USER'S MANUAL ENGLISH Ver. 1.
Instructions pertaining to a risk of fire, electric shock, or injury to persons IMPORTANT SAFETY INSTRUCTIONS WARNING — When using electrical products, basic precautions should be followed, including the following: Location. Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration Power supply.
DATA HANDLING Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to floppy disk. KORG will not be responsible for damages caused by data loss. LCD DISPLAY Some pages of the manuals show LCD screens along with an explanation of functions and operations. All sound names, parameter names, and values are merely examples and may not always match the actual display you are working on. TRADEMARKS Macintosh is a registered trademark of Apple Computer, Inc.
THE BALANCE SLIDER When turning the instrument on, please be assured the BALANCE slider is set to the center. This sets both Sequencer 1 (SEQ1) and Sequencer 2 (SEQ2) to their maximum level. This will avoid you start a Song without hearing anything.
3 HOW TO… Keyboard …select a Sound Program …select a Performance …play a Sound Program across the whole keyboard, as with a piano …split the keyboard in two …add sounds to the right hand …mute/unmute sounds 24 24 24 24 Style Play mode …select a Style …start/stop the Style …select a Fill or a Break …select a Style Variation …see the Style tracks …create a new Style 26 29 29 30 41 52 26 25 Song Play mode …play a Song (Standard MIDI File) …see the Lyrics …see the Song tracks …start both Sequencers at the
4 TABLE OF CONTENTS Introduction Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Live Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Useful links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Making a backup copy of system files . . . . . . . . . . . . . . . . . . 8 Loading the operating system . . . . . . . . . . . .
5 Step Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Style Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Page 1 - Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Page 2 - Edit: Transpose . . . . . . . . . . . . . . . . . . . . . .
6 Page 3 - Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Page 4 - Pitch LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Page 5 - Pitch LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Page 6 - Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Page 7 - Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Page 8 - Filter Modulation . . . . . . . . . . . . . . . . . . . .
INTRODUCTION
8 Welcome! Live Performing 1. WELCOME! Welcome to the world of KORG Pa50 Professional Arranger! Pa50 is one of the most powerful arranger available today, both for professional and home entertainment use. Here are some of the features of your new instrument: • Powerful HI (Hyper Integrated) KORG sound generation system, as seen in our best professional synthesizers. • OPOS (Objective Portable Operating System) multitasking operating system, to let you load data while playing your instrument.
Welcome! Loading the operating system LOADING THE OPERATING SYSTEM Your Pa50 can be constantly updated as new versions of the operating system are released by KORG. You can download the operating system from www.korgpa.com. Please, read the Readme file included with the operating system itself. You can see which version of the operating systems is installed in your Pa50 by keeping the SHIFT button pressed, and pressing the ENTER and EXIT buttons together.
10 Start up Connecting the AC power adapter 2. START UP CONNECTING THE AC POWER ADAPTER Connect the supplied AC power adapter to the dedicated socket on the rear of the instrument. Then, plug it into a wall socket. Warning: Use only the supplied adapter, or an adapter suggested by Korg. Other adapters may look similar, but they may damage your instrument! • Move it fully right to set Sequencer 1 to zero and Sequencer 2 to the maximum level.
Start up Damper Pedal 3. On the Pa50, select the MIDI Setup that best fit your controllers type (see “Page 4 - MIDI Setup” on page 126). DAMPER PEDAL Connect a Damper (Sustain) pedal to the DAMPER connector on the back panel. Use a KORG PS1, PS2 or DS1H footswitch pedal, or a compatible one. To switch the Damper polarity, see “Damper Pol. (Damper Polarity)” on page 126 DEMO Listen to the built-in Demo Songs to appreciate the power of the Pa50. There are 16 Demo Songs to choose from. 1. 2. 3. 4. 5.
12 Front panel 3.
Front panel 1 MASTER VOLUME This slider controls the overall volume of the instrument, both of the internal speakers, the L/MONO and RIGHT outputs, and the HEADPHONES output. Warning: At the maximum level, with rich-sounding Songs, Styles or Programs, the internal speakers could distort during signal peaks. Should this happen, lower the Master Volume a little.
14 Front panel ON OFF The automatic accompaniment stops playing (apart for the Drum and Percussion tracks), and you can manually play the Bass track on the Lower part of the keyboard. You can start the automatic accompaniment again by pressing one of the CHORD SCANNING buttons. The bass track is automatically played by the Style. 0 SPLIT POINT (<) Keep this button pressed to open the Split Point window.
Front panel Press them twice (LED blinking) to let them play in loop, and select any other Style element (Fill, Intro, Variation…) to exit the loop. ENDING1 also doubles as a DOT function, and ENDING2 doubles as a TRIPLET function, to be used in Song mode (see chapter 13). Note: Ending 1 plays a short sequence with different chords, while Ending 2 plays on the last recognized chord. J INTRO 1-2 buttons These two buttons set the arranger in Intro mode.
16 S Front panel VOLUME/VALUE (MUTE) A-H buttons SOLO Within this user’s manual, each button pair is marked with an alphabetic letter (A-H). See “Display and User Interface” on page 19 for more details. BossaNova A B C D Piano01 Bass01 Guitar01 Acc.1-5 VALUE |STS1 Drum/Perc StrngEns2 VoxPad1 E F G H A corresponding track name is printed over each button pair. These names show the corresponding track the button pair affects in the main page of the Style Play mode.
Front panel DOWN/- and UP/+ DOWN/- decreases the value or tempo; UP/+ increases the value or tempo. Keep the SHIFT button pressed down, and press either the DOWN/- or UP/+ button to reset the Tempo to the value memorized onto the selected Style. X VALUE LED This LED shows the status of the DIAL and DOWN/- and UP/+ buttons. ON The DIAL and DOWN/- and UP/+ buttons act as Value controls, to change the value of the selected parameter in the display. OFF The DIAL and DOWN/- and UP/+ buttons control the Tempo.
18 Front panel Programs “USER1” and “USER2” are locations where you can load new Programs from disk. “USER DK” is where you can load new drum kits. Each Program bank contains various pages, each with up to 8 Programs. You can browse them using the PAGE buttons. Shortcut to see the original bank for a Performance or Program. You can see the original bank where a Performance or Program is contained. Just keep the SHIFT button pressed, and press the lefmost button of the PROGRAM/PERFORMANCE section.
Display and User Interface Display controls 19 4. DISPLAY AND USER INTERFACE The display shows the current status of the Pa50 and its performance and editing parameters. You can select each parameter by using the VOLUME/VALUE (A-H) buttons on the side of the display, or each page command appearing along the last line using the F1-F4 buttons. You can vary many of the parameter’s values by pressing the left (-) or right (+) button of any VOLUME/VALUE pair.
20 Display and User Interface Interface structure Backing Sequence 4 Realtime tracks, 8 Style tracks, 4 Pads. Song 16 Song tracks. You can only see up to 8 tracks in the display. So, use the TRACK SELECT button to switch to the other (hidden) tracks. For example, when in Style Play, you can use this button to switch from the Realtime tracks and the Style tracks. When opening an edit environment or a selecting page, the current operating mode is still working in the background.
Display and User Interface Message windows Edit environment. (See diagram at the bottom of this page). When you press GLOBAL or DISK, an edit environment overlaps the current operating mode. Press EXIT to go back to the current operating mode. An edit environment is made up of a menu and a series of edit pages. Use the MENU and PAGE buttons to browse across the various edit pages. 21 Realtime/Keyboard track (Upper 1-3, Lower). Drum track (Style track view). Percussion track (Style track view).
22 Rear panel 5. REAR PANEL 1 2 3 4 5 6 1 AC POWER ADAPTER CONNECTOR Plug the supplied power adapter into this connector. 2 POWER switch Use this switch to turn the instrument on or off. 3 MIDI INTERFACE The MIDI interface allows your Pa50 to be connected to an external controller (master keyboard, MIDI guitar, wind controller, MIDI accordion…), to an expander, or to a computer running a sequencer or an editor. For more information on how to use the MIDI interface, see the MIDI chapter.
BASIC GUIDE
24 Basic operations Playing on the keyboard 6. BASIC OPERATIONS PLAYING ON THE KEYBOARD Just play on the keyboard. You will hear the Realtime tracks playing. There are four Realtime tracks: Upper 1-3 and Lower. They may play all at the same time, or just one or a few of them, depending on their Mute status. If you cannot hear a track, check the mute status of that part. Tracks can be set in different ways: use the KEYBOARD MODE section to select the way they are configured on the keyboard.
Basic operations Selecting a Performance SELECTING A PERFORMANCE A Performance is a set of Programs and settings for the Keyboard and Style tracks, that makes selecting complex combinations live fast and easy. When the STYLE CHANGE LED is on, a Performance can also select a different Style.
26 Basic operations Selecting a Program SELECTING A PROGRAM 5. You can select a different Program (i.e., sound) to be played by a track. Before selecting a Program, you must select the track you want to assign the Program to. Note: To assign different Programs to the Style tracks, press TRACK SELECT to see the Style tracks. If you select a Program while grouped tracks (Drum/Percussion or ACC) are selected, the Program will be assigned to the last selected track.
Basic operations Selecting a Single Touch Setting (STS) SELECTING A SINGLE TOUCH SETTING (STS) A Single Touch Setting (STS) contains Realtime (Keyboard) tracks’ settings. Four STS are included in each Style, and can be recalled by pressing the SINGLE TOUCH SETTING (F1F4) buttons under the display. Note: You can select a STS only when you are in the main page of the Style Play or Backing Sequence operating mode.
28 Tutorial 1 - Playing in realtime 7. TUTORIAL This chapter is fully devoted to step-by-step instructions, that we hope may be useful to learn the basics—on-field. the pointing arrow. You will hear the Dark Pad Program play together with the Grand Piano. 1 - PLAYING IN REALTIME As soon as you turn your Pa50 on, it is in Style Play mode, and you can play it in realtime. Please follow me… SoftBeat 1 Play on the keyboard.
Tutorial 2 - Playing a Style 8 Set the relative volume of the Realtime tracks. Use each E-H VOLUME/VALUE button pair to set the volume of the Realtime tracks. Press one of the VOLUME/ VALUE button to select a track. Then press the right one to increase the volume, the left one to lower it. Press the left one to lower… 29 2 - PLAYING A STYLE A Style will be your virtual band in your best solos. Select one of the 304 Styles we fitted in this machine… 1 OK, select your favorite musical Style.
30 Tutorial 3 - Playing a Song 6 Select other Variations. There are four VARIATION buttons. These are four different versions of the same Style. Try them all! You can go to a Variation after a Fill. Just press a FILL button, then, immediately after, a VARIATION button. 7 Stop it! OK, you could say: “O, that’s easy, I know how to do it, I can just press that big red START/STOP button again”. Yes, you are perfectly right. But that’s only the easy way.
Tutorial 4 - Recording a Song 8 Stop it. Sure, the Song automatically stops when reaching the end. But you can stop it before the end, just by pressing PLAY/ STOP again. 4 - RECORDING A SONG The Backing Sequence mode is a fast and effective way of recording a new Song, making full use of the features of the Style Play mode. So, arm your recorder, and play live with the Styles—a song will be ready in seconds! 1 First, enter Backing Sequence mode Press B.SEQ to access the Backing Sequence mode.
32 Tutorial 5 - Editing a Song If the Song is fine, you can switch to the Song mode and do some editing. Or you can save it (as seen below), and play it in Song Play mode. 0 And… if I want to delete and record again one of the tracks, or the whole Song? That’s easy! 1. Press RECORD again to enter Record mode. You can edit a Song, either a Standard MIDI File bought at the shop, or one of your Songs made in Backing Sequence mode.
Tutorial 5 - Editing a Song 4 Listen to the Song. After loading you are back to the main page of the Song mode. 2. 33 Select the track you wish to assign a different Program using the VOLUME/VALUE buttons. Press one of the buttons corresponding to the track to select. For example, one of the A buttons to select track 1: MySong MySong Load Song Metro:Off Piano1 Save Song Meter:4/4 DkStrings Guitar01 Sel.
34 Tutorial 6 - The Arabic Scale 8 Save the Song. Your changes will be lost when you load a new Song, switch to the Song Play mode, or turn the instrument off. So, press EXIT to go back to the main page of the Song mode. MySong Load Song Metro:Off Save Song Meter:4/4 Sel.Tempo Tempo:Auto Press one of the C VOLUME/VALUE buttons, to select the Save Song command. Save your Song with a new name. How to accomplish this simple operation is described in great details on page 90 (“Save Song page”).
MIDI What is MIDI? 35 8. MIDI WHAT IS MIDI? • Here is a brief overview of MIDI, as related to the Pa50. If interested, you may find more information on the general use of MIDI in the various specialized magazines and books. Tempo In general Tempo is a global MIDI message, that is not tied to a particular channel. Each Song includes Tempo data. MIDI stands for Musical Instruments Digital Interface. This interface lets you connect two musical instruments, or a computer and various musical instruments.
36 MIDI The Chord 1 and Chord 2 channels split point into the Upper (above the split point) and Lower (below the split point) parts. The notes that arrive to a Global channel are used for the chord recognition of the automatic accompaniment. If the KEYBOARD MODE is SPLIT, only the notes below the split point will be used. These notes will be combined with the ones of the special Chord 1 and Chord 2 channels.
MIDI Connecting the Pa50 to a MIDI accordion CONNECTING ACCORDION THE PA50 TO A MIDI 3. There are different types of MIDI accordion and each type requires a different configuration of the Pa50. Select one of the MIDI “Accordion” Setups to configure the module properly (see page 126). 4. Connection and settings To connect the accordion to the Pa50 follow this procedure: 1. Connect the MIDI OUT connector of the accordion to the MIDI IN connector of the Pa50. 2.
38 MIDI Playing another instrument with the Pa50 PLAYING ANOTHER INSTRUMENT WITH THE PA50 Tracks to the External status (see “Page 15 - Track: Internal/ External” on page 46). You can use the Pa50 as the master controller for your MIDI setup. 1. Connect Pa50’s MIDI OUT to the other instrument’s MIDI IN. 2. Set-up the other instrument’s tracks to the same channels you want to play from Pa50.
REFERENCE GUIDE
40 Style Play operating mode What’s a Style? 9. STYLE PLAY OPERATING MODE The Style Play mode is the boot-up operating mode. When in this mode, you can play Styles (i.e. automatic accompaniments), or just play with one to four Realtime tracks on the keyboard (Upper 1…3 and Lower). WHAT’S A STYLE? A Style is a rhythm/accompaniment structure, that simulates a band backing your solos.
Style Play operating mode Main page MAIN PAGE This is the page you see after you turn the instrument on. To access this page from another operating mode, press the STYLE PLAY button. Note: When switching from Song Play to Style Play, a Performance is automatically selected, and various track parameters may change. To return to this page from one of the Style Play edit pages, press the EXIT/NO button. To switch between the Realtime (Keyboard) tracks and the Style tracks, use the TRACK SELECT button.
42 Style Play operating mode The Write window THE WRITE WINDOW MENU Open this window by pressing the WRITE button. Here, you can save all track settings into a Performance, the Realtime (Keyboard) track settings into a Single Touch Setting, or the Style track settings into the current Style Performance. From any page, press MENU to open the Style Play edit menu. This menu gives access to the various Style Play edit sections.
Style Play operating mode Page 1 - Mixer: Volume ing one of the two buttons in a pair, or using the TEMPO/ VALUE controls. R+63 Off PAGE 1 - MIXER: VOLUME This page lets you set the volume for each of the Realtime (Keyboard) or Style tracks. Use the TRACK SELECT button to switch from the Realtime (Keyboard) tracks to the Style tracks, and vice versa.
44 Style Play operating mode Page 4 - Tuning: Detune PAGE 4 - TUNING: DETUNE PAGE 6 - TUNING: PITCHBEND SENSITIVITY This page is the place where you can set the fine tuning for each track. Use the TRACK SELECT button to switch from the Realtime (Keyboard) tracks to the Style tracks, and vice-versa. This page lets you program the Pitch Bend range for the Realtime (Keyboard) tracks. Tuning:PB sens.
Style Play operating mode Page 9 - FX: A editing C, D Effects assigned to the C and D effect processors. Usually, C is the reverb, while D is the modulating effect (chorus, flanger, delay…). For a list of the available effects, see “Effects” on page 175. 45 You can also change the volume for each class of Drums and Percussion, if the selected track is set in Drum mode (see below “Page 14 - Track: Mode”). ModTrk (Modulating Track) Track:Easy Edit Source track for modulating MIDI messages.
46 Style Play operating mode Page 14 - Track: Mode Percus1V Percus2V SFX V “Classic” percussion set volume. “Ethnic” percussion set volume. Special effects volume. Mono Right A Mono track, but with priority assigned to the rightmost (highest) note. PAGE 15 - TRACK: INTERNAL/EXTERNAL Reset You can reset the parameters’ value by keeping the SHIFT button pressed, while pressing one of the selected track VOLUME/VALUE buttons.
Style Play operating mode Page 16 - R.T. controls: Damper 47 PAGE 16 - R.T. CONTROLS: DAMPER Y This page lets you enable/disable the Damper pedal for each of the Realtime (Keyboard) tracks. This enables/disables the front/rear movement of the Joystick (Y+: Modulation, and sometimes the sound parameter’s control; Y-: Various controls, or non-active). PAGE 18 - R.T.
48 Style Play operating mode Page 20 - Style controls: Drum/Fill E(nsemble) Harmonization type. 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 algorhythm. Block Block harmonization – very typical of jazz music. Power Ensemble Adds a fifth and an octave to the melody, as heard in hard rock.
Style Play operating mode Page 21 - Style controls: Wrap Around / Keyboard Range PAGE 21 - STYLE CONTROLS: WRAP AROUND / KEYBOARD RANGE In this page you can program the Wrap Around function and the Keyboard Range for the Style tracks. 49 PAGE 22 - PADS This page lets you select a different sound or function for each of the four PAD buttons.
50 Style Play operating mode Page 24 - Preferences: controls When this lock function is On, the Scale parameter does not change when selecting a different Performance, Style or Single Touch Setting. Note: These settings are stored in the Global file. After changing these settings, press WRITE to save them into the Global. The Write Global window will appear (see “The Write window” on page 125).
Style Play operating mode Page 24 - Preferences: controls Scale Mode This parameter determines which tracks will use the selected alternative scale (see “Scale” on page 44). Realtime tracks The scale will only affect the Realtime (Keyboard) tracks. Upper tracks The scale will only affect the Upper 1-3 Realtime (Keyboard) tracks. All Tracks The scale will affect all tracks (Realtime, Style, Pads). Memory Mode This parameter sets the way the MEMORY button works.
52 Style Record mode The Style’s structure 10. STYLE RECORD MODE By entering the Style Record mode, you can create your own Styles, or edit an existing Style. THE STYLE’S STRUCTURE The term “Style” relates with music sequences automatically played by the arranger of the Pa50. A Style consists of a predefined number of Style Elements (E) (Pa50 features ten different Style Elements: Variation 1-4, Intro 1-2, Fill 1-2, Ending 1-2).
Style Record mode Style Import/Export ACC1-5 are for accompaniment sequences (string, guitar, piano or other accompaniment instruments).
54 Style Record mode The Write window THE WRITE WINDOW Control function This page appears when you press the WRITE or RECORD button while in Record mode. Here you can save the recorded or edited Style in memory. • • Modulation 1 1 Modulation 2 2 10 11 Style name: NewBossa CC#12 12 To: U1-01 Bossa CC#13 13 Abort Damper 64 Filter Resonance 71 Low Pass Filter Cutoff 74 CC#80 80 CC#81 81 CC#82 82 Style name Use this parameter to change the Style’s name.
Style Record mode Main page MAIN PAGE After pressing the RECORD button, and selected the Style to record/edit, the Main page of the Style Record mode appears. Chord Style Play icon Measure counter 55 Note: When this parameter and the assigned value is in small letters (cv:cv1), the Chord Variation is empty; when it is in capitals (CV:CV1), it is already recorded SE:V1…V4 You can select one of 6 Chord Variations to edit. SE:I1…E4 You can select one of 2 Chord Variations to edit.
56 Style Record mode Style Tracks page On1 Metronome on, with a one-bar precount before starting recording. Metronome on, with a two-bar precount before starting recording. On2 Resol (Resolution) This parameter sets the quantization during recording. (1/32)… (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.
Style Record mode Step Record page 57 allow you to play back louder any reference track, or the track you are recording. mode, before actually starting recording (see step 6 on page 58 for more information). Track status key? When in the Style Tracks page, each track can be in one of three status. Play (Visible status icon). This status is available only for non-selected tracks. When in play, a track can play back the recorded pattern. Mute (Hidden status icon).
58 Style Record mode Style Record procedure STYLE RECORD PROCEDURE There are two different methods for recording a Style: Realtime and Step. • Realtime Recording allows you to record Style patterns in realtime. • Step Recording allows you to create a new Style by entering the single notes or chords in each track. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks. Preparing to record 1. 2.
Style Record mode Style Record procedure page 127) is also automatically set to On, to allow playing on the keyboard. 8. When finished recording, press START/STOP to stop the arranger. Select a different track, and go on recording the whole Chord Variation. Note: You can select a different track only when the arranger is not running. 9. When finished recording the Chord Variation, select a different Chord Variation or Style Element to go on recording the whole Style. 10.
Style Record mode Style Record procedure 4. Press the third note, then release all notes. Inserting a second voice. You can insert passages where one note is kept pressed, and another voice moves freely. Ex. 1: Step Time = On Press E and C NewBossa Step Time = RL:2 Metro:On1 Resol: Meter:4/4 C NTT:5th On Press G When exiting, the “RT” recording mode is automatically selected. You may press START/STOP to listen to the Style. Press START/STOP again to stop the playback.
Style Record mode Menu MENU 61 All edit pages share the same structure. From any page of the Style Record mode, press MENU to open the Style Record edit menu. This menu gives access to the various Style Record edit sections. Note: While the Style is in play, you cannot access the Edit section pages from the Main page and the Style Tracks page (see page 55 and page 56). Stop the playback before pressing MENU.
62 Style Record mode Page 1 - Edit: Quantize PAGE 1 - EDIT: QUANTIZE The quantize function may be used to correct any rhythm error after recording, or to give the pattern a “groovy” feeling. Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track. Note: These parameters are available only when a Drum or Percussion track is selected.
Style Record mode Page 3 - Edit: Velocity PAGE 3 - EDIT: VELOCITY 63 Trk (Track) In this page you can change the velocity (dynamics) value of notes in the selected track. Track in edit. To select a different track, press one of the A VOLUME/VALUE buttons to open the Go To Track window. Go to Track: DRUM Enter=Ok Edit:Velocity EV1 CV:CV1 Use the TEMPO/VALUE controls to select a track, and press ENTER to confirm, or EXIT to abort.
64 Style Record mode Page 5 - Event Filter F3 and F4 buttons After selecting the parameter value area with the G VOLUME/VALUE buttons, use these buttons to select, respectively, the first and second value of the event in edit. Control function CC# (Control Change Number) Damper 64 Filter Resonance 71 START/STOP button Low Pass Filter Cutoff 74 Press START/STOP and play some chords on the keyboard to test the pattern in edit. Press START/STOP again to stop the pattern running.
Style Record mode Event Edit procedure display (see “Page 5 - Event Filter” on page 64 for more information). buttons or the TEMPO/VALUE controls to modify the selected value. Ev: Note Event Type Edit: Ev. Filter Second value Aftt: Off 12. If a Note event is selected, use the D VOLUME/VALUE PAft: Off Ctrl: Off Bend: Off buttons to select the Length line, and use the same buttons, or the TEMPO/VALUE controls, to change the event’s length. Press PAGE- to go back to the Event Edit page.
66 Style Record mode Page 6 - Edit: Delete PAGE 6 - EDIT: DELETE This page is where you can delete single elements or MIDI events out of the Style. Edit:Delete E:V1 CV:CV1 Trk:All Ev:Note Note: Some CC data are automatically removed during recording. See the table on page 54 for more information on the allowed data. S / E (Start/End) Use these parameters to set the starting (S) and ending (E) points of the range to delete.
Style Record mode Page 8 - Edit: Copy PAGE 8 - EDIT: COPY Here you can copy a track, Chord Variation or Style Element inside the same Style, or from a different one. Furthermore, you can copy a whole Style. Warning: The Copy operation deletes all data at the target location (overwrite). 67 Copying on a Chord Variation with a different length You can copy a Chord Element on a different Chord Element with a different length.
68 Style Record mode Page 10 - Style Element Controls: Expression PAGE 10 - STYLE ELEMENT CONTROLS: EXPRESSION In this page you can modify the Expression (CC#11) value for each of the Style tracks. This lets you reduce the relative level of a track in a single Style Element, without reducing the overall Volume of the Style. This is a very useful control, when you have different Programs assigned to the same track in different Style Elements, and the internal level of these Programs is different.
Style Record mode Page 13 - Style Controls: Mode/Tension sound. This is very useful on Guitar and Bass tracks. T (Tension) Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, even if they haven't been written in the Style pattern. This parameter specifies 69 whether or not the Tension included in the recognized chord will be added to the Acc1-5 tracks. On The Tension will be added. Off No Tension will be added.
70 Song Play operating mode The Songs and the Standard MIDI File format 11. SONG PLAY OPERATING MODE The Song Play operating mode is where you can listen to Songs (played directly from disk), and play along with the Song on the four Realtime (Keyboard) tracks (Upper 1-3, Lower). Since the Pa50 is equipped with two onboard sequencers, you can play two Songs at the same time. This is very useful to mix between two Songs during a live performance.
Song Play operating mode Master Volume, Sequencer Volume, BALANCE quick way to select Programs and Effects for the Realtime tracks is choosing a different Performance. MASTER VOLUME, SEQUENCER VOLUME, BALANCE While the MASTER VOLUME slider controls the general volume of the instrument, you can use the ACC/SEQ VOLUME slider to control only the Sequencer’s tracks volume. This lets you adjust the Sequencer’s volume alone, while the Realtime (Keyboard) tracks are not affected by this slider.
72 Song Play operating mode The Write window 100 The quantize window extends to the nearest window; all events are quantized. Win=0 Win=50 Win=100 THE WRITE WINDOW You can save onto the internal memory a Seq1+Seq2 Setup. There is a separate Setup for each of the two onboard sequencers. This Setup memorizes the Internal FX settings, the Internal/ External status of each track, and the Play/Mute status of each track.
Song Play operating mode Tracks 1-8 page Bar number This counter shows the current bar number position of the selected Song. 73 Press the TRACK SELECT button again, to go back to the main page. A (S1:SongName) Pressed a first time (with a Song already selected) this button pair selects Sequencer 1. Pressed a second time (or with no Song selected), it opens the Song Selection page (see “Song Select page” on page 73), allowing for selection of a single Song or a Jukebox file for Sequencer 1.
74 Song Play operating mode The Lyrics page F3 (Open) Lyrics display on an external monitor Opens the selected folder (item whose name begins with “ ”). F4 (Close) Closes the current folder, returning to the parent (“upper”) folder. As soon as you enter the Song Play mode, lyrics included in the Song assigned to the Sequencer 1 are shown in the display.
Song Play operating mode Menu PLAY/STOP Starts or stops the current Song. When you stop the Song, the sequencer goes back to measure 1 of the current Song. If the Jukebox page is open, you can start from the Song at the first line of the display. See “Page 9 - Jukebox” on page 79. MENU From any page, press MENU to open the Song Play edit menu. This menu gives access to the various Song Play edit sections.
76 Song Play operating mode Page 2 - Mixer: Pan PAGE 2 - MIXER: PAN Here you can adjust the pan for each Song track. Use the TRACK SELECT button to switch between Song tracks 1-8, Song tracks 9-16, and back again. Mixer:Pan C+00 C+00 C+00 C+00 C+00 C+00 C+00 C+00 Note: When you stop the Song, or select a different Song, the default effects are selected again. You can, however, stop the Song, change the effects, then start the Song again.
Song Play operating mode Page 4 - FX: A/B Select PAGE 4 - FX: A/B SELECT This page lets you select the A and B effects. Usually, the A effect is a reverb, while the B effect is a modulating effect. Effects A and B are usually reserved to Sequencer 1. You can, however, create Songs by using all four effects in Song mode. Depending on the status of the “S2 FX Mode” parameter, this effect pair could be reserved to Sequencer 2, too (see page 80). 77 Song, change the effects, then start the Song again.
78 Song Play operating mode Page 6 - FX: D editing PAGE 6 - FX: D EDITING PAGE 8 - TRACK: INTERNAL/EXTERNAL This page contains the editing parameters for the D effect. You can access this page only when the “S2 FX Mode” parameter is set to C/D (see “S2 FX Mode” on page 80). For more details, see “Page 5 - FX: A editing” above. Note: C and D effects are used also by the Realtime (Keyboard) tracks. This page lets you set the Internal or External status for each track.
Song Play operating mode Page 9 - Jukebox PAGE 9 - JUKEBOX 4. The Jukebox function lets you play a list of Songs (127 max), at the simple touch of a button. You can play a Jukebox file by selecting it in the Song Select page (see “Playing a Jukebox file” on page 74), just as if it was a normal Song. F2 (Add) JB List:NEW_NAME 01 Sunday.mid | 02 Likeavrg.mid | SAVE ADD INS DEL 79 When you have finished writing a name, press F2 (Save) to confirm. The “Are you sure?” message appears.
80 Song Play operating mode Saving a list of Songs Link Beat The two sequencers Tempo are linked together. The Tempo data written into the Songs are ignored. Adjust the Tempo using the TEMPO/ VALUE controls. Start one of the sequencers, by pressing its own PLAY/STOP control. Then, start the other sequencer, by pressing the other PLAY/STOP control; the second sequencer starts at the next beat (quarter or octave, depending on the Song’s Time Signature).
Song Play operating mode Saving a list of Songs How to save a list of Songs contained in a Jukebox file 1. 2. 3. 4. 5. 6. Press SONG PLAY to select the Song Play operative mode. To select an existing Jukebox file, press one of the A (S1:) VOLUME/VALUE buttons to select the Load Song page. If you are creating a new Jukebox file, press MENU instead, select the Jukebox page, and jump to step 7. Use the F3 (Open) and F4 (Close) buttons to browse through the folders inside the floppy disk.
82 Backing Sequence operating mode Transport controls 12. BACKING SEQUENCE OPERATING MODE The Backing Sequence mode lets you record a live performance with the Styles. The front panel controls work mostly as in Style Play mode, but here you are recording what you are playing. After recording, the result is a new Song made of the Realtime tracks and the Style tracks. TRANSPORT CONTROLS When in Backing Sequence mode, use SEQ1 transport controls (PLAY/STOP, PAUSE…).
Backing Sequence operating mode Chord/Acc Step recording right from bar 1, keep the chord pressed during the precount, and press START/STOP before the end of the precount. Otherwise, the Style will start playing from the next bar, following the one where you pressed START/STOP. Since you can use any Style control, you could start with the usual combinations (INTRO, ENDING, FILL… see “2 - Playing a Style” on page 29 for more information).
84 Backing Sequence operating mode Load Song page After pressing this command, the Save Song page appears (see “Save Song page” on page 84). shown on the display will be updated. D (Select Tempo) Load the Song at the first line of the display. Select this parameter to use the TEMPO/VALUE section to select the Tempo. When you select this parameter, the VALUE LED turns off. F3 (Open) F (Metro) Use these buttons to turn the metronome on/off during playback.
Backing Sequence operating mode Realtime Recording page REALTIME RECORDING PAGE On1 While you are in Backing Sequence mode, press RECORD, then one of the A VOLUME/VALUE buttons, to access the Realtime Recording mode. The RECORD LED turns on. 85 The metronome plays during recording. Recording begins with a 1-bar precount. Start recording after bar -1. The metronome plays during recording. Recording begins with a 2-bar precount. Start recording after bar -1.
86 Backing Sequence operating mode Chord/Acc Step Recording page M(easure) This is the locator. It shows the current position of the Step Editor. To go to a different position within the Song, select this parameter, then use the TEMPO/VALUE controls, the A VOLUME/VALUE buttons, or the < > buttons (while the << >> buttons let you move to the previous or following measure). When using one of these controls, the locator moves in steps of 1/8 (192 ticks), or jumps to the next event.
Backing Sequence operating mode How to delete a whole Song Note: If the side arrow doesn’t appear, the event was not selected at the current position, and will not be deleted. SHIFT + DELETE When the Perf parameter is selected, press SHIFT + DELETE to delete all Performance Change events, starting from the current position to the end of the Song. To delete all Performance Change events in the Song, go back to the M001.01.000 position, and press SHIFT + DELETE. Note: All events on the very first tick (M001.
88 Song operating mode Transport controls 13. SONG OPERATING MODE The Song operating mode is the full-featured onboard sequencer, where you can create from scratch or edit a Song. You can also use this mode to edit the initial parameters of a Standard MIDI File, either made with an external sequencer or with Pa50 own Song and Backing Sequence modes. You can save the edited Song as a Standard MIDI File (“.MID” file), and playback it either in Song Play, Backing Sequence or Song mode.
Song operating mode Tracks 1-8 page Man(ual) Auto When the cursor is on the “D (Select Tempo)” parameter, you can change the Tempo using the TEMPO/VALUE section controls. The Song will be played back using the manually selected tempo. The Tempo recorded to the Song will be used. TRACKS 1-8 PAGE To see and edit tracks 1-8, press TRACK SELECT from the main page. The TRACK SELECT LED turns on. Press the TRACK SELECT button twice, to go back to the main page.
90 Song operating mode Save Song page SAVE SONG PAGE The new or edited Song is contained in RAM, and is lost when turning the instrument off. The Song is also lost when you overwrite it in Backing Sequence Record mode, or when switching to the Song Play mode. You must save on disk any Song you wish to preserve. The Song is saved as a Standard MIDI File (SMF). Note: When saving a Song as a SMF, an empty measure in automatically inserted to the beginning of the Song.
Song operating mode Realtime Record procedure REALTIME RECORD PROCEDURE Here is the general procedure to follow for the Realtime Recording. 1. Press SONG to enter the Song mode. 2. Press RECORD to enter the Song Record mode.You are now in the Main page of the Song Record mode, and you can prepare your recording. (For more details, see “Song Record page” on page 93). Rec:NewSong Rec:Overdub Trk:1 98% S: 3. 4. 5. E: Metro:On1 Resol: Meter:4/4 Sel.
92 Song operating mode Step Record procedure page 94 for more information on each parameter of this page). Previous event Event to be inserted Step Owr (a) M---.--.--- Empty (b) M001.01.000 Meter: 4/4 -key? Current position V:64 D:85% Step value Waiting for a keystroke… 4. 5. 7. The first two lines (a) are the latest inserted event. The second two lines (b) are the event currently in edit, ready to be inserted.
Song operating mode Song Record page SONG RECORD PAGE On1 While in the Song mode, press RECORD to enter the Song Record mode. The Song Record page appears. On2 93 Metronome on, with a one-bar precount before starting recording. Metronome on, with a two-bar precount before starting recording. Resol (Resolution) Rec:NewSong Rec:Overdub Trk:1 98% S: E: Metro:On1 Resol: Meter:4/4 Sel.Tempo Tempo:Auto Rec (Record mode) Set this parameter to select a recording mode.
94 Song operating mode Step Record page STEP RECORD PAGE … Access this page from the Main page of the Song Record mode, by selecting the “StepDub” or “StepOwr” recording mode (“Rec” parameter), and pressing SEQ1 PLAY/STOP. Dot (.) Previous event Event to be inserted Step Owr (a) M---.--.--- Empty (b) M001.01.000 Meter: 4/4 -key? Current position V:64 D:85% Step value Waiting for a keystroke… Triplet (3) Note value. Augments the selected note by one half of its value.
Song operating mode Menu MENU 95 Track status icons While in any page, press MENU to open the Song edit menu. This menu gives access to the various Song edit sections. When in the menu, select an edit section using the VOLUME/ VALUE (A-H) buttons, select an edit page using PAGE +, or press EXIT to exit the menu. When in an edit page, press EXIT to go back to the main page of the Song operating mode. A series of icons near each track show the track’s status. Selected track or parameter.
96 Song operating mode Page 3 - Mixer: FX Block Pan -64 +00 +63 Off Hard Left. Center. Hard Right. The direct (uneffected) signal does not go to the outputs; only the FX signal is heard for this track. Here is the edit procedure: 1. Use the VOLUME/VALUE (A-H) buttons to select a track. 2. Use the F1-F4 buttons to select a parameter for that track. 3. Use the TEMPO/VALUE controls to change the parameter’s value.
Song operating mode Page 6 - Tuning: Scale PAGE 6 - TUNING: SCALE This page lets you program the alternative scale for the Song tracks. Tuning:Scale 97 Sc(ale) This parameter lets you activate/deactivate the alternative scale for each track. (See “Page 6 - Tuning: Scale” on page 97 for more information on selecting an alternative scale). Yes The track is tuned according to the alternative scale. No The track is tuned according to the Global scale (see “Scale” on page 125).
98 Song operating mode Page 10 - FX: A editing Song, change the effects, then start the Song again. Edit the Song in Song mode to permanently change the effects. C, D Effects assigned to the C and D effect processors. Usually, C is the reverb, while D is the modulating effect (chorus, flanger, delay…). For a list of the available effects, see “Effects” on page 175. ModTrk (Modulating Track) Source track for modulating MIDI messages.
Song operating mode Page 15 - Track: Mode Drum tracks 99 Poly When a track is set in Drum Mode (like the Drum and Percussion tracks), you can adjust the volume for each of the Drum and Percussion categories. Kick V Kick drums volume. Snare V Snare drums volume. Tom V Toms volume. HiHat V Hi-Hat volume. CymbalV Ride, Crash and other cymbals volume. Percus1V “Classic” percussion set volume. Percus2V “Ethnic” percussion set volume. SFX V Special effects volume. Tracks of this kind are polyphonic, i.e.
100 Song operating mode Page 17 - Edit: Quantize PAGE 17 - EDIT: QUANTIZE PAGE 18 - EDIT: TRANSPOSE The quantize function corrects any rhythm error after recording. Here you can transpose the Song, a track or a part of a track. Edit:Transpose Edit:Quantize Trk:1 Value: Trk:1 Bottom:G-1 S001.01.000 E001.01.192 Bottom:C-1 +0 S001-01-000 E001-01-192 Resol: Top:C8 Top: G9 After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear.
Song operating mode Page 20 - Edit: Delete If you wish to select a four-measure sequence starting at the beginning of the Song, the Start will be positioned at 1.01.000, and the End at 5.01.000. Bottom / Top Use these parameters to set the bottom and top of the keyboard range to edit. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum track. 101 Bottom / Top Use these parameters to set the bottom and top of the keyboard range to delete.
102 Song operating mode Page 23 - Edit: Copy PAGE 23 - EDIT: COPY PAGE 24 - EVENT EDIT Here you can copy tracks or phrases. Enter this page from the Menu of the Song mode. The Event Edit page allows you to edit each event in a single track. See “Event Edit procedure” on page 104 for more information on the event editing procedure. Edit:Copy Mode:Merge FromTrk:All ToTrk:All S:1 E:1 S:1 Event Edit T1 Trk: 1 Position: 001.01.000 After setting the various parameters, press ENTER to execute.
Song operating mode Page 25 - Event Filter And here are the events contained in the Master track.
104 Song operating mode Event Edit procedure EVENT EDIT PROCEDURE 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. Here is the general event editing procedure. 1. While in the Main page of the Song mode, load the Song to edit (see “Main page” on page 88). If a Song is already loaded or just recorded, this step is not needed. 2.
Program operating mode Main page 105 14. PROGRAM OPERATING MODE The Program operating mode is where you can listen to individual Programs, and edit them. To select a Program, see the “Basic operations” chapter. In this mode, the selected Program can always be played across the full keyboard range. To automatically select the Program to be assigned to the last selected track, keep the SHIFT button pressed, and press the PROGRAM button.
106 Program operating mode The Compare function Press EXIT to go back to the main page of the Program mode. All edit pages share the same structure. Oscillator in edit Program icon Page header Samples Page number |Osc1 Selected: While in the Basic page, keep the SHIFT button pressed, and press the DELETE button to initialize the whole Program to a default status.
Program operating mode Page 2 - Sample (Sound Programs) Oscillators Use this parameter to specify the basic Program type; whether it will use one or more oscillators (up to four). Drum Programs use only one oscillator. 1…4 Number of oscillators the Program will use. The total amount of polyphony varies depending on the number of oscillators used by the Program (a maximum of 62 with only 1 oscillator, or a maximum of 15 with 4 oscillators).
108 Program operating mode Page 2 - DK Samples (Drum Programs) Velocity Switch MS Hi/Lo Bank/Num This is the velocity value dividing the High and Low layers for the selected oscillator. Notes struck harder than this value will be played by the High multisample. Use these parameters to select a different multisample (drum kit) for each of the High and Low layers. For more information, see “MS Hi/Lo Bank/Num” on page 107.
Program operating mode Page 3 - Pitch Receive Note Off Use this parameter to enable/disable the reception of the Note Off (Key Off) message. Yes The sound will stop as soon as you release the key. No The sound will continue playing up to the end of the sample. The Note Off message is ignored. Warning: If the “Single Trigger” parameter is set to No, and the sound is looped, the sound will play endlessly. In an “emergency” situation, use the Panic command (see “START/STOP” on page 15).
110 Program operating mode Page 4 - Pitch LFO1 EG AMS (EG Alternate Modulation Source) This parameter selects the source that will modulate the pitch EG of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 123). of pitch modulation will be applied. Negative (–) values will invert the LFO waveform. -12.00…+12.00 Intensity depth and direction. Intensity (AMS Intensity) JS+Y (JoyStick +Y) This parameter specifies the depth and direction of the effect that “AMS” will have.
Program operating mode Page 6 - Pitch EG tors is adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see page 14-111).
112 Program operating mode Page 7 - Filter ting of 0, the pitch EG times will be just as specified by the “Attack/Decay/Release Time” settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached.
Program operating mode Page 8 - Filter Modulation 113 Selected Resonance modulation Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons. The effect of resonance Low Pass Level Filter keyboard tracking Tracking Low/High Low resonance value High resonance value AMS (Alternate Modulation Source) Selects the source that will control the “Resonance” level. See “AMS (Alternate Modulation Source) list” on page 123.
114 Program operating mode Page 9 - Filter LFO1 Intensity to B Filter EG modulation Changes in cutoff frequency Note-on Note-on Note-on Note-off Softly played Note-off Strongly played Setting to + Note-off Strongly played Setting to – Specifies the depth and direction of the effect that “AMS” will have on filter B. For details on how this will apply, refer to “EG Intensity to A”.
Program operating mode Page 10 - Filter LFO2 Intensity to B Specify the depth and direction of the modulation that LFO1 will have on the cutoff frequency of filter B (see “Intensity to A”). Change in cutoff Low setting -99…+99 PAGE 11 - FILTER EG Here you can make settings for the EG that will produce time-varying changes in the cutoff frequency of filters A and B for the selected oscillator.
116 Program operating mode Page 11 - Filter EG Decay Time Filter EG ‘Time’ modulation This parameter specifies the time over which the level will change from the attack level to the break point level. Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-on Note-off Slope Time Note-on Note-off Note-off This parameter specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached.
Program operating mode Page 12 - Amp 117 PAGE 12 - AMP PAGE 13 - AMP MODULATION These parameters control the volume and pan of the selected oscillator. These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume. Amp Selected: Level: |Osc1 Amp Mod Osc1 120 Pan: L001 AMS: Note Number |Osc1 Selected: Osc1 Tracking Low: C 3 Tracking High: A#4 Ramp Low: +48 Selected Selected Use this parameter to select an oscillator to put in edit.
118 Program operating mode Page 14 - Amp LFO1 Amplifier Modulation Amplifier LFO1 modulation These parameters specify how the volume of the selected oscillator will be affected by velocity. AMS (Alternate Modulation Source) Velocity Intensity With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will decrease as you play more strongly.
Program operating mode Page 16 - Amp EG 119 Start Level Start Level Swing This parameter specifies the volume level at note-on. If you want the note to begin at a loud level, set this to a high value. This parameter specifies the direction in which “AMS” will change “Start Level”. If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level.
120 Program operating mode Page 17 - LFO1 (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as specified by the “Amp envelope” parameters (see page 14-118). Attack Time Swing This parameter specifies the direction of the effect that “AMS1” will have on “Attack Time”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time.
Program operating mode Page 18 - LFO2 Here is how “Fade In” affects the LFO (when “Key Sync” is On): Note-on Note-off Fade Delay 00…99 Fade rate. Frequency MIDI/Tempo Sync MIDI/Tempo Sync This parameter enables/disables the LFO synchronization with Sequencer 1 Tempo. On The LFO frequency will synchronize to the tempo (MIDI Clock) of Sequencer 1. In this case, the values you specified for “Frequency” (see page 14-120) and “Frequency modulation” (see page 14-121) will be ignored.
122 No Program operating mode Page 20 - FX1 editing Both the effected signal and direct signals will be sent to the Audio Outputs. PAGE 20 - FX1 EDITING In this page you can edit the effected assigned to the FX1 (A or C) effect processor (usually reverb). See the “Effects” chapter for more information. PAGE 21 - FX2 EDITING In this page you can edit the effected assigned to the FX2 (B or D) effect processor (usually modulating effect). See the “Effects” chapter for more information.
Program operating mode AMS (Alternate Modulation Source) list 123 AMS (ALTERNATE MODULATION SOURCE) LIST Off Do not use Alternate Modulation Pitch EG Pitch EG Filter EG Filter EG within the same oscillator Amp EG Amp EG within the same oscillator LFO1 LFO1 within the same oscillator LFO2 LFO2 within the same oscillator Flt KTrk +/+ (Filter Keyboard Track +/+) Filter keyboard tracking within the same oscillator Flt KTrk +/– (Filter Keyboard Track +/–) Filter keyboard tracking within the same
124 +/0 Program operating mode AMS (Alternate Modulation Source) list The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High” will have no AMS effect.
Global edit environment The Write window 125 15. GLOBAL EDIT ENVIRONMENT The Global edit environment is the place where you can set most of the Pa50 global functions, i.e. functions overriding any operating mode. This edit environment overlaps the current operating mode (Style, Song Play, Song, Backing Sequence). PAGE 1 - GENERAL CONTROLS This page contains various general parameters, setting the status of the keyboard, the speakers and the metronome.
126 Global edit environment Page 2 - Master Transpose PAGE 2 - MASTER TRANSPOSE internal tone generator. Therefore, the Scale will be applied before transposition. For example, if you altered an E, and then set the Master Transpose to +1, the altered key will still be E (that will play an altered F). This page is where you can turn the Master Transpose on or off. Scale Transpose Tone generator Gbl:M.
Global edit environment Page 5 - MIDI Controls This a default setting. It is suitable both for programming on an external sequencer, and for playing Pa50 with a master keyboard. Master Kbd Select this setting when you are connecting a mute master keyboard. Sequencer 1 This setting is for playing a Song (Sequencer 1) with an external instrument sounds, or for listening to a Song performed by an external sequencer using Pa50 as a sound generator.
128 Global edit environment Page 7 - MIDI IN Controls (1) PAGE 7 - MIDI IN CONTROLS (1) PAGE 8 - MIDI IN CONTROLS (2) This page is where you can program the Chord Recognition channels for the internal arranger, and a fixed velocity value for all notes appearing at the input. This is another page containing various MIDI IN settings, like note transposition for the Realtime tracks.
Global edit environment Page 9 - MIDI IN Filters PAGE 9 - MIDI IN FILTERS Use this page to set up to 8 filters for the MIDI data received by the Pa50. Gbl:MidiIn Filt. SysEx PitchBend MonoTouch Off Upper1…3 Drum Perc Bass Acc1…5 S1 T1…16 S2 T1…16 SQ Tr01…16 0 Bank Sel. Off 1 Mod1 (Y+) Off Chord Filters Selected MIDI IN filters. Off No filter. Pitch Bend Pitch Bend. MonoTouch Mono (or Channel) After Touch. PolyTouch Poly After Touch. PrgChange Program Change. SysExcl System Exclusive.
130 Disk edit environment The WRITE/DISK IN USE LED 16. DISK EDIT ENVIRONMENT The Disk edit environment is the place where you can manage files. This edit environment overlaps the current operating mode (Style Play, Song Play, Backing Sequence, Song, Program). THE WRITE/DISK IN USE LED When a disk is reading or writing data, the WRITE/DISK IN USE indicator lights up.
Disk edit environment Loading data created with the Pa80 131 Precautions LOADING OLDER I-SERIES DATA • Pa50 is compatible with the Styles of the older i-Series instruments. You can load them as if they were ordinary Pa50 data. 1. Insert an older i-Series floppy disk into the disk drive. 2. Press DISK to go to the Disk environment. 3. In case you must replace the disk, insert the new disk, and press the F1 button to scan the floppy disk again. 4. If you are reading an i30 disk, move the “.
132 Disk edit environment Disk structure DISK STRUCTURE MYDIR.SET GLOBAL BANK01.GBL PERFORM BANK01.PRF 1-1 Grand Piano 1-8 Full Strings BANK02.PRF 2-1 Jazz Brass 2-8 Jazz Strings BANK .PRF BANK10.PRF Each disk (and the internal memory) can contain files and folders. The data structure in Pa50 is slightly more rigorously determined than in a computer, due to the pre-configured data structure inside the instrument’s memory. The diagram on the left shows the global structure of a Pa50 disk.
Disk edit environment Page structure PAGE STRUCTURE 133 F2 (Disk command) Here is the typical structure of a Disk page. Operating mode icon Page header Executes the disk operation. F3 (Open) Opens the selected folder or bank (files whose name begins with the “ ” icon. F4 (Close) Closes the current folder, returning to the parent (“upper”) folder. Disk:Load NEWNAME.SET | LIVE.SET ETHNICA.
134 Disk edit environment Page 1 - Load When the operation is completed (the “Wait” indicator disappears), the source page comes back in the display, and you may perform further loading operations. Note: Data loaded from disk, and data already in memory is merged. 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 on disk, the USER01 bank is overwritten, while USER02 and USER03 banks are left unchanged.
Disk edit environment Page 2 - Save When the operation is completed (the “Wait” indicator disappears), the source page comes back in the display, and you may perform further loading operations. 10. Press F2 (Load) to confirm the file selection. The inter- nal memory file list appears. If you are loading a single file or bank of Styles, Programs or Performances, you are prompted to choose a destination in memory.
136 Disk edit environment Page 2 - Save The file/folder type… …contains… …and will create on disk… Program The USER Programs and Drum Kits A PROGRAM folder inside a .SET folder Perform (Performances) The Performances A PERFORM folder inside a .SET folder .GBL file The Global. All parameters marked with within the Style Play, Song Play, Song and Global chapters are saved in the Global. A GLOBAL folder inside a .SET folder folder.
Disk edit environment Page 2 - Save folder. A list of User data types appear (each type is a separate folder). 11. Once the target bank is selected, press F2 (Save) to save the files. The “Are you sure?” message will appear. Press ENTER to confirm, or EXIT to abort. Warning: If you confirm, any data in the target bank will be deleted. When the operation is completed (the “Wait” indicator disappears), the source page comes back in the display, and you may perform further saving operations.
138 8. Disk edit environment Page 2 - Save The content of the target disk appears in the display. 12. Once the target location is selected, press F2 (Save) to save the file. The “Are you sure?” message will appear. Press ENTER to confirm, or EXIT to abort. Warning: If you confirm, any data at the target location will be deleted. When the operation is completed (the “Wait” indicator disappears), the source page comes back in the display, and you may perform further saving operations. Disk:Save NEW_NAME.
Disk edit environment Page 3 - Copy PAGE 3 - COPY 7. In this page you can copy single files (i.e., midifiles of Jukebox files), whole folders (generic or “.SET” folders), or a generic folder’s content. You can copy within the same disk, or from a disk to a different one. To preserve the data structure integrity, during Copy operations you can’t open a “.SET” folder, and copy one of its files. You can only open generic folders. Press DISK and use the MENU or PAGE buttons to reach this page.
140 Disk edit environment Page 4 - Erase Press ENTER to confirm overwriting, EXIT to avoid it. When you decide to overwrite, the data you are copying will replace the existing data on the target. For example, if the same midifile exists on the target folder, it will be overwritten. Data that doesn’t exist on the source folder is left unchanged. For example, if the MYSONG01.MID midifile exists on the target folder, but not in the source folder, it is left untouched after copying the other data.
Disk edit environment Page 7 - Rename 4. the cursor position by pressing the INSERT button. Delete a character at the cursor position by pressing the DELETE button. Press F2 (Create) to confirm. The “Are you sure?” message appears. Press ENTER to confirm, EXIT to abort. 141 PAGE 8 - UTILITIES 1 This page includes a set of disk utilities. Press DISK and use the MENU or PAGE buttons to reach this page. PAGE 7 - RENAME Disk:Utilities1 Use the Rename function to change the name of a folder or a file.
142 1. 2. 3. 4. 5. Disk edit environment Page 9 - Utilities 2 Prepare 5 disks. Disks don’t need to be formatted, because Pa50 will format them for you during the Backup procedure. Select the Backup Data command. The “Are you sure?” message appears. Press ENTER to continue, EXIT to abort. The “Insert backup disk #1 and press Enter” message appears. Insert a disk and press ENTER When the Pa50 asks for it, insert a new disk into the floppy disk drive. Write the disk number on each disk’s label. Insert 1.
APPENDIX
144 Factory Data Styles 17. FACTORY DATA STYLES Note: You can remotely select Styles on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see page 127).
Factory Data Styles # CC#0 CC#32 PC Bank: World 3 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 9 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Hora Sevillana 1 Sevillana 2 Jota Copla Classic 3/4 Bolero Minuetto Baroque New Age Tarantella Raspa Vahde Oriental Roman Ciftetelli # CC#0 CC#32 PC Bank: Latin Dance 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 12 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Samba Sambalegre Disco Samba Samba Funk Merengue 1 Merengue 2 Cumbia Latin Dance Batucada Rumba Gipsy Rumba Pop
146 Factory Data Style Elements # CC#0 CC#32 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 29 PC Bank: Direct FD Page 1-2 0-15 *.SET CC#0 CC#32 0 30 PC Bank: Direct FD Page 3-4 CC#0 CC#32 0 31 0-15 *.SET PC Bank: Direct FD Page 5-6 0-15 *.SET STYLE ELEMENTS Note: You can remotely select the various Style Elements on the Pa50, by sending it Program Change messages on the Control channel (see page 127). PC Style Element 80 Var.
Factory Data Programs (bank order) PROGRAMS (BANK ORDER) Name The following table enlists all Pa50 Factory Programs in the same order as they appear by pressing the PROGRAM/PERFORMANCE bank buttons. Legend: The table also includes MIDI data used to remotely select the Programs. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
148 Factory Data Programs (bank order) Name Accordion 2 Arab.
Factory Data Programs (bank order) Name Sitar 2 SitarTambou IndianStars Oud Kanun Kanun Trem.
150 Factory Data Programs (bank order) Name Trumpet Ens Glen & Boys MutEnsembl2 French Horn Syn Brass Brass Hit AttackBrass BrassSect.2 TromboneEns Sax & Brass Flute Muted FrenchHorn2 Syn Brass 3 Euro Hit TightBrass2 Dyna Brass Trombones Brass Band Brass Pad French Sect Syn Brass 4 6th Hit Power Brass Brass Expr.
Factory Data Programs (bank order) Name Super Sweep Wave Sweep Cross Sweep Digi IcePad Crimson5ths Freedom Pad Noble Pad Mellow Pad Lonely Spin Cinema Pad VirtualTrav Syn Ghostly MotionOcean Moon Cycles Farluce Bell Pad Bell Choir Warm Pad Sweep Pad Soundtrack Sine Pad Itopia Pad Big Panner Dance ReMix Rave ElastickPad Moving Bell CC00 CC32 PC Name 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 4 5 6 2 1 7 5 4 1 5 1 2 1 5 11 6 7 0 0 0 1 1 4
152 Factory Data Programs (bank order) Name Fretless Sw Thumb Bass Finger Slap Attack Bass Rubber Bass FingElBass3 DarkR&BBass Sweet Fret Dyna Bass Stick Bass Gtr Bass Bass Mute Dr.
Factory Data Programs (bank order) Name Jetplane Starship Burst Noise Laughing Screaming Punch Heart Beat Footsteps Machine Gun Lasergun Explosion Ice Rain Jaw Harp HitInIndia Stadium CC00 CC32 PC 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 7 8 9 1 2 3 4 5 1 2 3 0 3 5 6 125 125 125 126 126 126 126 126 127 127 127 96 105 55 126 153
154 Factory Data Programs (Program Change order) PROGRAMS (PROGRAM CHANGE ORDER) The following table enlists all Pa50 Factory Programs in order of Bank Select-Program Change number. Legend: The table also includes MIDI data used to remotely select the Programs. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Factory Data Programs (Program Change order) CC00 CC32 PC Name Pa50 Bank 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 9 10 0 1 2 3 4 5 6 7 0 1 2 3 0 1 2 3 4 5 6 7 8 9 10 0 1 2 0 1 0 1 2 3 4 5 6 7 0 1 2 3 4 5 6 7 8 9 10 11 12 0 1 2 3 4 0 1 2 3 18 18 19 19 19 19 19 19 19 19 20 20 20 20 21 21 21 21 21 21 21 21
156 Factory Data Programs (Program Change order) CC00 CC32 PC Name Pa50 Bank 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 1 2 3 4 5 6 7 8 0 1 2 3 0 0 0 0 0 1 2 3 0 1 0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 0 1 0 1 2 3 38 38 38 38 38 38 38 38 38 38 38 38 38 38 38 38 39 39 3
Factory Data Programs (Program Change order) 157 CC00 CC32 PC Name Pa50 Bank GM2 CC00 CC32 PC Name Pa50 Bank GM2 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 1 2 3 4 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 0 1 2 3 4 5 0 1 2 3 4 0 1 0 1 2 3 4 0 1 2 3 4 5 0 1 2 0 1 60 60
158 Factory Data Programs (Program Change order) CC00 CC32 PC Name Pa50 Bank 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 0 0 0 1 2 3 4 5 6 0 1 2 0 1 0 1 2 3 4 5 6 7 8 9 0 1 2 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 10 11 0 1 2 3 4 5 6 7 8 9 10 82 83 84 84 84 84 84 84 84 85 85 85 86 86 87 87 87 87 87 87 87
Factory Data Programs (Program Change order) CC00 CC32 PC Name Pa50 Bank 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 121 0 1 0 1 0 0 1 2 0 1 2 3 0 0 1 0 1 0 1 0 1 2 0 1 2 3 0 1 0 1 2 3 0 1 0 1 2 3 4 5 0 1 2 3 0 1 2 3 4 5 0 1 2 3 4 5 6 7 8 9 108 108 109 109 110 111 111 111 112 112 112 112 113 114 114 115 115 116
160 Factory Data Drum Kits DRUM KITS The following table enlists all Pa50 Factory Drum Kit Programs in order of Bank Select-Program Change number. Legend: The table also includes MIDI data used to remotely select the Programs. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change. CC00 CC32 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 120 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 PC Name 0 Std. Kit1 1 Std.
Factory Data Drum Kit instruments DRUM KIT INSTRUMENTS Legend: In the Drum Kit tables, the numer 120-x-x before each Drum Kit name is the Bank Select MSB (CC00) - Bank Select LSB (CC32) - Program Change (PC) number. Sample enlists both the sample number in memory, and the sample name. Excl is the Exlcusive parameter: when a note is struck, all notes with the same Exclusive number are stopped. A right-pointing arrow (→) indicates a velocity switch.
162 Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5
Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5
164 Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5
Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5
166 Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5
Factory Data Drum Kit instruments Note 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 A-1 A#-1 B-1 C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5
168 Factory Data Drum Kit instruments (continued) 120-0-41: Brush V.S.2 Sample Note 89 90 91 92 93 94 95 96 F6 F#6 G6 G#6 A6 A#6 B6 C7 120-0-48: OrchestraK Excl. Sample Excl. 120-0-116: Arabian Kit 1 Sample 356 Ramazan DVL1 358 Ramazan DVL3 355 Kup 2 83 Tom Jazz Hi 355 Kup 2 354 Kup 1 2 BD-Dry 3 354 Kup 1 Excl. 3 3 5 5 5 Off Off Off 120-0-117: Arabian Kit 2 Sample 175 Djembe-Open 301 Dbk-Tky-Open 312 Bells Open 323 Sagat-HalfOpen 324 Sagat-Close 351 Davul 5 BD-Jazz 361 Tef 3 Excl.
Factory Data Drum Kit instruments 120-0-50: Bdrum & Sdrum Sample C-1 257 Tribe C#-1 142 Zap1 D-1 133 88-Tom D#-1 123 88-BD E-1 123 88-BD F-1 22 BD-Hip 4 F#-1 23 BD-Pop Kick G-1 19 BD-Hip 1 G#-1 18 BD-House 2 A-1 28 BD-Pop 99 A#-1 123 88-BD B-1 138 FM El.Tom C0 28 BD-Pop 99 C#0 27 BD-Amb.
170 Factory Data Drum Kit instruments Note 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 115 117 118 119 120 A5 A#5 B5 C6 C#6 D6 D#6 E6 F6 F#6 G6 G#6 A6 A#6 B6 C7 C#7 D7 D#7 E7 F7 F#7 G7 G#7 A7 A#7 B7 C8 C#8 D8 D#8 E8 F8 F#8 G8 G#8 A8 A#8 B8 C9 120-0-50: Bdrum & Sdrum Sample 124 88-SD 125 99-SD 55 SD-Hip 2 44 SD-BrushTap2 43 SD-BrushTap1 42 SD-BrushHit 42 SD-BrushHit 42 SD-BrushHit 45 SD-BrushSwirl 45 SD-BrushSwirl 45 SD-BrushSwi
Factory Data Drum Kit instruments Note 0 C-1 1 C#-1 2 D-1 3 D#-1 4 E-1 5 F-1 6 F#-1 7 G-1 8 G#-1 9 A-1 10 A#-1 11 B-1 12 C0 13 C#0 14 D0 15 D#0 16 E0 17 F0 18 F#0 19 G0 20 G#0 21 A0 22 A#0 23 B0 24 C1 25 C#1 26 D1 27 D#1 28 E1 29 F1 30 F#1 31 G1 32 G#1 33 A1 34 A#1 35 B1 36 C2 37 C#2 38 D2 39 D#2 40 E2 41 F2 42 F#2 43 G2 44 G#2 45 A2 46 A#2 47 B2 48 C3 49 C#3 50 D3 51 D#3 52 E3 53 F3 54 F#3 55 G3 56 G#3 57 A3 58 A#3 59 B3 60 C4 61 C#4 62 D4 63 D#4 64 E4 65 F4 66 F#4 67 G4 68 G#4 69 A4 70 A#4 71 B4 72 C5 73
172 Factory Data Drum Kit instruments Note 83 B5 84 C6 85 C#6 86 D6 87 D#6 88 E6 89 F6 90 F#6 91 G6 92 G#6 93 A6 94 A#6 95 B6 96 C7 97 C#7 98 D7 99 D#7 100 E7 101 F7 102 F#7 103 G7 104 G#7 105 A7 106 A#7 107 B7 108 C8 109 C#8 110 D8 111 D#8 112 E8 113 F8 114 F#8 115 G8 115 G#8 117 A8 118 A#8 119 B8 120 C9 (continued) 120-0-66: TRI-Per.
Factory Data Performances 173 PERFORMANCES All Performances are user-editable. Use the following table as a model for your own Perfomance lists. Note: You can remotely select Performances on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see page 127).
174 Factory Data MIDI Setup MIDI SETUP DEFAULT Master Kbd Sequencer1 Sequencer 2 Accordion 1 Accordion 2 Accordion 3 Ext.
Effects Diagrams 175 18. EFFECTS Pa50 is equipped with four powerful Effect Processors (A, B, C, D). You can send them the internal tracks. Modulation source Note MIDI(CC#20) DIAGRAMS MIDI(CC#21) The following instructions show the signal path diagram for each of the effect types. The signal coming from the tracks (Send) is mono. Before entering an effect processor, it is split in two “wires” (Left and Right), and processed in stereo.
176 Effects Filter/Dynamic 002: Compressor 003: Limiter (Stereo Compressor) (Stereo Limiter) 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. The Limiter regulates the input signal level.
177 Effects Filter/Dynamic 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 : 1 004: MBandLimit (Multiband Limiter) This effect applies the Limiter to the low range, mid range, and high range of the input signal.
178 Effects Filter/Dynamic The Attack and Release parameters set the Gate attack time and release time. 005: Gate (Stereo Gate) Gate - Threshold This effect mutes the input signal if its level is lower than the specified level. It also reverses the on and off operation of the gate, and uses Note On and Off messages to turn the gate on and off.
179 Effects Filter/Dynamic Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) 007: Param.4B Eq 20...1.0kHz (Stereo Parametric 4-Band EQ) f Gain [dB] Table , “Sets the gain of Low EQ,” on page 176 –18...+18dB Mid1 Cutoff [Hz] 300...10.00kHz Sets the center frequency for Mid/High EQ 1 (peaking type) g Q Sets the band width of Mid/High EQ 1 This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4.
180 Effects Filter/Dynamic d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB] You can control the gain of Band 2 using the modulation source. Parametric 4EQ - Band2 Dynamic Gain Control You can configure a 21-Band Graphic EQ ranging from 80Hz to 18kHz if you route three Graphic 7Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ. D-mod +15dB Band2 Cutoff +6dB +6dB 0dB 0dB 009: Wah/AutoWah (Stereo Wah/Auto Wah) Band2 Cutoff –9dB Band2 Gain[dB]= +6.
181 Effects Filter/Dynamic 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. Sweep Mode=D-mod Frequency Top=75 Wah Higher Bottom=60 This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation.
182 Effects Filter/Dynamic When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle. Random Filter LFO LFO Frequency LFO Step Freq 011: Excit/Enhan (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.
183 Effects Filter/Dynamic 012: Sub Oscill 013: Talking Mod (Stereo Sub Oscillator) (Talking Modulator) This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
184 Effects Filter/Dynamic 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 Voice Center A Voice Top A I 014: Decimator (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).
185 Effects Pitch/Phase Mod. 015: Analog Rec PITCH/PHASE MOD. (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. Pitch/phase modulation effects 016: Chorus (Stereo Chorus) Stereo In - Stereo Out Left This effect adds thickness and warmth to the sound by modulating the delay time of the input signal.
186 Effects Pitch/Phase Mod. 017: Harm.Chorus (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.
187 Effects Pitch/Phase Mod. 019: Ensemble 020: Flanger 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. (Stereo Flanger) Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry 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.
188 Effects Pitch/Phase Mod. b: LFO Shape Changing the LFO waveform shape controls the peak sweep of flanging effects. Feedback Sets the feedback amount i High Damp [%] Sets the feedback damping amount in the high range LFO Shape 0...100% ☞ Fx:020 Wet/Dry –Wet...–1:99, Dry, 1:99...Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 ☞ Fx:010, 020, LFO Shape = 0...–100 LFO Shape = 0...+100 –100...
189 Effects Pitch/Phase Mod. The “Src” parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received. When “Sweep Mode” = D-mod, the modulation source can control the flanger directly. Select the modulation source using the “Src” parameter.
190 Effects Pitch/Phase Mod. 024: RandomPhser 025: Envel.Phser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. 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.
191 Effects Pitch/Phase Mod. 026: BiphaseMod. 027: Vibrato (Stereo Biphase Modulation) (Stereo Vibrato) 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 analog-type, unstable modulated sound. This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
192 Effects Pitch/Phase Mod. The following is an example of fade-in where the LFO speed is increased from “1.0Hz” to “4.0Hz” when a noteon message is received. “AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0 “LFO Frequency Mod”=AUTOFADE, “Amt”=3.0 The effect is off when a value for the dynamic modulation source specified for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher.
193 Effects Pitch/Phase Mod. LFO Frequency [Hz] Sets the LFO speed Wet/Dry Dry, 1:99...99:1, Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 Src Off...Tempo Table , “Selects the modulation source of the effect balance,” on page 175 This effect simulates the “Doppler effect” of a moving sound with a changing pitch, similar to the siren of an passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect.
194 Effects Pitch/Phase Mod. 031: 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. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left 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.
195 Effects Mod./P.Shift b: LFO Phase [degree] This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. MOD./P.SHIFT Other modulation and pitch shift effects 032: Tremolo (Stereo Tremolo) 033: EnvelTremol This effect modulates the volume level of the input signal.
196 Effects Mod./P.Shift “Depth”=100, “Envelope Amount”=–100 Depth Sets the depth of LFO modulation Shimmer Level Louder Dry Envelope LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Envelope Amount= –100 e 0...100 Src Off...Tempo Selects the modulation source of the depth of modulation Amt Sets the modulation amount of the depth of modulation –100...+100 Time Wet/Dry Dry, 1:99...
Effects Mod./P.Shift 035: Phaser/Trem (Stereo Phaser + Tremolo) This effect has a stereo phaser and tremolo LFOs linked together. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect. It is suitable for electric piano type sounds. 197 enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound.
198 Effects Mod./P.Shift Wet/Dry Dry, 1:99...99:1, Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 h Src Off...Tempo Table , “Selects the modulation source of the effect balance,” on page 175 Amt Table , “Sets the modulation amount of the effect balance,” on page 175 –100...+100 037: 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.
Effects Mod./P.Shift 038: PitchShift Input Level Dmod [%] Sets the modulation amount of the input level (Pitch Shifter) 199 –100...+100 ☞ Fx:037, g This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback. Wet / Dry Off...Tempo ☞ Fx:037 Wet/Dry Dry, 1:99...
200 Effects Mod./P.Shift 039: PitShiftMod. 040: RotarySpeak (Pitch Shift Modulation) (Rotary Speaker) 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.
Effects Mod./P.Shift When “Sw” = Moment, the speaker is rotating. It stops only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater. b: Sw This parameter sets how the rotation speed (slow and fast) is switched via the modulation source. When “Sw” = Toggle, the speed is switched between slow and fast each time you press the pedal or operate the joystick.
202 Effects ER/Delay 042: AutoReverse ER/DELAY (Auto Reverse) This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). Early reflection and delay effects 041: Early Refl Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left (Early Reflections) This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.
Effects ER/Delay c: Envelope Select, c: Src, d: Threshold These parameters select the source to control the start and end of recording. When “Envelope Select” is set to D-mod, the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher. When “Envelope Select” is set to Input, the input signal will be recorded only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immediately.
204 Effects ER/Delay 045: M.Tap Delay 046: Modul.Delay (Stereo Multitap Delay) (Stereo Modulation 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. This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay sound with swell and shimmering. You can also control the delay time using a modulation source.
Effects ER/Delay 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.
206 Effects ER/Delay 048: AutoPan Dly L Delay Time [msec] Sets the delay time for the left channel (Stereo Auto Panning Delay) a L Feedback Sets the feedback amount for the left channel This stereo delay effect pans the delay sound left and right using the LFO. R Delay Time [msec] Sets the delay time for the right channel –100...+100 0.0...680.
Effects ER/Delay 049: LCR BPM Dly The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with the song in real-time. Delay time is set by notes. Note: With extreme values, the sync may be lost. Left (Stereo BPM Delay) Wet / Dry L Delay This stereo delay enables you to set the delay time to match the song tempo.
208 Effects Reverb 051: Seq. Delay REVERB (Sequential Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left Reverb effects These effects simulate the ambience of reverberation in concert halls. Wet / Dry Pan 052: Rev. Hall Input Level D-mod + This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.
209 Effects Reverb b: Pre Delay [msec], b: Pre Delay Thru [%] The “Pre Delay” sets the delay time to the reverb input, allowing you to control spaciousness. Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. 057: R.BriteRoom This room-type reverb emphasizes the early reflections that make the sound brighter. See 056: Reverb Room.
210 Effects Mono – Mono Chain 059: Par4Eq-Wah MONO – MONO CHAIN (Parametric 4-Band EQ – Wah/Auto Wah) This effect combines a mono-type four-band parametric equalizer and a wah. You can change the order of the connection. Effects that combine two mono effects connected in series 058: Par4Eq-Exc (Parametric 4-Band EQ – Exciter) Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left This effect combines a mono-type four-band parametric equalizer and an exciter.
211 Effects Mono – Mono Chain 060: 4EqPhsrChFl (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four-band parametric equalizer and a chorus/flanger. Left Wet / Dry Chorus/Flanger + 061: Par4Eq-Phsr (Parametric 4-Band EQ – Phaser) Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Parametric 4Band EQ 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.
212 Effects Mono – Mono Chain 062: P4Eq-TapDly 063: Cmp-AutoWah (Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/Auto Wah) This effect combines a mono-type four-band parametric equalizer and a multitap delay. This effect combines a mono-type compressor and a wah. You can change the order of the connection.
213 Effects Mono – Mono Chain 064: Cmp-AmpSim 065: Cmp-OD/HiG (Compressor – Amp Simulation) (Compressor – Overdrive/Hi.Gain) This effect combines a mono-type compressor and an amp simulation. You can change the order of the effect connection. This effect combines a mono-type compressor and an overdrive/high-gain distortion. You can change the order of the effect connection.
214 Effects Mono – Mono Chain 066: Cmp-Par.4Eq 067: Cmp-ChorFlg (Compressor – Parametric 4-Band EQ) (Compressor – Chorus/Flanger) This effect combines a mono-type compressor and a fourband parametric equalizer. You can change the order of the effect connection. This effect combines a mono-type compressor and a chorus/ flanger. You can change the order of the effect connection.
215 Effects Mono – Mono Chain 068: Cmp-Phaser Wet/Dry Dry, 1:99...99:1, Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 (Compressor – Phaser) This effect combines a mono-type compressor and a phaser. You can change the order of the effect connection. j Amt Table , “Sets the modulation amount of the effect balance,” on page 175 Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim LEQ Phaser 069: Cmp-MTapDly HEQ + –100...
216 Effects Mono – Mono Chain 070: Lim-Par.4Eq 071: Lim-ChorFlg (Limiter – Parametric 4-Band EQ) (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a four-band parametric equalizer. You can change the order of the effect connection. This effect combines a mono-type limiter and a chorus/ flanger. You can change the order of the effect connection.
217 Effects Mono – Mono Chain 072: Lim-Phaser This effect combines a mono-type limiter and a phaser. You can change the order of the effect connection. Left Wet / Dry Routing Limiter ☞ Fx:003 1...100 Release Sets the release time ☞ Fx:003 b c Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out [L] Attack Sets the attack time 1...100 [L] Gain Adjust [dB] Sets the limiter output gain –Inf, –38...+24dB ☞ Fx:003 [D] Tap1 Time [msec] Sets the Tap1 delay time Phaser 0...
218 Effects Mono – Mono Chain 075: Exc-Limiter 076: Exc-ChorFlg (Exciter – Limiter) (Exciter – Chorus/Flanger) This effect combines a mono-type exciter and a limiter. You can change the order of the effect connection. This effect combines a mono-type limiter and a chorus/ flanger.
219 Effects Mono – Mono Chain 077: Exc-Phaser 078: Exc-MTapDly (Exciter – Phaser) (Exciter – Multitap Delay) This effect combines a mono-type limiter and a phaser. This effect combines a mono-type exciter and a multitap delay.
220 Effects Mono – Mono Chain [O] Output Level Sets the overdrive output level b ☞ Fx:006, 0...50 [O] Output Level Sets the overdrive output level Src Off...Tempo Selects the modulation source for the overdrive output level Amt Sets the modulation amount of the overdrive output level [O] Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) b –50...+50 20...1.00kHz [O] Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) –50...+50 20...1.
221 Effects Mono – Mono Chain 081: OD/HG-Phser Wet/Dry Dry, 1:99...99:1, Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type overdrive/high-gain distortion and a phaser. You can change the order of the effect connection. j Src Off...Tempo Table , “Selects the modulation source of the effect balance,” on page 175 Amt Table , “Sets the modulation amount of the effect balance,” on page 175 –100...
222 Effects Mono – Mono Chain 083: Wah-AmpSim 084: Decim-Amp S (Wah/Auto Wah – Amp Simulation) (Decimator – Amp Simulation) This effect combines a mono-type wah and an amp simulation. You can change the order of the effect connection. This effect combines a mono-type decimator and an amp simulation. You can change the order of the effect connection.
223 Effects Mono – Mono Chain Wet/Dry Dry, 1:99...99:1, Wet Table , “Sets the balance between the effect and dry sounds,” on page 175 g Src Off...Tempo Table , “Selects the modulation source of the effect balance,” on page 175 Amt Table , “Sets the modulation amount of the effect balance,” on page 175 087: Ch/Fl-MTDly (Chorus/Flanger – Multitap Delay) This effect combines a mono-type chorus/flanger and a multitap delay. –100...
224 Effects Mono – Mono Chain 088: Phser-ChoFl 089: Rev-Gate (Phaser – Chorus/Flanger) (Reverb – Gate) This effect combines a mono-type phaser and a chorus/ flanger. This effect combines a mono-type reverb and a gate.
Assignable parameters List of functions assignable to the Footswitch 225 19. ASSIGNABLE PARAMETERS LIST OF FUNCTIONS ASSIGNABLE TO THE FOOTSWITCH The following functions can be assigned to a footswitch. Function Meaning Style Up Selects the next Style Style Down Selects the previous Style Perform. Up Selects the next Performance Function Meaning Perform.
226 Assignable parameters List of functions assignable to the Pedal or Assignable Slider LIST OF FUNCTIONS ASSIGNABLE TO THE PEDAL OR ASSIGNABLE SLIDER The following functions can be assigned to a continuous pedal or to the Assignable Slider.
Assignable parameters List of functions assignable to the Pads LIST OF FUNCTIONS ASSIGNABLE TO THE PADS You can assign the following functions to the Pads, and use them as switch controls.
228 MIDI Controllers 20. MIDI CONTROLLERS The following is a table including all Control Change messages, and their effect on various Pa50 functions. CC# 0 CC Name Pa50 Function Bank Select Program selection 1 Mod1 (Y+) Joystick forward 2 Mod2 (Y-) Joystick backward 3 Undef. ctl 4 Foot ctl 5 Port.time 6 Data ent. 7 Volume 8 Balance 9 Undef. ctl 10 Pan Pot 11 Expression 12 Fx Ctl 1 13 14-15 Track panning Expression Fx Ctl 2 Undef. ctl 16 Gen.pc.1 17 Gen.pc.
MIDI Controllers MIDI Implementation Chart KORG Pa50 OS Version 1.0 - Mar.
230 Parameters 21. PARAMETERS Control panel and operating modes parameters The following table shows the parameters you can save to memory when pressing the WRITE button in the various operating modes and edit environments. Page Parameter Control Panel – Master Volume (Slider) Acc.
Parameters Page Parameter 22 Pad 1-4 Volume Pan C Send Level D Send Level 23 Pad Lock Scale Lock Auto Octave Lock Master Transpose Lock 24 Chord Recognition Mode Scale Mode Memory Mode Velocity Control Song Play Mode Main Program Play/Mute status 1 Volume 2 Pan 3 FX Send Level 4 FX Select (A, B, C, D) Modulating Track B>A (or D>C) Send 5-6 FX Parameters (A, B, C, D) 7 Track Mode 8 Track Internal/External 9 Jukebox 10 Link Mode S2 FX Mode Performance FX Mode Song Mode Song data Global Edit Environment 1 Ve
232 Parameters Style and Song parameters The following table is a list of data saved (to memory or disk) when editing a Style or a Song. Note: When saving a Song to disk as a Standard MIDI File (SMF), all parameters are converted to ordinary track parameters. Pa80 exclusive data are converted to SysEx or Meta-Events, that will be ignored when reading the SMF on a different keyboard or sequencer.
Recognized chords 233 22. RECOGNIZED CHORDS The following pages show the most important chords recognized by the Korg Pa80, when the selected Chord Recognition mode is Fingered 2 (see “Chord Recognition Mode” on page 50). Recognized chords may vary with a different Chord Recognition modes.
234 Recognized chords Minor Minor 6th 3-note 2-note T T 4-note T T Minor 7th Minor-Major 7th 4-note T T 3-note T T Diminished 3-note 4-note T T Diminished Major 7th 3-note 4-note T T T T Minor 7th 5 4-note T T Augmented 3-note T T No 3rd 2-note T Augmented 7th 4-note T T Augmented Major 7th 4-note T T T T T T No 3rd, no 5th 1-note = constituent notes of the chord T = can be used as tension T
Error messages & Troubleshooting Error messages 235 23. ERROR MESSAGES & TROUBLESHOOTING ERROR MESSAGES Backing Sequence Mode Your Pa50 can communicate with you using various messages. Here is the list of these messages. Messages can be of two different types: • Waiting for your confirmation (Yes – No). Press ENTER/YES to go on, EXIT/NO to stop. • Revealing an error or failure. Press any button on the front panel.
236 Error messages & Troubleshooting Error messages Standard Midi File format 2 Disk not empty! (Sh+Enter to Format) You have tried to read a Format 2 Standard MIDI File. Pa50 can’t play this kind of file. Select a Standard MIDI Files in 0and 1-format. During a Backup, you inserted a disk containing some data. Please replace it with an empty one, or press SHIFT+ENTER to start formatting the disk.
Error messages & Troubleshooting Error messages 237 File Not Found (Press Exit) Not Enough Space on Media The file is not in the current medium. The disk has probably been replaced before finishing the disk operation. Insert the disk again, and try again. Formatting has been successfully completed. There is no more space to load, save or copy data. The disk operation will be aborted. Replace the disk, and use an empty disk to save your data.
238 Error messages & Troubleshooting Troubleshooting TROUBLESHOOTING Problem Solution Page 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 switch turned ON? If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
Technical specifications 239 24. TECHNICAL SPECIFICATIONS Model: KORG Pa50 Keyboard 61 keys, with velocity. Operating System KORG OPOS (Objective Portable Operating System). Multitasking, Load-While-Play feature. SSD (Solid State Disk)-resident. Upgradable from floppy disk. Display Backlit custom LCD Data storage 8MB (>20MB equivalent) Internal Solid State Disk (SSD), 1.44MB Floppy Disk Driver (MS-DOS® compatible). Sound generation system KORG HI - Hyper Integrated.
240 Alphabetical Index 25. ALPHABETICAL INDEX A Acc/Seq Volume 10, 13 AMS(Alternate Modulation Source) Resonance 112 Arabic Scale 34 Assignable Slider 126 Attack 119 Attack Level Amp EG 119 Attack Time Filter EG 116 Audio Inputs 10, 22 Audio Outputs 10, 22 B Backing Sequence mode 31, 82–87 Backup 8, 141 Balance 10, 18, 27, 30 Bank Select 37 BPM MIDI/Tempo Sync.
Alphabetical Index M S Master Transpose 18, 126 Master Tune 125 Master Volume 10, 13 Menu 15 Message window 21 MIDI Chord channels 128 Clock 70, 127 General MIDI 35 Global channel 35 IN channels 127 Interface 22, 37 OUT channels 129 Setting a track for MIDI 78, Setup 36, 126 Standard MIDI File 70, 88 MIDI interface 22, 37 MIDI Setup 36, 126 Midifile 35, 70, 88 Mode Backing Sequence 82–87 Program 105–124 Song Play 70–81 Style Play 40–51 Mute 16, 24 Scale Lock 50 Main scale 125 Selecting in realtime 34 Se
242 Alphabetical Index Tune Tune, Program 108 U User Interface 20 Edit Environments 21 Operating Modes 20 Selecting Windows 21 V VALUE slider AMS 123 Variation 14 Velocity AMS 123 Velocity Intensity, Amp Mod.
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