Owner’s Manual E 1
PRECAUTIONS 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 • Close to magnetic fields POWER SUPPLY Please connect the designated AC adapter to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.
DATA HANDLING Data stored in memory may occasionally be lost due to incorrect user action. Be sure to save your important data to a memory card. 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 operation and functionality. All sound names, parameter names, and values are merely examples and may not always match the actual display that you are working on.
THE BALANCE SLIDER When turning the instrument on, please be assured the BALANCE slider is set to the cen‐ ter. 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 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 25 25 24 24 24 24 26 27 27 27 41 52 Song Play mode …play a Song (Standard MIDI File) …see the Lyrics …see the Song tracks …start both Sequencers at the sa
4 TABLE OF CONTENTS Introduction Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Useful links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Loading the operating system . . . . . . . . . . . . . . . . . . . . 9 Reloading the Factory Data . . . . . . . . . . . . . . . . . . . . . . 9 Start up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 Style Record mode . . . . . . . . . . . . . . . . . . . . . . . . . 52 The Style’s structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Style Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Entering the Record mode . . . . . . . . . . . . . . . . . . . . . . 53 Listening to the Style while in Record/Edit mode . . . 53 Exit and Save/Abort Style . . . . . . . . . . . . . . . . . . . . . . . 54 The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 Program operating mode . . . . . . . . . . . . . . . . . . . 105 Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Sound Programs and Drum Programs . . . . . . . . . . . 105 Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 The Compare function . . . . . . . . . . . . . . . . . . . . . . . . 106 How to select oscillators . . . . . . . . . . . . . . . . . . .
INTRODUCTION
8 Welcome! Useful links 1. WELCOME! Thank you for purchasing the Korg Professional Arranger microARRANGER. This instrument is an ideal keyboard for song produc‐ tion — it lets you select a desired musical style and gen‐ erate a high‐quality band accompaniment simply by playing chords, and then you can play the melody yourself to easily create an original song.
Welcome! About this manual ABOUT THIS MANUAL LOADING THE OPERATING SYSTEM This manual is divided in three sections: • A Basic Guide, containing an overview of the instrument, as well as a series of practical guides (named “Tutorials”). • A Reference Guide, with each page and parame‐ ter described in detail. • An Appendix, with a list of data and useful infor‐ mation for the advanced user.
10 Start up Connecting the AC power adapter 2. START UP CONNECTING THE AC POWER ADAPTER CONTROLLING THE VOLUME Connect the supplied AC power adapter to the dedi‐ cated 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.
Start up Audio Outputs 11 AUDIO OUTPUTS DAMPER PEDAL You can send the sound to an external amplification system, instead of the internal speakers. This is useful when recording, or when playing live. Connect a Damper (Sustain) pedal to the DAMPER connector on the back panel. Use a KORG PS‐1, PS‐3 or DS‐1H footswitch pedal, or a compatible one. To switch the Damper polarity, see “Damper Pol. (Damper Polar‐ ity)” on page 126. Stereo. Connect two mono cables to the L/MONO & RIGHT OUTPUTS.
12 Front panel 3. FRONT PANEL 28 27 2 3 4 5 6 7 34 30 30 31 15 8 9 10 11 12 13 14 32 33 48 16 17 1 29 18 19 20 21 1 Power switch ( ) This turns the microARRANGERʹs power on or off. 2 MASTER VOLUME This slider controls the overall volume of the instru‐ ment, 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 dur‐ ing signal peaks.
Front panel 7 SD CARD This button recalls the Card edit environment, where you can execute various operations on files and cards (Load, Save, Format, etc…). This edit environment overlaps any operating mode, that still remains active in the background. Press EXIT to go back to the under‐ lying operating mode. 8 MEMORY (TIE) This button turns the Lower and Chord Memory func‐ tions on or off.
14 Front panel press the lefmost button of the STYLE section. A mes‐ sage window will appear, showing the name of the original bank. Release the SHIFT button to exit the win‐ dow. There is a shortcut to see all pages of the selected bank. To cycle all pages for a selected bank, press the bank’s button until you see the page that you’re looking for. These buttons double as a numeric keypad on certain pages (see “Selecting a Song composing its progressive number” on page 70).
Front panel START+STOP LEDs ON When both LEDs are lit‐up, raising your hand from the keyboard momentarily will stop the Style from playing. If you play a chord again, the Style starts again. OFF All Synchro functions are turned off. This button doubles as a DELETE function for the Backing Sequence and Song modes (see chapters 12 and 13). It is also used to delete the selected character, during text editing.
16 Front panel VOLUME MUTE SOLO VALUE While you are in the main pages of any operating mode, select a track and use these buttons to change the track’s vol‐ ume. Use the left button to decrease it, or the right button to increase it. Press both buttons in a pair to mute the corresponding track. Press both buttons again to unmute the track. While in the Style Play, Song Play and Song modes, you can solo one of the tracks.
Front panel 39 CHORD SCANNING section In Style Play and Backing Sequence mode, use these buttons to define the way chords are recognized by the arranger. LOWER Chords are detected below the split point. The number of notes you should play to form a chord is defined by the Chord Scanning Mode parameter (see “Chord Recognition Mode” on page 51). UPPER Chords are detected above the split point. You must always play three or more notes to let the arranger recognize a chord.
18 Front panel Note: The Master Transpose has no effect on tracks set to Drum mode (and, even if set in a different status, on the Drum and Percussion tracks). See “Page 14 ‐ Track: Mode” on page 46, and “Page 7 ‐ Track: Mode” on page 78. Lowers the Master Transpose a semitone. Raises the Master Transpose a semitone. 47 OCTAVE These buttons transpose the selected track in steps of a whole octave (12 semitones; max ±2 octaves).
Display and User Interface Display controls 19 4. DISPLAY AND USER INTERFACE The display shows the current status of the microAR‐ RANGER 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 F‐1–F‐4 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 4 Realtime tracks, 2 x 16 Song Tracks, 4 Pads. 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 (hid‐ den) tracks. For example, when in Style Play, you can use this button to switch from the Realtime tracks and the Style tracks.
Display and User Interface Message windows Edit environment. (See diagram at the bottom of this page). When you press GLOBAL or SD CARD, 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. SYMBOLS AND ICONS Many icons and symbols, on the custom display, show the status of a parameter or the display content.
22 Rear panel 5. REAR PANEL 1 2 3 4 5 6 1 PHONES Use this jack to connect a pair of headphones. You can use headphones with an impedance of 16–200Ω (50Ω suggested). Use a headphone distributor to connect more than one pair of headphones. 2 INPUT Use these unbalanced connectors to input another key‐ board/synthesizer, a (non‐powered) mixer’s output, or a CD/tape player (line impedance). The signal is auto‐ matically routed to the speakers, the Audio Outputs and the Phones.
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 sta‐ tus. If you cannot hear a track, check the mute status of that part. Tracks can be set in different ways: use the KEY‐ BOARD MODE section to select the way they are con‐ figured on the keyboard.
Basic operations Selecting a Performance SELECTING A PERFORMANCE The Performance Select window appears. There are 8 Performances for each bank. A Performance is a set of Programs and settings for the Keyboard and Style tracks, that makes selecting com‐ plex 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 Style 3. Use the leftmost PROGRAM/PERFORMANCE button to select a row of Program banks (upper, lower). 4. Select the PROGRAM/PERFORMANCE bank con‐ taining the Program you are looking for (Program banks are identified by instrument names). The Style Select window appears. 3. 4. The Program Select window appears. See “Pro‐ grams (Program Change order)” on page 154 for a list of Factory Programs. Last selected Program Selected track 5.
Tutorial Playing a Style (Automatic Accompaniment) 27 7. TUTORIAL This chapter is fully devoted to step‐by‐step instruc‐ tions, that we hope may be useful to learn the basics— in the field. PLAYING A STYLE (Automatic Accompaniment) A Style will be your virtual band for your best solos. Select one of the 304 Styles we fitted in this machine… 1 OK, select your favorite musical Style. There are plenty of Styles to choose from. We will go with a Jazz Style—the “Jazz Brush”. 1.
28 Tutorial Playing in Realtime (Without using Automatic Accompaniment) 7 Stop it! OK, you could say: “Oh, 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 the easy way. Let us suggest a more colorful way: PRESS ENDING1 OR ENDING2 An ending is instantaneously called, and will begin playing, to lead the Style to a colorful end. As usual, ENDING1 is pre‐programmed, while ENDING2 asks for your chord progression.
Tutorial Playing in Realtime (Without using Automatic Accompaniment) 3 Select Performance 1-1 (“Grand Piano”) again. As above: press Performance bank 1, and use the A VOLUME/VALUE buttons to select Performance 1‐1. 29 7 Mute/unmute various tracks. Press both H VOLUME/VALUE buttons. You will mute the Lower track. 4 Unmute the Upper 2 track. Press both F VOLUME/VALUE but‐ tons. The Upper 2 track will be selected and unmuted.
30 Tutorial Recording a Song (Simultaneously recording the Style and realtime performance) RECORDING A SONG (Simultaneously recording the Style and realtime performance) The Backing Sequence mode is a fast and effective way of recording a new Song, making full use of the fea‐ tures 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.
Tutorial Playing a Song from a card 9 Finish the recording. PRESS PLAY/STOP (SEQ1) and the Recording status will be gone. Both Backing Sequence tracks (RT and Ch/Acc) will be set to the PLAY status. 31 3. Press the [F‐1] button to select the SD card (SD). Song mode it (as seen 4. 11 Deleting one of the tracks, or the whole Song and record again. That’s easy! 1. Press RECORD to enter Record mode. 5.
32 3 Tutorial Editing a Song Press the A (S1:) VOLUME/VALUE button to open the Song Select window. EDITING A SONG You can edit a Song, either a Standard MIDI File bought at the shop, or one of your Songs made in Back‐ ing Sequence mode. What about changing those boring General MIDI sounds with those gorgeous original KORG sounds? You can do it—in Song mode. 1 Press SONG to go to the Song mode. This is the Song garage, where you may find tools to reshape your Song.
Tutorial Editing a Song 4 Listen to the Song. After loading you are back to the main page of the Song mode. select. For example, one of the A buttons to select track 1: 3. Press PLAY/STOP (SEQ1) to listen to the Song. The LED on the button turns on. Does it sound good? If it is a General MIDI‐compatible midifile, there is a good chance it does. But we can fur‐ ther improve on it. 5 Stop the Song. This one is easy: press PLAY/STOP (SEQ1). The LED on the PLAY/STOP button turns off.
34 Tutorial The Arabic Scale off. So, press EXIT to go back to the main page of the Song mode. THE ARABIC SCALE You can program an Arabic scale in real time, by assigning a footswitch or a pad the “Quarter Tone” function. Another way of changing the scale is assigning it to a Performance or Single Touch Setting (STS), but this is the most convenient way to change the pitch in real time. 1 Press one of the C VOLUME/VALUE buttons, to select the Save Song command. Save your Song with a new name.
MIDI What is MIDI? 35 8. MIDI WHAT IS MIDI? Here is a brief overview of MIDI, as related to the microARRANGER. If interested, you may find more information on the general use of MIDI in the various specialized magazines and books. In general MIDI stands for Musical Instruments Digital Interface. This interface lets you connect two musical instruments, or a computer and various musical instruments. Physically, MIDI is composed of three different connec‐ tors.
36 MIDI The Chord 1 and Chord 2 channels transmission should take place over the Global channel of the microARRANGER. The MIDI messages received over a Global channel and not over a standard channel are affected by the buttons of the KEYBOARD MODE section, as well from the split point. Therefore, if the SPLIT button LED is lit up, the notes that arrive to the microARRANGER over this chan‐ nel will be divided by the split point into the Upper (above the split point) and Lower (below the split point) parts.
MIDI Connecting the microARRANGER to a MIDI accordion CONNECTING THE microARRANGER TO A MIDI ACCORDION There are different types of MIDI accordion and each type requires a different configuration of the microAR‐ RANGER. Select one of the MIDI “Accordion” Setups to configure the module properly (see page 126). 3. 4. Connection and settings To connect the accordion to the microARRANGER fol‐ low this procedure: 1.
38 MIDI Playing another instrument with the microARRANGER PLAYING ANOTHER INSTRUMENT WITH THE microARRANGER You can use the microARRANGER as the master con‐ troller for your MIDI setup. 1. Connect microARRANGER’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 microAR‐ RANGER.
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 Real‐ time tracks on the keyboard (Upper 1…3 and Lower). WHAT’S A STYLE? A Style is a rhythm/accompaniment structure, that sim‐ ulates 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 Per‐ formance is automatically selected, and various track param‐ eters 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 Perfor‐ mance, 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 edit page. After selecting a parameter, you can change its value by pressing one of the two buttons in a pair, or using the TEMPO/VALUE controls. PAGE 1 - MIXER: VOLUME This page lets you set the volume for each of the Real‐ time (Keyboard) or Style tracks. Use the TRACK SELECT button to switch from the Real‐ time (Keyboard) tracks to the Style tracks, and vice versa. R+63 Off 43 Hard Right.
44 Style Play operating mode Page 4 - Tuning: Detune PAGE 4 - TUNING: DETUNE This page is the place where you can set the fine tuning for each track. Use the TRACK SELECT button to switch from the Real‐ time (Keyboard) tracks to the Style tracks, and vice‐versa. Note Note in edit, to be detuned. This parameter can be accessed when a User Scale is selected. Detune Note detune, relative to the standard Equal tuning. This parameter can be accessed when a User Scale is selected.
Style Play operating mode Page 8 - FX: C/D Select 45 PAGE 8 - FX: C/D SELECT PAGE 12 - FX: D EDITING This page lets you select the C and D effects. Usually, the C effect is the reverb, and the D effect is the modu‐ lating effect for the Realtime (Keyboard) tracks. This page contains the editing parameters for the D effect (usually modulating effect for the Realtime tracks). For more details, see “Page 9 ‐ FX: A editing” above.
46 Style Play operating mode Page 14 - Track: Mode Vibrato Rate Speed of the Vibrato. Vibrato Depth Intensity of the Vibrato. Vibrato Delay Delay time before the Vibrato begins, after the sound starts. Drum tracks 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.
Style Play operating mode Page 15 - Track: Internal/External 47 PAGE 15 - TRACK: INTERNAL/EXTERNAL PAGE 16 - R.T. CONTROLS: DAMPER This page lets you set the Internal or External status for each track. It is very useful to let a Style track drive an external expander, or play a digital piano with one of microARRANGER’s Realtime tracks. This page lets you enable/disable the Damper pedal for each of the Realtime (Keyboard) tracks.
48 Style Play operating mode Page 18 - R.T. controls: Dynamic range X Up1…Up3 This enables/disables the left/right movement of the Joystick (Pitch Bend, and sometimes the sound param‐ eter’s control). Right‐hand (Upper) tracks. Off There is no harmonization on this track. Normal This track is included in the harmoniza‐ tion. Mute This track only plays the Ensemble notes, but not the original note.
Style Play operating mode Page 20 - Style controls: Drum/Fill Note value for the Trill, Repeat or Echo Ensemble options. This is in sync with the Metronome Tempo. Inc/Dec Feedback Note: This parameter only appears when the Echo option is selected. This parameter sets how many times the original note/ chord is repeated by the Echo option. PAGE 20 - STYLE CONTROLS: DRUM/FILL In this page you can select various general parameters for the Style.
50 Style Play operating mode Page 22 - Pads W (Wrap Around) The wrap‐around point is the highest register limit for the backing track. The accompaniment patterns will be transposed according to the detected chord. If the chord is too high, the Style tracks might play in a regis‐ ter that is too high, and therefore unnatural. If, how‐ ever, it reaches the wrap‐around point, it will be automatically transposed an octave lower.
Style Play operating mode Page 24 - Preferences: controls PAGE 24 - PREFERENCES: CONTROLS In this page you can set various general parameters for the Style. 51 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).
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 auto‐ matically played by the arranger of the microAR‐ RANGER. A Style consists of a predefined number of Style Elements (E) (microARRANGER features ten dif‐ ferent Style Elements: Variation 1–4, Intro 1–2, Fill 1–2, Ending 1–2).
Style Record mode Style Import/Export Going deeper into the Style structure, we can see that each Chord Variation is made up of Track Sequences, and the microARRANGER supports 8 different tracks. DRUM and PERC are used for drum and percussion sequences, BASS for bass and ACC1–5 are for accom‐ paniment sequences (string, guitar, piano or other accompaniment instruments).
54 Style Record mode Exit and Save/Abort Style EXIT AND SAVE/ABORT STYLE LIST OF RECORDED EVENTS When finished editing, you can save your Style in memory, or abort any change. Press WRITE or RECORD to go to the Write page (see “The Write win‐ dow” on page 54). Note: When saving the Style in memory, microAR‐ RANGER automatically compresses it to reduce its size and save memory. Hint: Save often while recording, to avoid accidentally los‐ ing your Style.
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. Style Play icon Chord 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 Metro (Metronome) This is the metronome heard during recording. Off No metronome click will be heard during recording. A one‐bar precount will be played before starting recording. On1 Metronome on, with a one‐bar precount before starting recording. On2 Metronome on, with a two‐bar precount before starting recording. Resol (Resolution) This parameter sets the quantization during recording. (1/32)… (1/8) Grid resolution, in musical values.
Style Record mode Step Record page 57 Program name Meter Select a track using the VOLUME/VALUE buttons. Select a Program using the PROGRAM/PERFOR‐ MANCE section. While in this page, you can set the track’s volume using the VOLUME/VALUE buttons. Since the track’s vol‐ ume is memorized in the Style Performance and not in the pattern, this setting will not be recorded and saved. However, this will allow you to play back louder any reference track, or the track you are recording.
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 pat‐ terns 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. 8.
Style Record mode Style Record procedure very useful to record different percussive instru‐ ments at any cycle on a Drum or Percussion track. Note: While recording, the track’s Keyboard Range (see page 68) is ignored, and the track can play over the whole keyboard range. The Local parameter (see “Local” on 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.
Style Record mode Style Record procedure Inserting a chord with notes with different velocity values. You can make the upper or lower note of a chord, for example, louder than the remaining ones, to make the most important note emerge from the chord. Here is how to insert a three‐note chord: 1. Edit the Velocity value of the first note. 2. Press the first note and keep it pressed. 3. Edit the Velocity value of the second note. 4. Press the second note and keep it pressed. 5.
Style Record mode Menu 61 MENU EDIT PAGE 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. Select an edit section from the Menu, and/or use the PAGE buttons to reach the desired page. Press EXIT to go back to the main page of the Style Record mode. All edit pages share the same structure.
62 Style Record mode Page 1 - Edit: Quantize PAGE 1 - EDIT: QUANTIZE PAGE 2 - EDIT: TRANSPOSE The quantize function may be used to correct any rhythm error after recording, or to give the pattern a “groovy” feeling. In this page you can transpose the selected track(s). Note: After transposing, please don’t forget to readjust the “Original Key/Chord” parameter in the Style Record page (see page 56). After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear.
Style Record mode Page 3 - Edit: Velocity 63 PAGE 3 - EDIT: VELOCITY PAGE 4 - EVENT EDIT In this page you can change the velocity (dynamics) value of notes in the selected track. The Event Edit page allows you to edit each event in a single track. See “Event Edit procedure” on page 65 for more information on the event editing procedure. After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear. Press ENTER to confirm, EXIT to abort.
64 Style Record mode Page 5 - Event Filter Length Length of the selected Note event. The value format is the same as the Position value. Note: If you change a length of “000.00.000” to a different value, you can’t go back to the original value. This rather uncommon zero‐length value may be found in some drum or percussion tracks. PAGE 5 - EVENT FILTER This page is where you can select the event types to be shown in the Event Edit page.
Style Record mode Event Edit procedure EVENT EDIT PROCEDURE The Event Edit is the page where you can edit each sin‐ gle MIDI event of the selected Style Element. You can, for example, replace a note with a different one, or change its playing strength (i.e., velocity value). Here is the general event editing procedure. 1. Select the Style to edit, and press RECORD. Select the “Current Style” option to enter recording.
66 Style Record mode Page 6 - Edit: Delete the same buttons, or the TEMPO/VALUE controls, to change the event’s length. Measure Beat PAGE 6 - EDIT: DELETE This page is where you can delete single elements or MIDI events out of the Style. Tick • After having modified the shown event, you may scroll to the next event with the H VOLUME/ VALUE buttons (Scroll to next), or to the previous event with the E/F VOLUME/VALUE buttons (Scroll to previous).
Style Record mode Page 7 - Edit: Delete All S / E (Start/End) Use these parameters to set the starting (S) and ending (E) points of the range to delete. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. Bottom / Top 67 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.
68 Style Record mode Page 9 - Style Element Controls: Programs Copying on a Chord Variation with a different length You can copy a Chord Element on a different Chord Element with a different length. Just keep in mind the following: • If the source length is a divider of the target length, the source Chord Variation will be multiplied to fit the target Chord Variation. For example, if the source is 4‐measures long, and the target 8‐mea‐ sures, the source will be copied two times.
Style Record mode Page 12 - Style Element Controls: Chord Variation Table 69 To copy the settings of this page to another Style Ele‐ ment, keep the SHIFT button pressed, and press the button of the target Style Element. PAGE 13 - STYLE CONTROLS: MODE/TENSION Bottom/Top In this page you can set the Retrigger mode for the Style tracks, and activate/deactivate the Tension for the Accompaniment tracks. Use these parameters to set the bottom and top of the keyboard range for the corresponding track.
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 the card), and play along with the Song on the four Realtime (Keyboard) tracks (Upper 1–3, Lower). Since the microARRANGER 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 When you enter Song Play mode from the Style Play mode, the Realtime tracks are the same as the Style Play mode. A quick way to select Programs and Effects for the Realtime tracks is choosing a different Performance. 71 While in Song Play, press G.QUANTIZE. The following window will appear.
72 Song Play operating mode The Write window 100 Even‐numbered axis are totally moved over the following odd‐numbered axis. Swng=50 Swng=25 Swng=75 Window Area of quantize intervention, bordering the grid axis. 0 The quantize window corresponds to the axis. No quantization happens. 100 The quantize window extends to the near‐ est window; all events are quantized. Win=0 Win=50 the saved Setup is automatically recalled, and all parameters are reset.
Song Play operating mode Main page MAIN PAGE Bar number Press SONG PLAY to access this page from another operating mode. Note: When switching from Style Play to Song Play, the Song Setup is automatically selected, and various track parameters may change. Press EXIT/NO to access this page from the Menu or any of the Song Play edit pages. To see the Song’s tracks, use the TRACK SELECT but‐ ton to switch from the main page (showing the Real‐ time tracks), to the other tracks.
74 Song Play operating mode Tracks 9–16 page TRACKS 9–16 PAGE To see and edit tracks 9–16, press TRACK SELECT once from the Tracks 1–8 page, or twice from the main page. The TRACK SELECT LED begins flashing. Press the TRACK SELECT button again, to go back to the main page. F-1 (SD) Press this button after replacing a card in the card slot. The new card will be read, and the file list shown on the display will be updated.
Song Play operating mode Menu This lets you play a list of Songs without multiple selec‐ tions. 75 Each item of this menu corresponds to an edit section. Each edit section groups many edit pages. EDIT PAGE STRUCTURE Select an edit section from the Menu, and/or use the PAGE buttons to reach the desired page. Press EXIT to go back to the main page of the Song Play mode. All edit pages share the same structure. Selected Sequencer Note: The Jukebox file can be assigned to the Sequencer 1 only.
76 Song Play operating mode Page 1 - Mixer: Volume PAGE 1 - MIXER: VOLUME PAGE 2 - MIXER: PAN Here you can adjust the volume for each of the 16 sequencer tracks. Press both VOLUME/VALUE button to mute/unmute the corresponding track. A muted track remains muted even when selecting a different Song. Use the TRACK SELECT button to switch between Song tracks 1–8, Song tracks 9–16, and back again. Here you can adjust the pan for each Song track.
Song Play operating mode Page 3 - Mixer: FX send C/D 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. Edit the Song in Song mode to permanently change the effects. Here is the edit procedure: 1. Use the VOLUME/VALUE (A–H) buttons to select a track. 2. Use the F‐1–F‐4 buttons to select a parameter for that track. 3. Use the TEMPO/VALUE controls to change the parameter’s value.
78 Song Play operating mode Page 5 - FX: A editing Note: When playing back a Song that makes use of all four effects (A–D), you can’t edit any effect parameter. These parameters appear greyed out in the display. 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. Edit the Song in Song mode to permanently change the effects. C, D Effects assigned to the C and D effect processors.
Song Play operating mode Page 8 - Track: Internal/External 79 PAGE 8 - TRACK: INTERNAL/EXTERNAL PAGE 9 - JUKEBOX This page lets you set the Internal or External status for each track. It is very useful to let a Song track drive an external expander. Use the TRACK SELECT button to switch from tracks 1–8 to tracks 9–16. The Jukebox function lets you play a list of Songs (127 max), at the simple touch of a button.
80 4. Song Play operating mode Page 10 - Preferences character at the cursor position by pressing the INSERT button. Delete a character at the cursor position by pressing the DELETE button. When you have finished writing a name, press F‐2 (SAVE) to confirm. The “Are you sure?” message appears. Press ENTER to confirm, EXIT to abort. F-2 (Add) Adds a Song at the end of the current list. You can add up to 127 Songs in a list. Note: A Jukebox list can include only Songs contained in the same folder.
Song Play operating mode Saving a list of Songs SAVING A LIST OF SONGS How to save a list of Songs contained in a Jukebox file How to save a list of Songs contained in a folder 1. 1. Press SONG PLAY to select the Song Play opera‐ tive mode. 2. Press one of the A (S1:) VOLUME/VALUE button to select the Load Song page. 3. Use the F‐3 (OPEN) and F‐4 (CLOSE) buttons to browse through the folders inside the card. 4. Move the folder you are looking for to the first line of the display.
82 Backing Sequence operating mode Transport controls 12. BACKING SEQUENCE OPERATING MODE The Backing Sequence mode lets you record a live per‐ formance 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 Play a solo intro, or start the auto‐accompaniment with the START/STOP button. To start with the Style playing 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, fol‐ lowing the one where you pressed START/STOP.
84 Backing Sequence operating mode Load Song page C (Save Song) This command saves the recorded Song as a Standard MIDI File. The file is automatically added the “.MID” extension. After pressing this command, the Save Song page appears (see “Save Song page” on page 84). D (Select Tempo) Select this parameter to use the TEMPO/VALUE sec‐ tion to select the Tempo. When you select this parame‐ ter, the VALUE LED turns off. F (Metro) Use these buttons to turn the metronome on/off during playback.
Backing Sequence operating mode Realtime Recording page REALTIME RECORDING PAGE While you are in Backing Sequence mode, press RECORD, then one of the A VOLUME/VALUE but‐ tons, to access the Realtime Recording mode. The RECORD LED turns on. 85 Metro (Metronome) This parameter sets the metronome mode during recording. Off The metronome can be heard only during the precount. On1 The metronome plays during recording. Recording begins with a 1‐bar precount. Start recording after bar ‐1.
86 Backing Sequence operating mode Chord/Acc Step Recording page Side arrow ( ) The small arrow next to a parameter means that its value is effective at the current position. For example, if you are at the “M003.01.000” position, and an arrow lights up next to the Chord parameter, this means that a chord change happens at the “M003.01.000” position. M(easure) This is the locator. It shows the current position of the Step Editor.
Backing Sequence operating mode How to delete a whole Song selecting a Performance automatically selects the Style mem‐ orized into the Performance. The SINGLE TOUCH and STS buttons are automatically disabled, meaning that you can’t change the Realtime (Key‐ board) tracks while in Chord/Acc Step Mode.
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 microARRANGER 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, Back‐ ing 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. 89 SONG SELECT PAGE This page appears when you press PAGE+ or either the B (Load Song) buttons while you are in the main page. Press EXIT to go back to the Main page of the Song operating mode, without selecting a Song.
90 Song operating mode Save Song page SAVE SONG PAGE Master Transpose saved with the Song 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 to a card 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 Step Record procedure 5. Press TRK SELECT to switch to the Song Tracks 1– 8 page. 91 STEP RECORD PROCEDURE The Step Record allows you to create a new Song 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. 1. While in the Main screen of the Song mode, press RECORD to enter the Song Record mode.
92 5. 6. 7. 8. 9. Song operating mode Song Record page • To jump to the next measure, filling the remain‐ ing beats with rests, press the >> button. To change the step value, use the NOTE VALUE buttons, on the lower left area of the control panel. Insert a note, rest or chord at the current position. • To insert a single note, just play it on the key‐ board. The inserted note length will match the step length.
Song operating mode Step Record page Resol (Resolution) Use this parameter to set the quantization during recording. Quantization is a way of correcting tim‐ ing errors; notes played too soon or too later are moved to the nearest axis of a rhythmic “grid”, set with this parameter, thus playing perfectly in time. Hi No quantization applied. (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.
94 Song operating mode Menu 1…127 Velocity value. The event will be inserted with this velocity value, and the actual playing strength of the note played on the keyboard will be ignored. D (Duration) Relative duration of the inserted note. The percentage is always referred to the step value. 50% Staccato. 85% Ordinary articulation. 100% Legato. MENU While in any page, press MENU to open the Song edit menu. This menu gives access to the various Song edit sections.
Song operating mode Page 1 - Mixer: Volume A–H Each pair of VOLUME/VALUE buttons select a differ‐ ent track, parameter of command, depending on the edit page. Track status icons 95 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. A series of icons near each track show the track’s status. Selected track or parameter.
96 Song operating mode Page 4 - Mixer: FX Send A/B (or C/D) PAGE 4 - MIXER: FX SEND A/B (OR C/D) PAGE 5 - TUNING: DETUNE This page lets you set the level of the track’s direct (uneffected) signal going to the A and B, or C and D Internal FX pair. Go to the previous page (“Page 3 ‐ Mixer: FX Block”) to select an FX pair. Use the TRACK SELECT button to switch from tracks 1–8 to tracks 9–16. This page is where you can set the fine tuning for each track.
Song operating mode Page 7 - Tuning: PitchBend/Scale PAGE 7 - TUNING: PITCHBEND/SCALE This page lets you program the Pitch Bend range for the Song tracks. Furthermore, it lets you activate/deac‐ tivate the alternative scale for each track. Use the TRACK SELECT button to switch between Song tracks 1–8, Song tracks 9–16, and back again. 97 Note: When you stop the Song, or select a different Song, the default effects are selected again.
98 Song operating mode Page 10 - FX: A editing PAGE 10 - FX: A EDITING PAGE 14 - TRACK: EASY EDIT This page contains the editing parameters for the A effect (usually a reverb). In this page you can edit the main parameters of the Programs assigned to each track. Note: All values are relative to the value of the original Pro‐ gram. You can also change the volume for each class of Drums and Percussions, if the selected track is set in Drum mode (see below “Page 15 ‐ Track: Mode”).
Song operating mode Page 15 - Track: Mode Drum tracks 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. Reset 99 Poly Tracks of this kind are polyphonic, i.
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. After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear. Press ENTER to confirm, EXIT to abort. After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear.
Song operating mode Page 20 - Edit: Delete S / E (Start/End) Use these parameters to set the starting (S) and ending (E) points of the range to edit. If you wish to select a four‐measure sequence starting at the beginning of the Song, the Start will be posi‐ tioned 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.
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 sin‐ gle track. See “Event Edit procedure” on page 104 for more information on the event editing procedure. After setting the various parameters, press ENTER to execute. The “Are you sure?” message will appear. Press ENTER to confirm, EXIT to abort.
Song operating mode Page 25 - Event Filter And here are the events contained in the Master track. Event First value Second value Tempo Tempo change – Volume Master Volume value 103 SHIFT + << or >> Keep the SHIFT button pressed and press the << or >> button to open the Go to Measure window. – Meter Meter change – Scale One of the available preset Scales Root note for the selected Scale Use the TEMPO/VALUE controls to select a measure, and press ENTER to confirm, or EXIT to abort.
104 Song operating mode Event Edit procedure EVENT EDIT PROCEDURE The Event Edit is the page where you can edit each sin‐ gle MIDI event of the selected track. You can, for exam‐ ple, replace a note with a different one, or change its playing strength. Here is the general event editing pro‐ cedure. 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 lis‐ ten 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 Edit page structure EDIT PAGE STRUCTURE ERASE PROGRAM/OSCILLATOR Select an edit section from the Menu, and/or use the PAGE buttons to reach the desired page. Press EXIT to go back to the main page of the Program mode. All edit pages share the same structure.
Program operating mode Page 1 - Basic PAGE 1 - BASIC Here you can make basic settings for the Program, such as basic oscillator settings, the oscillator count, and the polyphonic mode. 107 oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the Program. Note: If “Legato” is On, certain multisamples or keyboard locations may produce an incorrect pitch. Priority This parameter is available when the “Mode” parame‐ ter is set to Mono.
108 Program operating mode Page 2 - DK Samples (Drum Programs) [H/L] Use Offset These parameters specify the point where the multi‐ sample(s) will begin to play. For some multisamples this parameter will not be available. Yes The sound will begin from the offset loca‐ tion pre‐determined for each multisample. No The sound will start from the beginning of the multisample waveform. PAGE 2 - DK SAMPLES (DRUM PROGRAMS) This page appears when you edit a Drum Program.
Program operating mode Page 3 - Pitch [H/L] Decay These parameters are an offset to the selected sample’s EG Decay. Velocity Switch This is the velocity value dividing the High and Low layers for the selected sample/key. Notes stricken harder than this value will be played by the High multisample. Single Trigger 109 PAGE 3 - PITCH Here you can make pitch settings for each oscillator.
110 Program operating mode Page 4 - Pitch LFO1 Pitch modulation Portamento Time AMS (Alternate Modulation Source) This parameter sets the portamento time. Increasing the value will produce a slower change in pitch. 000…127 Portamento time in MIDI value. This parameter selects the source that will modulate the pitch of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 123. Intensity This parameter specifies the depth and direction of the effect produced by “AMS”.
Program operating mode Page 5 - Pitch LFO2 The “LFO1 Intensity”, “JS+Y” and “AMS” settings will be added to determine the depth and direction of the pitch modulation applied by LFO1. ‐12.00…+12.00 Parameter value. 111 Attack Level Specifies the amount of pitch change when the attack time has elapsed. Release Level Specifies the amount of pitch change when the release time has elapsed.
112 Program operating mode Page 7 - Filter Start Level Swing This parameter specifies the direction of change in “Start Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change. Attack Level Swing PAGE 7 - FILTER Here you can make settings for the filters that will be used by the oscillators.
Program operating mode Page 8 - Filter Modulation Resonance modulation 113 Selected Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F‐1–F‐ 4 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 Filter EG modulation Intensity to B 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 – Velocity to A This parameter specifies the depth and direction of the effect that velocity will have on the time‐varying changes created by the filter EG (as set on “Page 11 ‐ Filter EG”) to control the filter A cutoff frequency.
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…+99 115 PAGE 11 - FILTER EG Here you can make settings for the EG that will pro‐ duce time‐varying changes in the cutoff frequency of filters A and B for the selected oscillator.
116 Program operating mode Page 11 - Filter EG Filter EG ‘Time’ modulation Attack Time This parameter specifies the time over which the level will change from note‐on until the attack level is reached. Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-on Note-off Decay Time Note-on Note-off Note-off This parameter specifies the time over which the level will change from the attack level to the break point level.
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. Selected Selected Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F‐1–F‐ 4 buttons. Use this parameter to select an oscillator to put in edit.
118 Program operating mode Page 14 - Amp LFO1 Amplifier Modulation Intensity These parameters specify how the volume of the selected oscillator will be affected by velocity. 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. Volume change (with positive (+) values of this parameter) Note-on Note-off Softly played ‐99…+99 Note-on Note-off Strongly played Intensity value.
Program operating mode Page 16 - Amp EG Amp envelope Amp EG ‘Level’ modulation Amplifier EG Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value) Note-off Attack Level Note-on Note-on Break Point Note-on Note-off Volume Note-on Note-off Note-off Sustain Level Start Level Attack Time 119 Time Decay Slope Time Time Release Time Start/Attack/Break/Sustain/Release Level Softly played note when Start Level Swing=0 and Attack Level Swing and Breack Level Swing are set to +
120 Program operating mode Page 17 - LFO1 Amp EG ‘Time’ modulation Slope Time Swing These parameters let you use an alternate modulation source to modify the amp EG times that were specified in “Attack/Decay/Slope/Release Time” on page 119.
Program operating mode Page 17 - LFO1 121 Key Sync Base Note/Times This parameter specifies if the LFO is synchronized to key strokes. On The LFO will start each time you play a note, and an independent LFO will oper‐ ate for each note. Off The LFO effect that was started by the first‐played note will continue to be applied to each newly‐played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).
122 Program operating mode Page 18 - LFO2 PAGE 18 - LFO2 Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscilla‐ tor. See “Page 17 ‐ LFO1” for more information on the parameters value. However in “Frequency modulation”, the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.” PAGE 19 - EFFECTS Here you can select two effects for the whole Program, switch them on/off, and specify chaining.
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 microARRANGER 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 metro‐ nome.
126 Global edit environment Page 2 - Master Transpose PAGE 2 - MASTER TRANSPOSE Pre‐OSC This page is where you can turn the Master Transpose on or off. When this option is selected, all notes are transposed immediately before they enter the 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).
Global edit environment Page 5 - MIDI Controls Note: After selecting a MIDI Setup, you can apply any changes to each channel’s settings. To store the changes in memory, press WRITE and save the Global in memory. See “MIDI” on page 35 for more information on using the MIDI Setups. Default This a default setting. It is suitable both for programming on an external sequencer, and for playing microARRANGER with a master keyboard. Master Kbd Select this setting when you are connect‐ ing a mute master keyboard.
128 Global edit environment Page 7 - MIDI IN Controls (1) Control pedals, joystick) with an external key‐ board or controller. MIDI messages com‐ ing on this channel are considered as being generated by microARRANGER’s integrated controllers. On this special channel, the microAR‐ RANGER receives MIDI messages to remotely select Styles, Performances, STS and Style Elements.
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 microARRANGER. Lower Upper1…3 Drum Perc Bass Acc1…5 S1 T1…16 S2 T1…16 SQ Tr01…16 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. All CC All Control Change messages. 0…127 Control Change message #0…127.
130 Card Edit environment The WRITE/CARD IN USE LED 16. CARD EDIT ENVIRONMENT The Card Edit environment is the place where you can manage files. This edit environment overlaps the cur‐ rent operating mode (Style Play, Song Play, Backing Sequence, Song, Program). THE WRITE/CARD IN USE LED When the drive is reading or writing data on a card, the WRITE/CARD IN USE indicator lights up.
Card Edit environment Loading data created with the Pa80/Pa60/Pa50 Organizing your data into separate folders We suggest to organize your data into separate folders, instead of saving many files into the root (i.e., the main level) of the card. This allows for faster accesses to the card, thus a quicker response of the microARRANGER to your CARD commands. LOADING DATA CREATED WITH THE PA80/ PA60/PA50 microARRANGER data is perfectly interchangeable with its Pa80, Pa60 and Pa50 counterparts.
132 Card Edit environment File and folder size display FILE AND FOLDER SIZE DISPLAY The size of any file and folder in the card can be seen in the display. The single file size is always shown on the right of the file: Page header This line shows the Card page you are in. Card content These lines show the content of the current folder. Move the item to select to the first line, using the E–F (Scroll Up) and G–H (Scroll Down) VOLUME/VALUE buttons, or the TEMPO/VALUE controls.
Card Edit environment Menu MENU 133 Note: Data loaded from card, and data already in mem‐ ory 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 the card, the USER01 bank is overwritten, while USER02 and USER03 banks are left unchanged. As a result, you will have a STYLE folder in memory containing the USER01 bank you just loaded, and the old USER02 and USER03 banks.
134 Card Edit environment Page 1 - Load Loading a single bank You can load a single bank of User data (User Pro‐ grams, User Styles, Performances) with a single opera‐ tion. A bank corresponds to a STYLE or PROGRAM/ PERFORMANCE button. 1. Insert the source card into the card slot. 2. Press F‐1 to scan the card and show the file list. 3. Use the E–H (Scroll) buttons (or the TEMPO/ VALUE controls) to select the “.SET” folder con‐ taining the data you wish to load.
Card Edit environment Page 2 - Save 8. Press F‐3 (OPEN) to open the selected bank. A list of User items appears. Use the E–H (Scroll) buttons (or the TEMPO/ VALUE controls) to move the desired item to the first line of the display. 10. Press F‐2 (LOAD) to confirm the file selection. The internal memory file list appears. If you are load‐ ing a single file or bank of Styles, Programs or Per‐ formances, you are prompted to choose a destination in memory.
136 5. Card Edit environment Page 2 - Save Once the target folder is selected, press F‐2 (SAVE) to save the files. The “Are you sure?” message will appear. Press ENTER to confirm, or EXIT to abort. Warning: After confirming, all data in the target folder is deleted. When the operation is completed (the “Wait” indi‐ cator disappears), the source page comes back in the display, and you may perform further saving operations.
Card Edit environment Page 2 - Save using the E–H (Scroll) buttons (or the TEMPO/ VALUE controls). 9. Press F‐2 (SAVE) to confirm. A list of banks on the target card appears. Only banks of the selected type are shown. 10. Use the E–H (Scroll) buttons (or the TEMPO/ VALUE controls) to move the target bank to the first line of the display. 11. Once the target bank is selected, press F‐2 (SAVE) to save the files. The “Are you sure?” message will appear. Press ENTER to confirm, or EXIT to abort.
138 Card Edit environment Page 3 - Copy Creating a new “.SET” folder PAGE 3 - COPY When saving data (Save operations), you can save onto existing folders, or you can create a new “.SET” folder. Here is how to do it. 1. When the file list of the target card is in the dis‐ play, use the E–H (Scroll) buttons (or the TEMPO/ VALUE controls) to move the “NEW_NAME.SET” item to the first line of the display. Note: A “NEW_NAME.SET” item is always the first item in any directory. 2. When the “NEW_NAME.
Card Edit environment Page 4 - Erase 6. 7. Once the target is selected, press F‐2 (COPY). The “Overwrite?” message appears: 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 tar‐ get. For example, if the same midifile exists on the target folder, it will be overwritten. If a USER bank exists, it will be overwritten. Data that doesn’t exist on the source folder is left unchanged.
140 Card Edit environment Page 5 - Format PAGE 5 - FORMAT 3. The Format function lets you initialize a card. Press SD CARD and use the MENU or PAGE buttons to reach this page. 4. Warning: When formatting a card, all data it contains is lost. SD Card This is a very fast format command. This command rewrites just the FAT (File Allocation Table) of the card, without actual reformatting of all sectors. 1. Insert a card into the card slot. 2. Press F‐2 (FORMAT) to select the formatting com‐ mand. 3.
Card Edit environment Page 8 - Utilities 1 PAGE 8 - UTILITIES 1 This page includes a set of card utilities. Press SD CARD and use the MENU or PAGE buttons to reach this page. 141 Keep SHIFT pressed, and press ENTER to format the card. Backup Data This command starts a backup of all internal factory data (Styles, Programs, Performances…) excluding the Operating System itself. Note: Should you not do a back‐up and your internal data is changed, you can download the data from http:// www.korgpa.
142 Card Edit environment Page 9 - Utilities 2 PAGE 9 - UTILITIES 2 This page includes the Protect functions. Global Protect When loading a “.SET” file, this parameter (if On) pro‐ tects the Global from being reprogrammed by the loaded data. All Global parameters are therefore left unchanged. When loading a single “.GLB” file, this parameter is ignored, and the Global is overwritten by the loaded data. Note: This parameter is automatically set to Off when turn‐ ing the instrument off.
APPENDIX
144 Factory Data Styles 17. FACTORY DATA STYLES Note: You can remotely select Styles on the microARRANGER, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see page 128).
Factory Data Styles # 1 CC#0 CC#32 0 9 2 PC Bank: World 3 0 Hora 1 Sevillana 1 CC#0 CC#32 0 10 PC Bank: Latin 1 0 UnplugBossa 1 Basic Bossa CC#0 CC#32 0 11 PC Bank: Latin 2 0 Engl. Tango 1 Orch. Tango 3 2 Sevillana 2 2 L.A. Bossa 2 Tango.
146 Factory Data Style Elements # 1 CC#0 CC#32 0 19 PC Bank: User 3 0 Soul 2 2 1 Boston Boy 3 2 6/8 JazzPop 4 3 J-Pop 5 4 HipHopFunk2 6 5 Schuffle 7 6 Jazz Funk 2 8 7 Blues 9 8 6/8 Swing 10 9 The Avalon 11 10 6/8 R & B 12 11 Groovin' 13 12 90's Funk 14 13 Party Funk 15 14 6/8 Blues 16 15 Fusion Funk CC#0 CC#32 0 29–31 PC 0–15 Bank: Direct SD Page 1–2, 3–4, 5–6 *.
147 Factory Data Programs (bank order) PROGRAMS (BANK ORDER) Name The following table enlists all microARRANGER Fac‐ tory Programs in the same order as they appear by pressing the PROGRAM/PERFORMANCE bank but‐ tons. 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. Name CC00 CC32 PC Bank: Piano Grand Piano 121 3 0 Class.
148 Factory Data Programs (bank order) Name CC00 CC32 PC Name CC00 CC32 PC Akordeon 121 2 21 DistortionG 121 0 30 Accordion 2 121 1 21 Nylon Bossa 121 4 24 Arab.Accord 121 10 21 NylonKeyOff 121 2 24 25 Bank: Organ 1 Jimmy Organ 121 10 18 BX3 Velo Sw 121 1 18 ClassiClick 121 4 18 M1 Organ 121 5 17 Jazz Organ 121 8 16 Dist. Organ 121 5 18 RotaryOrgan 121 8 17 DarkJazzOrg 121 4 16 Bx3ShortDec 121 7 17 SuperBXPerc 121 6 18 Percuss.
149 Factory Data Programs (bank order) Name CC00 CC32 PC Name CC00 CC32 GtrHarmonic 121 0 31 Odissey 121 4 PC 50 Sitar 121 0 104 Grand Choir 121 11 52 Sitar 2 121 1 104 Slow Choir 121 10 52 SitarTambou 121 2 104 Symph. Bows 121 10 48 IndianStars 121 3 104 Cyber Choir 121 2 85 Oud 121 2 105 Choir Light 121 12 52 Kanun 121 2 107 Vocalesque 121 2 54 Kanun Trem.
150 Factory Data Programs (bank order) Name CC00 CC32 PC Name BrassSect.1 121 0 61 Bank: Woodwind Fat Brass 121 13 61 Trumpet Ens 121 9 61 Glen & Boys 121 6 61 MutEnsembl2 121 4 59 French Horn 121 0 60 Syn Brass 2 121 0 63 Brass Hit 121 25 61 AttackBrass 121 8 61 BrassSect.
151 Factory Data Programs (bank order) Name CC00 CC32 PC Name CC00 CC32 Super Sweep 121 4 90 Mega Synth 121 9 PC 90 Wave Sweep 121 5 90 TecnoPhonic 121 10 90 Cross Sweep 121 6 90 DarkElement 121 3 95 Digi IcePad 121 2 101 Band Passed 121 3 102 Crimson5ths 121 1 86 Cat Lead 121 9 87 Freedom Pad 121 7 89 Pan Reso 121 4 102 Noble Pad 121 5 97 Square Rez 121 11 80 Mellow Pad 121 4 95 Rezbo 121 11 81 Lonely Spin 121 1 100 Auto Pilot 12
152 Factory Data Programs (bank order) Name CC00 CC32 PC Name CC00 CC32 PC Fretless Sw 121 2 35 SFX Kit 120 0 56 Thumb Bass 121 1 37 Percus.Kit1 120 0 64 Finger Slap 121 1 33 Latin P.Kit 120 0 65 Attack Bass 121 1 39 TRI-Per.
Factory Data Programs (bank order) Name Jetplane CC00 CC32 PC 121 7 125 Starship 121 8 125 Burst Noise 121 9 125 Laughing 121 1 126 Screaming 121 2 126 Punch 121 3 126 Heart Beat 121 4 126 Footsteps 121 5 126 127 Machine Gun 121 1 Lasergun 121 2 127 Explosion 121 3 127 Ice Rain 121 0 96 Jaw Harp 121 3 105 HitInIndia 121 5 55 Stadium 121 6 126 153
154 Factory Data Programs (Program Change order) PROGRAMS (PROGRAM CHANGE ORDER) CC00 CC32 The following table enlists all microARRANGER Fac‐ tory 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 121 0 PC 0 Name Ac.
Factory Data Programs (Program Change order) CC00 CC32 PC Name microARRANGER GM2 Bank CC00 CC32 155 PC Name microARRANGER GM2 Bank 121 6 18 SuperBXPerc Organ 1 121 0 27 CleanGuitar Guitar 121 7 18 DirtyJazOrg Organ 1 121 1 27 DetCleanGtr Guitar 121 8 18 PercShorDec Organ 1 121 2 27 MidToneGtr Guitar 121 9 18 Perc.Wheels Organ 1 121 3 27 Chorus Gtr Guitar 121 10 18 Jimmy Organ Organ 1 121 0 19 ChurchOrg.1 Organ 2 121 4 27 Vintage S.
156 Factory Data Programs (Program Change order) CC00 CC32 PC Name microARRANGER GM2 Bank 121 2 36 SuperSwBas2 Bass 121 0 37 Slap Bass 2 Bass 121 1 37 Thumb Bass 121 2 37 Dyna Bass 121 0 38 SynthBass 1 Bass CC00 CC32 PC Name microARRANGER GM2 Bank 121 0 49 StringsEns2 Strings & Vocals 121 1 49 SweeperStr.
Factory Data Programs (Program Change order) CC00 CC32 PC Name microARRANGER GM2 Bank CC00 CC32 PC Name 157 microARRANGER GM2 Bank 121 3 58 Dynabone Trp & Trbn 121 0 59 Muted Trp Trp & Trbn 121 3 66 TenorBreath Sax 121 4 66 Tenor Growl Sax 121 1 59 Muted Trp 2 Trp & Trbn 121 5 66 Folk Sax Sax 121 2 59 Wha Trumpet Trp & Trbn 121 0 67 BaritoneSax Sax 121 3 59 MutEnsemble Trp & Trbn 121 1 67 Barit Growl Sax 121 4 59 MutEnsembl2 Trp & Trbn 1
158 Factory Data Programs (Program Change order) CC00 CC32 PC Name microARRANGER GM2 Bank CC00 CC32 PC Name microARRANGER GM2 Bank 121 4 81 Seq.
Factory Data Programs (Program Change order) CC00 CC32 PC Name microARRANGER GM2 Bank CC00 CC32 159 PC Name microARRANGER GM2 Bank 121 2 122 Thunder SFX 121 3 122 Wind SFX Guitar 121 4 122 Stream SFX Oud Guitar 121 5 122 Bubble SFX 105 Jaw Harp SFX 121 0 123 Bird Tweet SFX 0 106 Shamisen Guitar 121 1 123 Dog SFX 121 0 107 Koto Guitar 121 2 123 HorseGallop SFX 121 1 107 Taisho Koto Guitar 121 3 123 Bird Tweet2
160 Factory Data Drum Kits DRUM KITS CC00 CC32 The following table enlists all microARRANGER Fac‐ tory Drum Kit Programs in order of Bank Select‐Pro‐ gram 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 PC Name 120 0 0 Std. Kit1 120 0 1 Std. Kit2 120 0 2 Std. Kit3 120 0 3 AcousticKit 120 0 4 Std.
Factory Data Drum Kit instruments 161 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 mem‐ ory, and the sample name. Excl is the Exl‐ cusive 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 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 Note 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) 89 90 91 92 93 94 95 96 Note F6 F#6 G6 G#6 A6 A#6 B6 C7 120-0-41: Brush V.S.2 Sample 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 Note 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 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 C-1 C#-1 D-1 D#-1 E-1 F-1 F#-1 G-1 G#-1 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
170 Factory Data Drum Kit instruments (continued) 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
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 D#1 27 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 F8 113 114 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 microARRANGER, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see page 128).
174 Factory Data MIDI Setup MIDI SETUP DEFAULT Master Kbd Sequencer1 Sequencer 2 Accordion 1 1 S1_Tr 1 Global S1_Tr 1 S2_Tr 1 Global 2 S1_Tr 2 - S1_Tr 2 S2_Tr 2 Lower 3 S1_Tr 3 - S1_Tr 3 S2_Tr 3 Bass 4 S1_Tr 4 - S1_Tr 4 S2_Tr 4 5 S1_Tr 5 - S1_Tr 5 S2_Tr 5 6 S1_Tr 6 - S1_Tr 6 7 S1_Tr 7 - 8 S1_Tr 8 9 10 MIDI IN Channel Accordion 2 Accordion 3 Ext.
Effects Diagrams 175 18. EFFECTS microARRANGER is equipped with four powerful Effect Processors (A, B, C, D). You can send them the internal tracks. Note MIDI(CC#19) MIDI(CC#20) DIAGRAMS MIDI(CC#21) The following instructions show the signal path dia‐ gram 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 chan‐ nel separately. The Limiter regulates the input signal level.
Effects Filter/Dynamic Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced. 177 004: MBandLimit (Multiband Limiter) Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 This effect applies the Limiter to the low range, mid range, and high range of the input signal.
178 Effects Filter/Dynamic 005: Gate The Attack and Release parameters set the Gate attack time and release time. (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 mes‐ sages to turn the gate on and off.
Effects Filter/Dynamic f Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) Gain [dB] Table , “Sets the gain of Low EQ,” on page 176 20...1.0kHz –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 Gain [dB] Sets the gain of Mid/High EQ 1 0.5...10.0 007: Param.4B Eq (Stereo Parametric 4-Band EQ) This is a stereo 4‐band parametric equalizer.
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 009: Wah/AutoWah Band2 Cutoff +6dB +6dB 0dB 0dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.
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 spe‐ cial 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. 011: Excit/Enhan (Stereo Exciter/Enhancer) Random Filter LFO 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 sig‐ nal. 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.” 014: Decimator (Stereo Decimator) Talking Modulator Control Voice Bottom Voice Center A Voice Top A I U E 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).
Effects Pitch/Phase Mod. 015: Analog Rec 185 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 Wet / Dry EQ Trim Pre EQ EQ Trim Pre EQ Analog Record Simulation Right 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. Stereo In - Stereo Out Left Low Level Chorus/Flanger High Damp Feedback High Damp High/Low Split Point Chorus/Flanger Wet / Dry High Level High Level h: Feedback Sets the feedback amount of the chorus block.
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 187 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. tive value for both “Feedback” and “Wet/Dry”, and if you set a negative value for both “Feedback” and “Wet/Dry”. g: High Damp [%] This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics. 022: Envel.Flang (Stereo Envelope Flanger) This Flanger uses an envelope generator for modula‐ tion. You will obtain the same pattern of flanging each time you play.
Effects Pitch/Phase Mod. 189 023: Phaser 024: RandomPhser (Stereo Phaser) (Stereo Random Phaser) This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. This is a stereo phaser. The effect uses a step‐shape waveform and random LFO for modulation, creating a unique phasing effect.
190 Effects Pitch/Phase Mod. 025: Envel.Phser 026: BiphaseMod. (Stereo Envelope Phaser) (Stereo Biphase Modulation) This stereo phaser uses an envelope generator for mod‐ ulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source. This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parame‐ ters for each LFO individually.
Effects Pitch/Phase Mod. 027: Vibrato (Stereo Vibrato) This effect causes the pitch of the input signal to shim‐ mer. Using the AutoFade allows you to increase or decrease the shimmering speed. Stereo In - Stereo Out Left Wet / Dry Vibrato Vibrato Right Wet / Dry LFO: Tri / Sine AutoFade a b c d LFO Shape Fade-In Delay LFO Frequency AUTOFADE Src Selects the modulation source that starts AutoFade Fade-In Rate Sets the rate of fade-in 1...
192 Effects Pitch/Phase Mod. 028: AutoFadeMod. 029: 2Voice Res (Stereo Auto Fade Modulation) This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan set‐ tings for two resonators individually. You can control the resonance intensity via an LFO. This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.
Effects Pitch/Phase Mod. 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. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left + Doppler Wet / Dry Pan Depth Right Wet / Dry LFO D -mod Trigger LFO Mode = 1-Shot LFO Mode Switches LFO operation mode a b Src Off...
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 autopan 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 sig‐ nal.
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 Time f (Stereo Auto Pan) This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.
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.
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 (Pitch Shifter) 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.
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 speak‐ ers are mixed.
Effects Mod./P.Shift 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. Slow/fast will alternate each time the value of the modulation source exceeds 64. source in the “Manual Speed Ctrl” field.
202 Effects ER/Delay 042: AutoReverse ER/DELAY (Auto Reverse) Early reflection and delay effects This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). 041: Early Refl (Early Reflections) Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left This effect is only the early reflection part of a reverber‐ ation 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 com‐ plex 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 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. The effect is off when a value of the modulation source specified in the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.
206 Effects ER/Delay 048: AutoPan Dly 049: LCR BPM Dly (Stereo Auto Panning Delay) 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. This stereo delay effect pans the delay sound left and right using the LFO.
Effects ER/Delay a: BPM, b: L Delay Base Note, b: Times, c: C Delay Base Note, c: Times, d: R Delay Base Note, d: Times The delay time is the length of the note obtained by multiplying the “Base Note” parameter by the Times value, in relation to the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI). 207 051: Seq. Delay (Sequential Delay) This four‐tap delay enables you to select a tempo and rhythm pattern to set up each tap.
208 Effects Reverb 056: Rev. Room REVERB Reverb effects These effects simulate the ambience of reverberation in concert halls. 052: Rev. Hall This hall‐type reverb simulates the reverberation of mid‐size concert halls or ensemble halls. This room‐type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room. 057: R.
Effects Mono – Mono Chain 209 059: Par4Eq-Wah MONO – MONO CHAIN (Parametric 4-Band EQ – Wah/Auto Wah) Effects that combine two mono effects connected in series 058: Par4Eq-Exc This effect combines a mono‐type four‐band paramet‐ ric equalizer and a wah. You can change the order of the connection.
210 Effects Mono – Mono Chain 060: 4EqPhsrChFl (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono‐type four‐band paramet‐ ric equalizer and a chorus/flanger.
Effects Mono – Mono Chain 211 062: P4Eq-TapDly 063: Cmp-AutoWah (Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/Auto Wah) This effect combines a mono‐type four‐band paramet‐ ric equalizer and a multitap delay. This effect combines a mono‐type compressor and a wah. You can change the order of the connection.
212 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.
Effects Mono – Mono Chain 213 066: Cmp-Par.4Eq 067: Cmp-ChorFlg (Compressor – Parametric 4-Band EQ) (Compressor – Chorus/Flanger) This effect combines a mono‐type compressor and a four‐band 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.
214 Effects Mono – Mono Chain 068: Cmp-Phaser 069: Cmp-MTapDly (Compressor – Phaser) (Compressor – Multitap Delay) This effect combines a mono‐type compressor and a phaser. You can change the order of the effect connec‐ tion. This effect combines a mono‐type compressor and a multitap delay. You can change the order of the effect connection.
215 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 connec‐ tion. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Limiter + [L] Ratio Sets the signal compression ratio 1...
216 Effects Mono – Mono Chain 072: Lim-Phaser 073: Lim-MTapDly This effect combines a mono‐type limiter and a phaser. You can change the order of the effect connection. (Limiter – Multitap Delay) Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing Limiter This effect combines a mono‐type limiter and a multi‐ tap delay. You can change the order of the effect con‐ nection.
Effects Mono – Mono Chain 217 074: Exc-Compr (Exciter – Compressor) 075: Exc-Limiter This effect combines a mono‐type exciter and a com‐ pressor. You can change the order of the effect connec‐ tion. This effect combines a mono‐type exciter and a limiter. You can change the order of the effect connection.
218 Effects Mono – Mono Chain 076: Exc-ChorFlg 077: Exc-Phaser (Exciter – Chorus/Flanger) (Exciter – Phaser) This effect combines a mono‐type limiter and a chorus/ flanger. This effect combines a mono‐type limiter and a phaser.
Effects Mono – Mono Chain 219 078: Exc-MTapDly 079: OD/HG-Amp S (Exciter – Multitap Delay) (Overdrive/Hi.Gain – Amp Simulation) This effect combines a mono‐type exciter and a multi‐ tap delay. This effect combines a mono‐type overdrive/high‐gain distortion and an amp simulation. You can change the order of the effect connection.
220 Effects Mono – Mono Chain 080: OD/HG-ChoFl 081: OD/HG-Phser (Overdrive/Hi.Gain – Chorus/Flanger) (Overdrive/Hi.Gain – Phaser) This effect combines a mono‐type overdrive/high‐gain distortion and a chorus/flanger. You can change the order of the effect connection. This effect combines a mono‐type overdrive/high‐gain distortion and a phaser. You can change the order of the effect connection.
Effects Mono – Mono Chain 221 082: OD/HG-MTDly 083: Wah-AmpSim (Overdrive/Hi.Gain – Multitap Delay) (Wah/Auto Wah – Amp Simulation) This effect combines a mono‐type overdrive/high‐gain distortion and a multitap delay. This effect combines a mono‐type wah and an amp simulation. You can change the order of the effect con‐ nection.
222 Effects Mono – Mono Chain 084: Decim-Amp S (Decimator – Amp Simulation) This effect combines a mono‐type decimator and an amp simulation. You can change the order of the effect connection. a b [D] Pre LPF Turn the harmonic noise caused by lowered sampling on and off Off, On Fx:014 High Damp [%] Sets the ratio of high-range damping 0...100% [D] Sampling Freq [Hz] (Sampling Frequency) Sets the sampling frequency [D] Output Level Sets the decimator output level 0...
Effects Mono – Mono Chain 223 087: Ch/Fl-MTDly 088: Phser-ChoFl (Chorus/Flanger – Multitap Delay) (Phaser – Chorus/Flanger) This effect combines a mono‐type chorus/flanger and a multitap delay. This effect combines a mono‐type phaser and a chorus/ flanger.
224 Effects Mono – Mono Chain 089: Rev-Gate (Reverb – Gate) g Threshold Sets the gate threshold level 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 foot‐ switch. Function Meaning Style Change Single Touch Same functions of the control panel buttons with the same name Style Up Selects the next Style Style Down Selects the previous Style Function Meaning Perform. Up Selects the next Performance Off No function assigned 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 continu‐ ous pedal or to the Assignable Slider. Function Meaning Master volume Master Volume Accomp.
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 microAR‐ RANGER functions. CC# CC# CC Name microARRANGER Function 72 Release Release time 73 Attack Attack time CC Name microARRANGER Function 74 F.CutOff Filter cutoff (Brilliance) 0 Bank Select Program selection 75 Decay T. Decay time 1 Mod1 (Y+) Joystick forward 76 Lfo1 Sp.
MIDI Controllers MIDI Implementation Chart KORG microARRANGER OS Version 1.0 - Aug.
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 Pad 1–4 Volume 22 Pan C Send Level D Send Level Pad Lock Scale Lock 23 Auto Octave Lock Master Transpose Lock Chord Recognition Mode Scale Mode 24 Memory Mode Velocity Control Song Play Mode Main Program Play/Mute status 1 Volume 2 Pan 3 FX Send Level FX Select (A, B, C, D) 4 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 Link Mode 10 S2 FX Mode Performance FX Mode Song Mode Song data Global Edit Environment Veloc
232 Parameters Style and Song parameters The following table is a list of data saved (to memory or card) when editing a Style or a Song. Note: When saving a Song to card 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 Recog‐ nition mode is Fingered 2 (see “Chord Recognition Mode” on page 51). Recognized chords may vary with a differ‐ ent 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 4-note T Diminished T 3-note 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 SMF Import Failed! (Press Exit) Your microARRANGER can communicate with you using various messages. Here is the list of these mes‐ sages. 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 Jukebox list is empty Directory not found (Press Exit) You tried to delete a Song in an empty Jukebox list, or to save an empty Jukebox list. Jukebox list is full The directory is not in the current card. The card has probably been replaced before finishing the card opera‐ tion. Insert the card again, and try again. The Jukebox list already contains 127 Songs. Card Full (Press Exit) Not a Standard Midi File The selected medium (card) is full.
Error messages & Troubleshooting Error messages 237 Files in Use Not Deleted (Press Exit) Not Enough Space on Media This message may appear during an Erase operation. Files used by other procedures have not been erased. There is no more space to load, save or copy data. The card operation will be aborted. Replace the card, and use an empty card to save your data. Should this mes‐ sage appear during loading, the SSD (Solid State Disk)‐ based internal memory is full.
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 microARRANGER Keyboard 61 keys (C2–C7), natural-touch mini-keyboard with velocity Operating System KORG OPOS (Objective Portable Operating System). Multitasking, Load-While-Play feature. SSD (Solid State Disk)-resident. Upgradable from SD card. Display Backlit custom LCD Data storage 8MB (>20MB equivalent) Internal Solid State Disk (SSD), SD/MMC card slot. Sound generation system KORG HI - Hyper Integrated.
240 Alphabetical Index 25. ALPHABETICAL INDEX A E L Acc/Seq Volume 10, 12 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 11 Audio Outputs 11 Edit Environment 21 Effects Song mode 95, 97 Song Play mode 71, 76 Style Play mode 43, 44 Ending 14 Ensemble 48 Level Program F B Backing Sequence mode 87 30, 82– Backup 9, 141 Balance 10, 18, 32 Bank Select 37 BPM MIDI/Tempo Sync.
Alphabetical Index P Style Change 25 Style Play mode 40–51 Sync. Key Sync.
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