to Variation 3, Fill 2 will be automatically selected. Turn the Autofill function off ▪▪ When you no longer need this function, press the AUTOFILL button again to turn the indicator off.
68| Playing the Styles Looping sections If you feel that an Intro or an Ending should last longer than the recorded pattern, you can put it in a cycling loop. Set a Style Element to loop ▪▪ Press twice the button of the Intro or Ending to put in loop. The indicator on the button will start flashing, and the pattern will start repeating. Exit from the loop Do one of the following: ▪▪ Press the same Style Element button again, or ▪▪ Select a different Style Element.
The Chord Sequencer |69 The Chord Sequencer Recording a Chord Sequence You can record a Chord Sequence, that will remain in memory until you turn the instrument off. Record a Chord Sequence 1 Press the START/STOP button to start the Accompaniment. 2 Press the CHORD SEQUENCER > RECORD ( recording. 3 Start playing your Chord Sequence at the beginning of the next measure. While recording, you will see a red icon flashing in the display.
70| Playing the Styles Playing back a Chord Sequence You can play back the Chord Sequence in memory. The chords driving the automatic accompaniment will be performed by the recorded sequence. Play the recorded Chord Sequence 1 Press the CHORD SEQUENCER > PLAY/STOP ( start playback. ) buttons together to The indicators of the two buttons will start flashing. The Chord Sequence will be played back in loop starting from the next measure.
Choosing the Songs 09 |71 Playing the Songs Choosing the Songs Choosing a Song from the list Switch to the Song Play mode Press the SONG PLAY button. Title bar Page menu Selected Song Right-hand/ Upper Sounds Selected Style Left-hand/ Lower Sound Selected Performance (may change to Selected STS) Tabs recalling other panes STS pane Open the Song Select window from the control panel ▪▪ Press the SONG button.
72| Playing the Songs Open the Song Select window from the display ▪▪ Touch the name of the Song on the display. Browse through the Songs While in the Song Select window, browse through the files to find the Song you are looking for. Current path Storage device ▪▪ Choose a storage device by using the Device menu. If the Song is contained in an external USB device, connect the device to the USB HOST port.
Choosing the Songs |73 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. Change the list ordering ▪▪ Reorder the items according to a different criterion (Type, Name, Size, Date) by touching the corresponding label on top of the list.
74| Playing the Songs 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 HAVIAN 30 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.
Choosing the Songs |75 Choosing a Song by number 1 Open the numeric keypad. ▪▪ While in the Song Select window, press the SONG button. ▪▪ While in any page of the Song Play (or Style Play) mode, press the SONG button twice. 2 Enter the ID number (included in the 0001~9999 range) corresponding to the Song to be selected, then touch the OK button to confirm. The Song will be selected. If no Song corresponds to the number entered, a message will warn that the Song is not available.
76| Playing the Songs Playing a Song Starting, stopping and controlling the Player Start the Player ▪▪ Press the PLAY/STOP ( ) button. While the Song is playing, the indicators on the display will show the current position. On the button, a red indicator will mark the first beat, while a green indicator will mark the other beats of the measure. Fast Forward the Song ▪▪ Press the FAST FORWARD ( ) button once to jump to the next measure (MIDI Song) or to the next second (MP3 Song).
Playing a Song |77 Balancing the Song against the keyboard While playing, you may want to balance the Keyboard Sounds against the Song, to make the soloist stand out of the background or go back in the mix. Balance the Song against the keyboard ▪▪ While the Song is playing, use the BALANCE knob to balance between the Song (SONG) and the Keyboard (KBD). Setting the general volume of the MP3 Songs You can balance the volume of MP3 Songs against that of MIDI Songs and Styles.
78| Playing the Songs Playing along with the Song Play along with the Song ▪▪ While the Song is playing, play on the keyboard. Choose different Sounds ▪▪ Choose a different Performance from the PERFORMANCE section of the control panel. ▪▪ Choose a different STS from the STS section of the control panel, or from the STS pane of the main page. The available STSs are those contained inside the most recently selected Style or SongBook Entry.
Playing all the Songs in a folder |79 Playing all the Songs in a folder Open the Song Select window from the control panel ▪▪ Press the SONG button. Open the Song Select window from the display ▪▪ Touch the name of the Song on 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. 2 Touch the Play All button to pre-select all the Songs in the folder.
80| Playing the Songs ▪▪ 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. (See below for more information).
Playing a Jukebox list |81 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.
82| Playing the Songs ▪▪ Touch the Delete button to delete the selected Song from the list. ▪▪ Touch the Del All button to delete all Songs from the list. Save the Jukebox list 1 Touch the Save button to open the Write 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.
Playing a Jukebox list |83 The selected Jukebox list contains pointers to Songs residing in the same folder as the Jukebox file. Please do not move nor delete the Songs, nor disconnect any connected USB storage device containing the Songs. Play the Jukebox list 4 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.
84| Lyrics, chords, score and markers 10 Lyrics, chords, score and markers Reading lyrics and chords Where are lyrics and chords contained? Inside the MIDI Songs Lyrics and chords may be contained inside MIDI Songs. They are included as MIDI events. Inside the MP3 Songs Lyrics may be contained into MP3 Songs. They are included as ID3/Lyrics3 and ID3/Frames tags. Lyrics and chords may also be contained into MP3 Songs as CDG graphic files.
Reading lyrics and chords |85 Reading the lyrics and chords contained in a Song Open the Lyrics page ▪▪ Press the LYRICS button on the control panel. The Lyrics page will appear. 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. Adjusting the text size ▪▪ Use the ABC button in the Lyrics page to change the font size.
86| Lyrics, chords, score and markers Chord transposition When transposing the Song, chord abbreviations will usually be automatically transposed. However, be sure Transpose is activated on the Player, but not on the keyboard. Activate the chord transposition 1 Go to the Global > Tuning > Transpose Control page. 2 Activate Transpose on the Player, and deactivate it on the Style and Keyboard tracks.
Reading lyrics and chords |87 Loading a text file with the same name of the Song Lyrics and chords may be contained in a TXT file having the same name of a MIDI Song or an MP3 Song. For example, if a ‘MySong.txt’ file exists in the same folder as the ‘MySong.mid’ file or ‘MySong.mp3’ file, loading this latter will load the TXT Lyrics file as well.
88| Lyrics, chords, score and markers In this case, do the following: ▪▪ Keep the SHIFT button pressed and touch the center of the display. The file selector will appear, and will let you choose a TXT file to be loaded. 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 is pressed in the Lyrics page.
Reading the music score |89 Reading the music score Creating and reading the music score Create the music score 1 While in Song Play mode, choose a MIDI Song to play. 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.
90| Lyrics, chords, score and markers 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. Exit from the Score page ▪▪ When done with the score, press either the SCORE or the EXIT button.
Reading the music score |91 Show lyrics, chords, note names Read the Lyrics ▪▪ Touch the Lyrics button to make the lyrics (if available) appear or disappear. Read the chords ▪▪ Touch the Chord button to make the chord symbols (if available) appear or disappear. Chords are shown either according to the English or Italian system, depending on the selected language. (See Choosing the chords and keyboard language on page 621 for information on how to choose a different language).
92| Lyrics, chords, score and markers Muting a Song’s Sound with a footswitch You can mute the melody track of a Song by assigning the Melody Mute function to a 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 footswitch. ▪▪ To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page.
Moving through a Song with the markers |93 Moving through a Song with the markers Using the markers Song Marker events contained in a MID file (that is, a MIDI Song) can be read by HAVIAN 30. They are immediately shown in the Markers page. Jump to a marker 1 While in Song Play mode, press the MARKER buttons. 2 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.
94| Lyrics, chords, score and markers Creating and editing markers You can add your own marker points to a MIDI Song, then save them into the MID file. Open the Markers page ▪▪ While in Song Play mode, press the MARKER buttons. Add markers 1 ) button. Start the Player by pressing the PLAY/STOP ( Markers can be added even while the Player is not running, but adding them while the Song is running is easier. 2 When you reach the position you want to save as a marker, touch the Add button.
Moving through a Song with the markers |95 Edit the name an 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. 3 While in the Edit Marker window, edit the position and name of the selected marker. 4 Save the markers (as described below). Save the markers ▪▪ Touch the Save Mk button to save all the markers into the MID file.
96| Searching for files and other items 11 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…). The Search function is also available while the Performance, Sound, Style, or File Selector is open.
Using the Search function |97 Choose the type of file 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.
98| Searching for files and other items Type the name and start searching 1 Type the name of the file 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 files found will start showing on the display. The time needed to complete a search depends on the size of the device(s) and the number of files. Only one search at a time can be carried on.
Using the Search function |99 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.
100| Searching for files and other items 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”.
Part III: THE SONGBOOK |101
102| Using the SongBook
Choosing the SongBook Entries 12 |103 Using the SongBook Choosing the SongBook Entries What is the SongBook? The SongBook is the onboard music database, that allows you to organize the Styles and Songs for easy retrieving. Each Entry of this database (a ‘song’) may include information like the artist, title, genre, number, key, tempo, and meter (time signature) of a specified song.
104| Using the 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 SongBook page. 2 Browse through the Entries. Use the scrollbar or the VALUE dial to scroll.
Choosing the SongBook Entries |105 The associated Style or Song will be recalled. STSs will also be recalled. STS #1 will be selected. Any TXT file associated with the Entry will be shown in the Lyrics page. 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.
106| Using the SongBook Choose between Song Number and Key ▪▪ Touch the page menu icon to open the menu, then choose either the Show Song Number (now Key) or Show Key (now Song Number) option (depending on the current selection). 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.
Choosing the SongBook Entries |107 When done editing the name, confirm by touching the OK button under the virtual keyboard. 2 Repeat the above step for all the fields you want to include in your filter. 3 If you like, select a Meter and/or a range of Tempo values to be included in your filter criteria. 4 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.
108| Using the SongBook 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 Custom Lists, and the number of Entries in the selected list. 1 While in the SongBook, choose an Entry and touch Select. 2 Go to the SongBook > Info page.
Choosing the SongBook Entries |109 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 > Book Edit pages. (See Editing the Song Selection Number on page 166 for more information). 1 To see the numbers while in the Book page, choose the Show Song Numbers (now Key) command from the page menu, to let the Num column appear.
110| Using the SongBook 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. 2 Go to the Global > MIDI > Midi In Channel page, and assign the Control option to one of the sixteen available MIDI channels (usually one of the highernumbered ones, for example 16).
Choosing the SongBook Entries |111 ▪▪ 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 ch
112| Using the SongBook Using the Custom Lists What are Custom Lists? Custom 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. Playing a Custom List Choose a Custom List containing the songs already selected for your show. Select the Custom List 1 Go to the SongBook > Custom List page.
Creating and editing the SongBook Entries 13 |113 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.
114| Editing the SongBook As an alternative, go to one of the SongBook > Book 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 an existing SongBook Entry Choose an existing SongBook Entry 1 Choose a SongBook Entry from the SongBook > Book or SongBook > Custom List page.
Creating and editing the SongBook Entries |115 Save over the existing SongBook Entry 1 Go to one of the SongBook > Book 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.
116| Editing the SongBook The Resource area shows the resource saved in the selected Entry (Entry), and the one you just selected (Current). Resource saved in the Entry Selected Resource 4 Select the Resource > Write Current checkbox to save the new resource instead of the older one. 5 Touch the Write button to save over the exiting SongBook Entry. Saving different STSs With each SongBook Entry, up to four STSs are saved. When editing an Entry, you can replace the older STSs with new ones.
Creating and editing the SongBook Entries |117 3 Go to the SongBook > Book Edit 1 page. 4 Select the STS > Write Current checkbox to save the new STSs instead of the older ones. ▪▪ Choose All STS to save all four STSs. ▪▪ Choose a single STS location to save the selected STS, or the current set of Keyboard Sounds, to a selected location. You can choose the target location and give the STS a new name.
118| Editing the SongBook 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 109 for more information). Edit the Song Selection Number ▪▪ Go to the SongBook > Book Edit 1 page, and edit the Number field. Assigning a number is not mandatory, but may help in organizing the Entries.
Creating and editing the SongBook Entries 3 |119 Edit the SongBook Entry’s database parameters. Parameter Style-based Entry Genre Music genre associated with the Entry. Artist Name of the artist of the song associated with the Entry. Key Info Original key of the Entry. The first field is the Root, the second one is the Major/minor mode. Enter an arbitrary value for Style-based Entries. MID-based Entry Enter the original key of the MID file.
120| Editing the SongBook 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 > Book Edit 3 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.
Creating and editing the SongBook Entries |121 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 > Book Edit 3 page.
122| Editing the SongBook Creating and editing the Custom Lists Enabling Custom List editing The SongBook > List Edit page, where you can edit Custom Lists, is not usually available, to protect Custom Lists from accidental changes. Enable Custom List editing ▪▪ While in the SongBook, select the Enable List Edit command from the page menu. ▪▪ If you will prefer to protect the Custom Lists again after editing, deselect the Enable List Edit command from the menu.
Creating and editing the Custom Lists 2 |123 Use the List pop-up menu to select the Custom List to edit. Add Songs to the selected Custom 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 Custom List.
124| Editing the SongBook Move or delete songs from the selected Custom List 1 Go to the SongBook > List Edit 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 Custom List (the song will not, however, be deleted from the Book list).
Creating and editing the Custom Lists |125 Deleting a Custom List 1 While in the SongBook > Custom List page, use the List pop-up menu to select the Custom List to delete. 2 Go to the SongBook > List Edit page, then touch the Del List button to delete the selected Custom List (the songs it contains will not be deleted from the Book list).
126| Editing the 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 Custom 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 |127
128| Customizing the Sound sets
Playing different Sounds with the left and right hand 14 |129 Customizing the Sound 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.
130| Customizing the Sound sets SPLIT in- Keyboard Left hand (Lower) Sounds dicator mode 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 as- Up to three Upper Sounds assigned to the left hand signed to the right side of the keyboard. Changing the local (or temporary) split point You can choose a different point where the keyboard is split into an Upper and a Lower part.
Playing different Sounds with the left and right hand |131 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 Performances and STSs. You can change it and use it as the main split point of the instrument. Some Performances and STSs might override the global split point with their memorized local split points.
132| Customizing the Sound sets ‘Global’ and ‘local’ (or temporary) split point You can choose a ‘global’ split point that does not change when choosing a different Performance or STS. Or you can choose a ‘local’ split point that is better suited to the individual Performance or STS, and can change when selecting it. The ‘local’ split point is just temporary, and only becomes permanent when you write a Performance, an STS or a SongBook Entry.
Playing two or three Sounds at the same time |133 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.
134| Customizing the Sound sets Choosing different Sounds Choosing Sounds You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Performance or STS. Select the Sound to be replaced 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 Touch the name of the Sound you want to change.
Choosing different Sounds |135 ▪▪ To choose one of the available types of Sound, touch the buttons at the top of the window. Type of Sound Meaning Factory Standard Sounds, that cannot be modified. Legacy Standard Sounds allowing for greater compatibility with older PaSeries instruments. GM Standard Sounds, allowing for full compatibility with General MIDI Sounds and Drum Kits.
136| Customizing the Sound sets Mixing the Keyboard Sounds Adjusting the Sound’s volume At its core, HAVIAN 30 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 level 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.
Mixing the Keyboard Sounds |137 Turn a channel on (Play) Touch the Mute icon ( to play ( ). ) in the mixer channel corresponding to the Sound Soloing a Sound You can listen to a single Sound in solo, to understand how it sounds out of the mix. Solo a Sound ▪▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo. In any page where it appears, you can touch the mixer channel corresponding to the Sound to isolate.
138| Customizing the Sound sets Transposing the Sounds to a different octave Transposing all the Upper Sounds 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.
Transposing the Sounds to a different octave 2 |139 Touch the Oct. Transpose virtual knob corresponding to the Sound you want to transpose, then slide your finger to change the transpose value. As an alternative, touch the parameter and use the VALUE dial to change the transpose value. Also, you can touch the parameter a second time to open the numeric keypad, then enter the transpose value. 3 Press the EXIT button to return to the previous page.
140| Customizing 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. You will hear the chord notes added to the melody.
Using the Ensemble to add harmony 2 |141 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.
142| 3 4 Customizing 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. This is in sync with the Metronome Tempo. Feedback Repetitions of the original note/chord when the Echo option [n] is selected.
The editing procedure 15 |143 Advanced editing of the Sound sets The editing procedure A – Choose a Sound set Choose a Performance whose Sounds and settings to edit ▪▪ Press either the STYLE PLAY or SONG PLAY button, then choose the Performance whose Sounds you want to edit. Choose an STS whose Sounds and settings to edit ▪▪ Press the STYLE PLAY button, then choose a Style, then the STS whose Sounds you want to edit.
144| Advanced editing of the Sound sets 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 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.
Mixing the Sounds |145 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. 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 dial to change the volume level of the selected mixer channel.
146| Advanced editing of the Sound sets 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.
Adding effects |147 Adding effects The FX processors HAVIAN 30 includes two groups of Master FXs.
148| Advanced editing of the Sound sets Choosing the FX group and setting the FX Send level Each Sound can send its audio signal to a group of FX processors. The amount of signal sent is called the FX Send level. Access the FX Send page ▪▪ Go to the Mixer/Tuning > FX Send page. Choose the FX Group In Style Play and Song Play mode, the FX group is fixed and you cannot choose it (you can only see it). In Sequencer mode you can freely choose it for each Song track.
Adding effects |149 Including or excluding the dry (direct) signal The dry (or ‘direct’) signal is the raw sound, without the effects. It should be normally included in the output signal to give a sense or presence of the source Sound. 1 Go to the Mixer/Tuning > Volume/Pan page. 2 Select or deselect the Dry checkbox corresponding to the Sound you want to program. Dry Meaning On The direct signal is sent to the output, mixed with FXs.
150| Advanced editing of the Sound sets Choosing the effects and setting their controls Access the FX A/B Config page 1 Go to the Effects > FX A/B Config page. 2 Use the side tabs on the right to choose an FX Group. Choose an effect for each FX processor ▪▪ Use the relevant pop-up menu to choose the effect assigned to the Master FX1 or Master FX2 processor (inside the selected FX Group). Usually, FX1 are reverbs, while FX2 are modulating effects (chorus, flanger, delay…).
Adding effects |151 Feed the FX2 output back to the FX1 input You can send the output of the FX2 processor (modulating effect) to the input of the FX1 processor (reverb). This is preferred, for example, to send a guitar amp simulator to the reverb. ▪▪ Use the MFX2 to MFX1 parameter to set the amount of the Master FX2 signal to be sent back to the Master FX1 processor. Editing the effects Choose the effect to edit 1 Go to the Effects > Master 1 or Master 2 page.
152| Advanced editing of the Sound sets Copying the Effects To speed up programming, you can copy a single effect (Master 1, Master 2), or both effects of an FX group (A or B). You can copy them between different elements (for example, between Styles and Performances, or STSs and Songs or Sounds). The Copy/Paste operation only copies the parameters of the Effects section. Parameters contained in other sections, like Dry or FX Send, are not copied.
Equalization |153 Equalization The Channel Equalizer HAVIAN 30 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 dial to change the value of the selected knob. EQ Gain Meaning Hi (High) Gain -18 … +18dB High frequencies equalization. This is a shelving curve filter.
154| Advanced editing of the Sound sets Input sensitivity and bypassing The EQ Control page lets you set the input sensitivity and bypass EQ on each channel. Track Reset Access the EQ Control page ▪▪ Go to the Mixer/Tuning > EQ Control page. Trim the EQ input Extreme equalization gains can overload the audio circuits and lead to distortion. You can however trim the input to avoid overloading. ▪▪ Use the Input Trim knobs to limit the level of the signal passing through the equalizer.
Equalization |155 Resetting the EQ Still in the EQ Control page, you can reset the EQ to the default (that is, ‘flat’) status. Reset the EQ on a single channel ▪▪ Touch the Track Reset button corresponding to the channel whose EQ you want to reset. Reset the EQ on all channels ▪▪ Touch the Reset All Tracks button.
156| Advanced editing of the Sound sets Octave and fine tuning The Tuning page lets you set the octave and fine tuning on each channel. Setting each Sound’s octave transpose and fine tuning Access the Tuning page ▪▪ Go to the Mixer/Tuning > Tuning page. Set the octave transpose ▪▪ Use the Oct. Transpose knobs to set the octave transpose for each Sound. Octave Transpose Meaning -3 … +3 Octave Transpose value (in octaves). 0 Standard tuning.
Sound routing, polyphony, key and velocity range |157 Sound routing, polyphony, key and velocity range The Mode page is where you set the Internal/External status of the tracks, and choose their type (Drum, Poly, Mono). Using 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. Connect HAVIAN 30 to the internal or external sound generator 1 Go to the Track Control > Mode page.
158| Advanced editing of the Sound sets External Sounds and Program Change messages A 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.
Sound routing, polyphony, key and velocity range 2 |159 Use the Type parameter to choose the track type. Type Meaning Drum Drum/Percussion track. 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). Also, set it to Drum mode if you wish to separately adjust the volume for each percussive family of a Drum Kit. Drum Kits are never transposed, whichever the type of track they are assigned to.
160| Advanced editing of the Sound sets Access the Key/Velocity Range page ▪▪ Go to the Keyboard/Ensemble > Key/Velocity Range page. Set the Key Range ▪▪ Use the Top Key and Bottom Key parameters to set the Top and Bottom limits of the track’s Key zone. Key Meaning C-1 … G9 Selected key. Set the Velocity Range ▪▪ Use the Top Vel. and Bottom Vel. parameters to set the Top and Bottom limits of the track’s Velocity zone. Velocity Meaning 0 … 127 Velocity value.
Easy editing of Drum Kits |161 Easy 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.
162| 5 Advanced editing of the Sound sets 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.
Easy editing of Drum Kits |163 Sound parameter Meaning Value Volume Instrument’s family volume. 0 … 127 Attack Attack time. This is the time during which the sound -64 … +63 goes from zero (at the moment when you strike a (offset) key) 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. Fine Tune Fine instrument tuning.
164| Advanced editing of the Sound sets Easy editing of Sounds You can edit the main Sounds parameters. Edit the Sounds 1 Go to the Track Controls > Easy 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. 4 Use the Select buttons to select the Sound to edit. 5 Use the knobs to edit the corresponding parameters.
Easy editing of Sounds |165 Setting Portamento Portamento is a smooth sliding transition from a note to the following one. ▪▪ Use the Portamento > Time knob to adjust the speed of portamento. ▪▪ Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off. 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.
166| 16 Writing the Sound sets Writing the Sound sets Writing a Performance Performances can save the Keyboard Sounds and settings. Writing Performances Open the Write Performance dialog from the control panel ▪▪ While in Style Play or Song Play mode, keep any of the PERFORMANCE buttons pressed for about one second. Open the Write Performance dialog from the display ▪▪ While in Style Play or Song Play mode, choose the Write Performance command from the page menu to open the Write Performance dialog.
Writing a Performance |167 choosing a Performance. Blank locations are shown as a series of dashes (‘–––’). 2 When back at the Write Performance dialog, you may change the name of ) icon to open the virtual keythe Performance. Touch the Text Edit ( board and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard. 3 When back at the Write Performance dialog, confirm the Write operation by touching the OK button.
168| Writing the Sound sets Writing an STS STSs (Single Touch Settings) can save Keyboard Sounds and settings, inside a Style. When choosing a Style, four STSs matching the selected Style are automatically selected. Four STSs are associated to each Style. Note: Changes can only be saved onto Favorite and User Styles, and onto SongBook Entries. They cannot normally be saved onto Factory Styles.
Writing an STS 2 You may change the name of the STS. Touch the Text Edit ( the virtual keyboard and edit the name. |169 ) icon to open When done editing the name, confirm by touching the OK button under the virtual keyboard. 3 When back at the Write Single Touch Setting dialog, confirm the Write operation by touching the OK button. Write the STS into a different Style 1 Choose the Style containing the original STS. 2 Edit the STS. 3 Choose the Style where you want to copy the modified STS.
170| Writing the Sound sets Save STSs to an existing SongBook Entry You can edit or replace the STSs of the selected SongBook Entry. 1 While you are in Style Play or Song Play mode, go to the SongBook > Book page, and choose a SongBook Entry. a. Select an Entry b. Touch Select 2 Press the EXIT button to return to the previous page. Do not choose a different SongBook Entry, or different STSs would be selected.
Writing an STS |171 ▪▪ Choose the single STS, assign it a name, and choose one of the four locations inside the SongBook Entry where to save it. This will only overwrite the selected STS, and leave all the others untouched. 7 Touch the Write button to make the Write Song dialog appear. ▪▪ 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.
172| Writing 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 175. ▪▪ 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 263.
Part V: CUSTOMIZING, RECORDING AND EDITING THE STYLES |173
174| Customizing the Styles
Setting the Chord Recognition 17 |175 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 SPLIT button’s indicator.
176| Customizing the Styles Choosing how to play chords (Chord Recognition mode) You can play chords in the simplest (even simplified), or the most sophisticate way. It’s at you how chords have to be played to be recognized. 1 Go to the Global > Mode Preferences > Style page. As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style page. 2 Choose how to play chords by using the Chord Recognition menu.
Setting the Chord Recognition |177 Chord Recognition How to play chords Advanced When the SPLIT indicator is turned on, play two or more notes for a chord to be recognized. When the SPLIT indicator is turned off, play at least three notes to compose a chord. If you play a single note, a “root+8ve” will be played. If you play a fifth, a “root+5th” chord will be played. With this mode, you can play rootless and slashed chords, often used in jazz, fusion or modern pop.
178| Customizing the Styles 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.
Mixing the grouped Accompaniment Sounds |179 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 change in the volume level of the Accompaniment Sounds during a show, we moved the volume settings to a safer area than the Main page. Adjust the volume of a group of Accompaniment Sounds 1 Go to the Global > Mode Preferences > Styles page.
180| Customizing the Styles If you like, you can finely mix the various groups. For example, if you prefer Drums and Bass to be more prominent to let them have more ‘punch’, you can lower the grouped Accompaniment Sounds to leave more room to the other Sounds. If you whish to permanently mute a group, just move its volume to zero. The (relative) volume level of grouped tracks will remain the same for all the subsequent Styles you will choose during your performance.
Mixing the individual Accompaniment Sounds 18 |181 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. Note: Changes can only be saved onto Favorite and User Styles. They cannot be saved onto Factory Styles.
182| Editing the Style Settings Adjust an Accompaniment Sound’s volume level 1 Touch the mixer channel whose volume level you want to change. Separate part name Meaning 2 DRUM Drum part (real channel volume) PERC Percussion part (real channel volume) BASS Bass part (real channel volume) ACC1-5 Five separate Accompaniment parts (Acc1-5). These may freely be melodic or chordal parts (real channel volume) Keep the virtual volume slider held on the screen, and drag it to the desired level.
Mixing the individual Accompaniment Sounds |183 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 Turn a channel on (Play) or off (Mute) ▪▪ Touch the Play ( Sounds on or off.
184| Editing the Style Settings Changing the Sounds of the Accompaniment parts Style Settings vs. Style Pattern Sounds can be assigned to the Accompaniment parts in two ways, depending on the status of the Original Style Sounds parameter. Switch between Style Settings and Style Pattern Sounds 1 While in the Main page, press the TRACK SELECT button to switch to the Accompaniment Sounds. 2 Select or deselect the Original Style Sounds parameter to chose between the Style Settings and Style Pattern Sounds.
Changing the Sounds of the Accompaniment parts |185 Changing Sounds in the Style Settings You can assign different Sounds to the Accompaniment parts of the entire Style. These Sounds will not change when choosing a different Style Element (Intro, Variation…). The new combination of Sounds can be written into the current Style Settings. Choose a different Sound for the Accompaniment parts 1 While in the Main page, touch the Volume tab to select the Volume pane.
186| Editing the Style Settings Changing Sounds in the Style Pattern You can assign Sounds to each Accompaniment part of each Style Element (Intro, Variation…). This option requires editing the Style, since the events are recorded into the Style Pattern. Please see the relevant chapter. Drum Kits Drum Kits (including Percussion Kits) are special Sounds, where each note of the keyboard is a different percussive instrument. To preserve the kit’s mapping, Drum Kits are not affected by transposition.
Setting the Style controls |187 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 > Style Controls > Drum/Fill page. 2 Use the Drum Mapping > Var pop-up menus to choose an alternative arrangement of percussive instruments for the selected Drum Kit, without any additional programming.
188| Editing the Style Settings Setting a key range and wrap-around 1 Go to the Style Play > Style Controls > KbdRng/Wrap page. 2 Use the Kbd Range On/Off checkbox to turn the Key Range on/off. While in Style Record you can set a Key Range for each track of each Style Element. You can save the general on/off status of the Key Range in the Style Settings. 3 Kbd Range Meaning On The Key Range is considered.
Writing the Style Settings 19 |189 Writing the Style Settings Writing the Style Settings Style Settings can save Accompaniment Sounds and settings into a Style. Note: Changes can only be saved onto Favorite and User Styles, and onto SongBook Entries. They cannot normally be saved onto Factory Styles. To write changes onto a Factory Style, you must first remove the Factory Style protection (in the Global > Mode Preferences > Media page, see page 637).
190| Recording the Styles 20 Recording the Styles Overview on the Styles KORG supplies a huge amount of professionally crafted Styles with HAVIAN 30. However, you are free to customize them, or create totally new Styles on your own. The Style parts Style Elements The term ‘Style’ relates with music sequences automatically played by the HAVIAN 30’s arranger. A Style consists of a predefined number of Style Elements (Intro, Variation, Fill, Ending…).
Overview on the Styles |191 Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table.
192| Recording the Styles 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 used, then determines which Chord Variation should be used for the played 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.
Overview on the Styles |193 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.
194| Recording the Styles Accessing the Style 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 only edit Favorite or User Styles. To edit Factory Styles, you must first unprotect them, or copy them to a Favorite or User location. 3 Press the RECORD button. The Select Record Mode dialog will appear: ▪▪ Select Record/Edit Current Style to edit the current Style.
Accessing the Style Record mode |195 The Style Record 1 page Beat counter Record parameters Track info Chord and transposition table Mixer The Style Record 2/Cue page Record parameters Sounds Cue mode Mixer Measure counter
196| Recording the Styles Preparing to record Choosing the Chord Variation and settings the recording parameters ▪▪ Go to the Style Record > Record 1 or Record 2/Cue page to choose the Chord Variation to be recorded, and set the recording parameters. The parameters are in the Style Record Parameters box. Choosing the Style Element and Chord Variation to record You record a Chord Variation, inside a Style Element, inside a Style. This is the pattern you listen when playing a chord.
Preparing to record |197 Setting the total Chord Variation length ▪▪ Use the CV Length (Chord Variation Lenght) parameter to set the lenght of the Chord Variation (in measures). The overall length of the selected Chord Variation can be 32 measures. When playing a Style, this will be the overall length of the accompaniment pattern, when the corresponding chord is recognized on the keyboard.
198| Recording the Styles Setting the Style Record 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. ▪▪ Use the Tempo parameter to set the Tempo value. As an alternative, use the TEMPO buttons to change the recording Tempo. This value will not be saved in the Style.
Preparing to record |199 Selecting a track and getting information Selecting the track to record 1 Go to the Style Record > Record 1 or Record 2/Cue page. 2 Touch the track to be recorded in the mixer area. The selected track will exhibit the Record icon ( ). Getting information on the selected track ▪▪ While in the Style Record > Record 1 page, get detailed information on the selected track in the Selected Track Info area.
200| Recording the Styles Choosing the original chord and transposition table ▪▪ Go to the Style Record > Record 1 page to choose the chord and transposition table. The parameters are in the Style Record Parameters box. Choosing the Original Key/Chord for the selected track ▪▪ Use the Key and Chord pop-up menus to define the original key/chord root and chord type for the selected track in the current Chord Variation.
Preparing to record |201 Copying the Key/Chord to other Chord Variation or Style tracks Once you have chosen a Key/Chord for the selected track, you can copy and paste it onto all the other tracks of the Chord Variation or Style. 1 While in Style Record, choose the Copy Key/Chord command from the page menu, to open the Copy Key/Chord dialog box.
202| Recording the Styles There are two general types of NTTs: NTT Type Description Parallel Notes are transposed inside the area set by the Wrap Around parameter. These tables are ideally suited to melody parts. as written Fixed as played back The arranger moves as few notes as possible, making legato lines and chord changes more natural. They are ideally suited to chord tracks (strings, piano etc...).
Preparing to record NTT Type/Table |203 Description Parallel/No Transpose The chord is not modified, and is moved to the new key unchanged. The pattern plays exactly the recorded notes, and is moved to the new key as it is. This is the standard setting of Intro 1 and Ending 1 in KORG’s original Styles (where a chord progression is usually recorded, and should remain unchanged in any key). Fixed/Chord This table moves as few notes as possible, making legato lines and chord changes more natural.
204| Recording the Styles Cue mode for the Style Element The Cue mode parameter lets you decide how the current Style Element has to enter after having been selected. This setting is only available for the Variation and Fill Style Elements. 1 Go to the Style Record > Record 2/Cue page to choose a Cue for the selected Style Element. 2 Use the Cue mode pop-up menu to choose a Cue mode for the selected Style Element.
Recording a Style in Realtime Record |205 Recording a Style in Realtime Record After having chosen the Style Element (Record 1 > E) and Chord Variation (Record 1 > CV) to record, go on recording. Using the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Realtime recording Select the track to record ▪▪ While in the Record 1 or Record 2/Cue page, touch the track to record to select it. The Record icon ( ) will appear.
206| Recording the Styles At any subsequent cycle, you can add notes and overdub the previous recording. This is very useful, for example, to record different percussive instruments at any cycle on a Drum or Percussion track. 3 When finished recording, press START/STOP to stop the arranger. Record other tracks of the Chord Variation ▪▪ While the arranger is not running, select a different track and go on recording all the tracks of the current Chord Variation.
Recording a Style in Realtime Record |207 Saving the Style ▪▪ When finished recording the new Style, choose the Write Style command from the page menu to save the Style. Exiting the Style Record mode without saving ▪▪ To exit the Style Record mode without saving any change, choose the Exit from Record command from the page menu, or press the RECORD button.
208| Recording the Styles Recording a Style in Step Record Step Recording allows you to create a new Style 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.
Recording a Style in Step Record |209 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. Select this parameter by turning the VALUE dial completely counter-clockwise.
210| Recording the Styles 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. 6 Press the third note, then release all notes. Insert a second voice You can insert passages where one note is kept pressed, while another voice moves freely.
Recording a Style in Step Record 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 = |211 (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
212| Recording the Styles 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 recording a drum or percussion track, where you may want to record the bass drum on a first cycle, the snare drum on the second cycle, and the hi-hat and cymbals during the following cycles. Exit from record 1 When finished recording, touch the Done button to exit the Step Record mode.
Recording a Guitar track |213 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.
214| 2 Recording the Styles Go the Style Record > Guitar Mode page. Choosing a Key/Chord for Intro 1 and Ending 1 The pattern is recorded in the key indicated by the Key/Chord pair of parameters. However, this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements. All other Style Elements will be played back according to the recognized chord. This parameter pair works in a different way than the other tracks.
Recording a Guitar track Vel. Chord Type Vel.
216| Recording the Styles 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 a Guitar track Note String(s) C2 VI String (E) C#2 Recognized Chord Root D2 V String (A) D#2 Recognized Chord Fifth E2 IV String (D) F2 III String (G) F#2 All Mute G2 II String (B) G#2 Power Chord A2 I String (e) A#2 Full Down/Up B2 Down/Up 4-Strings |217 88-keys 76-keys 61-keys Recording RX Noises ▪▪ 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.
218| Recording the Styles Recording a regular pattern Together with strums and arpeggios, you can record regular patterns, exactly as if the track was of the Acc type. This will save an Accompaniment track, when all you need is just to record some short melodic passages (for example, the closing of a strumming pattern). 88-keys You can record the pattern by playing in the range from C3 to B6, as shown 76-keys by the diagram.
Recording a Guitar track Vel. Range 19 |219 from Str. to Str.
220| Recording the Styles Vel. Range from Str. to Str.
Recording a Guitar track Vel. Range 89 90 |221 from Str. to Str. Position 2 Strings Treble I II 4 2 Strings Treble I II 5 Listening to the recorded pattern When in Stye Play mode, the recorded Guitar pattern is transposed according to the chord recognized on the keyboard. The way it is transposed depends on the programmed pattern, with the chosen positions, strumming mods, etc… You can see how a chord is composed on the fingerboard diagram.
222| Editing the Styles 21 Editing the Styles Editing the individual 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 (i.e., velocity value). The Event Edit page ▪▪ Go to the Style Record > Event Edit > Event Edit page. b. Edit the events a.
Editing the individual MIDI events |223 The Event Edit procedure Here is the general procedure to follow for the event editing. Choose the Style and access editing 1 While in Style Play mode, select the Style to edit, press the RECORD button and select the Current Style option. 2 While in one of the Style Record > Record pages, select the Style Element (E) and Chord Variation (CV) parameters. 3 Go to the Style Record > Event Edit > Event Edit page.
224| Editing the Styles 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 CC#80 80 CC#81 81 CC#82 82 (a). Expression events cannot be inserted at the starting Position (001.01.000).
Editing the individual MIDI events 4 |225 Touch the event to be edited, and edit it. Measure/Position Type Value 1 Value 2 Duration/Lenght ▪▪ Select the M (Measure), and use the VALUE dial 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 dial to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
226| Editing the Styles Editing the Style patterns You can edit the Style pattern data in the Style Record > Style Edit section. 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 Record > Style Edit > Quantize page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.
Editing the Style patterns 4 |227 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 quantize. These parameters are only available when a Drum or Percussion track is selected.
228| 3 4 Editing the Styles 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 quantize.
Editing the Style patterns 1 Go to the Style Record > Style Edit > Velocity page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. 3 4 |229 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.
230| Editing the Styles ▪▪ Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time. Start Value = 0%, End Value = 100% 127 Curve 1 127 Velocity 1 127 127 Velocity Start Value End Value Curve 4 1 127 Velocity 1 Curve 2 Velocity Start Value End Value Curve 5 End Value 1 1 127 Velocity Start Value Curve 3 Velocity Start Value End Value 1 Start Value End Value Curve 6 RANDOM Start Value End Value ▪▪ Use the Start Vel.
Editing the Style patterns |231 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 Record > Style 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.
232| Editing the Styles 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 Record > Style 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. Drum … Acc5 Selected track.
Editing the Style patterns 3 |233 Use the Event pop-up menu to choose the transpose value. 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.
234| Editing the Styles 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 Record > Style 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. Select the Style Element (E) and Chord Variation (CV) to delete.
Editing the Style patterns |235 Copying from a Style You can copy a track, Chord Variation or Style Element from the same or a different Style. Also, you can copy a complete Style to make a duplicate to be used as a starting point. Be warned that copying will overwrite all data at the target location. 1 Go to the Style Record > Style Edit > Copy from Style page. 2 Use the From Style parameter to choose the source Style.
236| 5 Editing the Styles After having set the various parameters, touch Execute. If you copy too many events on the same tick, the “Too many events!” message appears, and the copy operation is aborted. When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
Editing the Sounds and controls |237 Editing the Sounds and controls You can choose the Sounds, and edit various track parameters, in the Style Record > Style Element Track Controls section. Style Element original Sounds Each Style Element can use different Sounds. These Sounds are used when the Original Style Sounds parameter found in the Style Play > Volume (Style View) page is checked. Sounds assigned to the Style Settings are ignored.
238| Editing the Styles Copying the Style Element original Sounds 1 Choose the Copy Sounds command from the page menu to open the Copy Sounds dialog. 2 Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning All Settings will be copied to all Style Element of the Style in edit. Var1 … CountIn Single Style Element. Style Element relative volume (Expression) You can set different Expression (CC#11) values for each of the Style Element tracks.
Editing the Sounds and controls |239 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. Press the START/STOP button to start playback, and look at the indicators. When one of them lights up, you can enter Event Edit on the corresponding track, and edit or remove the Expression messages.
240| Editing the Styles Copying the Expression values 1 Choose the Copy Expression command from the page menu to open the Copy Expression dialog. 2 Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning All Settings will be copied to all Style Element of the Style in edit. Var1 … CountIn Single Style Element.
Editing the Sounds and controls 1 |241 Go to the Style Record > Style Element Track Controls > Sound/Expression page. Selected Style Element Keyboard Range 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. While recording, the Keyboard Range is ignored.
242| 2 Editing the Styles Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning All Settings will be copied to all Style Element of the Style in edit. Var1 … CountIn Single Style Element. 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 > Style Element Track Controls > Noise/Guitar page.
Editing the Chord Table |243 Editing the Chord Table You can link chords and Chord Variations in the Style Record > Chord Table section. 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 Element Chord Table > Chord Table page.
244| Editing the Styles Copying the Chord Table to other Style Elements Once you have set the Chord Table for the selected track, you can copy and paste it onto other Style Elements of the Style. 1 Choose the Copy Key/Chord command from the page menu, to open the Copy Key/Chord dialog box. 2 Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning All Settings will be copied to all Style Element of the Style in edit. Var1 … CountIn Single Style Element.
Editing the Style tracks |245 Editing the Style tracks You can edit the Track type and its response to retriggering and dissonances in the Style Record > Track Controls section. Track type, Trigger, Tension You can set the Track type, the Trigger mode, and activate/deactivate the Tension. 1 Go to the Style Record > Track Controls > Type/Trigger/Tension page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3).
246| 4 5 Editing the Styles Use the Trigger Mode parameter to define how Bass and Acc-type tracks are retriggered when the chord is changed. Trigger Mode Meaning Off Each time you play a new chord, current notes will be stopped. The track will remain silent until a new note will be encountered in the pattern. Rt (Retrigger) The sound will be stopped, and new notes matching the recognized chord will be played back.
Importing from a Standard MIDI File 22 |247 Importing and exporting the Styles Importing from a Standard MIDI File You can import Standard MIDI Files and convert them to a Style. Preparing the SMF file The Import SMF function allows you to import MIDI data from a Standard MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation. The Standard MIDI File to be imported must be programmed as if it was one of HAVIAN 30’s Chord Variations.
248| Importing and exporting the Styles 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. These will be the ‘original’ Sounds of the Style Element, that you can access from the Style Record > Record pages, or the Style Record > Style Element Track Controls > Sound/Expression page.
Importing from a Standard MIDI File |249 Importing a Standard MIDI File into a Chord Variation 1 Go to the Style Record > Import > 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 (like Key/Chord, Chord Table, Sounds…) to be reset when loading the SMF.
250| Importing and exporting the Styles HAVIAN 30 can only handle SMF format 0 (Zero). If you are in trouble importing your file, maybe your sequencer (or DAW) is exporting using SMF format 1. Please refer to the software’s user’s manual. 2 Keep the SHIFT button pressed, and touch the Execute button. 3 Release the SHIFT button. When creating a new Style, we suggest to check the Initialize checkbox.
Importing from a Standard MIDI File |251 The following events are stripped off the pattern, and automatically transferred to the Style Element header during the import procedure: ▪▪ Time signature (this event is mandatory) ▪▪ Control Change bundle #00-32 (Bank Select MSB/LSB) ▪▪ Program Change Control Change #11 (Expression), Control Change 00, Control Change 32 and Program Change messages must be placed at the very beginning of each Chord Variation (tick 0).
252| Importing and exporting the Styles different in other applications like Digital Performer, Logic Pro, Pro Tools or Sonar.
Export |253 Export You can export a Chord Variation as a Standard MIDI File (SMF), then edit it on your preferred external sequencer. Exporting a Chord Variation to a Standard MIDI File 1 Go to the Style Record > Export > SMF page. The (non editable) To Song parameter shows the name of the Standard MIDI File that will be generated. This (automatically assigned) name will be the same of the exported Chord Variation.
254| 3 Importing and exporting the Styles Assign a name to the Standard Midi File where to save the Style in edit. This operation will create, in the selected device, an SMF format 0 (Zero), containing all the MIDI data included in the selected Style, with each Chord Variation starting from a different Marker (named as per the naming convention explained in the Import section above).
Saving the edited Style 23 |255 Saving the new/edited Style Saving the edited Style Writing Styles 1 While in Style Record mode, choose the Write Style command from the page menu to open the Write Performance dialog. Style name Style bank Style location 2 Touch to open the Style Select window You may change the name of the Style. Touch the Text Edit ( open the virtual keyboard and edit the name. ) icon to When done editing the name, confirm by touching the OK button under the virtual keyboard.
256| Saving the new/edited Style 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.
The Favorite Styles 24 |257 Managing the Styles The Favorite Styles Favorite Style are User Styles, whose bank name you can customize. Creating the Favorite Style banks Load Styles into the Favorite Style locations ▪▪ While in the Media > Load page, you can load any Style into the Favorite banks. Copy & paste onto Favorite Style locations ▪▪ While in the Style Select window, choose the Copy and Paste command from the page menu, to copy & paste any Style into the Favorite banks.
258| Managing the Styles Renaming the Favorite Style banks 1 Open the Style Select window. 2 Choose the Rename Favorite command from the page menu to open the Rename Favorite Banks dialog. 3 Assign the Favorite Style tabs any name you like. ) icon next to the bank to be renamed, and use the Touch the Text Edit ( virtual keyboard to edit the name. When done, touch OK to confirm. The assigned name can be spanned over two lines, by separating them with the paragraph character (¶).
Copying the Styles |259 Copying the Styles You can copy any Style onto a Favorite or User Style location. Copying Factory Styles would make them editable. Select the Style to copy 1 While in Style Play mode, open the Style Select window. 2 Browse through the Styles in the Style Select window. 3 Touch the name of the Style you want to copy. ▪▪ To select more Styles, keep the SHIFT button pressed and touch all the Styles to be copied.
260| Managing the Styles Writing over the Factory Styles (and STSs) Factory Styles (and the Factory STSs they contain) are normally protected, to avoid overwriting the standard musical resources. You can, however, remove this protection and use any Factory Style location as if they were User locations. Remove the Factory Style protection 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.
Part VI: CUSTOMIZING, RECORDING AND EDITING THE SONGS |261
262| Customizing the Songs
Customizing a Song 25 |263 Customizing the Songs Customizing a Song Song Play vs. Sequencer mode The Player is just that – a player. 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.
264| Customizing the Songs Adjust a Sound’s volume level 1 While in the main page of the Song Play mode, touch the Volume tab to select the Volume pane. Here, you can adjust the volume of the Keyboard Sounds. 2 Press the TRACK SELECT button to switch to Song tracks 01-08. Press it again to see Song track 09-16. Song tracks 3 Touch the mixer channel whose volume level you want to change. 4 Keep the virtual volume slider held on the screen, and drag it to the desired level.
Customizing a Song |265 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 on the keyboard or sing live (the melody track in a MIDI Song is usually #04), or that you will play live.
266| Customizing the Songs Muting a Song’s Sound with an assignable switch or footswitch You can mute the melody track of a Song by assigning the Melody Mute function to the 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 footswitch. ▪▪ To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page.
Customizing a Song 3 |267 Touch the name of the Song track whose Sound you want to change. Sounds 4 Touch a Sound icon to select the corresponding track. 5 Touch it again, to open the Sound Select window and choose the Sound for the corresponding Song track, and choose a Sound. Transposing the Song Sounds If needed, set the Octave Transpose for each track. 1 Go to the Mixer/Tuning > Tuning page.
268| 26 Writing the Song Play Settings Writing the Song Play Settings Writing the default Song Play Tracks and FX 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 MIDI Songs, save it to memory. Save the Song Play Settings ▪▪ Go to the Global > Mode Preferences > Song page, and touch the Save Track & FX button.
Loading and listening a MIDI Song 27 |269 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 Style Play mode. Loading a MIDI Song 1 Press the SEQUENCER button to go to the main page of the Sequencer mode.
270| 2 Listening the MIDI Songs in Sequencer mode Touch the name of the Song to open the Song Selection window. Current path Storage device 3 Browse through the files and folders. When you see the MIDI Song (.mid) you want to load, touch it, then touch the Select button to load it. Playing the MIDI Song The main page of the Sequencer mode shows the Song playback controls.
Loading and listening a MIDI Song |271 Alternative starting position 1 Set the Start from measure number to choose the alternative starting position from where to start playback. 2 Select the Start from 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 Choosing the Tempo mode ▪▪ Use the Tempo pop-up menu to choose a Tempo mode.
272| Recording MIDI Songs 28 Recording MIDI Songs Multitrack Recording a Song In Multitrack Sequencer mode, you will record a MIDI Song by playing live over up to 16 MIDI tracks. Accessing the Multitrack Sequencer Record 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.
Multitrack Recording a Song |273 Measure and Beat counter Record parameters Track info Sounds and Octave trasnposition 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.
274| Recording MIDI Songs 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 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.
Multitrack Recording a Song |275 ▪▪ Use the Meter parameter to set the basic meter (or time signature) of the Song. You can edit this parameter only when the Song is empty, that is, before 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.
276| Recording MIDI Songs 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.
Multitrack Recording a Song |277 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 Rec Mode. Overwrite if you want to replace recorded data, Overdub if you want to add events to the same track.
278| Recording MIDI Songs 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 automaticaly 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 connected to the PEDAL connector to start and stop recording.
Step Recording a Song |279 Step Recording a Song Step Recording allows you to create a new Song by entering single notes or chords to 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.
280| Recording MIDI Songs 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.
Step Recording a Song |281 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. 6 Press the third note, then release all notes.
282| 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 = (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
Step Recording a Song |283 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. Saving the Song ▪▪ When finished recording the new Song, go to the main page of the Sequencer mode and choose the Save Song command from the page menu to save the Song.
284| Recording MIDI Songs 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.
Quick Recording a Backing Sequence Song 3 |285 Choose the Backing Sequence (Quick Record) option and touch OK to access the Backing Sequence Record page. Measure and Beat counter Record parameters Track info Tracks Mixer Setting the recording parameters When you enter the Backing Sequence Record mode, the latest selected Style and Sounds are already selected, and all recorder’s tracks are armed and ready to record. You could simply start recording as if you were playing with the Styles.
286| Recording MIDI Songs Choose a quantize resolution for recording ▪▪ Set the recording Resolution. Resolution Meaning High (1/32) … No quantization applied (1/8) Grid resolution, 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 ‘3’ after the quantization value means triplet.
Quick Recording a Backing Sequence Song |287 Recording Turn on the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Select the tracks to record ▪▪ Select or deselect the Backing Sequence grouped tracks (Kbd and Ch/Acc). 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. All previously recorded data will be deleted.
288| Recording MIDI Songs 4 When finished recording your Song, press the START/STOP button to exit recording, and return to the main page of the Sequencer mode. 5 While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. ) Backing Sequence and MIDI Songs After finishing recording, the Backing Sequence Song will be converted to an ordinary MIDI Song.
Quick Recording a Backing Sequence Song |289 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 tracks 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.
290| Recording MIDI Songs 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.
Step Recording a Backing Sequence Song 3 |291 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 dial.
292| Recording MIDI Songs 4 When finished editing, touch the Done button to exit from the Step Backing Sequence recording mode. 5 While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. ) Event types There 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.
Step Recording a Backing Sequence Song |293 Event type Meaning Style Element This is the Style Element (i.e., a Variation, Fill, Intro, or Ending). The length of the selected Style Element is always shown by the “Length” parameter (see below). “Off ” means that the accompaniment will not play at the selected position – only Keyboard and Pad tracks will play. Hint: Insert a Style Element Off event exactly where the automatic accompaniment must stop (at the end of the Song).
294| Recording MIDI Songs 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/Perfs, 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.
Editing the individual MIDI events 29 |295 Editing the MIDI Songs Editing the individual 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 (i.e., velocity value). The Event Edit page ▪▪ Go to the Sequencer > Event Edit > Event Edit page. b. Edit the events a.
296| Editing the MIDI Songs Filtering the events shown ▪▪ Go to the Sequencer > Event Edit > Filter page to select the events to display. Filter Meaning Note/RX Noise Notes and RX Noise events Program Program Change events Control Control Change events Tempo/Meter Tempo and Meter (time signature) changes (Master Track only) Pitch Bend Pitch Bend events Pa Controls Messages exclusive to the HAVIAN 30 and Pa-Series instruments.
Editing the individual MIDI events |297 ▪▪ Select the Value 1 and Value 2 parameters, and use the VALUE dial to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
298| Editing the MIDI Songs Jump to a different measure 1 Touch the Go Meas. 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.
Editing the Song tracks |299 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. 2 Select the Track to edit.
300| 3 Editing the MIDI Songs Use the Resolution pop-up menu to choose the 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 swingquantization. A ‘3’ after the quantization value means triplet.
Editing the Song tracks |301 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 the transpose value.
302| Editing the MIDI Songs Editing Velocity data You can change the velocity (dynamics) value of notes in the selected track(s). When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values. Also, a fade-out may result in the level ‘jumping’ up next to the zero, since a higher-level layer may be selected by low velocity values. 1 Go to the Sequencer > Song Edit > Velocity page.
Editing the Song tracks |303 ▪▪ Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve. Intensity Meaning 0 … 100% Intensity value. With a setting of 0%, the velocity will not change. With a setting of 100%, the velocity will be changed the most. ▪▪ Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time.
304| Editing the MIDI Songs 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. 4 Use the Meter parameter to set the meter (time signature) of the measure to be inserted.
Editing the Song tracks 2 3 4 |305 Select the Track to edit. 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. Use the Event pop-up menu to choose the the transpose value. Event Meaning All All events. The measures are not removed from the Song. Note All notes in the selected range. Dup.Note All duplicate notes.
306| Editing the MIDI 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 Song tracks |307 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.
308| Editing the MIDI Songs Converting notes to RX Noises You can use the RX Convert 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 > RX Convert page. 2 Use the Track parameter to choose the track to edit. Track Meaning All All tracks. Track 1 … 16 Selected track.
Saving the MIDI Song 30 |309 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).
310| Saving MIDI Songs 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. 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. 6 When back to the Save Song dialog, touch the OK button to save the Song.
Recording and saving an MP3 Song 31 |311 Recording MP3 Songs Recording and saving an MP3 Song Recording an MP3 Song Enter MP3 Record mode ▪▪ While in Style Play or Song Play mode, keep the SHIFT button pressed and press the RECORD button. The MP3 Record dialog will appear. When not recording, the Idle status will be shown. Set the recording parameters ▪▪ Use the Quality pop-up menu to choose the preferred MP3 audio quality. The higher the sound quality, the larger the MP3 file that will be generated.
312| Recording MP3 Songs for the temporary file, by checking the Free space parameter. The current file size is always shown by the File length parameter. Record the MP3 Song 1 Touch the Rec button in the display to start recording. The Rec button will change to Stop, and the Idle label will change to Recording. 2 Start playing your song. During recording, use the MP3 Record dialog to check the Recording time, File length and the Free space on the storage device.
Recording and saving an MP3 Song |313 What can you record into an MP3 Song? ▪▪ Everything you play on the keyboard, the Styles and the MIDI Songs performed by the Player will be recorded. ▪▪ You will not be able to load or play MP3 Songs while recording an MP3 Song. ▪▪ You will not be able to record an MP3 Song while an MP3 Song is playing. Saving the MP3 Song Save the MP3 Song After having stopped recording, the MP3 Record dialog will allow you to choose a location for saving the MP3 file.
314|
Part VII: CUSTOMIZING AND EDITING THE SOUNDS |315
316| Listening and customizing the Sounds
Accessing the Sound Edit mode 32 |317 Listening and customizing the Sounds Accessing the Sound Edit mode Accessing Sound Edit 1 While in the main page of the Style Play or Song Play mode, or in any page where you can select a Sound, touch the name of the Sound to open the Sound Selection window. 2 While in the Sound Select window, choose the Edit Sound command from the page menu.
318| Listening and customizing the Sounds The main page of the Edit Sound mode will appear. Sound name, bank, Octave Transpose, Program Change Quick edit data Voice Mode Effects Exiting Sound Edit ▪▪ While in the Sound Edit mode, choose the Exit From Edit command from the page menu to exit the edit mode. You will return to the previous mode.
Listening to individual Sounds |319 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. Playing via MIDI In Sound mode, HAVIAN 30 receives and transmits on the same channel as the Upper 1 part.
320| Listening and customizing the Sounds 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. The position of these controls is reset after you write the Sound, or choose a different Sound.
Customizing the Sound |321 Realtime Control Meaning Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum 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.
322| Listening and customizing the Sounds 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.
Customizing the Sound 33 |323 Editing the Sounds You can edit each single parameter of a Sound. HAVIAN 30 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.
324| Editing the Sounds 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 Edit > Basic > Sound Basic page). Oscillators If you cannot see the desired oscillator, touch the scroll arrow, until the hidden oscillator is shown in the display.
Setting the Sound’s basic parameters |325 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 Basic page. Setting the oscillators The Oscillator Count section is where you choose how many voices will be used by a single Sound.
326| Editing the Sounds 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.
Setting the Sound’s basic parameters |327 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.
328| Editing the Sounds 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.
Setting the Sound’s basic parameters |329 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).
330| 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 Basic page. The multisamples The OSC Multisample section contains the basic parameters of the assigned multisamples. Choosing and setting the multisamples ▪▪ Use the High and Low pop-up menus to choose the multisample’s bank (ROM or RAM).
Setting the oscillator’s basic parameters Bank Meaning ROM Factory multisamples, supplied by KORG as standard. RAM User multisamples, loaded when loading some User Sounds. |331 The High multisample will be triggered by velocities higher than the Velocity SW L–>H value. If you do not want to use velocity switching, set the switch to a value of 001, and only assign the High multisample.
332| Editing the Sounds Setting the velocity switch between the Low and High layers ▪▪ Use the Vel SW L–>H parameter to set the velocity value dividing the High and Low multisamples for the selected oscillator. Notes struck harder than this value will be played by the High multisample. Choosing an AMS (Alternate Modulation Source) When the AMS option is assigned to the Offset parameter, the Offset Intensity by AMS and AMS parameters become available. A list of AMS sources can be found in the Appendix.
Setting the oscillator’s basic parameters |333 Trigger Mode Meaning Sound Controller 1 The Oscillator only plays when a CC#80 (Sound Controller 1) message is received. Press and release the corresponding physical controller, and the next note will also trigger the selected Oscillator. If you keep it pressed, the Oscillator will continue to be triggered until you release the controller.
334| Editing the Sounds Trigger Mode Meaning Legato Down Like Legato, but this is only activated when the second note is out of the “Max Range” value (as set in the Basic > Sound Basic page) and it is lower than the first one. Choosing a delay before note start ▪▪ Use the Delay parameter to set a lapse between pressing a key and hearing the beginning of the sound. Delay Meaning 0…5000ms Delay time (in milliseconds) KeyOff The sound will begin when the note is released.
Setting the oscillator’s basic parameters |335 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 > Vel/Key Zone page. Setting a velocity zone ▪▪ Use the Velocity Zone (Top and Bottom) parameters (0…127) to specify the velocity zone for the selected oscillator.
336| Editing the Sounds Programming the Damper pedal Programming the pedal HAVIAN 30 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.
Programming the Damper pedal |337 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).
338| Editing the Sounds 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 Basic > Sound Basic page.
Programming the Damper pedal |339 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 RX’ Sound). ▪▪ Choose a Note, and set its Velocity.
340| Editing the Sounds Equalizing the Sound You can use a three-band, semi-parametric equalizer on each oscillator. ▪▪ Go to the Sound > Basic > EQ page. Activate 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.
Setting the Drum Kit’s basic parameters |341 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 > Sample Setup 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.
342| Editing the Sounds 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. The available number of layers depend on the Layers pop-up menu above. Editing the velocity switches Each of the velocity switch values in the Layer Selector & Velocity Sample Switch area separates two adjacent layers of the selected key.
Setting the Drum Kit’s basic parameters |343 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. RAM User samples, loaded when loading some User Drum Kits. The sample you select for the current layer will be triggered by velocities higher than the value of the velocity switches.
344| Editing the Sounds ▪▪ 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.
Equalizing the Drum Kit |345 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.
346| Editing the Sounds ▪▪ Use the EQ controls to create the equalization curve. EQ Control Meaning Low Gain Low frequencies equalization. This is a shelv- -18…+18dB ing curve filter. Value 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 shelv- -18…+18dB ing curve filter.
Mixing and retriggering the drum samples |347 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.
348| 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.
Modulating pitch |349 Modulating pitch Pitch can change depending on the note and the activated controllers. HAVIAN 30 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.
350| 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.
Modulating pitch |351 to simulate the downward swoops that a guitarist produces using the tremolo arm. 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.
352| 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).
Modulating pitch |353 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.
354| Editing the Sounds Programming the pitch envelope (Pitch EG) HAVIAN 30 includes a pitch envelope generator (Pitch EG) that can vary the pitch over time. ▪▪ Go to the Sound > Pitch > 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.
Programming the pitch envelope (Pitch EG) |355 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.
356| 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.
Programming the pitch envelope (Pitch EG) |357 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.
358| 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.
Programming the filters |359 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).
360| 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.
Modulating the filters |361 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 > Filter Mod 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.
362| 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.
Modulating the filters |363 ▪▪ 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.
364| 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 > Filter LFO Mod page. Modulating the filters with the LFOs ▪▪ Use the LFO 1/2 > Intensity to A/B parameters (-99…+99) to specify the depth and direction of the modulation that LFO 1/2 (set on Sound Edit > LFO > LFO 1 or LFO 2) will have on the cutoff frequency of filter A/B.
Modulating the filters |365 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.
366| 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 > 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.
Programming the filter envelope (Filter EG) |367 ▪▪ 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.
368| 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.
Programming the filter envelope (Filter EG) |369 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.
370| 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 amplitide 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 > Amp Level/Pan page.
Programming amplitude and pan |371 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 Random The sound will be heard from a different location at each note-on. L001…C064…R127 Sound placed from Left (L) to Right (R). A value of C064 is Center (C). The pan of a Sound can be controlled by CC#10 (Pan).
372| Editing the Sounds Modulating amplitude Modulating the amplitude level of each oscillator makes the sound alive and ever-changing. ▪▪ Go to the Sound > Amp > Amp Mod 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.
Modulating amplitude |373 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.
374| 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’.
Programming the amplitude envelope (Amp EG) |375 Programming the amplitude envelope (Amp EG) You can create time-varying changes in the volume of the selected oscillator. ▪▪ Go to the Sound > Amp > 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.
376| 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.
Programming the amplitude envelope (Amp EG) |377 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.
378| 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.
Programming the LFO |379 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.
380| 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.
Programming the LFO |381 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).
382| 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.
Programming the LFO |383 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.
384| 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). Adding the effects ▪▪ Go to the Sound > Effects > FX B Config page. Selecting the effects ▪▪ Use the FX Name pop-up menu to choose one of the available effects. 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.
Sound Edit utilities |385 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.
386| Editing the Sounds Copying the effects To speed up programming, you can copy a single effect, or both effects, to a different Sound. The procedure is the same explained for the Sound sets. 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.
AMS (Alternate Modulation Sources) |387 AMS (Alternate Modulation Sources) When the AMS abbreviation is encoutered, 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.
388| Editing the Sounds AMS Description Note JS+Y & AT/2 (Joy Stick Joystick +Y (vertical upward) +Y & After Touch/2) direction and After Touch (received/transmitted via MIDI or contained in Standard MIDI Files) The effect will be controlled by the joystick +Y (vertically upward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity.
AMS (Alternate Modulation Sources) Diagrams of the AmpKTrk sources follow.
390| Writing the Sounds 34 Writing the Sounds Writing the edited Sound After editing, you can save all the edited parameters into a User Sound location in memory. 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. Touch the Text Edit ( open the virtual keyboard and edit the name.
Writing the edited Sound |391 a location as if you were choosing a Sound. Blank locations are shown as a series of dashes (‘–––’). 4 When back at the Write Sound dialog, confirm the Write operation by touching the OK button. Some notes about writing the Sounds ▪▪ If you write over an existing Sound, the Sound will be overwritten. Please save on a storage device any User Sound you don’t want to lose. ▪▪ Ordinary Sounds cannot be written over Drum Kit locations.
392| Managing the User Samples 35 Managing the User Samples Getting information on the User Sample memory ▪▪ While in Sound Edit, press the MENU button and choose the User PCM Sample section. This will open the User Samples page. In this page, you can see the amount of Samples loaded in memory, and check the situation if the instrument reports there is no more room available. Object in memory Meaning Samples Number of User Samples in memory. Drum Samples Number of User Drum Samples in memory.
Deleting the User Samples |393 Deleting the User Samples While in the Sound Edit > User Samples page, you can delete some or all the User Samples in memory, to make room for other User Samples to be loaded. In case you don’t have a copy of these Samples, it is advisable to save or backup the Samples you want to preserve for future use, before deleting them from the instrument’s memory. Deleting non-assigned User Samples ▪▪ Touch the Delete button next to the Delete Non-assigned User PCM Samples command.
394|
Part VIII: THE EFFECTS |397
398| Effects for the MIDI Sounds
Adapting reverb to the room size 36 |399 Effects for the MIDI Sounds Adapting reverb to the room size HAVIAN 30 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.
400| Effects for the MIDI Sounds Effects list The following list contains all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages. Master FX 1/2 0 No Effect 35 St. Env. Flanger 70 Tape Echo BPM 2 Stereo Limiter 37 72 Reverb SmoothHall St.MasteringLimtr 39 Stereo Vibrato 74 St.Parametric4EQ 41 76 St.Exciter/Enhncr 43 Scratch 78 St. Wah/Auto Wah 45 Stereo Tremolo 80 P4EQ - Cho/Flng St. Random Filter 47 82 St.
Effects list 105 Decimator - Comp 107 Cho/Flng - Mt.Dly 109 Reverb - Gate 110 St.Mltband Limiter 116 Multitap Cho/Delay 122 Hold Delay 112 OD/HyperGain Wah 118 St. PitchShift BPM 124 St. BPM Long Dly 106 AmpSim - Tremolo 108 Phaser - Cho/Flng Master FX 2 only 111 PianoBody/Damper 113 GuitarAmp + P4EQ 114 BassTubeAmp+Cab. 115 St. Mic + PreAmp 117 St.
402| Effects for the MIDI Sounds DMS (Dynamic Modulation Sources) When the DMS abbreviation, or the symbol is encoutered, 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.
DMS (Dynamic Modulation Sources) |403 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.
404| Effects for the MIDI Sounds Dynamics (Dynamic) 0: No Effect Select this option when you do not use any effects. 1: 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.
Dynamics (Dynamic) g h Output Level 0…100 Sets the output level of the compressor Src Off…Tempo Selects the modulation source for the compressor output level Amt –100…+100 Sets the modulation amount for the compressor output level Wet/Dry Dry, 1:99…99:1, Wet Sets the Balance between the wet and dry signal Src Off…Tempo Selects a modulation source for Wet/ Dry Amt –100…+100 Sets the modulation amount for Wet/Dry |405 a: Envelope Select This parameter selects whether the left and right ch
406| Effects for the MIDI Sounds c: Attack This parameter controls the attack level. Compressor - Attack Level Attack=80 Attack=20 Wet Dry Time 2: 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.
Dynamics (Dynamic) e f g 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 Side PEQ Insert Off, On Toggles between on/off of the trigger signal’s EQ Trigger Monitor Off, On Switches between effect output monitor and trigger signal monitor Side PEQ Cutoff [Hz] 20…12.00k Sets the EQ center frequency for the trigger signal Q 0.5…10.
408| Effects for the MIDI Sounds 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.
Dynamics (Dynamic) |409 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.
410| Effects for the MIDI Sounds 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 Source) Amt –100…+100 Amount of modulation source i (Dynamic Modulation e: Low Offset [dB] f: Mid Offset [dB] g: High Offset
Dynamics (Dynamic) d 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 |411 5: 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.
412| Effects for the MIDI Sounds g h Side PEQ Cutoff [Hz] 20…12.00k Sets the center frequency of the equalizer for the trigger signal Q 0.5…10.0 Sets the bandwidth of the equalizer for the trigger signal Gain [dB] –18.0…+18.
Dynamics (Dynamic) |413 c: Polarity This inverts the polarity of the gate on/off operation. With the “–” setting, the gate will close when the input signal exceeds the specified level. The direction in which the modulation source opens or closes the gate will also be reversed. 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.
414| Effects for the MIDI Sounds EQ and Filters (EQ/Filter) 6: 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.
EQ and Filters (EQ/Filter) 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 Source) Amt –100…+100 Amount of modulation source (Dynamic |415 Modulation b: Band1 Type c: Band4 Type Selects a filter type for Band 1 and 4.
416| Effects for the MIDI Sounds 7: 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.
EQ and Filters (EQ/Filter) |417 You can configure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ. 8: 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.
418| Effects for the MIDI Sounds g h i Pre LEQ 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 Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Lo EQ Pre HEQ Gain [dB] –15.0…+15.
EQ and Filters (EQ/Filter) |419 9: 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.
420| g Effects for the MIDI Sounds Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry Wet signal Src Off…Tempo See DMS Source) Amt –100…+100 Amount of modulation source (Dynamic Modulation 10: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.
EQ and Filters (EQ/Filter) e 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.
422| Effects for the MIDI Sounds 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.
EQ and Filters (EQ/Filter) |423 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.
424| Effects for the MIDI Sounds 11: 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.
EQ and Filters (EQ/Filter) 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.
426| Effects for the MIDI Sounds 12: 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. Stereo In - Stereo Out Left FX Amt Filter Filter Right LFO Phase FX Amt LFO: Step-Tri/Random a b c d 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.
EQ and Filters (EQ/Filter) f Manual 0…100 Sets the filter center frequency Src Off…Tempo Selects the modulation source for the filter center frequency Amt –100…+100 Sets the modulation amount for the filter center frequency Depth 0…100 Sets the modulation depth of filter center frequency Src Off…Tempo Selects the modulation source of filter modulation Amt –100…+100 Sets the modulation amount of filter modulation h Resonance 0…100 Sets the resonance amount i Wet/Dry -Wet, -1:99… Dry…
428| Effects for the MIDI Sounds When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle.
EQ and Filters (EQ/Filter) |429 13: 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.
430| f Effects for the MIDI Sounds 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.
EQ and Filters (EQ/Filter) |431 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.
432| Effects for the MIDI Sounds 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. The “Note Interval” parameter sets the pitch offset from the original note number by semitone steps. The “Note Fine” parameter allows you to fine-tune in steps of cents.
EQ and Filters (EQ/Filter) e Voice Bottom A, I, U, E, O Selects a vowel sound at the bottom end of control f Formant Shift –100…+100 Sets the frequency to which the effect is applied Resonance 0…100 Sets the Level of resonance of the voice pattern 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.
434| Effects for the MIDI Sounds If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,” “u,” “i,” then “a.” Talking Modulator Control Voice Bottom A Voice Center Voice Top A I U E D-mod JS X Ribbon JS +Y JS –Y etc… O – Max Zero Zero + Max + Max f: Formant Shift This parameter adjusts the frequency level to which the effect is applied.
EQ and Filters (EQ/Filter) |435 16: 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).
436| e f g h Effects for the MIDI Sounds Depth 0…100 Sets the depth of the sampling frequency LFO modulation Src Off…Tempo Selects the LFO modulation source of the sampling frequency Amt –100…+100 Sets the LFO modulation amount of the sampling frequency Resolution 4…24 Sets the data bit length Output Level 0…100 Sets the output level Src Off…Tempo Selects the modulation source for the output level Amt –100…+100 Sets the modulation amount of the output level Wet/Dry Dry, 1:99…99:1, W
EQ and Filters (EQ/Filter) |437 17: 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.
438| Effects for the MIDI Sounds 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.
Overdrive, Amp models, and Mic models (OD Amp Mic) |439 Overdrive, Amp models, and Mic models (OD Amp Mic) 18: 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.
440| f g h i j Effects for the MIDI Sounds 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 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.
Overdrive, Amp models, and Mic models (OD Amp Mic) |441 b: Wah Sweep Range b: Wah Sweep Src This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep. The wah center frequency can 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.
442| Effects for the MIDI Sounds 19: St. Guitar Cabinet (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet.
Overdrive, Amp models, and Mic models (OD Amp Mic) |443 20: St. Bass Cabinet (Stereo Bass Cabinet) This simulates the acoustical character of a bass amp’s speaker cabinet.
444| Effects for the MIDI Sounds c 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 21: 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 b Amp Type Selects the amplifier type LA STUDIO An amp that is typical of the LA sound.
Overdrive, Amp models, and Mic models (OD Amp Mic) e Treble 0…100 Sets the treble (high range) level f Presence 0…100 Sets the presence (high-frequency tone) g 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 22: Bass Amp+Cabinet (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet.
446| Effects for the MIDI Sounds g Cabinet Simulater Off, On Switches the cabinet simulator on/off h Cabinet Type LA - 4x10, MODERN - 4x10, METAL - 4x10, CLASSIC - 8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 Selects the cabinet type 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 a: Amp Type h: Cabinet Typ
Overdrive, Amp models, and Mic models (OD Amp Mic) |447 23: 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 Output Level Right a FX Amt Tube1 Low Cut [Hz] Thru, 21…8.
448| Effects for the MIDI Sounds 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.
Overdrive, Amp models, and Mic models (OD Amp Mic) |449 24: 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 25: Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp.
450| Effects for the MIDI Sounds a Mic Type Vintage Dynamic, Multi Condenser, Percussion Condenser, Drums Dynamic, Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic Selects the type of mic 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.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) |451 Chorus, Flanger, and Phaser (Cho/Fln Phaser) 26: 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.
452| e Effects for the MIDI Sounds 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 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 Pre LEQ Gain [dB] –15.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) |453 27: 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 Speed [Hz] 0.10…10.
454| Effects for the MIDI Sounds 28: 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.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) 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, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |455 f: High/Low Split Point Thi
456| Effects for the MIDI Sounds 29: 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.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) 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.
458| Effects for the MIDI Sounds a LFO Frequency [Hz] 0.02…13.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) |459 31: 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.
460| Effects for the MIDI Sounds 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 32: Polysix Ensemble This models the ensemble effect built PolySix programmable polyphonic synthesizer.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) |461 33: 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 High Damp Right FX Amt LFO Phase LFO: Tri / Sine LFO Shape a Delay Time [msec] 0.0…50.
462| g h Effects for the MIDI Sounds 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 Source) Amt –100…+100 Amount of modulation source (Dynamic Modulation g: Feedback h: Wet/Dry The peak shape of the positive and negative “Feedback” value is different.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) |463 34: St. Random Flanger (Stereo Random Flanger) The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect. Stereo In - Stereo Out Left FX Amt Flanger Feedback Flanger Right LFO Phase High Damp FX Amt LFO: Step-Tri/Random a Delay Time [msec] 0.0…50.
464| f Effects for the MIDI Sounds Step Base Note Selects the type of notes to specify the LFO step speed … Times x1…x32 Sets the number of notes to specify the LFO step speed g Depth 0…100 Sets the depth of LFO 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 modulatio
Chorus, Flanger, and Phaser (Cho/Fln Phaser) b R Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the right-channel delay time R Dly Top [msec] 0.0…50.
466| Effects for the MIDI Sounds d: EG Attack d: EG Decay Attack and Decay speed are the only adjustable parameters on this EG. 36: 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.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) e f h j 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 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 Dam
468| Effects for the MIDI Sounds 37: 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. Stereo In - Stereo Out Left FX Amt Phaser Resonance High Damp Phaser Right LFO Phase FX Amt LFO: Step-Tri/Random a b c d LFO Waveform Step-Tri, StepSin, Random Selects the LFO Waveform LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right LFO Frequency 0.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) e Step Base Note … Selects the type of notes to specify the LFO step speed Times x1…x32 Sets the number of notes to specify the LFO step speed 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 [%
470| Effects for the MIDI Sounds 38: St. Env. Phaser (Stereo Envelope Phaser) This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.
Chorus, Flanger, and Phaser (Cho/Fln Phaser) g 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 |471
472| Effects for the MIDI Sounds Modulation and Pitch Shift (Mod./P.Shift) 39: 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.
Modulation and Pitch Shift (Mod./P.Shift) f 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.
474| Effects for the MIDI Sounds on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. AUTOFADE Gate1 Signal All Note Off Note On AUTOFADE AutoFade Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Frequency[Hz]=1.0 Amount=+3.0 LFO Frequency =1.0+3.0=4.0Hz Fade-In Rate Fade-In Dealy LFO Frequency =1.0Hz 40: St. Auto Fade Mod.
Modulation and Pitch Shift (Mod./P.
476| Effects for the MIDI Sounds 41: 2Voice Resonator This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO.
Modulation and Pitch Shift (Mod./P.
478| Effects for the MIDI Sounds has a positive value), Voice 2 will resonate at a pitch an octave below (Resonance has a negative value). f: Voice 1: Pitch f: Fine [cents] h: Voice 2: Pitch h: Fine [cents] The Pitch parameter specifies the pitch of resonance by note name. The “Fine” parameter allows for fine adjustment in steps of cents. g: High Damp [%] i: High Damp [%] This sets the amount of damping amount for the high frequencies of the resonant sound.
Modulation and Pitch Shift (Mod./P.Shift) 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.
480| Effects for the MIDI Sounds 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.
Modulation and Pitch Shift (Mod./P.Shift) |481 43: 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.
482| Effects for the MIDI Sounds 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.
Modulation and Pitch Shift (Mod./P.Shift) |483 44: 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.
484| Effects for the MIDI Sounds e 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: 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.
Modulation and Pitch Shift (Mod./P.Shift) |485 45: 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.
486| f Effects for the MIDI Sounds 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: LFO Waveform This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar-amp tremolo. Tremolo - LFO Waveform Triangle Sine Vintage Up Down b: LFO Phase [degree] This parameter determines the difference between the left and right LFO phases.
Modulation and Pitch Shift (Mod./P.Shift) |487 46: 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.
488| Effects for the MIDI Sounds 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.
Modulation and Pitch Shift (Mod./P.Shift) a LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the curvature of the LFO Waveform b LFO Phase [de- –180…+180 gree] 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.
490| Effects for the MIDI Sounds 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 R-In R-In R-In R-In R-In R-In L-In L-In L-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 R-In Left LFO Phase = 180 degrees L-In L-In L-In R-In R-In Right Center Output Stereo Image 48: St.
Modulation and Pitch Shift (Mod./P.Shift) b 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… +20.00 Sets the LFO speed modulation amount 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.
492| Effects for the MIDI Sounds a: Type a: LFO Phase [degree] Select the type of phaser LFO and tremolo LFO for the “Type” parameter. How the effect sound moves or rotates depends on the type of LFO. Selecting “LFO Phase” enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound. f: Phaser Wet/Dry i: Wet/Dry PHASER Wet/Dry sets the balance between the phaser output and the dry sound.
Modulation and Pitch Shift (Mod./P.Shift) a b c d e OSC Mode Fixed, Note (Key Follow) Switching between specifying the oscillator 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.
494| Effects for the MIDI Sounds 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.
Modulation and Pitch Shift (Mod./P.Shift) |495 50: 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. Compared to the chorus effect, a more natural sound thickness will be created.
496| Effects for the MIDI Sounds d: Input Level Dmod [%] d: Src This parameter sets the dynamic modulation of the input level. Input Level Input Level Dmod Input Level x1.0 x1.0 Input Level Dmod= –50 Input Level Dmod= –100 Input Level Dmod= +100 x0.5 Higher Zero Max Louder Louder Input Level Dmod= +50 x0.5 D-mod Higher Zero Max D-mod 51: Pitch Shifter This effect changes the pitch of the input signal.
Modulation and Pitch Shift (Mod./P.
498| Effects for the MIDI Sounds If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch. 52: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo.
Modulation and Pitch Shift (Mod./P.
500| Effects for the MIDI Sounds 53: Pitch Shift Mod. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.
Modulation and Pitch Shift (Mod./P.Shift) g 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 |501 a: Pitch Shift [cents] e: Depth These parameters set the amount of pitch shift and amount of modulation by means of the LFO.
502| Effects for the MIDI Sounds 54: Organ Vib/Chorus (Organ Vibrato/Chorus) This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized.
Modulation and Pitch Shift (Mod./P.Shift) 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 |503 b: Control Mode c: Preset Type d: Custom Mix e: Custom Depth f: Custom Speed [Hz] If Control Mode=Preset, you can use c: Preset Type to select the effect. In this case, the Custom Mix/Depth/Speed settings are ignored.
504| Effects for the MIDI Sounds 55: 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.
Modulation and Pitch Shift (Mod./P.Shift) g h Mic Distance 0…100 Sets the distance between the microphone and rotary speaker Mic Spread 0…100 Sets the angle of left and right microphones 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 |505 a: Mode This parameter sets how the modulation source switches between rotation and stop.
506| Effects for the MIDI Sounds d: Horn Acceleration e: Rotor Acceleration On a real rotary speaker, the rotation speed accelerates or decelerates gradually after you switch the speed. The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds. g: Mic Distance g: Mic Spread This is a simulation of stereo microphone settings.
Delay |507 Delay 56: 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.
508| h Effects for the MIDI Sounds 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: 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.
Delay 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 damping amount in the low range h Input Le
510| Effects for the MIDI Sounds 58: 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.
Delay 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 Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 |511 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. You need to input different sounds to each channel in order for this parameter to be effective.
512| Effects for the MIDI Sounds 59: 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.
Delay f 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.
514| Effects for the MIDI Sounds The “Src” parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so that the sweep always starts from the specified point. “L LFO Phase” and “R LFO Phase” set the phase obtained when the left and right LFOs are reset. In this way, you can create changes in pitch sweep for the left and right channels individually.
Delay h High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range i Spread –100…+100 Sets the width of the stereo image of the effect sound 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 |515 a: Control Target This parameter selects no level control, delay output control (effect balance), or feedback amount con
516| Effects for the MIDI Sounds The “Attack” and “Release” parameters specify attack time and release time of delay level control. Dynamic Delay Level Dry Threshold Envelope Attack Release (Ducking Delay) Wet Target=Output Level Polarity= (–) Delay Time Wet Target=Output Level Polarity= (+) Time 61: St. AutoPanningDly (Stereo Auto Panning Delay) This stereo delay effect pans the delay sound left and right using the LFO.
Delay a b c d 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.
518| Effects for the MIDI Sounds 62: Tape Echo This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced.
Delay h High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range i Saturation 0…100 Sets the distortion amount j Input Trim 0…100 Sets the input gain Pre Tone 0…100 Sets the tone of the input Wow Flutter [Hz] 0.02…1.
520| Effects for the MIDI Sounds 63: Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).
Delay |521 a: Rec Mode b: Reverse Time [msec] When “Rec Mode” is set to Single, you can set up to 2,640msec for “Reverse Time.” If recording starts during the reverse playback, the playback will be interrupted. 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.
522| Effects for the MIDI Sounds 64: Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Pan FX Amt Input Level D-mod + Delay High Damp Low Damp Feedback Input Level D-mod Right FX Amt Tempo BPM BPM Rythm Pattern a BPM MIDI, 40.00… 300.
Delay 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 |523 a: BPM b: Rhythm Pattern With the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm pattern will automatically turn the tap outputs on and off.
524| a b c d Effects for the MIDI Sounds BPM MIDI, 40.00… 300.
Delay |525 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. 66: Stereo BPM Delay This stereo delay enables you to set the delay time to match the song tempo.
526| d Effects for the MIDI Sounds 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 damping amou
Delay |527 67: 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.
528| g h i j Effects for the MIDI Sounds 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 Sets the modu
Delay |529 68: St.BPM Mod. Delay (Stereo BPM Modulation Delay) This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song.
530| f Effects for the MIDI Sounds 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.
Delay |531 i: Time Over? L, R You can set the delay time up to 2,550msec. 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. 69: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) This stereo auto panning delay enables you to set the delay time to match the song tempo.
532| d Effects for the MIDI Sounds High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range LFO Waveform Triangle, Sine Selects the LFO Waveform Shape –100…+100 Changes the curvature of the LFO Waveform LFO Phase –180…+180 Sets the LFO phase difference between the left and right f Panning Freq [Hz] 0.02…20.
Delay |533 70: 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.
534| g Effects for the MIDI Sounds 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 feedback amou
Delay |535 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.
536| Effects for the MIDI Sounds Reverb and Early Reflections (Reverb ER) 71: Reverb Hall This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. 72: Reverb SmoothHall This hall-type reverb simulates the reverberation of larger halls and stadiums, and creates a smooth release. 73: Reverb Wet Plate This plate reverb simulates warm (dense) reverberation. 74: Reverb Dry Plate This plate reverb simulates dry (light) reverberation.
Reverb and Early Reflections (Reverb ER) d e 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.
538| Effects for the MIDI Sounds 76: Reverb BrightRoom This room-type reverb emphasizes the early reflections that make the sound brighter. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left EQ Trim LEQ + HEQ FX Amt Pre Delay Thru Pre Delay Reverb ERs EQ Trim Right a ER Level ERs Reverb Level ER Level FX Amt Reverb Time [sec] 0.1…3.
Reverb and Early Reflections (Reverb ER) |539 c: ER Level d: Reverb Level These parameters set the early reflection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger “ER Level” simulates a hard wall, and a larger “Reverb Level” simulates a soft wall.
540| e f g Effects for the MIDI Sounds Pre LEQ 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 Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Low EQ Pre HEQ Gain [dB] –15.0…+15.
Mono-Mono Serial (Mono-Mono) |541 Mono-Mono Serial (Mono-Mono) 78: 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.
542| h Effects for the MIDI Sounds 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 79: 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.
Mono-Mono Serial (Mono-Mono) e [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4 Q 0.5…10.
544| Effects for the MIDI Sounds 80: 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.
Mono-Mono Serial (Mono-Mono) h [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) Amt –100…+100
546| b c d e Effects for the MIDI Sounds [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.
Mono-Mono Serial (Mono-Mono) |547 82: 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 0.5…10.
548| i j Effects for the MIDI Sounds [D]Mt.
Mono-Mono Serial (Mono-Mono) 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 [w]Sweep Mode
550| Effects for the MIDI Sounds 84: Comp - Amp Sim (Compressor - Amp Simulation) This effect combines a mono compressor and an amp simulation. You can change the order of the effects.
Mono-Mono Serial (Mono-Mono) |551 85: 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.
552| h Effects for the MIDI Sounds [O]Wet/Dry Dry, Sets the overdrive effect balance 1 : 99…99 : 1, Wet 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, OD/HG › Comp Switches the order of the compressor and overdrive 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
Mono-Mono Serial (Mono-Mono) d [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.
554| Effects for the MIDI Sounds COMPRESSOR a b [C] Sensitivity 1…100 Sets the sensitivity [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 0.02…20.
Mono-Mono Serial (Mono-Mono) |555 However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/flanger effects. When “Routing” is set to Flanger/Comp, “[F]Output Mode” will be set to Normal. 88: Comp - Phaser (Compressor - Phaser) This effect combines a mono compressor and a phaser. You can change the order of the effects.
556| Effects for the MIDI Sounds g [P]Phaser Wet/Dry -Wet, -1:99… Sets the phaser effect balance Dry…99:1, Wet Src Off…Tempo Selects the Wet/Dry source for the phaser Amt –100…+100 Sets the Wet/Dry modulation amount for the phaser h [F]Output Mode Normal, Wet Invert Selects the phaser output mode i Routing Switches the order of the compressor Comp › Phaser, Phaser and phaser › Comp j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS Source) Amt
Mono-Mono Serial (Mono-Mono) 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 [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…1360.0 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.
558| Effects for the MIDI Sounds 90: Limiter - P4EQ (Limiter - Parametric 4-Band EQ) This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing Limiter + Parametric 4Band EQ Limiter Gain Adjust FX Amt Trim Right FX Amt Envelope - Control LIMITER a b c [L]Ratio 1.0 : 1… 50.
Mono-Mono Serial (Mono-Mono) i Routing Limiter › P4EQ, Switches the order of the limiter and P4EQ › Limiter parametric EQ 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 |559 a: [L]Ratio a: Threshold [dB] c: [L]Gain Adjust [dB] This parameter sets the signal compression “[L]Ratio”. Compression is applied only when the signal level exceeds the “Threshold” value.
560| Effects for the MIDI Sounds 91: Limiter - Cho/Flng (Limiter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger. 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 + Limiter EQ Trim LEQ HEQ Chorus/Flanger Gain Adjust Feedback Right Envelope - Control FX Amt Chorus/Flanger LFO: Tri / Sine + – Normal Output Mode Wet Invert Cho/Flng FX Amt FX Amt LIMITER a b c [L]Ratio 1.
Mono-Mono Serial (Mono-Mono) i j [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger Routing Limiter › Flanger, Flanger › Limiter Switches the order of the limiter and chorus/flanger 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 |561 Modulation 92: Limiter - Phaser This effect combines a mono limiter and a phaser. You can change the order of the effects.
562| e Effects for the MIDI Sounds [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 phaser’s Wet/Dry modulation source Amt –100…+100 Sets the phaser’s Wet/Dry modulation amount g [P]Output Mode Normal, Wet Invert Selects the phaser output mode h Routing Limiter › Phaser, Phase
Mono-Mono Serial (Mono-Mono) LIMITER a b c [L]Ratio 1.0 : 1… Sets the signal compression ratio 50.0 : 1, Inf : 1 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 MULTITAP DELAY d e [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time Tap1 Level Sets the Tap1 output level 0…100 [D]Tap2 Time [msec] 0.0…1360.
564| Effects for the MIDI Sounds 94: Exciter - Comp (Exciter -Compressor) This effect combines a mono exciter and a compressor. You can change the order of the effects.
Mono-Mono Serial (Mono-Mono) |565 95: Exciter - Limiter This effect combines a mono exciter and a limiter. You can change the order of the effects.
566| Effects for the MIDI Sounds 96: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
Mono-Mono Serial (Mono-Mono) 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 97: Exciter - Phaser This effect combines a mono limiter and a phaser.
568| Effects for the MIDI Sounds g [P]Phaser Wet/Dry -Wet, -1:99… Sets the phaser effect balance Dry…99:1, Wet 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 (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source 98: Exciter - Mt.
Mono-Mono Serial (Mono-Mono) f [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.
570| Effects for the MIDI Sounds OD/HI-GAIN a [O]Drive Mode Drive 1…100 Sets the degree of distortion b [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 e [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 f [O]Mid1 Cutoff [Hz] 300…10.
Mono-Mono Serial (Mono-Mono) |571 100: OD/HG - Cho/Flng (Overdrive/Hi.Gain - Chorus/Flanger) This effect combines a mono overdrive/high-gain distortion and a chorus/ flanger. You can change the order of the effects.
572| Effects for the MIDI Sounds i j k l [F]Delay Time [msec] 0.0…1350.
Mono-Mono Serial (Mono-Mono) 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.
574| Effects for the MIDI Sounds k l [P]Output Mode Normal, Wet Invert Selects the phaser output mode Routing OD/HG › Phaser, Phaser › OD/HG Switches the order of the overdrive and phaser 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 102: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and a multitap delay.
Mono-Mono Serial (Mono-Mono) f [O]Mid1 Cutoff [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 [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/ High EQ 2 (peaking type) Q 0.5…10.0 Sets the band width of Mid/High EQ 2 Gain [dB] –18…+18 Sets the gain of Mid/High EQ 2 [D]Tap1 Time [msec] 0.0…1360.
576| Effects for the MIDI Sounds 103: Wah - Amp Sim (Wah - Amp Simulation) This effect combines a mono wah and an amp simulation. You can change the order of the effects.
Mono-Mono Serial (Mono-Mono) g Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry Wet signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |577 104: Decimator - Amp (Decimator - Amp Simulation) This effect combines a mono decimator and an amp simulation. You can change the order of the effects.
578| Effects for the MIDI Sounds 105: Decimator - Comp (Decimator - Compressor) This effect combines a mono decimator and a compressor. You can change the order of the effects.
Mono-Mono Serial (Mono-Mono) 106: AmpSim - Tremolo (Amp Simulation- Tremolo) This effect combines a mono amp simulation and a tremolo.
580| Effects for the MIDI Sounds 107: 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.
Mono-Mono Serial (Mono-Mono) d e [D]Mt.
582| Effects for the MIDI Sounds CHORUS/FLANGER d [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.
Mono-Mono Serial (Mono-Mono) 109: Reverb - Gate This effect combines a mono reverb and a gate. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Reverb + Pre Delay EQ Trim LEQ HEQ Reverb Gate Reverb Balance Right FX Amt Input Reverb Mix Input Envelope - Control Gate+Dmpr D-mod Envelope Select Gate REVERB a [R]Reverb Time [sec] 0.1…10.
584| Effects for the MIDI Sounds h [G]Polarity +, – Switches between non-invert and invert of the gate on/off state i [G]Attack 1…100 Sets the attack time Release 1…100 Sets the release time 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 j (Dynamic Modulation f: [G]Envelope Select f: Src g: [G]Input Reverb Mix g: Threshold The “[G]Envelope Select” parameter enables you to select whether turni
Double Size |585 Double Size Double-size effects can only be assigned to the FX2 processors (either in the A or B FX group). 110: St. Mltband Limiter (Stereo Mltband Limiter) This is a stereo multiband limiter.
586| Effects for the MIDI Sounds 111: 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.
Double Size |587 tion source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal). The effect is off when a value for the modulation source specified for the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher. c: Tone d: Mid Shape These parameters control the tonal quality of the effect sound. e: Tune Since this effect simulates the resonance of the strings, the sound varies depending on the pitch.
588| Effects for the MIDI Sounds 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.
Double Size |589 113: 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.
590| d Effects for the MIDI Sounds Treble 0…100 Sets the treble (high range) level Presence 0…100 Sets the presence (high-frequency tone) e Post P4EQ Thru, On Selects through or on for the equalizer e Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of Q 0.5…10.0 Sets Band 1’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 1 f g h i Band 1 Band2 Cutoff [Hz] 50…5.00k Sets the center frequency of Q 0.5…10.
Double Size |591 set Post P4EQ to “Thru,” but if necessary you can turn it “On” and adjust the tone.
592| Effects for the MIDI Sounds 114: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) This simulates a bass amp (with gain and drive) and speaker cabinet.
Double Size j 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 |593 Modulation a: Amp Type i: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type STUDIO COMBO STUDIO - 1x15 AC100 VOX AC100 - 2x15 UK MAJOR UK - 4x15, UK - 4x12 115: St.
594| Effects for the MIDI Sounds 116: Multitap Cho/Delay (Multitap Chorus/Delay) This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source.
Double Size e Tap4 (240) [msec] 0…2000 Sets the Tap4 (LFO phase=240 degrees) delay time Depth 0…30 Sets the Tap4 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation source for the control of Tap4 output Tap5 (120) [msec] 0…2000 Sets the Tap5 (LFO phase=120 degrees) delay time Depth 0…30 Sets the Tap5 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation source for the control of Tap5 output Tap6 (3
596| Effects for the MIDI Sounds b, c, d, e, f, g: Status These parameters set the output status of each Tap. Always On: Output is always on. (No modulation) Always Off: Output is always off. (No modulation) On/Off (dm): Output level is switched from on to off depending on the modulation source. Off/On (dm): Output level is switched from off to on depending on the modulation source.
Double Size c 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 d L Delay [msec] 0…2000 Sets the delay time for the left channel e R Delay [msec] 0…2000 Sets the delay time for the right channel f Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the damping amount in the high range Feedback Position Pre, Post Switches the feedback connection Spread –100…+100 Sets the width of t
598| Effects for the MIDI Sounds 118: St. PitchShift BPM (Stereo Pitch Shifter BPM) This stereo pitch shifter enables you to set the delay time to match the song tempo.
Double Size f g h i j 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 Position Pre, Post Switches the feedback connection Spread –100…+100 Sets the width of the stereo image of the effect sound Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the damping amount in the high range Input Level Dmod [%] –100…+100 Sets the modulation amount of t
600| Effects for the MIDI Sounds 119: 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.
Double Size f g h i j 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.
602| Effects for the MIDI Sounds 120: L/C/R Long Delay This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maximum of 5,460msec for the delay time.
Double Size h 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 |603 Modulation 121: 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.
604| h Effects for the MIDI Sounds Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level i Spread –50…+50 Sets the width of the stereo image of the effect sound j 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 122: Hold Delay This effect records the input signal and plays it back repeatedl
Double Size c d BPM MIDI, 40.00… 300.
606| Effects for the MIDI Sounds 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.
Double Size |607 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.
608| Effects for the MIDI Sounds 123: LCR BPM Long Dly The L/C/R delay enables you to match the delay time with the song tempo. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt L Delay Input Level D-mod + High Damp Low Damp Level Feedback R Delay Input Level D-mod Right Tempo BPM Level C Delay Spread Level FX Amt BPM Base Note x Times Base Note x Times Base Note x Times a b c d e BPM MIDI, 40.00… 300.
Double Size f 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 Sets the width of the stereo image of the effect sound 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
610| Effects for the MIDI Sounds 124: 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.
Double Size 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, Balance between the wet and dry Wet signal
612| Effects for the MIDI Sounds 125: Early Reflections 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.
Limiter 37 |613 Limiter, Master EQ Limiter The Limiter allows for an increased loudness of the Sounds (Keyboard, Styles and MIDI Songs), by compressing the signal exceeding a defined threshold. MP3 files are not affected by the Limiter (since they are usually already ‘produced’, and do not need to pass through the Limiter again). Accessing the Limiter ▪▪ Go to the Global > Audio & EQ > Limiter page.
614| Limiter, Master EQ Limiter Parameter Meaning Value Ratio Sets the signal compression ratio. Compression Inf:1 … 1.0:1 is applied only when the signal level exceeds the Threshold value. 1.0:1 means no compression. Threshold Sets the level above which compression is ap- -40 … 0 plied. 0dB means no signal processed. Attack Sets the attack time. A higher attack time will 1 … 100 cause the compres- sion to be applied more slowly, and not react fast enough for notes with faster transients.
Limiter |615 Saving a Limiter Preset Open the Write Limiter Preset dialog 1 While in the Limiter page, choose the Write Limiter Preset command from the page menu to open the Write Limiter Preset dialog. Write over the current Limiter Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button. Write to a different Limiter Preset location 1 If you want to choose a different location, use the Limiter pop-up menu.
616| Limiter, Master EQ Master EQ A fully parametric Master EQ is placed at the end of the audio path, just before the various audio outputs (Audio Outs, Phones, integrated speakers). Both Sounds (Keyboard, Styles and MIDI Songs) and MP3 Songs are equalized. This is a full spectrum frequency equalization, that gives you the power to design EQ curves and shape your sound. Master EQ features four fully programmable bands with fully adjustable gain, frequency, and Q parameters.
Master EQ EQ Par. Meaning Value Low Q |617 ‘Quality’ of the EQ filter; higher values correspond to narrower, more accurate filters. Use higher values for near-surgical correction on isolated frequencies, lower values for more musical, softer equalization. Freq Center frequency of the corresponding band. Center it on the problem- 20Hz… atic frequency, or the harmonics you 1kHz want to emphasize or attenuate. Gain Gain of the corresponding band. Use it to make the frequencies stronger or weaker.
618| Limiter, Master EQ Saving a Master EQ Preset Open the Write Master EQ Preset dialog 1 While in the Master EQ page, choose the Write Master EQ Preset command from the page menu to open the Write Master EQ Preset dialog. Write over the current Master EQ Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button. Write to a different Master EQ Preset location 1 If you want to choose a different location, use the Master EQ pop-up menu.
Part IX: GLOBAL SETTINGS, PREFERENCES |619
620| Customizing the user interface
Colors and language 38 |621 Customizing the user interface Colors and language Choosing the chords and keyboard language 1 Since the instrument must be restarted at the end of this procedure, be sure to first save all unsaved data. 2 Go to the Global > General Controls > Interface page. 3 Use the Language pop-up menu to select one of the available languages. 4 Touch the Change button to apply the selected language. 5 A message will ask you to reboot the instrument.
622| Customizing the user interface Customizing the display colors You can choose your preferred color scheme for the display. 1 Go to the Global > General Controls > Interface page. 2 Use the Color pop-up menu to select one of the color schemes. Automatically closing the Select windows You may prefer to leave a Select window open after you have chosen a Sound, Performance, STS or Style, to continue trying other elements in that window.
Program Change and activity indicators |623 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. By default, this option is turned on. 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.
624| Customizing the user interface 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 tracks or the USB inputs. 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.
Automatically choosing Styles and Performances 39 |625 Auto selection and locking Automatically choosing Styles and Performances Preferred Styles and Performances can be assigned to the Style and Performance bank tabs, and to the PERFORMANCE buttons. Automatically selecting the Styles When the Auto Select > Style parameter is activated, touching the name of a bank in the Style Select window automatically selects the latest selected Style in that bank.
626| Auto selection and locking Automatically selecting the Performances When the Auto Select > Performance parameter is activated, pressing one of the PERFORMANCE buttons, or touching the name of a bank in the Performance Select window, automatically selects the Performance you latest selected in that bank. This way, you can assign your preferred Performance to each control panel’s button, and select it just with a single press.
Locking parameters to prevent changes |627 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.
628| Auto selection and locking Locking the Control parameters 1 Go to the Global > General Controls > Lock > Control page. 2 Select/deselect the desired locks. Control lock Meaning Upper 1 FXs When choosing the Upper 1 Sound, the FX settings contained in the Sound or those contained in the Performance/STS can be selected. • If this lock is closed, Performance/STS FX parameters are left untouched when choosing an Upper 1 Sound.
Locking parameters to prevent changes |629 Locking the Style parameters 1 Go to the Global > General Controls > Lock > Tuning page. 2 Select/deselect the desired locks. Style locks Meaning Style Tracks Volume When this lock is closed, the Style Sounds’ volume do not change when a different Style is selected. This is useful when you create your own User Styles, and prefer to dynamically adjust the volume by using the internal mixer.
630| System preferences 40 System preferences Setting the date and time for file saving HAVIAN 30 lets you specify a date and time to be recorded as the date & time stamp for the files being saved. This is useful for keeping track of when you created and saved your data. File date stamps are shown when you use the Media functions, or when reading data with a personal computer. Since HAVIAN 30 does not include an internal clock, the date is not automatically updated.
Automatic power off |631 Automatic power off HAVIAN 30 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 > Date & 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.
632| Mode preferences 41 Mode preferences Style Play preferences Choosing the Memory Mode You can decide how the MEMORY button works. 1 Go to the Global > Mode Preferences > Style page. 2 Use the Memory Mode pop-up menu to choose the Memory mode. Memory Mode Meaning Chord When the MEMORY LED is on, recognized chords are kept in memory even when raising your hand from the keyboard. When the LED is off, chords are reset when raising your hand.
Style Play preferences |633 Bass & Lower Backing With the Bass & Lower Backing function activated, you can play a sparser accompaniment with your left hand. Activate the Bass & Lower Backing function 1 Go to the Global > Mode Preferences > Style page. 2 Select the Bass & Lower Backing checkbox. The Backing icon will appear in the Lower Sound’s area. Play a Bass & Lower Backing ▪▪ Play a chord with your left hand.
634| Mode preferences Song Play and Sequencer preferences Choosing the Melody track You can define a MIDI Song’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 the footswitch. 1 Go to the Global > Mode Preferences > Song page. 2 Use the SMF Melody Track pop-up menu to choose one of the Song tracks to be used as the Melody track.
Song Play and Sequencer preferences 3 |635 Use the Drum & Bass Mode - Bass 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 page. 2 Select the Fast Play checkbox to let the MIDI Songs ignore the silent setup measure at the beginning.
636| Mode preferences Media and file preferences The Media Preferences page is where you can set your view preferences for the storage devices and file management. Protecting the media You can protect the internal drive from writing. 1 Go to the Global > Media Preferences 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 DISK [KORG DISK] medium from writing.
Media and file preferences |637 Removing protection from Factory Styles (and Factory STSs) Factory Styles (and the Factory STSs they contain) are normally protected, to avoid overwriting the standard musical resources. You can, however, remove this protection and use any Factory Style location as if they were User locations. 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.
638| Controllers 42 Controllers Programming the Joystick Assigning the Joystick to the Sounds You can activate/deactivate Pitch Bend on each Sound. 1 Go to the Keyboard/Ensemble > Keyboard Control page. 2 Use the Joystick X checkbox to turn the left/right Joystick movements on/ off on each Sound. 3 Use the Joystick Y checkbox to turn the up/down Joystick movements on/ off on each Sound. 4 Write the changes to a Sound set.
Programming the Joystick |639 Assigning function to the Joystick The left/right (X) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound programming. The up movement (Y+) is usually Modulation, and sometimes a different Sound parameter, depending on the Sound programming. The down movement (Y-) can be assigned to various controls, or isn’t active. Assigning Sound parameters to the joystick can be done in Sound Edit.
640| Controllers Setting the velocity curve You can define how the keyboard responds to your striking velocity. 1 Go to the Global > Controllers > Hand Controllers 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.
Programming the Pedal/Footswitch |641 Programming the Pedal/Footswitch Assigning a function to the pedal/footswitch By default, the supplied DS2H pedal, connected to the PEDAL connector, works as a Damper (Sustain) pedal. You can however program it for any footswitch-type control. You can connect to this connector any other footswitch. Or, you can connect a Volume/Expression pedal for continuous-type controls. Depending on the connected type of pedal, you will choose a suitable function.
642| Controllers Functions assignable to a footswitch Footswitch function Meaning Off No function assigned Style/Player Start/Stop Same functions of the control panel buttons with the same name Player - Go to Beginning Chord Seq. Rec. Chord Seq.
Programming the Pedal/Footswitch Footswitch function Meaning Style-Upper1…3 Mute Same functions of the same functions in the display |643 Style-Lower Mute Style-Drum Mute Style-Perc Mute Style-Bass Mute Style-Acc1…5 Mute Style-Acc1-5 Mute Mute/Unmute all the Acc tracks Song-Melody Mute Mute of the Standard MIDI File’s track selected as the Melody track (Global > Mode Preference > Song & Seq.). Song-Drum&Bass Mode Mute of all tracks, apart for track 2 (usually Bass) and 10 (usually Drum).
644| Controllers Functions assignable to a pedal Pedal function Meaning Off No function assigned 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. MP3 Volume Volume of the MP3 Songs.
Programming the Pedal/Footswitch |645 Upper 2, and off on Upper 1, you can use a continuous pedal to control only the Strings’ volume, while the Piano remains unchanged. 1 Go to the Keyboard/Ensemble > Keyboard Control page. 2 Use the Expression checkbox to turn the Expression pedal on/off on each Keyboard Sound. 3 Write the changes to a Sound set.
646| Controllers 2 Touch the Calibration button to make the Damper & Pedal/Footswitch Calibration dialog appear. 3 Fully press the pedal down, and while continuing to press touch the Push button to confirm the maximum value. 4 When the following dialog appears, release the pedal. 5 Touch the Push button in the display to confirm the minimum value. Check if the pedal is working properly. In case it isn’t, repeat the procedure. 6 Press the EXIT button to return to the previous page.
Master Tuning 43 |647 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 > Basic page. 2 Use the Master Tuning parameter to fine tune the instrument.
648| Master Transpose and Tuning Master Transpose Transposing the whole instrument The instrument’s key can be transposed to make singing or playing together with another instrument more comfortable. 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 |649 MIDI Songs and Master Transpose Saving Master Transpose with the Song When saving a MIDI Song from the Sequencer mode, the Master Transpose value is saved with the Song. This value is preserved when playing back the Song in Song Play mode. Preventing unwanted transposition When loading a MIDI Song containing Master Transpose data, the instrument’s Master Transpose is modified. This may cause problems with other Songs or when playing the Styles.
650| Master Transpose and Tuning Transpose Meaning Off No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, transposed. In Sync 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.
Master Transpose |651 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 Scale and Transpose position 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.
652| Master Transpose and Tuning MIDI Songs and chord transpose 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. Drum Kits and transpose Drum Kits are never transposed.
Main Scale |653 44 Scale Main Scale Choosing the main scale There is a main scale for all or most the Sounds. 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. All Sounds, apart for those for which a different sub-scale has been selected by a Performance or STS, will use this scale.
654| Scale 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.
Sub-Scale |655 Sub-Scale Choosing a sub-scale You can assign a different scale (a sub-scale) to the Keyboard Sounds (or any other Sound). This will allow, for example, to play a solo with a Stretch tuning, while the backing tracks continue to play in the Equal tuning. A different subscale can be associated to each Performance or STS. Choose a sub-scale 1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes. As an alternative, go to the Mixer/Tuning > Sub-Scale page.
656| Scale If needed, choose a key ▪▪ Use the Key parameter (needed by some scales) to set the preferred key. Assign the sub-scale to the Sounds 1 Go to the Global > Mode Preferences > Style 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.
Sub-Scale |657 Choosing and editing the User sub-scale In addition to the supplied scales, you can program your own User sub-scale. Choose the User sub-scale 1 Go to the Mixer/Tuning > Sub-Scale page. 2 Use the Scale pop-up menu to choose the User sub-scale. Edit the User sub-scale When the User sub-scale is selected, the keyboard diagram will become active, letting you program a custom scale. ▪▪ Use the numbers appearing in each note of the keyboard diagram to fine tune each note pitch.
658| Scale Quarter Tone Sub-Scale (SC Presets) Editing a Quarter Tone sub-scale (SC Preset) Quarter Tone scales (SC 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 SC (Scale) Presets. The SC Presets are global and do not change with Sound sets, Styles or Songs.
Quarter Tone Sub-Scale (SC Presets) |659 ▪▪ In the lower 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.
660| Scale Using the Quarter Tone sub-scales (SC Presets) You can instantly recall a Quarter Tone sub-scale, by just choosing one of the SC 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. As an alternative, go to the Mixer/Tuning > Sub-Scale page.
Quarter Tone Sub-Scale (SC Presets) 2 |661 Touch the Quarter Tone button to make it appear selected. The SC Preset buttons will appear. Choose an SC Preset ▪▪ Touch one of the SC1…4 buttons to choose the corresponding SC Preset. The saved Quarter Tone sub-scale will be selected. Use the Quarter Tone sub-scale ▪▪ Touch any note you want to lower a quarter tone, making a big dot appear on the note diagram. ▪▪ Touch the note again to make the dot disappear, and reset to standard tuning.
662| Scale Deactivate the Quarter Tone sub-scale ▪▪ Touch the Quarter Tone button to make it appear deselected. The SC Preset buttons will disappear. The main scale will be in use again. Activating the Quarter Tone function by using a footswitch To make realtime changes faster, you can assign the Quarter Tone function to a footswitch. This will allow for those sudden scale changes typical of the Middle East/Arabic music.
Part X: MIDI CONNECTIONS |663
664| MIDI
Introduction to MIDI 45 |665 MIDI 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. It is sort of a grammar to let different instruments and computers speak the same language, and let the one tell the other what to do.
666| 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.
Introduction to MIDI |667 MIDI standards Standard MIDI Files Standard MIDI Files (abbreviated as SMF) are a practical way of exchanging songs between different instruments and computers. HAVIAN 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).
668| MIDI Special MIDI channels The Global channel Any MIDI channel set as the Global channel can simulate the HAVIAN 30 integrated keyboard. When HAVIAN 30 is connected to a master keyboard, transmission should take place over the Global channel of HAVIAN 30. The MIDI messages received over a Global channel and not over a standard channel are affected by the status of the SPLIT button, as well from the split point.
Quick settings using MIDI Presets |669 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 MIDI according to your needs. Choosing a MIDI Preset 1 Go to the Global > MIDI > General Controls page. 2 Use the Preset pop-up menu to choose one of the available MIDI Presets.
670| MIDI Parameter MIDI IN Channel MIDI OUT Channel Default Master Kbd Player Global Ply Tr 1 Ext. Seq.
Quick settings using MIDI Presets |671 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 When using an external sound generator (an expander or a virtual instrument) External Sequencer When slaving HAVIAN 30 to an external sequencer (for example, a software running on a computer) Tablet When connecting to a tablet Editing the MIDI Presets Editing a MI
672| 2 MIDI 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. 2 If you want to change the name of the MIDI Preset, touch the Text Edit ( icon to open the virtual keyboard and edit the name.
MIDI communication settings |673 MIDI communication settings 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.
674| MIDI Receiving notes as 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. When this parameter is turned on, notes received from the USB DEVICE port, or performed by the internal Player, in the RX Noises range, are recognized and converted to RX Noises.
MIDI communication settings 2 |675 Use the Transpose Applies to Midi In Notes checkbox to determine if notes received on the USB DEVICE port have to be transposed. Midi In Transpose Meaning On Notes received on the USB DEVICE port are transposed according to the Master Transpose. Off Data received on the USB Device port are not transposed. Applying octave transposition to received notes 1 Go to the Global > MIDI > MIDI IN Controls page.
676| 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 DEVICE port will play on muted tracks. Track Mute Active Meaning On No data received on the USB DEVICE port can play on muted tracks. Off Data received on the USB DEVICE port can play on muted tracks.
MIDI communication settings |677 Choosing a fixed velocity value 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Midi In Velocity Value parameter to set a fixed velocity value for all the notes received via MIDI. This is useful when playing HAVIAN 30 with an organ or a MIDI accordion. Midi In Velocity Meaning Normal Received velocity values are left unchanged. 40 … 127 All received velocity values are converted to the selected value.
678| MIDI Synchronizing Tempo with other instruments MIDI Clock in Song Play mode In Song Play mode, MIDI Clock is always generated by the internal Player. While in this mode, HAVIAN 30 can’t receive MIDI Clock messages. Sending the MIDI Clock 1 Go to the Global > MIDI > General Controls page. 2 Select the Clock Send parameter to send the internal MIDI Clock to the USB DEVICE port.
Synchronizing Tempo with other instruments |679 Receiving the MIDI Clock 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 HAVIAN 30’s Arranger and Player internal metronome. When in Song Play mode, the Internal clock is always used. External USB MIDI Clock received from the USB DEVICE port.
680| 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 Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...5 One of the Style’s Accompaniment Sounds Ply Tr 01...
Programming the MIDI channels |681 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 Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...5 One of the Style’s Accompaniment Sounds Ply Tr 01...
682| 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.
Installing the KORG USB MIDI Driver |683 Installing the KORG USB MIDI Driver The USB DEVICE port can be used for MIDI communication between HAVIAN 30 and a personal computer. A dedicated driver is supplied in the Accessory Disc, and an up-to-date driver can be found on our web site. KORG USB-MIDI Driver system requirements Be sure your personal computer meets the following requirements. OS Computer Operating System Windows A computer with an USB port, Windows Vista/7/8/8.
684| MIDI 4 When installation is completed, connect the USB DEVICE port of your HAVIAN 30 to one of the USB ports of your Windows PC by using a standard USB cable. The Auto Installer will immediately start. 5 When finished, the USB-MIDI driver will be installed, and HAVIAN 30 will be able to communicate with your computer via USB. You can access the tools and manuals from the Start menu.
Connecting HAVIAN 30 to a personal computer or tablet |685 Connecting HAVIAN 30 to a personal computer or tablet You can program a new song on a personal computer or tablet connected to HAVIAN 30. The computer has to run some sequencing or notation software. When a song is ready, you can transfer it to the internal memory of HAVIAN 30, and read it with the internal Player. Connections and settings 1 Install the KORG USB MIDI Driver, as explained above.
686| MIDI 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.
Control Change messages CC# CC Name HAVIAN 30 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.
688| MIDI (*) 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.
Controlling the Styles and Player via MIDI |689 Controlling the Styles and Player via MIDI Style Elements You can remotely select the various Style Elements, by sending Program Change messages on the Control channel.
690|
Part XI: FILE MANAGEMENT |691
692| Managing files
Overview on file management 46 |693 Managing files Overview on file management You can access 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 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. ▪▪ Open the selected folder by touching the Open button.
694| Managing files Selecting and deselecting files ▪▪ Select a file or folder by touching it. ▪▪ Deselect it by touching an empty area in the file list, or by touching the Device pop-up menu, and choosing the current device again. 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.
Overview on file management |695 Supported device HAVIAN 30 supports external devices, like hard disks or USB memory sticks, formatted in FAT16 or FAT32 with long file names. NTSF (Windows NT/2000/ XP/Vista/7/8), HFS (Mac OS 9) and HFS+ (Mac OS X) formats are not supported. You can access the following mass storage device types: Name Media type DISK [KORG DISK] User-accessible area of the internal memory. This is where you can store Songs and other files.
696| Managing files HAVIAN 30 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 Ordinary data and reserved data Each device (and the internal memory) can contain files and folders. Data inside HAVIAN 30 is slightly more rigidly structured than data in a computer, due to the pre-configured type of data inside the instrument’s memory.
Overview on file management Media structure MYDIR.SET GLOBAL SETUP.GBL MASTEREQ.AUD LIMITER.AUD MIDI.MPR QTPRESET.QTP STYLE BANK01.STY 1-1 Pop 1 … 1-40 Pop 40 BANK … .STY PERFORM BANK01.PRF 1-1 Grand Piano … 1-40 Full Strings BANK … .PRF BANK6.PRF 6-1 Rock Brass … 6-40 Rock Strings SONGBOOK SONGDB.SBD LISTDB.SBL BANK15.STY 15-1 Contemp. 1 … 15-40 Contemp. 40 FAVORITE01.ST Y 1 Favorite 1 … 40 Favorite 40 FAVORITE … .ST Y FAVORITE08.ST Y 1 Favorite 1 … 40 Favorite 40 USER01.STY SOUND USER01.
698| Managing files 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 port. 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.
Loading musical resources and settings |699 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.
700| Managing files Loading data from other instruments Loading Global data from Pa-Series instruments Being unique to each instrument, Global data (Preferences, MIDI Presets, Limiter and Master EQ settings, etc.) cannot be loaded from KORG Pa-Series instruments. They are therefore discarded when loading a SET folder generated by an instrument other than HAVIAN 30. Loading data from Pa-Series instruments You can load most data from KORG Pa-Series instruments.
Loading musical resources and settings |701 Loading data from i-Series instruments HAVIAN 30 is compatible with the Styles of the older KORG i-Series instruments. You can load them as if they were ordinary HAVIAN 30 data. 1 Copy the old i-Series data into an USB device, or transfer them to the internal memory of HAVIAN 30. 2 Go to the Media > Load page. 3 Use the Device pop-up menu to select the device containing the i-Series data.
702| Managing files 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 all 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.
Saving musical resources and settings |703 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. HAVIAN 30’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.
704| Managing files 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 port. 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. ▪▪ Select an existing SET folder, and touch the Save command to confirm.
Saving musical resources and settings 3 |705 When back at the Create New SET Folder dialog, touch the OK button to create the new SET folder and exit the dialog. Save all data 1 After having selected an existing SET folder or having created a new one, touch the Save button to confirm.
706| Managing files Save 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.
Copying files and folders |707 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 HAVIAN 30 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.
708| Managing files 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 port. 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.
Copying files and folders |709 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, HAVIAN 30 asks you if you want to overwrite it. When a duplicate file or folder is met, the following dialog box appears: Overwrite Meaning Cancel The procedure is interrupted. No The file or folder is not overwritten. The source file or folder is not copied.
710| Managing files 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 port. 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.
Selecting more items at once |711 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).
712| Managing files 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.
Formatting storage devices |713 Formatting storage devices Formatting a storage device The Format function lets you initialize a device. HAVIAN 30 uses a PCcompliant 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 port. 3 Use the Device pop-up menu to choose the device.
714| Managing files name, please use SongBook Editor (freely available on our web site) to edit the links. Format the device 1 Touch the Execute button to start formatting. 2 Confirm the following warning message(s).
Backing up and restoring musical resources |715 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.
716| Managing files 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 port. 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.
Backing up and restoring musical resources |717 Restoring the musical resources You can restore data from a backup archive created with the Full Resource Backup command. Warning: To avoid data loss, don’t play the keyboard while restoring data, and stay in the Media mode. Wait until the ‘Wait’ message disappears. 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.
718| Managing files 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 HAVIAN 30 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.
Connecting the internal drive to a personal computer |719 Connecting the internal drive to a personal computer The USB DEVICE port allows you to access the internal drive from a personal computer, by just connecting HAVIAN 30 to the computer’s USB interface. This way, you can exchange files between the user-accessible area of the internal drive of HAVIAN 30 (DISK device), and a personal computer. You don’t need any dedicated driver to connect HAVIAN 30 and a personal computer.
720| Managing files Also, do not modify the structure of the SET folders, or you will no longer be able to use them on HAVIAN 30. Only use the USB connection for data exchange purpose, or to modify ordinary folders. Disable USB communication 1 When finished transferring the files, you can disconnect HAVIAN 30 from the personal computer. ▪▪ On a Windows PC, select the dedicated command by clicking on the USB ) with the right mouse button.
Storage device management |721 Storage device management 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.
722| Managing files To preserve consistency through the data structure, you cannot rename folders and files inside a SET folder. Also, you cannot change the 3-character extension of files and SET folders, since they are used to identify the type of file or folder. 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.
Storage device management |723 Getting information on the selected device, and changing its name Open the Device Info dialog ▪▪ While in any of the Media pages, choose the Device Info command from the page menu. Read the information While in the Device Information dialog, you can see various information on the selected device. To select a different device, exit from the dialog and use the Device pop-up menu to select a different storage device.
724| Managing files Protecting files and folders Protect the files or folders ▪▪ While in any of the Media pages, select one or more items and choose the Protect command from the page menu. Choosing this command will protect the selected file(s) or folder(s) from writing or erasing. The lock icon will appear next to the file or folder name. Unprotect the files or folders ▪▪ While in any of the Media pages, select one or more protected items and choose the Unprotect command from the page menu.
Exporting playlists |725 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 Custom 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.
726| Managing files Exporting a Jukebox list 1 While a Jukebox file is assigned to the Player, 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.
Exporting playlists |727 Exporting a SongBook Book list or Custom List 1 While you are in the SongBook > Book or SongBook > Custom 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.
728| Managing files Care of storage devices HAVIAN 30 can save most of the data contained in memory to the internal drive, or to external devices (like hard drives or USB memory sticks) connected to the USB HOST port. Here are some precautions when handling these devices. Internal memory write protection You can protect the internal memory from writing, by using the software protection found in the Global > Mode Preferences > Media page (Media Protect checkbox).
Part XII: APPENDIX |729
730| Musical Resources
47 |731 Musical Resources The following pages list all the musical resources supplied as standard with your HAVIAN 30.
732| Musical Resources Styles This list shows the Styles and their position number inside the bank.
Styles # Style # Style # Style 26 Italian Fox 6 Open Rock 2 11 Unplugged 8 Bt 27 7 Heavy Rock 12 Unplugged 16 Bt 28 Easy Listening Irish Fox 8 Funky Rock 13 Unplugged Gtr 1 29 12/8 Slow 9 Rock Oldie 14 Unplugged Gtr 2 Dance 10 Rock & Roll 15 Unplugged Gtr 3 1 70’s Disco Rmx 11 South Shuffle 16 Unplugged Gtr 4 2 70’s Disco 1 12 Slow Latin Rock 17 Slide Blues 3 70’s Disco 2 13 Latin Rock 1 18 Unplugged Rock 4 80’s Dance 14 Latin Rock 2 19 Unplugged Latin
734| Musical Resources # Style # Style # Style 4 Vienna Waltz 14 Salsa 2 18 Reggae 1 5 Italian Waltz 15 Cool Latin Jazz 19 Reggae 2 6 Musette Waltz 16 Latin Big Band 20 Club Latino 7 French Waltz 17 Meditation Bossa 21 8 Irish Waltz 18 Organ Bossa Jazz 9 Laendler Waltz 19 Orch. Bossa 1 1 Bigger Band 10 German Polka 20 Orch.
Styles # Style # Style # Style 31 Stride 3 Al Funk 5 Greek Rumba 32 Ragtime |735 4 Elektrik Funk 6 Xasapiko 33 Slow Smooth Jazz 5 Classic Funk 7 Sirtaki 34 Fast Smooth Jazz 6 Urban Funk 8 Zouk 35 Smooth JazzWaltz 7 Talkin’ Jazz 9 Hawaiian 36 Smooth LatinJazz 8 Funky Sisters 10 Mexican Waltz 37 9 Rhythm & Blues 11 Norteno 38 Class JazzWaltz 10 Blues 12 Kebradita Movie & Show 11 Soul 13 Bolero Ranchero 1 Orchestral Movie 12 Gospel 14 Mariachi Polka 2
736| Musical Resources # Style # Style # 5 3/4 ClassicPiano 14 Pop 2 Piano 23 Shuffle Piano 6 Waltz Piano 15 Pop 3 Piano 24 Boogie Piano 7 Ballad Piano 16 Pop 4 Piano 25 Latin Piano 8 RockBallad Piano 17 Country Piano 26 Bossa Piano 9 March Piano 18 50’s Rock Piano 27 10 Swing Piano 19 Tango Piano 28 Ballad Trio2 Pno 11 JazzBallad Piano 20 Blues Piano 29 Ballad Quart.
Performances |737 Performances This list shows the Performances and their position number inside the bank. # Performance # Performance # Performance Acoustic Piano 31 Marimba Trill 25 Digital E.P. Bld 1 Concert Grand 32 Xylophone 26 Stage E.Piano 2 Classic Grand 33 Music Box 27 3 Grand Piano Live 34 Tropical 28 Hybrid E.Piano 2 4 Upright Piano 35 Bell & Whistle 29 Chorus E.Piano 5 Honky-Tonk 36 Bell & Accordion 30 Stereo E.Piano 6 Jazz Piano Electric Piano 31 Digital E.
738| # Musical Resources Performance # Performance # Performance 23 Blues Harmonica 17 Moon Pad 25 Sax Section 24 Bandoneon 18 Square Pad 26 Trumpet & Sax 25 Rock Organ V. 19 Fresh Pad 27 Sax & Brass V. 26 DWB Organ V. 20 Pa800 Pad 28 Trump.& Clarinet 27 21 29 Band Trumpet V. BX3 DWB 3V. Gliding Pad 28 BX3 Jazz Org V.
Performances # Performance # Performance # 19 Steel Gtr & Pad 24 Napoli Mandolin 29 Portamento Lead 20 Pedal Steel Gtr 25 Mini Lead 30 Big Lead 21 26 Saw Lead 31 Distortion Synth 22 Sitar 27 32 Wave Cycle 23 Hawaiian Guitar 28 Hybrid Lead Tambra Gliding Lead Performance 33 VCF Modulation |739
740| Musical Resources Sounds and Drum Kits (Bank order) The following table lists all Factory Sounds and 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. Sound CC32 CC00 PC Factory/Piano Sound CC32 CC00 PC Factory/E.
Sounds and Drum Kits (Bank order) Sound Suit E.Piano 1 CC32 CC00 PC Sound 4 Santur 121 1 15 121 5 12 121 20 Suit E.Piano 2 121 21 4 Mallet Clock Classic Wurly 1 121 17 4 Factory/Accordion CC32 CC00 |741 PC Classic Wurly 2 121 12 4 Harmonica RX 121 5 22 Tremolo Wurly 121 16 4 Cassotto 16’ 121 12 21 R&B E. Piano 121 8 4 Cassotto 121 9 21 FM Pad EP 121 15 5 Master Accordion 121 23 21 White Pad EP 121 13 5 Sweet Musette 121 11 21 Thin E.
742| Musical Resources Sound CC32 CC00 PC Sound Pipe Flute 1 Accordion Bass 121 5 23 Acc.Voice Change 121 6 23 Factory/Organ CC32 CC00 121 PC 4 20 Pipe Flute 2 121 5 20 Pipe Mixture 121 3 19 Jimmy Organ 121 13 18 Flauto Pipes 121 3 20 Perc. Organ 1 121 10 17 Small Pipe 121 2 20 Perc. Organ 2V. 121 9 17 Positive Organ 121 7 19 Perc. Organ 3V. 121 11 17 Factory/Guitar BX3 Rock 1 V. 121 10 16 RealNylon Gtr ST 121 16 24 BX3 Rock 2 V.
Sounds and Drum Kits (Bank order) Sound Clean Jazz 1 CC32 CC00 121 22 PC Sound 27 Mute Monster CC32 CC00 121 5 |743 PC 30 Clean Jazz 2 121 23 27 Disto Mute 121 9 28 Pop Steel Gtr 1 121 21 25 Vox Wah Chick RX 121 3 120 Pop Steel Gtr 2 121 22 25 Funky Wah RX 121 12 27 5th Mute Gtr 121 21 28 12 Strings RX 121 18 25 Stereo Dist.
744| Musical Resources Sound CC32 CC00 PC Sound 41 Vocalesque CC32 CC00 121 2 PC Viola Expr. 121 1 54 Violin & Viola 121 2 41 Fresh Breath 121 7 91 Slow Violin 121 3 40 Vocalscape 121 3 54 Strings Quartet 121 9 48 Heaven 121 3 91 Chamber Strings 121 12 48 Airways 121 3 53 Orchestra Tutti1 121 14 48 Factory/Trumpet & Trbn. Orchestra Tutti2 121 19 48 Jazz Trumpet RX 121 24 56 Orch. & Oboe 1 121 16 48 Jazz Cornet RX 121 25 56 Orch.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound CC32 CC00 Trumpet Pitch 121 5 56 Brass Fall 121 Tuba Gold 121 2 58 Brass Impact Oberkr.
746| Musical Resources Sound CC32 CC00 PC Sound CC32 CC00 PC 1 79 Air Clouds 121 1 97 Ocarina 121 Flute Switch 121 2 73 Tinklin Pad 121 3 97 Jazz Flute RX 121 10 73 Pods In Pad 121 4 97 Jazz Flute Expr. 121 1 73 Vintage Sweep 121 7 95 Flute Dyn.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound CC32 CC00 Sitar Tambou 121 |747 PC Dance Lead 121 4 80 2 104 Wave Lead 121 5 80 Kanoun 1 Sine Wave 121 6 80 Kanoun 2 121 5 107 121 2 107 Express. Lead 121 5 87 HipHop Lead 121 6 87 Kanoun Trem. 1 121 6 107 Kanoun Trem.
748| Musical Resources Sound Finger Bass 4 CC32 CC00 121 15 PC Sound CC32 CC00 33 Hybrid Bass 121 PC 15 38 Acoustic Bass 1 121 8 32 Stein Bass 121 3 34 Finger Slap 121 12 33 Organ Pedal 1 121 10 32 The Other Slap 121 5 37 Organ Pedal 2 121 11 32 Thumb Bass 121 1 37 Acoustic Bass 2 121 14 32 Pick Bass 1 121 7 34 Acous.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound Legacy/E. Piano CC32 CC00 |749 PC Electro Kit 120 0 122 Room Kit 1 120 0 120 Vintage EP 121 4 4 HipHop Kit 1 120 0 9 Stereo Dig. EP 121 6 5 Techno Kit 1 120 0 11 FM Stack EP 121 16 5 Pop Std. Kit 1 120 0 89 Hybrid EP 121 8 5 Pop Std.
750| Musical Resources Sound CC32 CC00 PC Sound CC32 CC00 16 Hackbrett 121 6 PC Gospel Organ 121 9 Old Wheels 121 3 17 Tel. Bridge 121 27 27 Dark Organ 1 121 7 16 Guitarish 121 8 27 Dark Organ 2 121 5 16 Stra. Gtr Slide 121 17 27 Rotary Organ 121 8 17 Stra. Chime 121 5 28 VOX Legend 121 11 16 Clean Guitar 2 121 25 27 M1 Organ 121 5 17 L&R E.Guitar 2 121 10 27 Dirty JazzOrgan 121 7 18 Rhythm E.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound 54 Soft Tenor 121 2 66 121 4 66 Dream Voice 121 5 Classic Vox 121 4 54 Tenor Growl Doolally 121 2 53 Legacy/Woodwind CC32 CC00 |751 PC Folk Clarinet 121 7 71 Mono Trumpet 121 3 56 Flute 121 9 73 Warm Flugel 121 8 56 Wooden Flute 121 7 73 Pitch Trombone 121 5 57 Bambu Flute 121 8 73 Soft Trombone 121 4 57 English Horn 121 1 69 Trombone 121 12 57 Recorder 1 121 1 74 BeBop Cornet 1
752| Musical Resources Sound CC32 CC00 PC Sound CC32 CC00 PC Reso Sweep 121 1 90 Dyna Bass 121 2 37 Synth Sweeper 121 3 90 Ticktacing Bass 121 9 34 Sync Kron 121 3 84 Fretless Bass 3 121 7 35 Tecno Phonic 121 10 90 Stick Bass 121 5 33 Band Passed 121 3 102 Dark R&B Bass2 121 5 35 Cat Lead 121 9 87 Auto Pilot 2 121 13 39 Pan Reso 121 4 102 Bass4 Da Phunk 121 14 39 Square Rez 121 11 80 Dr.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound 12 GM/Chrom. Perc.
754| Musical Resources Sound Nylon Guitar 2 CC32 CC00 121 3 PC Sound CC32 CC00 PC 24 SynthBass Attack 121 1 39 Steel Guitar GM 121 0 25 SynthBass Rubber 121 2 39 12 Strings Gtr 121 1 25 Attack Pulse 121 3 39 121 0 40 Mandolin 121 2 25 GM/Strings Steel Gtr & Body 121 3 25 Violin GM Jazz Guitar GM 121 0 26 Slow Att. Violin 121 1 40 Pedal Steel Gtr 121 1 26 Viola GM 121 0 41 Clean Guitar GM 121 0 27 Cello GM 121 0 42 Det.Clean El.
Sounds and Drum Kits (Bank order) Sound CC32 CC00 PC Sound CC32 CC00 |755 PC Trombone GM 121 0 57 GM/Syn Lead Syn Pad Trombone 2 121 1 57 Lead Square GM 121 0 80 Bright Trombone 121 2 57 Lead Square 2 121 1 80 Tuba GM 121 0 58 Lead Sine 121 2 80 Muted Trumpet GM 121 0 59 Lead Saw GM 121 0 81 Muted Trumpet 2 121 1 59 Lead Saw 2 121 1 81 French Horn GM 121 0 60 Lead Saw & Pulse 121 2 81 FrenchHorn Warm 121 1 60 Lead Double Saw 121 3 81 Brass S
756| Musical Resources Sound Echo Drops GM CC32 CC00 121 0 PC Sound 102 Seashore GM CC32 CC00 PC 121 0 122 Echo Bell 121 1 102 Rain 121 1 122 Echo Pan 121 2 102 Thunder 121 2 122 Star Theme GM 121 0 103 Wind 121 3 122 Stream 121 4 122 GM/Ethnic Sitar GM 121 0 104 Bubble 121 5 122 Sitar 2 121 1 104 Bird Tweet GM 121 0 123 Banjo GM 121 0 105 Dog 121 1 123 Shamisen GM 121 0 106 Horse Gallop 121 2 123 Koto GM 121 0 107 Bird Tweet 2 1
Sounds and Drum Kits (Bank order) Sound Explosion CC32 CC00 CC32 CC00 |757 PC Sound PC Rock Kit XG 127 0 Electro Kit XG 127 0 24 Analog Kit XG 127 0 25 121 3 127 Standard Kit GM 120 0 0 Room Kit GM 120 0 8 Jazz Kit 1 XG 127 0 32 Power Kit GM 120 0 16 Jazz Kit 2 XG 127 0 33 Electro Kit GM 120 0 24 Brush Kit XG 127 0 40 Analog Kit GM 120 0 25 Classic Kit XG 127 0 48 Jazz Kit GM 120 0 32 User 1 Brush Kit GM 120 0 40 … 121 64 0-127 Orchestra
758| Musical Resources Sounds (Program Change order) The following table lists all the Factory Sounds in the Bank Select / Program Change order. 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 Acoustic Piano GM CC00 CC32 121 0 PC 0 Sound Grand & FM Stack CC00 CC32 121 7 PC 2 Ac. Piano Wide 121 1 0 G.Piano Stack 1 121 8 2 Ac. Piano Dark 121 2 0 G.
Sounds (Program Change order) Sound Suit E.Piano 1 CC00 CC32 121 20 PC 4 Sound Phantom Tine CC00 CC32 121 |759 PC 10 5 Suit E.Piano 2 121 21 4 DW8000 EP 121 11 5 Dyno Tine EP 2 121 22 4 Sweeping EP 121 12 5 Bell E. Piano 1 121 23 4 White Pad EP 121 13 5 Bell E. Piano 2 121 24 4 Digi E. Piano 121 14 5 EP+Damper 1 RX 121 25 4 FM Pad EP 121 15 5 EP+Damper 2 RX 121 26 4 FM Stack EP 121 16 5 Tine EP Phaser 121 27 4 VPM E.
760| Musical Resources Sound Vibraphone 2 CC00 CC32 121 3 PC Sound CC00 CC32 11 Organ Hi V. 121 PC 17 16 Marimba GM 121 0 12 Drawbars Fast V. 121 18 16 Marimba Wide 121 1 12 Drawbars Slow V. 121 19 16 Marimba Key Off 121 2 12 BX3 Jazz V. 121 20 16 Monkey Skuls 121 3 12 BX3 Gospel V.
Sounds (Program Change order) Sound CC00 CC32 PC Sound CC00 CC32 Dirty JazzOrgan 121 7 18 Sweet Musette 121 Perc.Short Decay 121 8 18 Cassotto 16’ BX3 Jazz Pc. V. 121 9 18 Cassotto Or.Tune Jimmy Organ V. 121 10 18 Cassotto NorTune Rock Organ 2 121 11 18 Detune Accordion BX3 Rock 4 V. 121 12 18 Jimmy Organ 121 13 18 Church Organ GM 121 0 Church Oct.
762| Musical Resources Sound CC00 CC32 PC Sound CC00 CC32 14 PC Nylon Guitar GM 121 0 24 Steel Slide Pro2 121 25 Ukulele 121 1 24 Steel Guitar RX1 121 15 25 Nylon Key Off 121 2 24 Steel Guitar RX2 121 16 25 Nylon Guitar 2 121 3 24 12 Strings Pro 121 17 25 Nylon Bossa 121 4 24 12 Strings RX 121 18 25 Ac.
Sounds (Program Change order) Sound Processed E.Gtr CC00 CC32 121 5 PC Sound CC00 CC32 27 Clean Funk 121 |763 PC 8 28 Single Coil 121 6 27 Disto Mute 121 9 28 New Stra.Guitar 121 7 27 Clean Funk RX1 121 10 28 Guitarish 121 8 27 Clean Funk RX2 121 11 28 L&R E.Guitar 1 121 9 27 Funk Stein RX1 121 12 28 L&R E.
764| Musical Resources Sound Ac. Bass Buzz CC00 CC32 121 1 PC Sound CC00 CC32 PC 32 Bass&Gtr Double 121 6 34 Bass & Ride 2 121 2 32 Pick Bass 1 121 7 34 Acous. Bass Pro1 121 3 32 Pick Bass 2 121 8 34 Acous. Bass Pro2 121 4 32 Ticktacing Bass 121 9 34 DarkWoody A.Bass 121 5 32 Picked Bass RX 121 10 34 Bass & Ride 1 121 6 32 Picked E.Bass 3 121 11 34 Acous.
Sounds (Program Change order) Sound 30303 Square CC00 CC32 121 6 PC Sound CC00 CC32 38 Viola Expr. 121 1 |765 PC 41 Bass Square 121 7 38 Violin & Viola 121 2 41 Syn Bass Res 121 8 38 Cello GM 121 0 42 Digi Bass 1 121 9 38 Cello 121 1 42 Digi Bass 2 121 10 38 Contrabass GM 121 0 43 Digi Bass 3 121 11 38 Class.Contrabass 121 1 43 Blind As A Bat 121 12 38 Tremolo Str.
766| Musical Resources Sound CC00 CC32 18 PC Sound 48 Grand Choir 121 Strings & Glock. 121 Orchestra Tutti2 121 19 48 Choir Light Orchestra&Flute 121 20 48 Strings Choir Strings Ens. 1 121 21 48 Femal&Male Scat Strings Ens. RX 121 22 48 Femal Scat Concert Str.RX 121 23 48 Strings Ens.2 GM 121 0 49 Sweeper Strings 121 1 Full Strings 121 Strings Ens.
Sounds (Program Change order) Sound CC00 CC32 PC Sound CC00 CC32 |767 PC Trumpet Pitch 121 5 56 Tuba GM 121 0 58 Dual Trumpets 121 6 56 Oberkr. Tuba 121 1 58 Flugel Horn 121 7 56 Tuba Gold 121 2 58 Warm Flugel 121 8 56 Dynabone 121 3 58 BeBop Cornet 121 9 56 Ob.Tuba&E.Bass 1 121 4 58 Trumpet Pro 1 121 10 56 Ob.Tuba&E.
768| Musical Resources Sound CC00 CC32 PC Sound CC00 CC32 PC 18 61 Sweet Soprano 2 121 4 64 Brass Slow 121 Fanfare 121 19 61 Alto Sax GM 121 0 65 Movie Brass 121 20 61 Alto Breath 121 1 65 Power Brass 121 21 61 Sax Ensemble 121 2 65 Dyna Brass 2 121 22 61 Breathy Alto Sax 121 3 65 Sforzato Brass 121 23 61 Alto Sax Growl 121 4 65 Double Brass 121 24 61 Sweet Alto Sax1 121 5 65 Brass Hit 121 25 61 Sweet Alto Sax 2 121 6 65 Brass Fall 121
Sounds (Program Change order) Sound English Horn GM CC00 CC32 121 PC Sound CC00 CC32 0 69 Recorder 1 121 1 |769 PC 74 English Horn 121 1 69 Recorder 2 121 2 74 Bassoon GM 121 0 70 Pan Flute GM 121 0 75 Bassoon 121 1 70 Kawala 121 1 75 Clarinet GM 121 0 71 Pan Flute Y- 121 4 75 Jazz Clarinet 121 1 71 Blown Bottle GM 121 0 76 Clarinet G 121 2 71 Blown Bottle 121 1 76 Section Winds 1 121 3 71 Shakuhachi GM 121 0 77 Section Winds 2 121 4 71
770| Musical Resources Sound CC00 CC32 PC Sound CC00 CC32 PC Lead Double Saw 121 3 81 OB Lead 121 10 87 Lead Seq.
Sounds (Program Change order) Sound Korgmatose CC00 CC32 121 13 CC00 CC32 |771 PC Sound PC 90 Tinklin Pad 121 3 97 Choir Pad GM 121 0 91 Pods In Pad 121 4 97 Itopia Pad 121 1 91 Noble Pad 121 5 97 Fresh Air 1 121 2 91 Rave 121 6 97 Heaven 121 3 91 Elastick Pad 121 7 97 Pop Synth Pad 1 121 4 91 Crystal GM 121 0 98 Future Pad 121 5 91 Synth Mallet 121 1 98 Tsunami Wave 121 6 91 Vs Bell Boy 121 2 98 Fresh Breath 121 7 91 Krystal Bell 121
772| Musical Resources Sound Sitar Sitar CC00 CC32 121 7 PC Sound 104 Garbage Mall CC00 CC32 121 PC 3 112 Sitar 121 8 104 Agogo GM 121 0 113 Banjo GM 121 0 105 Steel Drums GM 121 0 114 Banjo Key Off 121 1 105 Warm Steel 121 1 114 Oud 2 121 2 105 Woodblock GM 121 0 115 Jaw Harp 121 3 105 Castanets 121 1 115 Banjo RX 121 4 105 Castanets Plus 121 2 115 Oud 1 121 5 105 Woodblock 121 3 115 Shamisen GM 121 0 106 Taiko Drum GM 121 0 116 K
Sounds (Program Change order) Sound Bird Tweet 2 CC00 CC32 121 3 PC Sound 123 Starship CC00 CC32 121 8 |773 PC 125 Telephone GM 121 0 124 Burst Noise 121 9 125 Telephone 2 121 1 124 Applause GM 121 0 126 Door Creaking 121 2 124 Laughing 121 1 126 Door 121 3 124 Screaming 121 2 126 Scratch 121 4 124 Punch 121 3 126 Wind Chime 121 5 124 Heart Beat 121 4 126 Helicopter GM 121 0 125 Footsteps 121 5 126 Car Engine 121 1 125 Stadium 121 6 12
774| Musical Resources Drum Kits The following table lists all the Factory Drum Kits in the Bank Select / Program Change order. The table also includes MIDI data used to remotely select the Drum Kits. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Drum Kits |775 Drum Kit CC00 CC32 PC Drum Kit CC00 CC32 66 Elektro Kit 1 120 0 PC Trinity Perc.Kit 120 0 96 i30 Perc. Kit 120 0 67 Elektro Kit 2 120 0 97 Latin Perc.
776| Musical Resources Multisamples The following table contains all the Factory Multisamples. * OrigTune: Original Tune, that is, the samples use the natural tuning of the original instrument, instead of the equal tuning. Beating may occur at the extreme pitches, when the sound is used in conjunction with other sounds. # Multisample # Multisample # Multisample 0 Grand Piano mf L 28 E.Piano PO mp 56 E.Piano Rx KON R 1 Grand Piano mf R 29 E.Piano PO mf 57 E.
Multisamples Multisample # |777 # Multisample # Multisample 84 16’ 8’ LS R 119 E.
778| # Musical Resources Multisample # Multisample # Multisample 189 Tenor Sax Straight 224 Harmonica Fall 259 Trumpet Slow mp 190 Tenor Sax M1 225 Harmonica 260 Trumpet Slow f 191 Tenor Sax GM 226 Harmonica Wah 261 Trumpet GM 192 Alto Sax Vibrato1 227 Highland Bag Pipes 262 Trumpet Tonguing mp 193 Alto Sax Vibrato2 228 Highland Drones 263 Trumpet Tonguing f 194 Alto Sax Vibrato2 Drive 229 Uilleann Pipes 264 Trumpet Medium 195 Alto Sax p 230 Bag Pipes 265 Trumpet Overblown 196 Alt
Multisamples # Multisample # Multisample # |779 Multisample 294 Violin Solo Vibrato 329 Steel Gtr Noise 364 El. Guitar Le Ghost1 295 Violin Straight 330 Guitar Fret Noise Off 365 El. Guitar Le Ghost2 296 Violin GM 331 Guitar Body 366 El. Guitar Harmonics 297 Fiddle GM 332 Nylon Guitar p 367 El. Guitar Gliss Down 298 Viola Expressive mf 333 Nylon Guitar mf 368 El. Guitar Gliss Up 299 Viola Expressive f 334 Nylon Guitar f 369 El.
780| # Musical Resources Multisample # Multisample # Multisample 399 E.Bass1 Finger 434 Sitar & Tambura 469 R&B Square Bass 400 E.Bass2 P.B.1 435 Santur 470 Chrom Res 401 E.Bass2 P.B.2 436 Tambura 471 Detuned Super 402 E.Bass2 LH Stop 437 Bouzouki 472 Detuned PWM 403 E.Bass2 RH Stop 438 BouzoukiLP 473 Pop Synth 404 E.Bass2 Harmo. 439 Mandolin 474 An.Strings1 405 E.Bass3 p 440 Mandolin Tremolo 475 An.Strings2 406 E.Bass3 mf 441 Mandolin Ensemble 476 Analog Vintage 407 E.
Multisamples # Multisample # Multisample # |781 Multisample 504 Pulse 33% 536 Church Bell 568 Ride Edge2 505 Pulse 40% 537 Thunder 569 88 HiHat Open 506 Square 538 Stream 570 88 Cowbell 507 Square MG 539 Bubble 571 88 Tom 508 Square JP 540 Dog 572 88 Crash 509 Triangle MG 541 Gallop 573 Tom 510 Ramp 542 Laughing 574 Tom Brush 511 Ramp MG 543 Telephone Ring 575 Tom Process 512 Sine 544 Scream 576 Electric Tom 513 DWGS Syn Sine1 545 Punch 577 Melodic Tom GM 514 DWGS Syn Si
782| Musical Resources Drum Samples The following table contains all the Factory Drum Samples.
Drum Samples |783 # Drum Sample Family # Drum Sample Family 64 BD Electribe02 Bass Drum 99 SD Wood1 p Snare Drum 65 BD Electribe03 Bass Drum 100 SD Wood1 mf Snare Drum 66 BD Electribe04 Bass Drum 101 SD Wood1 f Snare Drum 67 BD Electribe05 Bass Drum 102 SD Wood2 pp Snare Drum 68 BD Electribe06 Bass Drum 103 SD Wood2 p Snare Drum 69 BD Electribe07 Bass Drum 104 SD Wood2 mf Snare Drum 70 BD Electribe08 Bass Drum 105 SD Wood2 f Snare Drum 71 BD Electribe09 Ba
784| Musical Resources # Drum Sample Family # Drum Sample Family 134 SD Brass1 f Snare Drum 169 SD Stereo Gate Snare Drum 135 SD Brass2 p Snare Drum 170 SD Stereo Gate GM Snare Drum 136 SD Brass2 mf Snare Drum 171 SD Processed Snare Drum 137 SD Brass2 f Snare Drum 172 SD Processed GM Snare Drum 138 SD Roll Snare Drum 173 SD Cracker Room Snare Drum 139 SD Ghost Roll Snare Drum 174 SD El. Funk1 Snare Drum 140 SD Ghost p Snare Drum 175 SD El.
Drum Samples |785 # Drum Sample Family # Drum Sample Family 204 SD House3 Snare Drum 239 SD Brush1 (swirl2) Snare Drum 205 SD House4 Snare Drum 240 SD Brush1 (swirl3) Snare Drum 206 SD BeatBox Snare Drum 241 SD Brush1 (swirl4) Snare Drum 207 SD Small Snare Drum 242 SD Brush1 Snare Drum 208 SD Rap Snare Drum 243 SD Brush2 (ghost1) Snare Drum 209 SD Noise Snare Drum 244 SD Brush2 (ghost2) Snare Drum 210 SD Reverse Snare Drum 245 SD Brush2 (ghost3) Snare Drum 2
786| Musical Resources # Drum Sample Family # Drum Sample Family 274 DrumStick Hit GM Snare Drum 309 Tom3 Floor Tom 275 Tom R Vintage Hi Tom 310 Tom4 Hi Tom 276 Tom R Vintage Mid Tom 311 Tom4 Low Tom 277 Tom R Vintage Floor Tom 312 Tom4 Floor Tom 278 Tom Vintage Room Hi Tom 313 Tom5 Hi Tom 279 Tom Vintage Room Mid Tom 314 Tom5 Low Tom 280 Tom Vintage Room Low Tom 315 Tom6 Vintage Hi p Tom 281 Tom Jazz Hi center Tom 316 Tom6 Vintage Hi mf Tom 282 Tom Jaz
Drum Samples |787 # Drum Sample Family # Drum Sample Family 344 HH1 Closed p Hi Hat 379 HH Hip Hi Hat 345 HH1 Closed mf Hi Hat 380 HH Alpo Close Hi Hat 346 HH1 Closed f Hi Hat 381 HH Dance1 Hi Hat 347 HH1 Foot mp Hi Hat 382 HH Dance2 Hi Hat 348 HH1 Foot mf Hi Hat 383 HH Syn. Closed Hi Hat 349 HH1 Open mp Hi Hat 384 HH Syn.
788| Musical Resources # Drum Sample Family # Drum Sample Family 414 Claps1 Latin Perc. 449 DJ Vinyl Sliced 08 SFX 415 Claps2 Latin Perc. 450 DJ Vinyl Sliced 09 SFX 416 Claps3 Latin Perc. 451 DJ Vinyl Sliced 10 SFX 417 Claps4 Latin Perc. 452 DJ Vinyl Sliced 11 SFX 418 Dance Claps1 Latin Perc. 453 DJ Vinyl Sliced 12 SFX 419 Dance Claps2 Latin Perc. 454 DJ Vinyl Sliced 13 SFX 420 Dance Claps3 Latin Perc.
Drum Samples |789 # Drum Sample Family # Drum Sample Family 484 Surdo Open GM Latin Perc. 519 Conga2 Hi Mt Slap Latin Perc. 485 Surdo Mute GM Latin Perc. 520 Conga2 Hi Slap1 Latin Perc. 486 Tumba Open1 mf Latin Perc. 521 Conga2 Hi Slap2 Latin Perc. 487 Tumba Open1 f Latin Perc. 522 Conga2 Heel Latin Perc. 488 Tumba Open2 mf Latin Perc. 523 Conga2 Toe Latin Perc. 489 Tumba Open2 f Latin Perc. 524 Quinto1 Open Latin Perc. 490 Tumba Open Flam Latin Perc.
790| Musical Resources # Drum Sample Family # Drum Sample Family 554 Bongo1 Hi Stick Latin Perc. 589 Baya KaToe a Latin Perc. 555 Bongo1 Hi StickEdge mf Latin Perc. 590 Baya KaToe b Latin Perc. 556 Bongo1 Hi StickEdgef Latin Perc. 591 Baya Nail a Latin Perc. 557 Bongo1 Hi StickBounce Latin Perc. 592 Baya Nail b Latin Perc. 558 Bongo1 Hi Cuptone Latin Perc. 593 Baya Nail c Latin Perc. 559 Bongo1 Hi Slap Latin Perc. 594 Baya Ge Latin Perc.
Drum Samples # Drum Sample 624 Family |791 # Drum Sample Family Timbales1 Lo Open mp Latin Perc. 659 Cowbell5 Open a Ethnic Perc. 625 Timbales1 Lo Open mf Latin Perc. 660 Cowbell5 Open b Ethnic Perc. 626 Timbales1 Lo Open mf GM Latin Perc. 661 Cowbell5 Mute Ethnic Perc. 627 Timbales1 Lo Edge mf Latin Perc. 662 Cowbell6 Ethnic Perc. 628 Timbales1 Lo Edge f Latin Perc. 663 Agogo Bell Ethnic Perc. 629 Timbales1 Lo RimShot Latin Perc. 664 Chacha Bell Ethnic Perc.
792| Musical Resources # Drum Sample Family # Drum Sample Family 694 Wood Block 3 b Latin Perc. 729 Caxixi1 b Ethnic Perc. 695 Wood Block 4 a Latin Perc. 730 Caxixi1 c Ethnic Perc. 696 Wood Block 4 b Latin Perc. 731 Caxixi2 a Ethnic Perc. 697 Wood Block 5 a Latin Perc. 732 Caxixi2 b Ethnic Perc. 698 Wood Block 5 b Latin Perc. 733 Caxixi2 c Ethnic Perc. 699 Wood Block 6 a Latin Perc. 734 Caxixi3 Hard Ethnic Perc. 700 Wood Block 6 b Latin Perc.
Drum Samples |793 # Drum Sample Family # Drum Sample Family 764 Djembe L Basstone b Latin Perc. 799 WD Ethno SD5 Snare Drum 765 Djembe L Basstone c Latin Perc. 800 WD Ethno SD6 Snare Drum 766 Djembe L Open Latin Perc. 801 WD Kangaroo1 Snare Drum 767 Djembe L Open Slap Latin Perc. 802 WD Kangaroo2 SFX 768 Djembe L Closed Slap Latin Perc. 803 WD Kangaroo3 SFX 769 Djembe S Basstone a Latin Perc. 804 WD Kangaroo4 SFX 770 Djembe S Basstone b Latin Perc.
794| Musical Resources # Drum Sample Family # Drum Sample Family 834 M.E.1 Tabla Medium Latin Perc. 869 M.E.1 Tef3 Ethnic Perc. 835 M.E.1 Tabla Dom Latin Perc. 870 M.E.2 BD Kick Bass Drum 836 M.E.1 Tabla Flam Latin Perc. 871 M.E.2 SD Snare Drum 837 M.E.1 Tabla Rim Latin Perc. 872 M.E.2 Asagum Latin Perc. 838 M.E.1 Tabla Tak Latin Perc. 873 M.E.2 Asmatek Latin Perc. 839 M.E.1 Timbales Ethnic Perc. 874 M.E.2 Bendirgum Latin Perc. 840 M.E.1 Udu f Open Latin Perc.
Drum Samples |795 # Drum Sample Family # Drum Sample Family 904 M.E.2 Tekbir Latin Perc. 939 Heart Beat GM SFX 905 M.E.2 Tokat Latin Perc. 940 Punch SFX 906 M.E.2 Toprgum Latin Perc. 941 Tribe SFX 907 M.E.2 Toprtek1 Latin Perc. 942 Door Creak SFX 908 M.E.2 Toprtek2 Latin Perc. 943 Door Slam SFX 909 M.E.2 Toprtokat Latin Perc. 944 Car Engine SFX 910 M.E.2 Trill Latin Perc. 945 Car Stop SFX 911 M.E.2 Zil1 Ethnic Perc. 946 Car Pass SFX 912 M.E.
796| Musical Resources # Drum Sample Family # Drum Sample Family 974 Dist. Slide1 SFX 995 88 HH Open1 Hi Hat 975 Dist. Slide2 SFX 996 88 HH Open1 GM Hi Hat 976 E.Gtr Pick1 SFX 997 88 Tom1 Tom 977 E.Gtr Pick2 SFX 998 88 Tom2 Tom 978 Gtr Scratch1 SFX 999 88 Crash Cymbal 979 Gtr Scratch2 SFX 1000 88 Crash GM Cymbal 980 Ac.Bs-String Slap SFX 1001 88 Congas Latin Perc. 981 Amp Noise SFX 1002 88 Claps Latin Perc.
Drum Samples |797 48 Recognized chords The following pages show the main recognized chords, when the selected Chord Recognition mode is Fingered 3-Notes.
798| 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
Drum Samples 49 |799 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 Any modes Dial Tempo Change Scroll Arrows When a list is shown: Goes to Next/Previous alphabetical section of the currently selected column Global Selects the Global > MIDI > General Controls page. This is a quick way to jump to MIDI editing pages.
800| Shortcuts Shift + Functions Song Play mode Song Play Selects the Global > Mode Preferences > Song & Seq page Record Opens the MP3 Record dialog box 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 Long keypress You can keep a button pressed for about one second to directly jump to an edit page or dialog box.
Drum Samples |801 Special functions Other available shortcuts are the following ones.
802| Troubleshooting 50 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 LED turned on? If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
Drum Samples Problem |803 Solution The selected Style or Song Make sure that the Clock parameter is set to Internal. If cannot start you are using the MIDI Clock of another device (like a sequencer), you must set the MIDI Clock parameter to USB, and make sure that the external device transmits MIDI Clock data. Does not respond to MIDI Make sure that the USB cable is connected correctly. messages Make sure that the external device is transmitting through MIDI channels enabled to receive in HAVIAN 30.
804| Specs 51 Specs KORG HAVIAN 30 Features Keyboard 88 Weighted Hammer keys, Velocity sensitive Sounds Factory: More than 950 including Stereo Gran Coda (with resonance), Stereo Upright (with resonance) and GM2 Sounds; 64 Drum Kits User: 256 Sounds, 128 Drum Kits User Sample memory: 32 MB Full editing of Sounds and Drum Kits Tone Generator 128 voices, filters with resonance, RX (Real EXperience) Effects & EQ 4 stereo Master FX, 125 effect types 3-band EQ on each track Final FX: Limiter, 4-band
Drum Samples |805 KORG HAVIAN 30 Features MP3 Player/ Recorder MP3 Transpose (-5/+6 semitones), MP3 Tempo Change (±30%) Sequencer Quick Record (Backing Sequence), Multitrack and Step Record functions Records all audio, including Styles, MIDI Songs, Keyboard Sounds and Effects Full featured sequencer, 16 tracks, up to 100,000 events, SMF format SongBook Fully programmable music database, recalling Styles, MIDI Songs, Karaoke Songs, MP3 Songs, with automatic selection of Style Play and Song Play mod
806| Specs KORG HAVIAN 30 Features Options Piano stand with damper pedal support (ST-H30-BK) DS1H damper pedal (supports half-pedaling) EXP2, XVP10 expression pedal PS1, PS3 footswitch pedal Specifications and appearance are subject to change without notice for improvement.
Drum Samples |807
Function Note Off Change Control Pitch Bend Aftertouch O Note On O O O O O O O O 10, 91, 93 64, 66, 67 65, 5 71, 72, 73 74, 75 76, 77, 78 O O O 38 7, 11 O O 6 O O O O O O O O O 1, 2 O O O O 8n, V=0–127 O O 0–127 9n, V=1–127 0, 32 O O Poly (Key) Mono (Channel) 8n, V=0–127 9n, V=1–127 **************** O True Voice Velocity 0–127 **************** Altered 0–127 3 X X 1–16 Default 1–16 Changed 1–16 Recognized Messages 1–16 Transmitted Default Num
X X X Song Select Tune O O X X X O 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 and Master Volume messages, FX settings, Quarter Tone settings. GM Mode On. *3: LSB, MSB = 00,00: Pitch Bend range, =01,00: Fine Tune, =02,00: Coarse Tune. *2: Sound parameters, Selection of SongBook Entries, Drum Kit Family settings.
Address KORG ITALY SpA Via Cagiata, 85 I-60027 Osimo (An) Italy Web www.korg.com © KORG Italy 2016.
