ENGLISH | OS Version 2.
Important safety instructions ▪▪ Read these instructions. ▪▪ Keep these instructions. ▪▪ Heed all warnings. ▪▪ Follow all instructions. ▪▪ Do not use this apparatus near water. ▪▪ Clean only with dry cloth. ▪▪ Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. ▪▪ Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
WARNING – Do not ingest battery, chemical burn hazard. This product contains a coin/button cell battery. If the coin/button cell battery is swallowed it can cause severe internal burns in just 2 hours and can lead to death. Keep new and used batteries away from children. If the battery compartment does not close securely, stop using the product and keep it away from children. If you think the battery may have been swallowed or placed inside any part of the body seek immediate medical attention.
Other notices Automatic power-off To avoid wasting power, Pa4X will by default automatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save your data (Keyboard Sets, Styles, Songs, and so on) before taking a prolonged pause. Data handling Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to the internal memory or to an external USB device.
Contents Part I Part II 1 Let’s start! 3 Introduction 3 Welcome to Pa4X! 7 Before starting to play… 9 Overview of the instrument 16 Setting up the pedals and audio connections 16 Connecting the pedals 17 Connecting the EC5 multiswitch 17 Connecting the headphones 17 Connecting the audio outputs 18 Powering up 18 Turning the instrument on 19 Calibrating the touch screen 20 Adjust the display brightness 20 Tilting the display 21 Listening to the Demo Songs 22 Interface b
ii| 69 Part III Part IV Playing the Songs 69 Choosing the Songs 74 Playing a Song 76 Mixing two Songs 78 Playing along with the Song 80 Adjusting the volume levels 81 Playing all the Songs in a folder 83 Playing a Jukebox list 86 Lyrics, chords, markers and score 86 Choosing one of the Players 87 Reading the lyrics and chords contained in a Song 89 Reading the lyrics and chords loaded as a text file 91 Reading the lyrics and chords loaded as a CDG file 92 Moving through a Song
Part V 179 Quick editing of Sounds 181 Programming the key and velocity range 182 Editing the Digital Drawbars 186 Writing the Sound sets 186 Writing the Keyboard Sets to the library 188 Writing Keyboard Sets into a Style 190 Writing Keyboard Sets into a SongBook Entry 193 Writing Style Settings, Song Settings and MIDI Song Sounds 195 Customizing, recording and editing the Styles and Pads 197 Customizing the Styles 197 Setting the Chord Recognition 201 Automatically holding chord
iv| 290 Editing the MIDI events 294 Copying the Style track settings 295 Importing and exporting the Styles and Pads 295 Importing a Standard MIDI File to a Chord Variation 298 Importing a Standard MIDI File to a Style 301 Importing a MIDI Groove to a Style or Pad 302 Exporting a Chord Variation 304 Converting a MIDI Song to a Style 304 The Style Creator Bot 306 Writing the new/edited Style or Pad Part VI 306 Writing the Styles 308 Writing the Pads 309 Customizing, recording and editin
379 Customizing the Sound 382 Editing the Sounds 384 Setting the Sound’s basic parameters 390 Setting the oscillator’s basic parameters 397 Programming the Damper pedal 401 Equalizing the Sound 402 Setting the Drum Kit’s basic parameters 406 Equalizing the Drum Kit 408 Mixing the Drum Kit layers 409 Mixing and retriggering the drum samples 411 Modulating pitch 416 Programming the pitch envelope (Pitch EG) 420 Programming the filters 423 Modulating the filters 428 Programming th
vi| 501 Sending Sounds and Drum Kits to the audio outputs 503 Choosing the audio outputs for the metronome click 504 Programming the MAXX mastering effects 510 Connecting the audio inputs 510 Connecting a line audio device 512 Connecting a microphone 516 Shaping the sound of the lead voice 525 Talking with your audience 527 Using the voice effects and harmonization 527 Choosing a Voice Preset 530 Harmonizing your voice 532 Doubling your voice 533 Using the effects 534 Editing the Voi
Part XI 803 Choosing the KAOSS Presets 805 KAOSS Preset list 808 Using the KAOSS effects 811 Controllers 813 Hand controllers 813 Programming the joystick 815 Programming the keyboard’s velocity and aftertouch 817 Programming the ribbon controller 819 Programming the assignable sliders 822 Programming the assignable switches 825 Foot controllers 825 Part XII Programming the damper pedal 826 Programming the assignable pedal/footswitch 833 Calibrating the pedal and setting its p
viii| Part XIV 896 Programming the MIDI channels 900 Connecting Pa4X to a personal computer or tablet 901 Control Change messages 904 Controlling the Arranger and Players via MIDI 907 File management 909 Managing files in the internal memory 909 Copying, renaming and deleting 911 The Direct Styles, Keyboard Sets, SongBook 915 Renaming the Favorite/User/Direct banks 916 Managing files 916 Overview on file management 921 Loading musical resources and settings 927 Saving musical resour
1087 Installing a microSD card 1091 Installing an additional internal drive 1095 Shortcuts 1096 Troubleshooting 1098 Specs |ix
Part I: LET’S START! |1
2| Let’s start!
Introduction 01 |3 Introduction Welcome to Pa4X! Many thanks, and congratulation on purchasing the KORG Pa4X Professional Arranger! We’re sure it’ll give you countless hours of great tones that will feel as good as they sound. Slim, powerful and easy to use With the elegant aluminum cabinet, Pa4X provides a professional and stylish look, that will be much appreciated on stage or at home. The main panel’s logical layout ensures easy access to sliders, buttons, knobs and all controls.
4| Let’s start! Sounds have been recorded with the most up-to-date technologies, and KORG’s own proprietary EDS-X (Enhanced Definition Synthesis-eXpanded) sound engine allows for fine detail to be accurately reproduced. The integrated sampler and sound editor allows to fill the vast user memory with newly created or imported sounds.
Introduction |5 A band always ready to play with you Ultra-realistic sounds in the Pa4X are always ready to play along with you, in the music style best fitting your music. The high number of included Styles will satisfy any music genre, but can also be expanded by adding new Styles. You may also create your Styles, customize the existing ones, or easily convert MIDI Songs to Styles. There are eight accompaniment parts which will follow your chords.
6| Let’s start! The SongBook can even be edited from a personal computer through our free editor. It can also be synchronized with most modern tablets to become your handy external digital music sheet reader (third-party software needed). Sing naturally Connect a condenser or dynamic microphone, and let the Adaptive Mic Setting automatically adjust parameters such as the Adaptive Gate, EQ, Compression and the De-Esser to make the vocals sound smooth and studioproduced.
Introduction |7 Before starting to play… What’s in the box After you get your Pa4X, please check that all the following items are included in the package. If any of the following items is missing, please contact your KORG dealer immediately.
8| Let’s start! Making a safety copy of your data In case you like to customize your musical resources, we suggest you use the Media > Utility > Full Resources Backup command to make frequent backup copies into compact and easy-to-store archives. Also, you can use the Media > Save All command to save individual files that you can separately reload one by one. Restoring a safety copy To restore a backup, use the Media > Utility > Resources Restore command.
Introduction |9 Overview of the instrument The following pages show the functional areas of the front and real panels. Front panel The front panel is where you can find the instrument’s controls, the (optional) loudspeakers and the music stand. Guide for the music stand and PaAS amplification system Headphones Keyboard PaAS amplification system You can install the (optional) PaAS amplification system (see page 1070 for assembly instructions).
10| Let’s start! Music stand A music stand is included with your Pa4X (see page 1076 for assembly instructions). Headphones connector Connect a pair of headphones to this output. You can use headphones with an impedance of 16-200 Ohms (50 Ohms suggested). Keyboard Use the keyboard to play notes and chords. Depending on the status of the SPLIT indicator, the keyboard may be joint or split between different sounds.
Introduction |11 Control panel The control panel is the part of the front panel where you can find the instrument’s controls. Metronome and Tempo area Sliders area Styles area Display Players area Navigation area Microphone area Sounds/Set List area Display Use this touchscreen display to interact with the instrument. The display can be tilted for optimal visualization. There are controls around the display, to help you select the various elements. (See page 20).
12| Let’s start! Navigation area Use these controls to go through the menus, pages and parameters, and search for the various musical resources (see page 22). Sounds (and Set Lists) area Sounds are what you can play on the keyboard (see page 3). Here you can choose Sound sets saved as Keyboard Sets in a dedicated library. Or you can choose Set Lists from the SongBook, that are collections of Sound sets with an associated Style or Song.
Introduction |13 Players area Songs can be played back by the two onboard Players. You can play Sounds (selected via the Keyboard Sets) and Pads along with the Songs. (See page 69). Metronome and Tempo area Use these controls to practice with the metronome and control the Tempo of the metronome, the Styles and the Songs (see page 47). Microphone controls Here you will control the microphone input and the voice effects and harmonization (see page 510).
14| Let’s start! Rear panel The rear panel is where you can find the various connections (see page 16). Guide for the music stand and PaAS amplification system Connectors Audio inputs Audio outputs EC5 multiswitch connector Power connector MIDI Pedals ports USB ports Video out Battery and microSD slot Audio inputs Use these connectors to connect a microphone or another musical instrument.
Introduction |15 Pedal connectors Use the DAMPER connector to connect a damper pedal, and the ASSIGNABLE connector to connect either a continuous pedal or footswitch. USB ports Use these connectors to connect your Pa4X to a personal computer or a tablet (DEVICE) or to connect an USB memory device, like an USB pendrive, or another musical instrument to be used as a controller (HOST-R). Video out Connect Pa4X to a TV or video monitor, to read lyrics and chords on a bigger display.
16| Let’s start! 02 Setting up the pedals and audio connections Connecting the pedals Connecting the damper pedal Use the PEDAL > DAMPER connector to connect a damper pedal, like the (optional) KORG PS1, PS3 or DS1H. The DS1H pedal supports all the nuances of half-pedaling on some acoustic piano sounds. You can experiment how it works by gradually pressing it down, and gradually releasing it, while playing the Concert Grand Sound.
Setting up the pedals and audio connections |17 Connecting the EC5 multiswitch Use the EC5 connector to connect the (optional) KORG EC5 multiswitch. With this programmable controller you can control various functions. By default, the first switch acts as an automatic accompaniment’s Start/Stop command, while each of the remaining four switches select one of the four Style Variations. If you want to change the assigned functions, go to the Global > Controllers > EC5 page.
18| Let’s start! 03 Powering up Turning the instrument on Connecting the power cable Plug the supplied power cable into the POWER socket on the back of the instrument, and the cable plug into a wall power socket. When the cable is connected, the instrument is in standby. Warning: When the instrument is in standby, it is still connected to the power line. Accessing the inside of the instrument can be dangerous.
Powering up |19 Calibrating the touch screen Calibrating the display It may happen (for example, after loading a new operating system) that the Color TouchView™ display has to be recalibrated, to make pointing more accurate. Warning: Do not use sharp objects, or you will damage your screen! 1 Keep the GLOBAL button pressed, until the Touch Panel Calibration page appears. 2 First touch exactly inside the set of arrows in the upper left corner of the display.
20| Let’s start! Adjust the display brightness Brightness can be adjusted to match the ambient’s light. ▪▪ Keep the MENU button pressed, and use the VALUE controls to adjust the display brightness. Tilting the display For optimal visibility under any seating position, the display’s tilt angle can be adjusted. Lifting the display 1 Press the UNLOCK button to unlatch the display. 2 Keep the UNLOCK button pressed, and adjust the tilt angle.
Powering up |21 Listening to the Demo Songs Access the Demo mode ▪▪ Press the DEMO buttons together. Listen to all the Demo Songs ▪▪ After accessing the Demo mode, do not press any button. All the Demo Songs will be played back. Choose a single Demo Song ▪▪ Touch one of the options on the display (Full Songs, Solo Instruments, Styles), then choose one of the Demo Songs. Exit from the Demo mode ▪▪ Press any of the MODE buttons.
22| Let’s start! 04 Interface basics The main page The Main page of the Style Play mode appears when turning the instrument on. You can return to this page by pressing the EXIT button while in Style Play mode, or the STYLE PLAY button when in a different mode.
Interface basics |23 The user interface in detail Display and user interface elements Color TouchView graphical user interface Pa4X features our exclusive easy-to-use TouchView™ graphic interface, based on a touch panel LCD screen. By touching items on the LCD screen, you can select pages, tabs, and parameters, and set parameter values via on‐screen menus and buttons. Operative modes The pages of Pa4X are grouped in various operating modes.
24| Let’s start! Pages and tabs Parameters are grouped into separate pages, to be selected by touching the corresponding tabs in the lower area of the display. Overlapping windows Several windows, like the Style Select or Sound Select, the Global, the Media, or the Lyrics, overlap the current window. After you select an item in the window, or press the EXIT button, the window closes, and the underlying page is shown again. (The following example is the Keyboard Set Select window).
Interface basics |25 Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected). Pop-up menus When a down-pointing arrow appears next to a parameter name, touch the arrow to open the pop-up menu and choose an option from there (by touching the option, or scrolling the list with the VALUE controls). As an alternative, touch the parameter name and use the VALUE controls to scroll the list of options.
26| Let’s start! When the Name label is selected on top of a list, keep the SHIFT button pressed while touching one of the arrows on the scrollbar, to jump to the next or previous alphabetic section.
Interface basics |27 Parameters Checkboxes This kind of parameters are on/off switches. Touch them to change their status. On Off Editable names When the Text Edit ( ) button appears next to a name, touch it to open the Text Edit window and edit the name. The virtual keyboard works exactly as a personal computer’s keyboard. Some of the symbols are context-sensitive, and only appear when they can actually be used.
28| Let’s start! As an alternative, touch a numeric field and keep it held. Then move your fingers up (or right) to increase the value, or move it down (or left) to decrease it. This also includes the Tempo numeric field in various pages. Icons Various icons help identifying the type of a file, a folder, a Song. For example: Icon Meaning Folder File of Style bank MID file Selected, highlighted items Any operation on parameters, data or list entries, is executed on highlighted items.
Interface basics |29 Virtual controllers Virtual sliders To change a virtual slider’s position, touch it and keep it held, then slide up or down to change its position. As an alternative, touch it, then use the VALUE controls to change its position. Depending on the status of the SLIDER MODE indicator, the position of the virtual sliders might match that of the SLIDERS.
30| Let’s start! Shortcuts Some commands or pages can be recalled by keeping the SHIFT button pressed, and pressing other buttons or elements in the display. See Shortcuts on page 1095 for a list of the available shortcuts.
Interface basics |31 Navigating through the pages Going to a page Through this manual, page addresses are shown as in the following example: Style Play > Mixer/Tuning > EQ Gain Mode Edit section Page Here is how the above works: 1 Press the STYLE PLAY button to go to the Style Play mode. When the instrument turns on, it is already in this mode (this the Main page of the Style Play mode). 2 Press the MENU button on the control panel to see the edit menu of the Style Play mode.
32| 3 Let’s start! Touch the Mixer/Tuning button in the edit menu to choose the Mixer/Tuning section. The selected edit section is always shown in the title bar: Mode Edit section 4 If the page is not yet shown in the display, touch the EQ Gain tab to choose the EQ Gain page. 5 Edit the parameters.
Interface basics |33 6 Try a different page in the same edit section. Touch the Volume/Pan tab to go to the Volume/Pan page, and edit the parameters. 7 Press the EXIT button to return to the main page of the Style Play mode. If you were in Song Play mode, pressing EXIT would have returned to the main page of the Song Play mode.
34| Let’s start! Selecting the musical resources Opening a Select window When you press one of the STYLE, SOUND SELECT, or one of the KEYBOARD SET LIBRARY buttons, the corresponding Select window appears. For example, this is the Sound Select window: Type Sounds Groups Groups Pages Previous/Next Pages The Select window can also be opened by touching the name of the corresponding element in the display. You can always exit from this window by pressing the EXIT button.
Part II: PLAYING AND SINGING |35
36| Playing and singing
Playing the Sounds 05 |37 Playing the Sounds Sounds and Keyboard Sets Sounds are the basic element of what you hear from your instrument. Pa4X contains Sounds from any instrumental family (pianos, strings, synthesizers…). A set of Sounds playing together on the keyboard can be memorized as a Keyboard Set. To automatically recall Sounds and settings, you usually select a Keyboard Set.
38| Playing and singing The My Setting Keyboard Set My Setting is a special Keyboard Set, where you can save your preferred settings for things like Keyboard Sounds, Effects, Assignable Switches, a Style to be selected on startup. This Keyboard Set is automatically chosen when the instrument is turned on, and will automatically configure the instrument for you.
Playing the Sounds |39 Choosing the Keyboard Sets Choosing a Keyboard Set from the library Keyboard Sets are contained in a dedicated library, that you can access from the control panel or from the display. Open the Keyboard Set Select window from the control panel 1 Be sure the SET LIST indicator is turned off. 2 Press one of the buttons of the KEYBOARD SET LIBRARY section. You will notice that each of them has an instrument family name printed over it.
40| Playing and singing As soon as you press the button or touch the display, the Keyboard Set Select window appears. Select a Keyboard Set 1 To choose one of the available types of Keyboard Sets, touch the buttons at the top of the window. Type of Kbd Set Meaning Factory Keyboard Sets included at the factory, that cannot be modified. User Locations where you can load new Keyboard Sets from an external device, or save new or edited Keyboard Sets.
Playing the Sounds |41 2 In case you want to choose a different group of Keyboard Sets, either press a different button in the KEYBOARD SET LIBRARY section, or touch one of the tabs on the sides of the Keyboard Set Library Select window. 3 To choose one of the available pages in the selected Keyboard Set group, either touch one of the P1…P6 tabs at the bottom of the window, or repeatedly press the button of the selected group of Keyboard Sets in the KEYBOARD SET LIBRARY section of the control panel.
42| Playing and singing 4 Touch the name of the Keyboard Set you want to choose. 5 If you want to close the Keyboard Set Library Select window (and it does not close by itself), press the EXIT button. In the end, you will see the name of the selected Keyboard Set in the dedicated area of the Main page. The Sounds assigned to the keyboard (shown in the right half of the display) will change.
Playing the Sounds |43 Choosing a Keyboard Set from a Style or a SongBook Entry There are four matched Keyboard Sets in each Style or SongBook Entry, fine-tuned for the containing Style or SongBook Entry. You can choose them from the control panel or from the display. Choose a Keyboard Set from the control panel ▪▪ Press one of the buttons in the KEYBOARD SET section under the display. Select a Keyboard Set from the display 1 While in the Main page, be sure the Kbd Set pane is selected.
44| Playing and singing Display Hold You may prefer to leave a Select window open after you have chosen a Sound, Keyboard Set or Style, to continue trying other elements in that window. Or, you may prefer it automatically closes after you have completed your choice. This is determined by the Display Hold parameter. Turn the Display Hold parameter on or off 1 Go to the Global > General Controls > Interface page.
Playing the Sounds |45 Playing and controlling the Sounds Playing the keyboard The instrument’s keyboard is like a piano keyboard. Just play it! With some Sounds, you can press the keys while they are down, and the sound might vary (for example, you might hear more vibrato). Using the pedals Pedals do different things depending on how they are programmed. The Damper pedal is just that – a damper pedal, sustaining notes until you release the pedal.
46| Playing and singing Using the joystick Moving the joystick left of right usually changes the Sound’s pitch. Moving it forward usually trigger modulation, but this depends on the selected Sounds. With the electro-mechanical organs, pushing the joystick forward changes the rotary speaker’s speed. What it does when pulled back depends on the selected Sounds.
Tempo and Metronome 06 |47 Tempo and Metronome Tempo Setting the Tempo value While an optimal Tempo value is saved with each Style or Song, you can freely adjust it at your will. This will also set the Tempo for the Metronome. Adjust the Tempo value from the control panel ▪▪ Use the TEMPO controls to adjust the Tempo value (or the speed of the MP3 Song). As an alternative, for bigger Tempo changes, keep the SHIFT button pressed and use the VALUE controls.
48| Playing and singing Visual Tempo count while the Style is not playing While the accompaniment is not playing, the current Tempo is still beaten by the indicator of the START/STOP button. Tapping the Tempo value In Style Play mode, you can ‘tap’ (beat) the Tempo value. ▪▪ While the accompaniment is not playing, beat the Tempo on the TAP TEMPO button. Beat as many times as indicated by the Meter numerator (for example, three times in 3/4).
Tempo and Metronome |49 Metronome Turning the metronome on and off Turn the metronome on ▪▪ Press the METRO ( ) button to turn its indicator on. The Metronome window will open, and the metronome will start playing, beating the current Tempo. Turn the metronome off ▪▪ Press the METRO ( stop. ) button to turn its indicator off. The metronome will Setting the meter, accent and volume You can mark the beginning of the measure, by setting the meter and accent.
50| Playing and singing Turn the accent on or off ▪▪ Choose the accent by using the Accent parameter. Accent Meaning Off No accent. On The first beat of each measure is accented. Bell A bell sound is heard at the first beat of each measure. Adjust the metronome volume ▪▪ Adjust the metronome volume by using the Volume parameter. Exit the Metronome window ▪▪ Press the METRO button to exit the window and stop the metronome. ▪▪ Press the EXIT button to exit the window without stopping the metronome.
Playing the Styles 07 |51 Playing the Styles Choosing the Styles Choosing a Style You can choose a Style from the control panel or from the display. Go to the Style Play mode ▪▪ When turning the instrument on, you are already in Style Play mode. If you are not, press the STYLE PLAY button in the control panel. ▪▪ If you are not in the Main page of the Style Play mode, press the EXIT button to return there.
52| Playing and singing Open the Style Select window from the display ▪▪ Touch the name of the Style in the display. Choose a Style 1 Browse through the Styles in the Style Select window. ▪▪ To choose one of the available types of Styles, touch the buttons at the top of the window. Type of Styles Meaning Factory Styles included at the factory, that cannot be modified. User Locations where you can load new Styles from an external device, or save new or edited Styles.
Playing the Styles |53 The type of Style will appear under its name. Label Meaning Fty Factory Usr Internal User/Favorite Dir Direct User/Favorite ▪▪ To choose a different group of Styles, touch one of the tabs on the sides of the window. ▪▪ To choose one of the available pages in the selected Style group, touch one of the P1…P6 tabs at the bottom of the window. As an alternative, press again the same STYLE button. 2 Touch the name of the Style you want to choose.
54| Playing and singing What is a Style? Styles are collections of musical patterns in a particular music genre – or ‘musical style’ – offering an eight-parts automatic accompaniment, similar to an eight-member band playing with you. Chords you play on the keyboard will be recognized and will adapt the patterns to suit the music. Different sections can be selected to let you create a complete song in realtime. Accompaniment parts Accompaniment parts are like the members of a band.
Playing the Styles |55 Making the accompaniment sparser You can easily turn off any of the accompaniment groups by using the Play/Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone. Letting Styles choose the Keyboard Sounds Choosing a Style might automatically choose Keyboard Sounds. This depends on the STYLE TO KBD SET indicator (KBD SET = Keyboard Set).
56| Playing and singing Programming the Style to Keyboard Set function You can program how the STYLE TO KBD SET button works. 1 Go to the Global > Mode Preferences > Style 1 page. As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page. 2 3 Use the Style to Kbd Set Mode menu to choose how the button works.
Playing the Styles |57 Playing a manual accompaniment (Bass & Lower Backing) You can play a simple manual accompaniment, where the chord you play with your left hand is split between the Bass (chord root) and Lower (the remaining notes) Sounds. Playing the manual accompaniment 1 Be sure the Bass & Lower Backing function is active. When it is, the Backing icon appears in the Lower Sound’s area. If the icon does not appear, see below how to activate it.
58| Playing and singing Playing the automatic accompaniment Starting and stopping the accompaniment You can manually start and stop the accompaniment. Start the accompaniment 1 Press the START/STOP button. 2 Play some chords with your left hand, while playing a melody with your right hand. On the START/STOP button, a red indicator will mark the first beat, while a green indicator will mark the other beats of the measure.
Playing the Styles |59 Make the accompaniment start and stop automatically (Synchro Start and Stop) 1 Be sure the SYNCHRO > START indicator is turned on. 2 Press the SYNCHRO > STOP button, to light up both the START and STOP indicators. 3 Play a chord to start the accompaniment, and keep the keys pressed. 4 Lift your hands from the keyboard, and see how the accompaniment will automatically stop.
60| Playing and singing to start. The button’s indicator on the selected VARIATION button will be flashing, meaning it is booked after the Intro. 3 Start the accompaniment. Choosing a Variation to play a Verse or Chorus Variations can be used for verses, choruses, bridges or specials. To choose the right Variation for your verse, please note that Variations are of growing ‘density’ and ‘loudness’.
Playing the Styles |61 Choosing a Break A break introduces a short pause in your song, creating a suspension and a sense of surprise. Style Element Suggested use Break One-measure break ▪▪ When the Variation is nearing its end, press the BREAK button to play a short musical break. Choosing an Ending To choose the right Ending for your song, please note that Ending 1 plays a sequence with a prerecorded chord sequence and melody, while Ending 2 plays on the chord recognized on the keyboard.
62| Playing and singing Turn the Auto Fill function off ▪▪ When you no longer need this function, press the AUTO FILL button again to turn the indicator off. Programming the Auto Fill You can program how the Auto Fill works. 1 Go to the Global > Mode Preferences > Style 1 page. As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style page. 2 3 Use the Auto Fill menu to choose the Auto Fill mode.
Playing the Styles |63 Set a Style Element to loop ▪▪ Press twice the button of the Intro, Fill, Break or Ending to put in loop. The indicator on the button will start flashing, and the pattern will start repeating. Exit from the loop Do one of the following: ▪▪ Press the same Style Element button again, or ▪▪ Select a different Style Element. Keep a Style Element looping while its button is pressed ▪▪ Keep an Intro, Fill, Break or Ending button pressed to loop it.
64| Playing and singing Adjusting the accompaniment volume Balancing the accompaniment against the keyboard While playing, you may want to balance the Keyboard Sounds against the Accompaniment Sounds, to make the soloist stand out of the background or go back in the mix. Balance the Accompaniment against the Keyboard Sounds ▪▪ While the accompaniment is playing, use the BALANCE knob to balance between the Accompaniment (Style) and the Keyboard (Keyboard Set) Sounds.
Playing the Styles |65 Making the accompaniment sparser You can easily turn off any of the accompaniment groups by using the Play/ Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone. If you only want to listen to Drums and Percussions, press the CHORD SCAN buttons on the control panel to turn their indicators off. Press them again to reactivate all the accompaniment sounds.
66| Playing and singing Manually playing the Bass line You can play the Bass Sound with your left hand, freeing it from the automatic accompaniment. Turn the Manual Bass function on ▪▪ Press the MANUAL BASS button to turn its indicator on. The automatic accompaniment will stop playing (except for the Drum and Percussion Sounds), and you can manually play the Bass line on the Lower part of the keyboard. When in Manual Bass mode, the volume level of the Bass Sound will be automatically increased.
Playing the Pads |67 08 Playing the Pads Choosing the Pad sets Choose the Pads by selecting a Style ▪▪ Choose a Style. The four Pads it contains will be selected. Choose the Pads by selecting a SongBook Entry ▪▪ Choose a SongBook Entry. The four Pads it contains will be selected. What is a Pad? Pads are single-track hits or sequences, that you can instantly play with the dedicated PADS buttons.
68| Playing and singing Playing the Pads Starting and stopping the Pads You can play up to four Pads at the same time, by using the dedicated PADS buttons on the control panel. Play the Pads ▪▪ Press one or more PADS buttons to trigger the Pads. ▪▪ Play some chords, and transpose any Pad of the Sequence type. Stop a single Pad ▪▪ Press a PADS button to stop the corresponding Pad. Stop all Pads at the same time ▪▪ Press the PADS > STOP button to stop all the Pads.
Playing the Songs 09 |69 Playing the Songs Choosing the Songs Choosing a Song Switch to the Song Play mode Press the SONG PLAY button. Title bar Page menu Selected Song (Player 1) Selected Song (Player 2) Selected Style Right-hand/ Upper Sounds Selected Keyboard Set Left-hand/ Lower Sound Tabs recalling other panes Keyboard Set pane Open the Song Select window from the control panel ▪▪ Press the SELECT button in the PLAYER 1 or PLAYER 2 section.
70| Playing and singing Open the Song Select window from the display ▪▪ Touch the name of the Song on the display. You can choose either Player 1 (PLY1) or Player 2 (PLY2) to play the Song. Browse through the Songs While in the Song Select window, browse through the files to find the Song you are looking for. Current path Device ▪▪ Choose a storage device by using the Device menu. If the Song is contained in an external USB device, connect the device to one of the USB HOST port.
Playing the Songs |71 ▪▪ Jump to the folder/directory, containing the Song currently assigned to the Player, by touching the Locate button. Jump to a different alphabetical section 1 If it is not selected, touch the Name label on top of the list. 2 Keep the SHIFT button pressed and touch one of the arrows of the scrollbar to jump to the previous or next alphabetical section.
72| Playing and singing What is a MIDI Song MIDI Songs’ jargon name is Standard MIDI File, often abbreviated as SMF. The filename extension is .mid. The Standard MIDI File is the industry standard format for songs, and is used by Pa4X as the native file format when playing or recording MIDI Songs. The MIDI Karaoke File (.kar) is an extension of the SMF format, and is also supported. It always contains lyrics.
Playing the Songs |73 Showing the ID number 1 Open the Song Select window. 2 Touch the page menu icon to open the menu, then touch the Show Song Number item to show (or hide) the ID numbers. The Song’s ID number will appear before each Song’s name in the Song Select window. Choosing a Song by number 1 Open the numeric keypad. ▪▪ While in the Song Select window, press the SELECT button. ▪▪ While in any page of the Song Play (or Style Play) mode, press the SELECT button twice.
74| Playing and singing Playing a Song Starting, stopping and controlling the Player Pa4X features two sets of Player controls, one for PLAYER 1 and the other for PLAYER 2. Use the one or the other depending on the Player the Song is assigned to. Set the right mix ▪▪ Move the X-FADER fully toward the Player you want to listen to. Move it fully to the left for Player 1, to the right for Player 2. Start the Player ▪▪ Press the PLAY/STOP ( ) button.
Playing the Songs |75 Stop the Player and return to the beginning of the Song ▪▪ Press the HOME ( ) button to stop the Player and move to the beginning of the Song. The button’s indicator will turn off. Fade In/Out You can start and/or stop a Song with a smooth fade-in or fade-out. Fade in ▪▪ While the Song is not playing, press the FADE IN/OUT button to light up its indicator and start with a smooth fade-in. The Song will start. When the maximum volume is reached, the indicator will turn off.
76| Playing and singing Mixing two Songs Assign a Song to each of the Players ▪▪ Either use the SELECT buttons in the PLAYER 1 or PLAYER 2 sections, or touch the name of the Song in the display. The full procedure is described above. Start both Players at the same time ▪▪ Keep the SHIFT button pressed, and press any of the two PLAY/STOP ( buttons to start both Players at the same time. ) Mix the two Players ▪▪ During playback, move the X-FADER slider to mix the two Songs.
Playing the Songs 6 |77 While Player 2 is playing, assign a third Song to Player 1, and repeat the above procedure (by reversing the X-FADER direction) to fade out Player 2 and fade in Player 1.
78| Playing and singing Playing along with the Song Playing the keyboard Play along with the Song ▪▪ While the Song is playing, play on the keyboard. Choose different Sounds from the Keyboard Set Library ▪▪ Choose a different Keyboard Set from the KEYBOARD SET LIBRARY section of the control panel, or by touching the KBD area in the Main page. Choose different Sounds from the Style or SongBook Entry ▪▪ The latest Style or SongBook Entry you selected contain up to four Keyboard Set.
Playing the Songs |79 to the same track number, you can mute or unmute it by using the assigned switch or footswitch. ▪▪ To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page. ▪▪ To program the assignable switch, go to the Style Play or Song Play > Pads/ Switches > Switches page. ▪▪ To program the footswitch, go to the Global > Controllers > Foot page. ▪▪ To program an EC5 switch, go to the Global > Controllers > EC5 page.
80| Playing and singing Adjusting the volume levels Balancing the Songs against the keyboard While playing, you may want to balance the Keyboard Sounds against the Songs, to make the soloist stand out of the background or go back in the mix. Balance the Songs against the keyboard ▪▪ While the Songs are playing, use the BALANCE knob to balance between the Songs and the Keyboard (Keyboard Set) Sounds. Controlling the volume of the MP3 Songs You can adjust the volume of the MP3 Songs during playback.
Playing the Songs |81 Playing all the Songs in a folder When playing all the Songs in a folder, use the PLAYER 1 controls. Open the Song Select window from the control panel ▪▪ Press the SELECT button. Open the Song Select window from the display ▪▪ Touch the name of the Song in the display. Select the folder containing the Songs to play 1 Browse through the files, until you find the folder containing the Songs to play, and open it.
82| Playing and singing ▪▪ Press the HOME ( ) button to go back to the beginning of the current Song. Save the list as a Jukebox file ▪▪ If you want to save the list, go to the Song Play > Jukebox Editor edit page and save it as a JBX file. (See below for more information).
Playing the Songs |83 Playing a Jukebox list Creating and editing a Jukebox list Create a Jukebox list 1 Go to the Song Play > Jukebox Editor page. 2 If a list of Songs already exists (because you selected an existing Jukebox file, or used the Song Select > Play All function), touch the Del All button to delete all from the list. 3 Touch the Add or Insert button to open the Song Select window. ▪▪ Add will append a Song at the end of the list.
84| Playing and singing ▪▪ Touch the Del All button to delete all Songs from the list. Save the Jukebox list 1 Touch the Save button to open the Save Jukebox File dialog. Please note that you can only save the JBX file in the same folder containing the Song files included in the list. The Jukebox file and Songs will have to be in the same folder. 2 While in the Save Jukebox File dialog, touch the Text Edit ( you want to assign the Jukebox file a new name.
Playing the Songs |85 The selected Jukebox list contains pointers to Songs residing in the same folder as the Jukebox file. Please do not move nor delete the Songs, nor disconnect any connected USB storage device containing the Songs. Play the Jukebox list 1 While in the Main page of the Song Play mode, touch the Jukebox tab to show the Jukebox pane and see the list of Songs contained inside the selected Jukebox list.
86| Playing and singing 10 Lyrics, chords, markers and score Choosing one of the Players ▪▪ While in the Lyrics, Score or Markers page, you can touch either the Player 1 or Player 2 button in the title bar to select the corresponding Player. ▪▪ As an alternative, move the X-FADER slider fully to the left to only listen to and see the lyrics, chords, score or markers of Player 1. Move it fully to the right to only listen to and see the lyrics, chords, score or markers of Player 2.
Lyrics, chords, markers and score |87 Reading the lyrics and chords contained in a Song Reading lyrics and chords Open the Lyrics page ▪▪ Press the LYRICS button on the control panel. The Lyrics page will appear, and you will see the lyrics assigned to the selected Player. Read the lyrics ▪▪ While the Song is playing, lyrics contained in a MIDI or MP3 Song will automatically scroll in the display, in time with the music. Lyrics at the current position will be highlighted.
88| Playing and singing ▪▪ Be sure the Chord button appears pressed in the Lyrics page to see the chord symbols. Chord symbols (if any) will appear above the lyrics, in time with the music. ▪▪ Be sure the Chord button doesn’t appear pressed in the Lyrics page to hide the chord symbols. Chord transposition When transposing the Song, chord symbols will usually be automatically transposed. However, be sure Transpose is activated on the Player.
Lyrics, chords, markers and score |89 Reading the lyrics and chords loaded as a text file If the text has been linked or loaded as a text (TXT) file, it will not scroll automatically while the Song is playing back. You can manually scroll it in one of the following ways. Scroll the text on the display ▪▪ Scroll the text by using the VALUE controls or the vertical scrollbar.
90| Playing and singing Linking text files to SongBook Entries Lyrics and chords may be contained in a TXT file linked to a SongBook Entry. The same formatting rules described above apply. See Linking text files to SongBook Entries on page 90 for more information. On-the-fly loading of Lyrics and chords from an external text file When no lyrics or chords are contained or associated to the Style or Song, you can load a text (TXT) file after having chosen a Style or Song.
Lyrics, chords, markers and score |91 Reading the lyrics and chords loaded as a CDG file CDGs are graphic files that change in time with the associated MP3 Song. Read the lyrics and chords in the CDG file ▪▪ Be sure the CDG button appears pressed in the Lyrics page. Loading a CDG file with the same name of the Song Lyrics and chords may be contained into MP3 Songs as a CDG graphic file with the same name of an MP3 Song (MP3+G Song format). For example, if a “MySong.
92| Playing and singing Moving through a Song with the markers Using the markers Song Marker events that might be contained in a MID file (that is, a MIDI Song) can be read by Pa4X. They are immediately shown in the Markers page. Open the Markers page ▪▪ While in Song Play mode, press the MARKER button. Jump to a marker 1 If you like, start the Player by pressing the PLAY/STOP ( ) button. You can jump to a marker even if the Player is not running.
Lyrics, chords, markers and score |93 Usually, you will create the marker one or two measures before the actual starting point. 3 When you reach the end of the point you need practicing, touch the Add button to create a second marker. 4 Select the first marker, then select the Loop checkbox to repeat (loop) between the first and second marker. 5 If you no longer need them, delete the markers. In any case, they will be automatically removed when choosing a different Song or turning off the instrument.
94| Playing and singing 3 Do the same for any following marker. 4 Stop the Player by pressing the PLAY/STOP ( ) button. Delete markers 1 Touch the marker to be deleted in the markers list. 2 Touch the Delete button to delete the selected marker. 3 Save the markers (as described below). Edit the name and position of a marker 1 Touch the marker to be edited in the markers list. 2 Touch the Edit button to start editing the marker. The Edit Marker window will appear.
Lyrics, chords, markers and score |95 Reading the music score Creating and reading the music score Create the music score 1 Choose a MIDI Song to play with the selected Player. 2 Press the SCORE button to open the Score page. A score of the selected track will be generated. Depending on the content of the track, either notes or chords are shown in the staff.
96| Playing and singing Clef Meaning Treble Standard Treble clef. Treble+8 Treble clef with transposition one octave upper. Treble-8 Treble clef with transposition one octave lower. Bass Standard Bass clef. Bass-8 Bass clef with transposition one octave lower. Exit from the Score page ▪▪ When done with the score, press either the SCORE or the EXIT button.
Lyrics, chords, markers and score |97 Showing lyrics, chords, note names Read the Lyrics ▪▪ Touch the Lyrics button to make the lyrics (if available) appear or disappear. Read the chords ▪▪ Touch the Chord button to make the chord symbols (if available) appear or disappear. Read the note names ▪▪ Touch the Note button to make the note name appear or disappear next to each note.
98| Playing and singing Music score and transposition The Score page shows the actual MIDI notes. Using the TRANSPOSE buttons or transposing the selected track does not affect the music score.
Searching for files and other items 11 |99 Searching for files and other items Using the Search function Searching Depending on the page, you can search for different types of data. For example, while in the Media pages you can only search for files, while in Style Play or Song Play mode you can search for several different types of data (Styles, Songs, Lyrics…).
100| Playing and singing Choose the type of data to look for ▪▪ If needed, use the Type menu to choose the type of item you are looking for. Choose a storage device and folder When searching for Files, Songs or Lyrics, you can choose a storage device and folder where to focus your search. When one of the above types are chosen, the Browse button will be activated. 1 Touch the Browse button to open the File Selector.
Searching for files and other items |101 Type the name and start searching 1 Type the name of the item you are looking for. There is no difference between upper and lower cases (“LOVE” is the same as “Love” or “love”). 2 When finished entering the name, touch the Search button. After a while, the list of items found will start showing on the display. The time needed to complete a search depends on the type and size of the device(s) and the number of items. Only one search at a time can be carried on.
102| Playing and singing Exit from the Search window without stopping the Search operation ) ▪▪ Touch the Cancel button in the display, or press the EXIT or SEARCH ( button on the control panel, to exit from the Search window and carry on other operations. The search will continue in the background. Ask info for an item ▪▪ Touch one of the items found to select it, then touch the Info button to see relevant information. Touch OK to close the Info dialog.
Searching for files and other items |103 A note about searching: the wildcards While searching, the string entered will be searched as a whole word or as part of a word. For example, if you entered “love”, the function will find “Love” and “LoveSong”, or any other word containing the string “love”. You can use the wildcards “?” (any single character) and “*” (any sequence of characters) to search exactly for that string. For example, “*love” will find “MyLove”, but not “LoveSong”.
104|
Part III: SONGBOOK |105
106| SongBook
Using the SongBook 12 |107 Using the SongBook Choosing the SongBook Entries What is the SongBook? The basic idea behind the SongBook is that you always start from a song. By choosing an Entry from the SongBook, you choose a template for that song. Everything you need (style, song, sounds, voice effects, lyrics, key, tempo value) is there at the touch of a single button. In other words, the SongBook is the onboard music database, allowing you to organize the Styles and Songs for easy retrieving.
108| SongBook Choosing the SongBook Entries from the Book list A large database is already included with the instrument. You may browse through this database and choose a SongBook Entry. Choose a SongBook Entry 1 While you are in Style Play or Song Play mode, press the SONGBOOK button to open the Book page. 2 Browse through the Entries. Use the scrollbar or the VALUE controls to scroll.
Using the SongBook |109 Pads and Keyboard Sets will also be recalled. Keyboard Set #1 will be selected. Any TXT file associated with the Entry will be shown in the Lyrics page. A Voice Preset will also be recalled. 4 Use the START/STOP or PLAY/STOP ( back of the selected Style or Song. ) button to start and stop play- Identifying the type of Entry The icons in the Type column will help you identify the Entry. Type Meaning Style-based Entry.
110| SongBook Choose one of the label combinations 1 Choose the Preferences command from the page menu to open the Preferences dialog. 2 Use the Columns menu to choose the set of columns to be shown. 3 When done, touch the OK button to close the dialog. Filtering the Entries When you are looking for a particular artist, genre or other categories, you may ‘filter’ the list to only see the type of Entries you are looking for.
Using the SongBook |111 For example, you may want to find all songs containing the word ‘love’ in the title (in any position in the string). If so, select the Name criterion, and enter the word ‘love’. Capitals are not relevant for the search. When done editing the name, confirm by touching the OK button under the virtual keyboard. 2 Repeat the above step for all the fields you want to include in your filter.
112| SongBook Remove the filters and see all the Entries again ▪▪ Touch the Filtered checkbox to deselect it. Getting information on the SongBook Entries You can see some statistical information on the selected SongBook Entry, to see the name of the Entry, the associated Style or Song, the total number of Entries in the SongBook database, the number of filtered Entries in the Book page, the number of available Set Lists, and the number of Entries in the selected list.
Using the SongBook |113 Choosing the SongBook Entries by Song Number You can select a SongBook Entry by entering its unique Song ID Number. Numbers associated with each Entry can be programmed in any of the SongBook Entry edit pages. (See Editing the Song Selection Number on page 126 for more information). To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.
114| SongBook Editing an existing MIDI Preset You can program or edit your own MIDI Preset for selecting SongBook Entries. A special MIDI channel used as the Control channel is needed to send MIDI messages to select the SongBook Entries, or to receive MIDI messages when selecting them. Configure the Control channel 1 Go to the Global > MIDI > General Controls page and choose a MIDI Preset to be used as a starting point.
Using the SongBook |115 The following examples show some typical situations.
116| SongBook Using the Set Lists What are the Set Lists? Set Lists are selections from the full Book list. They allow for smaller, customized lists, suitable for a single gig or your own music preferences. We already included some example lists, that you can use for your own shows. Choosing either the Tile View or List View Set Lists can be used in Tile View or in List View. In Tile View, songs are shown as pages of tiles, and assigned to the SET LIST buttons on the control panel.
Using the SongBook |117 2 Be sure you are in Tile View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it. 3 Use the List pop-up menu to select one of the available Set Lists. The songs in the selected set are assigned to the SET LIST buttons on the control panel. Choose a page The songs in the selected Set List are organized in ‘pages’ of twelve (each page matches the SET LIST buttons).
118| SongBook Songs are assigned to the buttons whose indicator is turned on. Each row of tiles corresponds to a group of three buttons. The indicator on the selected song blinks. Indicator status Meaning Off No song assigned. On Song assigned. Blinking Song selected. Choose the Set List from the display 1 Be sure you are in the SongBook > Set List page. 2 Touch one of the tiles in the display, to choose the corresponding song.
Using the SongBook |119 Playing a Set List from the List View The List View shows the selected Set List as a plain list of songs. Select the Set List 1 Press the SET LIST button to open the SongBook > Set List page. 2 Be sure you are in List View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it. 3 Use the List pop-up menu to select one of the available Set Lists. The list of songs in the selected Set List will appear.
120| 13 SongBook Editing the SongBook Creating and editing the SongBook Entries Creating a new SongBook Entry You can add your own Entries to the SongBook database. Choose the Style or Song 1 Go to the Style Play or Song Play mode, depending on the type of Entry you want to add to the SongBook database. 2 Select the Style or Song to be added to the SongBook. Assign the Song to Player 1 (only Songs assigned to Player 1 will be saved to the SongBook Entry).
Editing the SongBook |121 Create a new SongBook Entry 1 Keep the SONGBOOK button pressed for about one second to create a new SongBook Entry. The Write Song dialog will appear. As an alternative, go to one of the SongBook Entry edit pages, and touch the New Song button, then the Write button. 2 While in the Write Song dialog, touch the Text Edit ( ) icon if you want to edit the name of the Entry, then touch OK to save the Entry to the SongBook database.
122| SongBook Save over the existing SongBook Entry 1 Go to one of the SongBook Entry edit pages, and touch the Write button to save the settings into the selected SongBook Entry. Touch to Write the SongBook Entry 2 Choose the Rename/Overwrite option to write over the selected Entry. If you prefer to create a new Entry, choose the New Song option instead.
Editing the SongBook |123 Saving different Styles or Songs With each SongBook Entry, a reference to a Style or Song is saved. When editing an Entry, you can change it with a different Style or Song. 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Write page, and touch the Style/Song > Select button to open the Style Select or Song Select window. Touch to choose a different Style or Song 3 Choose a different Style or Song.
124| SongBook Saving different Keyboard Sets With each SongBook Entry, up to four Keyboard Sets are saved. When editing an Entry, you can replace the older Keyboard Sets with new ones. 1 Choose the SongBook Entry to be edited, and press the EXIT button to exit the SongBook. 2 Edit the Keyboard Sounds. 3 Go to the SongBook > Write page. 4 Select the Keyboard Set > Write checkbox to save the new Keyboard Sets instead of the older ones.
Editing the SongBook |125 3 Go to the SongBook > Write page. You will see the Voice Preset has been replaced. 4 Select the Voice Preset > Write checkbox to save the new Keyboard Sets instead of the older ones. 5 If you don’t want to replace the Style or Song, or the Keyboard Sets, be sure the other Write checkboxes are not selected. 6 Touch the Write button to save over the existing SongBook Entry. Saving different Pads With each SongBook Entry, a reference to four Pads is saved.
126| SongBook Editing the Song Selection Number Each SongBook Entry can have a unique ID number (up to 9,999). You can type them to quickly recall an Entry (see Choosing the SongBook Entries by Song Number on page 113 for more information). To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.
Editing the SongBook |127 Editing the database tags The SongBook is a database. You can add to each SongBook Entry special archival data, or tags, that will later help in retrieving specific types of songs by using the SongBook > Book > Filter function. 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Tags page. 3 Edit the SongBook Entry’s database tags. Tag Style-based Entry MID-based Entry MP3-based Entry Genre Music genre associated with the Entry.
128| SongBook Editing the Style controls (Synchro/Memory) With Style-based Entries, you can memorize the status of the Style’s Synchro and Memory function status. 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Controls/Lyrics page. 3 Edit the SongBook Entry’s Style controls. 4 Syncro Start / Synchro Stop / Memory status Meaning Unchanged When choosing this SongBook Entry, the status of the corresponding function will be left unchanged.
Editing the SongBook |129 Linking a text file to the SongBook Entry You can add Lyrics to any Entry as a linked TXT file. Since there is no automatic synchronization between this type of Lyrics and the associated Style or Song, you must scroll them manually (as explained in Reading the lyrics and chords loaded as a text file on page 89). Link Lyrics as a TXT file 1 Choose the SongBook Entry to be edited. 2 Go to the SongBook > Controls/Lyrics page.
130| SongBook Creating and editing the Set Lists Enabling Set List editing Editing the Set Lists is not usually available, to protect Set Lists from accidental changes. Enable Set List editing ▪▪ While in the SongBook, select the Enable Set List Edit command from the page menu. ▪▪ If you will prefer to protect the Set Lists again after editing, deselect the Enable Set List Edit command from the menu. When the list can be edited, a new set of buttons will appear at the bottom of the page.
Editing the SongBook |131 Select a Set List for editing 1 Go to the SongBook > Set List page. Choose either the List View or Tile View. 2 Use the List pop-up menu to select the Set List to edit. Add Songs to the selected Set List 1 Go to the SongBook > Book page. 2 Browse through the songs in your SongBook database. 3 When you see the song you are looking for, touch it, then touch the Add to list button to add it to the selected Set List.
132| SongBook Move or delete songs from the selected Set List 1 Go to the SongBook > Set List page, and touch the song you want to move or remove from the list. 2 Edit the list. ) and Move > Up ( ) buttons on the display to ▪▪ Use the Move > Down ( move the selected Song to a different position in the list. ▪▪ Touch the Del Song button to delete the selected song from the Set List (the song will not, however, be deleted from the Book list).
Editing the SongBook |133 Deleting a Set List 1 While in the SongBook > Set List page, use the List pop-up menu to select the Set List to delete. 2 Touch the Del List button to delete the selected Set List (the songs it contains will not be deleted from the Book list).
134| SongBook Deleting all the SongBook Entries and Set Lists You may want to create you own Book list, removing all the default Entries and Set Lists. 1 Go to any of the SongBook pages. 2 Choose the Initialize SongBook command from the page menu, and confirm. Please note that this operation will permanently delete all the Entries and the Set Lists. To restore the original factory data, use the Factory Restore command in the Media > Utility page, and only select the SongBook.
Editing the SongBook |135 Using the SongBook with a personal computer Additional software has been created to work together with the SongBook. Editing the SongBook with SongBook Editor You can use KORG’s own SongBook Editor to edit single Entries, the SongBook database and the Set Lists on a Windows PC. With SongBook Editor you can comfortably view and edit a SongBook file on your PC.
Part IV: CUSTOMIZING AND EDITING THE SOUND SETS |137
138| Customizing and editing the Sound sets
Customizing the Keyboard Sets 14 |139 Customizing the Keyboard Sets Playing different Sounds with the left and right hand Splitting the keyboard Split the keyboard into a Lower (left hand) and Upper (right hand) part ▪▪ Press the SPLIT button on the control panel to light up its indicator. The keyboard will be divided into a Lower (left hand) and Upper (right hand) part.
140| Customizing and editing the Sound sets Split, Keyboard modes, Sounds When changing the SPLIT status, the number of Sounds you hear may change. SPLIT indicator Keyboard mode Left hand (Lower) Sounds Right hand (Upper) Sounds Off Full No Lower Sound Up to three Upper Sounds assigned to the full extension of the keyboard On Split A single Lower Sound assigned to the left hand Up to three Upper Sounds assigned to the right side of the keyboard.
Customizing the Keyboard Sets |141 Memorize the local split point The local split point can be memorized into a Keyboard Set. Each Keyboard Set associated to a Style or SongBook Entry can have a different split point. ▪▪ Write the changes to a Keyboard Set. Changing the global split point The global split point is both the general setting you use when there is no ‘local’ split, and a ‘template’ from which to start setting the various local split points saved into the Keyboard Sets.
142| Customizing and editing the Sound sets ‘Global’ and ‘local’ (or temporary) split point You can choose a ‘global’ split point that is not changed when choosing a different Keyboard Set. Or you can choose a ‘local’ split point that is better suited to the individual Keyboard Set, and can change when selecting it. The ‘local’ split point is just temporary, and only becomes permanent when you write a Keyboard Set.
Customizing the Keyboard Sets |143 Playing two or three Sounds at the same time You can play up to three layered Sounds on the keyboard. This is useful to add, for example, a layer of Strings or Synth Pads to a Grand Piano sound. The Sounds will be assigned to the Upper part of the keyboard. When the SPLIT button indicator is turned off (Full Keyboard mode), the Upper parts will play on the full range of the keyboard, as it happens on an acoustic piano.
144| Customizing and editing the Sound sets Choosing different Sounds You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Keyboard Set. Follow the same procedure when choosing Sounds for the other Sound sets (Accompaniment and MIDI Song tracks, that can be written into the Style Settings or a MIDI Song). Open the Sound Select window from the control panel ▪▪ Press the KEYBOARD SOUNDS > SELECT button corresponding to the Sound you want to change.
Customizing the Keyboard Sets |145 ▪▪ To choose one of the available types of Sound, touch the buttons at the top of the window. Type of Sound Meaning Factory Standard Pa4X Sounds, that cannot normally be modified. These are the richest, most modern Sounds of the whole collection. Legacy Legacy Sounds allowing for greater compatibility with older Pa-Series instruments. GM/XG Sounds allowing for full compatibility with MIDI Songs based on General MIDI and XG Sounds and Drum Kits.
146| Customizing and editing the Sound sets Mixing the Keyboard Sounds Adjusting the Sound’s volume At its core, Pa4X is a mixer. As with any mixer, you can adjust the volume level of each Sound, therefore changing the balance between the different Sounds on the keyboard. Adjust the Sound’s volume from the control panel 1 While in any page, be sure the lighted SLIDER MODE indicator is VOLUME.
Customizing the Keyboard Sets |147 Adjust a Sound’s volume from the display 1 While in the Main page, touch the Volume tab to select the Volume pane. Accompaniment Groups Keyboard Sounds 2 Touch the mixer channel whose volume level you want to change. 3 Keep the virtual volume slider held on the screen, and drag it to the desired level. As an alternative, use the VALUE controls to change the volume level of the selected channel. Memorize the Sound’s mix ▪▪ Write the changes to a Keyboard Set.
148| Customizing and editing the Sound sets Memorize the Sound status ▪▪ Write the changes to a Keyboard Set. Soloing a Sound You can listen to a single Sound in solo, to understand how it sounds out of the mix. Solo a Sound ▪▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo. In any page where it appears, you can touch the mixer channel corresponding to the Sound to isolate.
Customizing the Keyboard Sets |149 Transposing the Upper Sounds to a different octave All Upper Sounds can be transposed to an upper or lower octave at the press of a single button. Transpose the Upper Sounds one octave up ▪▪ Press the UPPER OCTAVE + button on the control panel. Transpose the Upper Sounds one octave down ▪▪ Press the UPPER OCTAVE - button on the control panel. Reset the octave transposition ▪▪ Press both UPPER OCTAVE buttons together.
150| Customizing and editing the Sound sets Using the Ensemble to add harmony There are several types of Ensemble, but with most of them what you play with your right hand will be harmonized with the chords you play with your left hand. Turning the Ensemble on or off Turn the Ensemble function on 1 Be sure the SPLIT indicator is turned on. 2 Press the ENSEMBLE button to light up its indicator. Play chords with your left hand, and a melody with your right hand.
Customizing the Keyboard Sets 2 |151 Use the Type parameter to choose an Ensemble type. Ensemble type Meaning Duet Adds a single note to the melody. Close Adds a closed-position chord to the melody. Open 1 Adds an open-position chord to the melody. Open 2 As the above, but with a different chord shape. Block Block harmonization – very typical of jazz music. Power Ensemble Adds a fifth and an octave to the melody, as heard in hard rock.
152| 3 4 Customizing and editing the Sound sets When they appear, adjust the additional parameters. Additional parameters How it works Value Note Velocity Velocity (dynamics) difference between the melody played -10…0 with your right-hand and the added harmonization notes. Tempo Note duration for the Trill, Repeat or Echo Ensemble options. 1/23…4/4 This is in sync with the Tempo value. Feedback Repetitions of the original note/chord when the Echo option 1…8 is selected.
Advanced editing of the Sound sets 15 |153 Advanced editing of the Sound sets The editing procedure A – Choose a Sound set Sound sets are groups of Sounds that are selected all at the same time. Sound set Type Keyboard Sets (from the library) Sounds assigned to the keyboard, saved in the KEYBOARD SET LIBRARY. Keyboard Sets (from a Style) Sounds assigned to the keyboard, saved in the KEYBOARD SET section and selected with the Styles.
154| Customizing and editing the Sound sets Choose from a SongBook Entry the Keyboard Set whose Sounds and settings to edit ▪▪ Press the SONGBOOK button and choose a SongBook Entry; or press one of the SET LIST buttons to choose the corresponding SongBook Entry. Then choose the Keyboard Set (from the KEYBOARD SET section) whose Sounds you want to edit. Choose a Style whose Sounds and settings to edit ▪▪ Press the STYLE PLAY button, then choose the Style whose Sounds you want to edit.
Advanced editing of the Sound sets |155 B – Access editing 1 Press the MENU button to access editing and see the edit menu. 2 Choose an edit section and edit page to access the parameters. C – Choose a Sound to edit Most editing is to be done on the selected Sounds. Switch between the Keyboard and Style or Song Sounds ▪▪ Repeatedly press the TRACK SELECT button. The display will cycle between the Keyboard and the Style or Song Sounds.
156| Customizing and editing the Sound sets Mixing the Sounds The Volume/Pan page is the internal digital mixer of the instrument. Setting the Volume and Play/Mute status Adjust the Sound’s volume from the control panel 1 While in any page, be sure the lighted SLIDER MODE indicator is VOLUME. 2 Use the TRACK SELECT button to choose the row of parts/tracks to modify (look at the SLIDER indicators or the labels in the Main page > Volume pane). 3 Use the sliders to adjust the volume.
Advanced editing of the Sound sets |157 Change the play/mute status of the individual Sound ) or Mute ( ) icon in the mixer channel cor▪▪ Repeatedly touch the Play ( responding to the Sound whose status to change. Linking the Upper Sound volume sliders The Upper Sound volume sliders can be linked together, to proportionally change all Upper Sounds with a single slider. 1 Go to the Mixer/Tuning > Volume/Pan page. 2 Select or deselect the Upper Volume Link checkbox.
158| Customizing and editing the Sound sets Adding effects The FX processors Pa4X includes both insert and master effects (‘effect’ is often abbreviated as FX). ▪▪ Insert effects (IFX) are assigned to a single Sound, and process the whole signal passing through. The most common insert effects are amp simulators, chorus or flanger, overdrive and distortion pedals, compressors, etc.
Advanced editing of the Sound sets |159 Sound/Channel FX Insert FX Group Master FX MIDI Song FX A Up to four (4), freely assignable Three (3), shared between all to any Sound. Up to two (2) ef- Sounds. fects can be assigned to a single Sound. MIDI Song made with a Pa4X or a KORG Pa-Series instrument FX A,B Depends on the selected FX group. FX A and B groups behave as described above.
160| Customizing and editing the Sound sets Choosing (and viewing) the FX group In Style Play and Song Play mode, the FX group is fixed and cannot be changed (you can only see it). In Sequencer mode you can freely choose it for each Song track. 1 Go to the Mixer/Tuning > Insert FX or FX Send page. FX group FX group 2 See, or choose the FX group (this latter is only possible in Sequencer mode).
Advanced editing of the Sound sets |161 Activating and choosing the insert effects Each Sound can go to one or more insert effect processors. Activate the insert effects 1 Go to the Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type 2 Turn on or off the insert effect(s) assigned to a Sound. Choose the insert effects 1 While in the Insert FX page, touch the name of the selected effect type, or the ‘x’ symbol under the On/Off button, to open the FX Edit page.
162| Customizing and editing the Sound sets Activating and choosing the insert effects for the Drum Families On Drum tracks, you can access a separate Drum mixer, and add insert effects to each Drum Family. The Drum channel is then sent to the main mixer, and can use the channel’s insert effects. 1 Go to the Mixer/Tuning > Insert FX page. 2 Press the TRACK SELECT button to cycle between the tracks, and find the Drum track.
Advanced editing of the Sound sets |163 Activating and choosing the master effects Each Sound can send its audio signal to one or more master effects. Activate the master effects 1 Go to the Master Effects pages, and choose either the FX group A (Accompaniment, Pads, Song) or B (Keyboard). FX on/off Selected FX 2 Turn on or off the master effect(s). Please keep in mind that master effects are assigned to all the Sounds of the same group.
164| Customizing and editing the Sound sets Adjusting the send level to the master effects You can adjust the level of the direct (dry) signal sent from each Sound/ channel to the master effects. 1 Go to the Mixer/Tuning > FX Send page. 2 On each mixer channel, use the Master knobs to control the level of the direct (dry) signal sent to the corresponding FX processor (inside the selected FX group).
Advanced editing of the Sound sets |165 Adjusting the send to the master effects for the Drum Families On Drum/Percussion tracks, you can access a separate Drum/Percussion mixer, and adjust the level of the direct (dry) signal sent from each Drum Family to separate master effects. The Drum/Percussion channel is then sent to the main mixer, and can use the channel’s master effects.
166| Customizing and editing the Sound sets Including the dry (direct) signal in the master effects The dry (or ‘direct’) signal is the raw sound, without the effects. It should be normally included in the signal coming out from the master effects, to give a sense or presence of the sound’s source. This parameter is not needed for the insert effects, since they always include the dry signal. 1 Go to the Mixer/Tuning > Volume/Pan page.
Advanced editing of the Sound sets |167 Copying the effects To speed up programming, you can copy a single insert or master effect, or all the effects of an FX group (FXA or FXB). You can copy them between different elements (for example, between Styles and Song, or Keyboard Sets and Sounds). The Copy/Paste operation only copies the parameters of the FX Edit page. Parameters contained in other pages, like Dry or FX Send, are not copied.
168| Customizing and editing the Sound sets Copying all the master effects in an FX group Copy the effects 1 Select the source element (Keyboard Set, Style, Song or Sound). 2 Go to the Master Effects > FXA/B page showing the group to be copied. 3 Choose the Copy FX command from the page menu. Paste the effects 1 Select the target element (Keyboard Set, Style, Song or Sound). 2 Go to the Master Effects > FXA/B page showing the group to be pasted. 3 Choose the Paste FX command from the page menu.
Advanced editing of the Sound sets |169 Equalizing the Sounds The Channel Equalizer Pa4X includes three-band equalization (EQ) on each individual mixer channel. Each Sound can be individually equalized. Setting the EQ gain 1 Go to the Mixer/Tuning > EQ Gain page. 2 Keep the Gain knob held on the screen, and move it to the desired level. As an alternative, use the VALUE controls to change the value of the selected knob. EQ Gain Meaning Hi (High) Gain -18 … +18dB High frequencies equalization.
170| Customizing and editing the Sound sets Adjusting the EQ input sensitivity Extreme equalization gains can overload the audio circuits and lead to distortion. You can however trim the input to avoid overloading. 1 Go to the Mixer/Tuning > EQ Control page. 2 Use the Input Trim knobs to attenuate the level of the signal passing through the equalizer. Input Trim Meaning 0 … 99 Attenuation value. Bypassing the EQ Each EQ can be momentarily bypassed, to check its effect while programing.
Advanced editing of the Sound sets |171 Resetting the EQ You can reset the EQ to the default (that is, ‘flat’) status. 1 Go to the Mixer/Tuning > EQ Control page. Track Reset 2 Reset all the EQs, or a single EQ. Reset the EQ on a single track/channel ▪▪ Touch the Track Reset button corresponding to the channel whose EQ you want to reset. Reset the EQ on all tracks/channels ▪▪ Touch the Reset All Tracks button.
172| Customizing and editing the Sound sets Octave transpose and fine tuning You can set the octave transpose and fine tuning of each Sound. Access the Tuning page ▪▪ Go to the Style Play/Song Play > Mixer/Tuning > Tuning page. As an alternative, keep the SHIFT button pressed and press one of the UPPER OCTAVE buttons to open the Tuning page. Set the octave transpose ▪▪ Use the Oct. Transpose knobs to set the octave transpose for each Sound. Octave Transpose Meaning 0 Standard tuning.
Advanced editing of the Sound sets |173 Programming the sound routing and polyphony Using the internal or external Sounds Usually, the Keyboard, Arranger and Players play the internal Sounds. However, you can choose to let them play an external sound generator. 1 Go to the Track Control > Mode page. 2 Use the Internal/External parameter to connect the corresponding part/ track to the internal and/or external sound generation.
174| Customizing and editing the Sound sets External Sounds and Program Change messages A part/track set to the External status cannot play the internal sounds. Instead of the assigned Sound name, the indicator is shown on a track’s area in the Main page: Control Change/ Program Change area This indicator begins with a remark saying the track is in External (‘E’) mode, and continues with a strings of transmitted Control Change and Program Change data.
Advanced editing of the Sound sets 2 |175 Use the Type parameter to choose the polyphony mode. Type Meaning Drum Drum/Percussion track. This is typically assigned to the Drum and Percussion tracks of the Accompaniment and MIDI Songs. Set a Keyboard Sound to Drum mode, if you don’t want it to be transposed (it will behave as a Drum Kit, even if it is an ordinary Sound).
176| Customizing and editing the Sound sets Quick editing of Drum Kits You can adjust the volume and edit the main parameters for each family of Drum and Percussion instrument for the selected track. A list of families is shown below. These parameters can be accessed only on tracks set to the Drum mode in the Track Controls > Mode page. Use them on tracks with a Drum Kit assigned, or you will not be able to hear any change. Edit the Drum Kits 1 Go to the Track Controls > Drum Edit page.
Advanced editing of the Sound sets 5 |177 Select one of the Drum families, by using the Drum Family icons on top of the page. Drum family icon Drum family Kick drums Snare drums Toms Hi-Hat cymbals Ride, Crash and other cymbals Low-pitched percussions High-pitched percussions Special effects 6 Check the value of the selected parameter for all the Drum families. An overview of the current parameter can be seen under the icons of the Drum families.
178| Customizing and editing the Sound sets Sound parameter Meaning Value Volume Instrument’s family volume. 0 … 127 Attack Attack time. This is the time during which the sound -64 … goes from zero (at the moment when you strike a key) (offset) to it’s maximum level. Decay Decay time. Time to go from the final Attack level to the minimum level. Cutoff Filter cutoff. This sets the sound brightness. Resonance Use the Filter Resonance to boost the cutoff frequency.
Advanced editing of the Sound sets |179 Quick editing of Sounds You can edit the main Sounds parameters. These changes will be saved in a Sound set, and not be part of the internal parameters of the Sounds (that you can edit in Sound Edit mode). Edit the Sounds 1 Go to the Track Controls > Sound Edit page. 2 If you like, start the Style or Song to listen to the changes during playback. 3 If you like, solo the Sound you are editing, to isolate it from the other tracks.
180| Customizing and editing the Sound sets Setting Portamento Portamento is a smooth sliding transition from a note to the following one. ▪▪ Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off. ▪▪ Use the Portamento > Time knob to adjust the speed of portamento. Resetting a track ▪▪ Touch the Reset Track button to reset all changes to the selected track. Resetting all tracks ▪▪ Touch the Reset Family button to reset all edited values.
Advanced editing of the Sound sets |181 Programming the key and velocity range You can program a key and velocity zone for each of the Keyboard Sounds. Key range is useful to create a set of Keyboard Sounds playing in different zones of the keyboard. For example, you may have French Horns and Woodwinds playing in the center range of the keyboard, while only Woodwinds play on the higher range.
182| Customizing and editing the Sound sets Editing the Digital Drawbars Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars are memorized in a Keyboard Set, the Style Settings or in a MIDI Song, and may be considered the equivalent of an organ’s preset. A single Digital Drawbars Sound can be assigned to the keyboard, and only one to the accompaniment.
Advanced editing of the Sound sets |183 2 Choose the DRAWBARS Sound. The Drawbars Setting page will appear. 3 If you want to close this window, press the EXIT button. Editing the Digital Drawbars Access Digital Drawbars editing 1 While in the Main page, touch the DRAWBARS Sound to open the Sound Select window. 2 Touch the selected DRAWBARS Sound to open the Drawbars Setting page.
184| Customizing and editing the Sound sets Changing the Percussive/Rotary settings Go to the Percussive/Rotary page ▪▪ In case it is not selected, touch the Percussive/Rotary tab to show the Percussive/Rotary page. Program the Percussion parameters Percussion adds a percussive sound to the attack segment of the organ sound. Percussion parameters Meaning On/Off Turns percussion on or off. Foot Selects a percussion register. Mode If All, the percussive attack is played on all notes of a chord.
Advanced editing of the Sound sets |185 Rotary parameters Meaning Rotor On/Brake Touch this button to start or stop the rotating speaker. Speed Slow/Fast Touch this button to switch the rotating speaker’s speed (from slow to fast, or vice-versa). Changing the Tone/Noise settings Go to the Tone/Noise page ▪▪ Touch the Tone/Noise tab to show the Tone/Noise page. Program the Tone parameter Tone is the waveshape of the drawbars, producing the raw timbre.
186| Customizing and editing the Sound sets 16 Writing the Sound sets Writing the Keyboard Sets to the library Keyboard Sets can store the Keyboard Sounds and settings. The library is where you organize them by type and family. You can recall these Keyboard Sets by using the KEYBOARD SET LIBRARY buttons. Note: All changes will be lost when choosing a different Keyboard Set, unless you write them. Changes can normally only be saved onto the User or Direct Keyboard Sets.
Writing the Sound sets |187 Write to a different Keyboard Set location 1 If you want to save onto a different location, touch the Select button and open the Keyboard Set Library Select window. Choose a location as if you were choosing a Keyboard Set. Blank locations are shown as a series of dashes (‘–––’). 2 When back at the Write Keyboard Set dialog, you may change the name of ) icon to open the virtual keythe Keyboard Set. Touch the Text Edit ( board and edit the name.
188| Customizing and editing the Sound sets Writing Keyboard Sets into a Style Keyboard Sets can store Keyboard Sounds and settings inside a Style. When choosing a Style, four Keyboard Sets matching the selected Style are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display. Note: Changes can normally only be saved onto Favorite, User and Direct Styles.
Writing the Sound sets |189 Writing the Keyboard Set to a different Style 1 Choose the Style containing the original Keyboard Set. 2 Edit the Keyboard Set. 3 Be sure the STYLE TO KBD SET indicator is turned off. If this indicator was turned on, choosing a Style would also select a different Keyboard Set. 4 Choose the Style where you want to copy the modified Keyboard Set. 5 Write the Keyboard Set into the preferred location, by following the procedure seen above.
190| Customizing and editing the Sound sets Writing Keyboard Sets into a SongBook Entry You can write the changes to the Keyboard Sounds and settings into one of the Keyboard Sets. When choosing a SongBook Entry, four Keyboard Sets matching the selected Entry are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display.
Writing the Sound sets |191 Saving a Keyboard Set to the selected SongBook Entry You can save the Keyboard Sounds as a Keyboard Set inside the selected SongBook Entry. 1 Before editing the Keyboard Sounds, go to the SongBook > Book or Set List page, and choose the SongBook Entry where to save them. 2 Press the EXIT button to exit the SongBook. 3 Edit the Keyboard Sounds. 4 Go to the SongBook > Write page. 5 Select the Keyboard Set > Write checkbox, and select the name of the single Keyboard Set.
192| Customizing and editing the Sound sets ▪▪ To overwrite the current SongBook Entry, choose Rename/Overwrite. ▪▪ To create a new SongBook Entry, choose New Song. 10 Touch the New Song Name line if you want to edit the SongBook Entry’s name. 11 Touch OK to save the SongBook Entry. 12 If you want to save more Keyboard Sets, repeat the above procedure for the other four Keyboard Set locations inside the SongBook Entry.
Writing the Sound sets |193 Writing Style Settings, Song Settings and MIDI Song Sounds The Sounds’ configuration can also be written into other elements. ▪▪ To edit additional Style parameters, and save the Style Settings, see the pages starting from Customizing the Styles on page 197. ▪▪ To edit additional parameters of the Song Play mode, and save the Song Play Settings, see the pages starting from Customizing the Songs on page 311.
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Part V: CUSTOMIZING, RECORDING AND EDITING THE STYLES AND PADS |195
196| Customizing, recording and editing the Styles and Pads
Customizing the Styles 17 |197 Customizing the Styles Setting the Chord Recognition Choosing where to play chords (Chord Scan area) You can play chords with your left or right hand separately, or with both hands. You can choose the recognition area, depending on the song you are playing and your preferred playing style. The area where chords are recognized depends on the status of the CHORD SCAN indicators.
198| Customizing, recording and editing the Styles and Pads Always play three or more notes to let the arranger recognize a chord. Deactivate chord recognition ▪▪ Press both the CHORD SCAN (LOWER+UPPER) buttons to turn their indicators off. Only the Drum and Percussion tracks will continue to play. Memorize the Chord Scan area ▪▪ Write a Keyboard Set. Choosing how to play chords (Chord Recognition mode) You can play chords in the simplest (even simplified), or the most sophisticate way.
Customizing the Styles 2 |199 Choose how to play chords by using the Chord Recognition menu. Chord Recognition How to play chords One Finger This mode is only available when the SPLIT indicator is turned on. If you turn it off, the mode will automatically switch to Fingered (3 Notes). With this mode, you can compose a chord using a simplified chord playing technique: • Play a single note for a Major chord to be recognized. • Play the root note, plus a white key on the left, for a 7th.
200| Customizing, recording and editing the Styles and Pads Keeping a chord in memory by pressing the Damper pedal You can choose to keep the recognized chord in memory while the Damper pedal is kept pressed. In this case, you can freely play any chord on the keyboard, and the arranger will still play the ‘latched’ chord. This is especially useful when playing in Full Keyboard mode (with the SPLIT indicator turned off), and all the notes you play on the keyboard could be recognized as a new chord.
Customizing the Styles |201 Automatically holding chords and Lower notes (Memory) Using the Memory function You can keep the chords and/or Lower notes in memory even after raising your hand from the keyboard. How this function works depends on the settings of the Memory Mode parameter (see below). ▪▪ Press the MEMORY button to turn its indicator on, and keep the chords and/ or Lower notes in memory. ▪▪ Press the MEMORY button to turn its indicator off.
202| 2 Customizing, recording and editing the Styles and Pads Use the Memory Mode parameter to choose the way the MEMORY button works. Memory Mode Meaning Chord When the MEMORY indicator is on, recognized chords are held even when raising your hand from the keyboard. When the indicator is off, chords are reset when raising your hand. Chord + Lower When the MEMORY indicator is on, recognized chords and the Lower Sound are held until the next note or chord is played.
Customizing the Styles |203 Recognizing the root note (Bass Inversion) The instrument’s internal arranger recognizes chords by analyzing all the notes you play in the chord recognition area, and considering their function in a chord. You can however always force the lowest (leftmost) note of the chord to be considered, for example the chord’s root of a slashed chord (such as ‘C/E’ or ‘F/C’). ▪▪ Press the BASS INVERSION button to turn its indicator on.
204| Customizing, recording and editing the Styles and Pads Setting how velocity controls the accompaniment You can play stronger than a set velocity value to trigger an accompaniment control. 1 Go to the Global > Mode Preferences > Style 2 page. 2 Use the Velocity Control parameter to choose the function to be controlled when playing strongly. Velocity Control Meaning Off The function is turned off.
Customizing the Styles |205 Mixing the grouped Accompaniment Sounds Grouped Accompaniment Sounds As in a mixer, the Accompaniment Sounds can be grouped together. For example, instead of separately muting the guitar and the strings parts in the Accompaniment, you can mute the Accompaniment (ACCOMP) group by touching a single button.
206| Customizing, recording and editing the Styles and Pads Adjusting the (global) Accompaniment groups volume Groups volume is a global setting, that is not meant to change when you select a different Style. To avoid abrupt changes in the volume level of the Accompaniment Sounds during a show, we moved the volume settings to a safer area than the Main page. 1 Go to the Global > Mode Preferences > Style 2 page.
Editing the Style Settings 18 |207 Editing the Style Settings Mixing the individual Accompaniment Sounds Adjusting the volume of the individual Accompaniment Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual Accompaniment Sounds. This will allow for finer balancing between Accompaniment Sounds.
208| 4 Customizing, recording and editing the Styles and Pads Keep the SHIFT button pressed, and move any of the sliders to proportionally change the volume of all similar Sounds. For example, moving any of the UPPER sliders proportionally changes the volume of all the Upper Sounds; moving one of the sliders corresponding to a Style track, proportionally changes the volume of all the Style tracks.
Editing the Style Settings |209 Memorize the volume level ▪▪ Write the Style Settings. Turning the individual Accompaniment Sounds on or off Sounds can be muted, in case you don’t want to hear them in the mix. As an example, the accompaniment might contain a piano part, and you want to play it live on the keyboard. Note: Changes can normally only be saved onto Favorite, User or Direct Styles. They cannot be saved onto Factory Styles.
210| Customizing, recording and editing the Styles and Pads Soloing an Accompaniment Sound You can solo an Accompaniment Sound exactly as you would do with the Keyboard Sounds. Solo a Sound ▪▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo. In any page where it appears, you can touch the mixer channel corresponding to the Sound to isolate. When this function is activated, the ‘Solo’ warning will flash on the page header.
Editing the Style Settings |211 Changing the Sounds of the accompaniment parts Style vs. Style Element Sounds You can assign Accompaniment Sounds to the whole Style (saved in the Style Settings), that will not change when changing Style Element (for example, going from Variation 1 to Variation 2). Or you can assign Accompaniment Sounds to each Style Element, to let them change when choosing a different Style Element.
212| 4 Customizing, recording and editing the Styles and Pads Choose Sounds by touching the Sound icon on each track. These Sounds will become part of the Style Settings. They will remain the same for the whole Style, and will not change when choosing different Style Elements. Memorize the assigned Sounds ▪▪ Write the Style Settings. Changing Sounds for each Style Element You can assign Sounds to each accompaniment part of each Style Element (Intro, Variation…).
Editing the Style Settings |213 Digital Drawbars and the accompaniment parts Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars assigned to the accompaniment tracks are memorized in the Style Settings, and may be considered the equivalent of an organ’s preset. You can have a single Digital Drawbars Sound for all the accompaniment parts.
214| Customizing, recording and editing the Styles and Pads Setting the Style controls Remapping Drum Kit instruments You can remap Drum Kit instruments to add variety to the percussive part. Select different Maps and Designations while listening to the Style, and see how they affect the final result. 1 Go to the Style Play > Style Controls > Drum/Fill page. As an alternative, you can access these parameters in the Style Record > Style Tracks Controls > Drum Map page.
Editing the Style Settings |215 3 Use the Kick and Snare Designation > Kick pop-up menu to replace the original Kick (Bass Drum) sound with a different Kick of the same Drum Kit. 4 Use the Kick and Snare Designation > Snare pop-up menu to replace the original Snare Drum sound with a different Snare of the same Drum Kit. Designation Meaning Off Original Kick or Snare Type 1…3 Kick or Snare replacing the original one Memorize the Drum Kit mapping ▪▪ Write the Style Settings.
216| Customizing, recording and editing the Styles and Pads Fill Mode Meaning Off The same Variation, playing before selecting a Fill, will be selected again. V1&V2 … V3&V4 The specified Variations will be alternatively selected, when one of them is selected. For example, with the V1&V2 option, if Variation 1 is selected, Variation 1 and Variation 2 will be alternatively selected after the end of the Fill. Var.Up/Var.Down The next higher/lower numbered Variation is selected, in cycle.
Editing the Style Settings 1 |217 Go to the Style Play > Style Controls > Range/Wrap page. As an alternative, you can access these parameters in the Style Record > Style Tracks Controls > Range/Wrap page. 2 Use the Sound Range On/Off checkbox to turn the Key Range on/off for each Sound. A preferred range is set in the Style Record > Element Track Controls > Range page for each track of each Style Element. You can turn it on/off for the whole Style.
218| Customizing, recording and editing the Styles and Pads It is advisable to set different wrap-around points for each track, to avoid that all tracks ‘jump’ to a different octave at the same time. For more realistic results, we suggest to consider the actual range of the real instrument. Wrap Around Meaning 1 … 12 Maximum transposition (in semitones) of the track, referred to the original Key/Chord of the Style pattern. Memorize the key range and wrap-around ▪▪ Write the Style Settings.
Editing the Style Settings |219 Choosing and mixing the Pads You can assign four Pads to each Style. The new combination of Pads can then be written into the Style Settings. Choosing the Pads Open the Pad Select window 1 Be sure to be in the main page of the Style Play or Song Play mode. If you are not there, press either the STYLE PLAY or the SONG PLAY buttons in the control panel. 2 Select the Pad pane by touching the corresponding tab.
220| Customizing, recording and editing the Styles and Pads ▪▪ To choose one of the available types of Pads, touch the buttons at the top of the window. Pad type Meaning Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below). Sequence Single-track patterns, that can be transposed by playing different chords on the keyboard – exactly as a Style track.
Editing the Style Settings |221 Mixing the Pads Access the Pad page ▪▪ Go to the Style Play or Song Play > Pad/Switch > Pad page. Choose the Pads ▪▪ While in this page, you can choose different Pads by touching the Pad name, and following the procedure seen above. Adjust the volume and pan ▪▪ Use the Volume parameter to set the level of each Pad. ▪▪ Use the Pan parameter to set the position of each Pad in the stereo panorama.
222| 19 Customizing, recording and editing the Styles and Pads Writing the Style Settings Writing the Style Settings Style Settings can save Accompaniment Sounds and settings into a Style. Note: Changes can normally only be saved onto Favorite, User or Direct Styles, and onto SongBook Entries. They cannot be saved onto Factory Styles.
Writing the Style Settings |223 Writing the Style Settings while in Style Record mode In Style Record mode, you can write the Style Settings together with the Style. ▪▪ While in Style Record mode, choose the Write Style command from the page menu. Its Styles Settings are automatically saved. See Writing the Styles on page 306.
224| Customizing, recording and editing the Styles and Pads 20 The Chord Sequencer Recording Chord Sequences You can record a Chord Sequence, that will play the chords for you. This will be useful, for example, when you have to play a repeated sequence, and prefer to use your left hand to play a solo on the keyboard, or to select the DNC controllers. Recording a Chord Sequence while the Accompaniment is playing You can start recording while the Arranger is playing.
The Chord Sequencer |225 ment off. If the sequence is locked, it will not change when choosing a different Style or SongBook Entry. Recording a Chord Sequence while the Accompaniment is not playing 1 Press the CHORD SEQUENCER > RECORD ( pending mode. ) buttons to enter record- While in this mode, you will see the red Chord Record icon flashing in the display. 2 Play a chord, then start the automatic accompaniment in one of these ways: ▪▪ Press the START/STOP button.
226| Customizing, recording and editing the Styles and Pads Playing back a Chord Sequence When the icon appears next to the name of the Style, a Chord Sequence is available in the selected Style or SongBook Entry. Starting the Chord Sequence while the Accompaniment is playing 1 While the accompaniment is playing, press the CHORD SEQUENCER > PLAY/ STOP ( ) buttons together to start the Chord Sequence. The indicators of the two buttons will start flashing.
The Chord Sequencer |227 Managing the Chord Sequences Writing a Chord Sequence The Chord Sequence can be memorized to the Style Settings or a SongBook Entry. ▪▪ Write the Style Settings or a SongBook Entry, and the Chord Sequence in memory will be automatically saved. For information on how to write the Style Settings, see Writing the Style Settings on page 222. For information on how to write a SongBook Entry, see the Editing the SongBook on page 120.
228| Customizing, recording and editing the Styles and Pads Deleting a Chord Sequence To start anew, you can delete the Chord Sequence from memory. 1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu. 2 Choose the Delete Sequence option, and touch the OK button to confirm deletion. At this point, you can save the Style Settings or SongBook Entry again, and the Chord Sequence will be gone from them.
The Chord Sequencer |229 Importing a Chord Sequence from a Standard MIDI Files You can import a Chord Sequence from a Standard MIDI File (MIDI Song, that is a MID file). 1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu. 2 Choose the SMF option, and use the pop-up menu to choose the Import option.
230| 21 Customizing, recording and editing the Styles and Pads Recording the Styles and Pads How are Styles and Pads made? KORG supplies a huge amount of professionally crafted Styles and Pads with Pa4X. However, you are free to customize them, or create totally new Styles and Pads on your own. Styles and Pads share most of the same structure and recording/editing operations. Here is how they are made.
Recording the Styles and Pads |231 Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table.
232| Customizing, recording and editing the Styles and Pads What happens when you play a chord To summarize, when you play a chord in the chord recognition area, the arranger determines which Style Element is in use, then determines which Chord Variation should be used for the recognized chord, then Style sequences for every track of that Chord Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.
Recording the Styles and Pads |233 The Style structure To explain the Style structure, we can use a tree structure, as shown in the following diagram: Pop Ballad Variation 1 Variation 2 CV1 Drum Perc Bass Acc1 Acc2 Acc3 Acc4 Acc5 CV2 CV3 CV4 CV5 CV6 Variation 3 Variation 4 Intro1 CV1 CV2 Intro 2 Intro 3/C.
234| Customizing, recording and editing the Styles and Pads How Pads are made The Pads A Pad is basically a single-track, single Style Element Style. Most of what applies to Style recording also applies to Pad recording. There are two different categories of Pads: Hit and Sequence. Pad type Meaning Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below).
Recording the Styles and Pads |235 What to record in a Pad Recording a Pad means recording a single track, inside a series of Chord Variations, inside the Pad itself. You don’t need to record all Chord Variations. It is often only needed to record just a single Chord Variation. Recorded MIDI data When recording Styles and Pads, non-supported events are filtered out. Here are the allowed events.
236| Customizing, recording and editing the Styles and Pads Programming the Style Settings, then recording the musical sequences The accompaniment track parameters are to be programmed separately from the actual recording of the musical sequences. 1 While in Style Play or Style Record mode, program the Style Settings as described in the previous pages and the pages dedicated to the more general Sound sets.
Recording the Styles and Pads |237 Accessing the Style/Pad Record mode Accessing Style Record 1 Press the STYLE PLAY button to go to the Style Play mode. 2 If you want to edit an existing Style, choose a Style to edit. You can normally only edit Favorite, User or Direct Styles. To edit Factory Styles, you must first unprotect them, or copy them to a Favorite or User location. 3 Press the RECORD button. The Select Record Mode dialog will appear.
238| Customizing, recording and editing the Styles and Pads The main Style Record page Measure counter Beat counter Record parameters Sound Key/Chord and transposition table Mixer The main Pad Record page Measure counter Beat counter Record parameters Sound Pad Volume (not saved) Key/Chord Transposition table Exiting Style/Pad Record ▪▪ While in the Style/Pad Record mode, choose the Exit from Record command from the page menu, or press the RECORD button again.
Recording the Styles and Pads |239 Listening to the recorded Style Testing chords While in Style/Pad Record, the keyboard can play chords to drive the recorded musical patterns, and a piano sound to help you test the patterns. How chords are recognized depends on the status of the SPLIT indicator.
240| Customizing, recording and editing the Styles and Pads Setting the recording parameters Choosing what to record Choosing the Style Element and Chord Variation With Styles, you record a Chord Variation, inside a Style Element, inside a Style. This is the musical sequence you listen when playing a chord. Pads are made of a single Style Element, so you only have to choose the Chord Variation.
Recording the Styles and Pads |241 When an asterisk (*) appears next to the abbreviation (CV1* … CV6*), the Chord Variation is empty. Style Element Chord Variation Var1, Var2, Var 3, Var4 CV1 … CV6 Intro1, Intro2, Intro3 (CountIn), Fill1, Fill2, Fill3, Fill4, Break, Ending1, Ending2, Ending3 CV1 … CV2 Adjusting the total Chord Variation length ▪▪ Use the CV Length (Chord Variation Length) parameter to set the length of the Chord Variation (in measures).
242| Customizing, recording and editing the Styles and Pads sures. After you press START/STOP to stop recording, Rec Length is updated to 2, and all measures after the second measure are deleted. Tempo, Meter, Resolution Setting the recording Tempo While recording, you might want to use a different Tempo than the one saved in the Style Settings. This alternative value will allow you, for example, to record at a slower speed, or to experiment with different values while listening what you recorded.
Recording the Styles and Pads |243 Choosing the Resolution ▪▪ Use the Resolution parameter to set quantization during recording. Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythm grid, set with this parameter, thus playing perfectly in time. To quantize after recording, use the Style/Pad Record > Style/Pad Edit > Quantize function.
244| Customizing, recording and editing the Styles and Pads Pad Sync You can decide how the Pad will synchronize to the current Tempo. ▪▪ Go to the Pad Record > Main page, and use the Pad Sync pop-up menu to choose the way the Pad will synchronize. Pad Sync Meaning Off No synchronization. The sequence will start as soon as you press the PAD button. Continued Like a Fill, the pattern will start immediately, in sync with the Arranger’s or active Player’s Tempo.
Recording the Styles and Pads |245 Assigning Sounds to the Style Element and Pads While in Style Record, you can assign different Sounds to each Style Element. These Sounds are used when the Original Sound Set parameter (that you can access in the Style Play > Main > Volume pane, when the accompaniment tracks are shown) is checked. Sounds assigned to the Style Settings are ignored.
246| 3 Customizing, recording and editing the Styles and Pads Go to any page of the Element Track Controls edit section, for example the Style Record > Element Track Controls > Expression page. Original Sounds 4 Touch the icon of the Sound to be replaced, to open the Sound Select window, and choose a Sound. Testing the Sounds ▪▪ Press the START/STOP button to check how the changes work. Press START/ STOP again to stop playback. Assigning a Sound to the Pad track 1 Go to the Pad Record > Main page.
Recording the Styles and Pads |247 Transposing the Sounds while recording While recording, you can transpose the accompaniment tracks, to make recording of low or high keyboard ranges easier. You can set a separate transpose value for each track. 1 Go to the main page of the Style/Pad Record mode. 2 Touch the corresponding mixer channel to choose a Style track. 3 Use the UPPER OCTAVE buttons on the control panel to transpose the selected track. The current value will appear in the Oct indicator.
248| Customizing, recording and editing the Styles and Pads Choosing the original key/chord and the note transposition table You will record the musical sequences in a particular key (say, C), matching a chord shape (say, Major). You will then choose a transposition table according to which they will be transposed and transformed when a different key and a slightly different chord will be recognized.
Recording the Styles and Pads |249 Hint: To conform to KORG specifications, it is advisable to record both the Major and minor Chord Variations for the Intro 1 and Ending 1 Style Elements. Choosing an NTT table for the selected track ▪▪ Use the NTT Type and NTT Table parameters to choose an NTT table (Note Transposition Table) for the selected Style track (or the Pad track) of the current Chord Variation.
250| Customizing, recording and editing the Styles and Pads These are the NTT Type/Table combinations: NTT Type/Table Description Parallel/Root The root note (in CMaj = C) is transposed to the missing notes. Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.
Recording the Styles and Pads |251 Recording a Style or Pad in Realtime Record After having chosen the Style Element and Chord Variation in the Main page, go on recording. Using the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Realtime recording Select the Style track to record ▪▪ While in the Style Record > Main page, touch a track to enable it for record) will appear. ing.
252| 4 Customizing, recording and editing the Styles and Pads Set the track to record again, by repeatedly touching its status icon. The ) will appear again. Record icon ( Record 1 Press the START/STOP button to begin recording. A 1-measure precount will play before the recording actually begins. When it begins, record freely. While recording, the track’s Keyboard Range is ignored, and notes can be recorded and played back over the full keyboard range.
Recording the Styles and Pads 4 |253 When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted. If the note is at the beginning of the sequence, press the note before starting it. 5 When finished, release the Delete Note button and the note to be deleted, and press START/STOP again to stop the sequence. Listening to the results ▪▪ Press the START/STOP button to check how it works.
254| Customizing, recording and editing the Styles and Pads Recording a Style or Pad in Step Record Step Recording allows you to create a new Style or Pad by entering single notes or chords in each track one step at a time. This is very useful when transcribing an existing score, or in need of a higher degree of detail, and is particularly suitable to create drum and percussion tracks.
Recording the Styles and Pads |255 Position the input pointer ▪▪ The Pos parameter shows the current position. This is where you will insert the next event. ▪▪ If you do not want to insert a note or chord at the current position, insert a rest instead, as shown below. ▪▪ To jump to the next measure, filling the remaining beats with rests, touch the Next M. button. Choose a step value ▪▪ Use the Step Time values to choose the step value.
256| Customizing, recording and editing the Styles and Pads ▪▪ To tie the note to be inserted to the previous one, touch the Tie button. A note will be inserted, tied to the previous one. Insert a chord ▪▪ Play a chord instead of a single note. The event name will be the first note of the chord you pressed, followed by the ‘…’ indicator.
Recording the Styles and Pads Step Time = Step Time = Step Time = Off Release F On Press G (continue holding C) (continue holding C) On Press F and C Step Time = Step Time = Off Release G (continue holding C) On Step Time = Off Release D Press D (continue holding C) Step Time = |257 (continue holding C) Step Time = On Press E Off Release E and C (continue holding C) Step Time = Step Time = Tie On Press C On Off Press G (continue holding C) Release G and C Go back ▪▪ If you wan
258| Customizing, recording and editing the Styles and Pads At this point, you may go on, inserting new events in overdub mode (the previously inserted events will not be deleted). This is very useful when programming a drum or percussion track, where you may want to program the bass drum on a first phase, the snare drum on a second phase, and the hi-hat and cymbals during the following phases. Exit from record 1 When finished recording, touch the Done button to exit the Step Record mode.
Recording the Styles and Pads |259 Recording a Guitar track Simulating a real guitar Guitar Mode allows for easy creation of realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI programming of guitar parts. Just record a few measures, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the guitar, and not generated by simply transposing a written pattern.
260| Customizing, recording and editing the Styles and Pads Preliminary settings Accessing Guitar Mode in Style Record 1 While in the Style Record > Main page, select a track set to the Guitar type. This type of track is usually one of the Acc1…5 Style tracks. To set a track to the Guitar type, go to the Style Record > Style Track Controls > Type/Trigger/Tension page. After having selected a Guitar track, the Style/Pad Record > Guitar Mode page will become available.
Recording the Styles and Pads |261 Reading the fingerboard diagram You can see how a chord is composed on the fingerboard diagram. Here is the meaning of the various symbols: Symbol Meaning Red dot Fingered string (i.e., played note). White dot Fifth, playing on the D#2 key. X Non played or muted note. Light grey bar Barré (a finger crossing all the strings, like a mobile capo). Dark grey bar Capo.
262| Customizing, recording and editing the Styles and Pads Vel. Chord Type Vel.
Recording the Styles and Pads |263 Recording strummings ▪▪ Press one of the keys in the octave from C1 to B1 to select a strumming type. By pressing these keys, you play fast strumming samples.
264| Customizing, recording and editing the Styles and Pads Recording single strings ▪▪ Press one of the keys in the octave from C2 to B2 to select single strings (one or more). By pressing these keys, you can play arpeggios or power chords. You can either play a free arpeggio with the six guitar chords assigned to the keys from C to A, or play one of the faster arpeggios on the higher keys.
Recording the Styles and Pads |265 ▪▪ Press one of the keys in the octave from C7 to B8 to trigger RX Noises. In some cases, the RX zone may extend over this range. Note RX Noise C7 and up RX Noises (depending on the Sound) 88-keys 76-keys 61-keys Recording a regular pattern Together with strums and arpeggios, you can record regular patterns, exactly as if the track was of the Acc type.
266| Customizing, recording and editing the Styles and Pads Vel. Range from Str. to Str.
Recording the Styles and Pads Vel. Range 40 |267 from Str. to Str.
268| Customizing, recording and editing the Styles and Pads Vel. Range from Str. to Str.
Editing the Styles and Pads 22 |269 Editing the Styles and Pads Editing the track parameters For each Style Element, and the Pad, you can edit various track parameters. Hint: In the edit pages where the Style Element abbreviation appears, you can choose a Style Element by pressing the corresponding button on the control panel (VARIATION1 … ENDING3). Selected Style Element Style Element/Pad relative volume (Expression) You can set different Expression (CC#11) values for each of the Style Element tracks.
270| Customizing, recording and editing the Styles and Pads You set the Expression value for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). 3 Use the Expression Monitor indicators to check if Expression (CC#11) messages are contained in the tracks. Press the START/STOP button to start playback, and look at the indicators.
Editing the Styles and Pads 5 |271 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback. Keyboard Range Setting the Keyboard Range automatically transposes any sequence note that would otherwise play too high or too low in pitch, compared to the original acoustic instrument’s natural range, when transposed by the arranger. This will result in more natural sounding instruments.
272| Customizing, recording and editing the Styles and Pads You set the Keyboard Range for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). 3 Use the Top and Bottom parameters to set the bottom and top limit of the keyboard range for the corresponding track of the selected Style Element. While recording, the Keyboard Range is ignored.
Editing the Styles and Pads |273 You set the RX Noise and Humanize parameters for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). 3 Use the RX Noise knobs to adjust the volume of RX Noises in the corresponding tracks. This control applies to all types of tracks (provided the Sound contains RX Noises).
274| Customizing, recording and editing the Styles and Pads Pad type When triggered, Pads can play once or loop until you stop them. 1 Go the Pad Record > Pad Track Controls > Settings page. 2 Use the Pad Type pop-up menu to choose the type of Pad. Pad Type Meaning One Shot When you press one of the PAD buttons, the corresponding Pad is only played once. This is useful for playing Hits or Sequences that must only play once.
Editing the Styles and Pads |275 Editing the Chord Table You can assign a Chord Variation to each of the main recognized chord. When a chord is recognized, the assigned Chord Variation will be automatically selected by the arranger to play the accompaniment. 1 Go to the Style Record > Chord Table & Variation > Chord Table page. Selected Style Element With a Pad, go to the Pad Record > Pad Chord Table > Chord Table page.
276| Customizing, recording and editing the Styles and Pads Checking the available Chord Variations You can see which Chord Variations have been recorded (or imported) in the current Style. ▪▪ Go to the Style Record > Chord Table & Variation > Chord Variation page. Dimmed Chord Variations are empty. While in the Chord Table page you can see which Chord Variations have been used in the current Style Element, this page lets you see which Chord Variations are contained in the whole Style.
Editing the Styles and Pads |277 Editing the track type, trigger, tension You can edit the track type, its response to retriggering, and add harmonic tension. 1 Go to the Style Record > Style Track Controls > Type/Trigger/Tension page. You can access these parameters for the Pad in the Pad Record > Pad Track Controls > Settings page. 2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3).
278| 3 4 5 Customizing, recording and editing the Styles and Pads Use the Track Type parameter to set the type of the corresponding track. Track Type Meaning Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits made of Drum Sounds. It can be affected by Drum Mapping. With Pads, this is used for both Drum and Percussion sounds. Perc Percussion track. This type of track cannot be transposed, and is used for Drum Kit made of Percussion sounds.
Editing the Styles and Pads |279 Editing the Style/Pad sequences You can edit the Style/Pad sequence data in the Style/Pad Record > Style/ Pad Edit section. With Pads, you cannot select a track or Style Element to edit. Quantizing The quantize function may be used to correct any timing mistake after recording, or to give the pattern a ‘groovy’ feeling. 1 Go to the Style/Pad Record > Style/Pad Edit > Quantize page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.
280| 4 Customizing, recording and editing the Styles and Pads Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be quantized. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. 5 Use the Bottom Note and Top Note parameters to set key range to edit. These parameters are only available when a Drum or Percussion track is selected.
Editing the Styles and Pads 3 4 |281 Use the Value parameter to choose the transpose value. Value Meaning -127 … 127 Transpose value (in semitones) Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be transposed. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000. 5 Use the Bottom Note and Top Note parameters to set key range to edit.
282| Customizing, recording and editing the Styles and Pads 1 Go to the Style/Pad Record > Style/Pad Edit > Velocity page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. 3 4 Track Meaning All All tracks selected. The velocity for all notes of the whole selected Chord Variation will be changed. Drum … Acc5 Selected track. Use the Velocity Value parameter to choose the transpose value.
Editing the Styles and Pads |283 ▪▪ Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time.
284| Customizing, recording and editing the Styles and Pads Cutting out measures You can delete a selected measure (or a series of measures) from the selected Chord Variation. All following events will be moved back, to replace the cut measure(s). 1 Go to the Style/Pad Record > Style/Pad Edit > Cut page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.
Editing the Styles and Pads |285 Deleting data from measures The Delete page is where you delete MIDI events out of the Style. This function does not remove measures from the pattern. To remove whole measures, use the Cut function instead. 1 Go to the Style/Pad Record > Style/Pad Edit > Delete page. 2 Select the Track, Style Element (E) and Chord Variation (CV) to edit. Track Meaning All All tracks selected. After deletion, the selected Chord Variation will remain empty.
286| 3 Customizing, recording and editing the Styles and Pads Use the Event pop-up menu to choose the type of event to delete. Event Meaning All All events. The measures are not removed from the Chord Variation. Note All notes in the selected range. Dup.Note All duplicate notes. When two notes with the same pitch are encountered on the same tick, the one with the lowest velocity is deleted. After Touch After Touch events. Pitch Bend Pitch Bend events. Prog.
Editing the Styles and Pads |287 Deleting Style Elements, Chords Variations or a whole Style You can delete a selected Style Element or Chord Variation, or the whole Style. 1 Go to the Style/Pad Record > Style/Pad Edit > Delete All page. 2 Select the Track to delete. 3 Track Meaning All All tracks of the selected Style, Style Element or Chord Variation. Drum … Acc5 Single track of the selected Style, Style Element or Chord Variation.
288| Customizing, recording and editing the Styles and Pads 1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Style page. 2 Use the From Style parameter to choose the source Style. Touch the Select button to open the Style Select window and select the source Style from there. Touch the Current button to select the current Style as the copy source. 3 Use the From E/CV pop-up menu to choose the source Style Element (E) and Chord Variation (CV), and the To E/CV pop-up menu to choose the target.
Editing the Styles and Pads |289 Copying from a Pad You can copy a Chord Variation or all of a Pad’s Chord Variations. Be warned that copying will overwrite all data at the target location. 1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Pad page. 2 Use the From Pad parameter to choose the source Pad. Touch the Select button to open the Pad Select window and select the source Pad from there.
290| Customizing, recording and editing the Styles and Pads Editing the MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a different one, or change its playing strength (that is, velocity value). The Event Edit page ▪▪ Go to the Style/Pad Record > Event Edit > Event Edit page. b. Edit the events a.
Editing the Styles and Pads |291 The Event Edit procedure Here is the general procedure to follow for the event editing. Choose the Style or Pad and access editing 1 While in Style Play mode, access recording by pressing the RECORD button and choosing one of the options (create or edit a Style or Pad). 2 While in the Style/Pad Record > Main page, select the Style Element (Style only) and Chord Variation to edit. 3 Go to the Style/Pad Record > Event Edit > Event Edit page.
292| Customizing, recording and editing the Styles and Pads Filter Meaning Note/RX Noise Notes and RX Noises Program Program Change Control Control Change events. Only the following Control Change numbers are allowed with Styles. Control function CC# Modulation 1 1 Modulation 2 2 Pan 10 Expression (a) 11 CC#12 12 CC#13 13 Ribbon 16 Damper 64 Filter Resonance 71 Low Pass Filter Cutoff 74 Sound Controller 1 (CC#80) 80 Sound Controller 2 (CC#81) 81 CC#82 82 (a).
Editing the Styles and Pads 4 |293 Touch the event to be edited, and edit it. Measure/Position Type Value 1 Value 2 Duration/Length ▪▪ Select the M (Measure), and use the VALUE controls to change event’s position. ▪▪ Select the Type parameter, and use the VALUE to change the event type. ▪▪ Select the Value 1 and Value 2 parameters, and use the VALUE controls to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
294| Customizing, recording and editing the Styles and Pads Copying the Style track settings Once you have edited a Style track, you can copy and paste its settings to another track, Chord Variation or Style Elements. 1 Choose the Copy command from the page menu to open the Copy Track Settings dialog. 2 Check all the track settings you want to copy. 3 Use the From pop-up menu to choose the source Style Element.
Importing and exporting the Styles and Pads 23 |295 Importing and exporting the Styles and Pads Importing a Standard MIDI File to a Chord Variation You can import Standard MIDI Files created on your preferred external sequencer, and transform them to a Chord Variation. Preparing the MID file The Standard MIDI File to be imported must be programmed as if it was one of Pa4X’s Chord Variations. Here are the rules.
296| Customizing, recording and editing the Styles and Pads MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 235). Some controllers are reset at the end of the pattern. Sounds Sounds assigned to each track are imported, provided the Program Change, Bank Select MSB and LSB events are on the first ‘tick’ of the SMF.
Importing and exporting the Styles and Pads |297 Importing a Standard MIDI File into a Chord Variation 1 Go to the Style/Pad Record > Import/Export > Import SMF page. 2 Use the From Song parameter to choose a MID file to import. Touch the Select button to open the file selector. Only Standard MIDI Files in format 0 can be loaded. 3 Select the Initialize checkbox if you want all settings of the target Style Element or Pad (like Key/Chord, Chord Table, Sounds…) to be reset when loading the SMF.
298| Customizing, recording and editing the Styles and Pads Importing a Standard MIDI File to a Style Preparing a Standard MIDI File ‘separated by markers’ As an alternative to importing individual Chord Variations, you can convert a Standard MIDI File ‘separated by markers’ into a Style. This is a single Standard MIDI File containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).
Importing and exporting the Styles and Pads 4 |299 After having set all the parameters in this page, keep the SHIFT button pressed and touch the Execute button to import the Standard MIDI File. Imported MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 235). Some controllers are reset at the end of the pattern.
300| Customizing, recording and editing the Styles and Pads The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF. Pads always use names of this type: ‘v1cvn’ (they always start with ‘v1’). Below, you can find a screenshot of a test file created in Steinberg Cubase, just as an example of how a SMF separated by markers can look like.
Importing and exporting the Styles and Pads |301 Importing a MIDI Groove to a Style or Pad You can import a MIDI Groove created with the Time Slicing operation (in the Sampling). Importing a MIDI Groove is a step in the general procedure of creating an Audio Groove from an audio sample. You can find the procedure described on page 487. The Import Groove operation is described on page 494.
302| Customizing, recording and editing the Styles and Pads Exporting a Chord Variation You can export a Chord Variation as a Standard MIDI File (MID file), then edit it on your preferred external sequencer. Exporting a Chord Variation to a Standard MIDI File 1 Go to the Style/Pad Record > Import/Export > Export SMF page. The (non editable) To Song parameter shows the name of the Standard MIDI File that will be generated.
Importing and exporting the Styles and Pads |303 Exporting a Style to a Standard MIDI File ‘separated by markers’ As an alternative to exporting single Chord Variations to individual Standard MIDI Files, you can export a whole Style as an SMF separated by markers, that is, a single SMF containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).
304| 24 Customizing, recording and editing the Styles and Pads Converting a MIDI Song to a Style The Style Creator Bot You can convert any commercially or freely available MIDI Song (in Standard MIDI File format) into a complete Pa4X Style. While Pa4X includes a state-ofthe-art converter of this type, and will most of the times result in a careful recreation of the original song, the quality of results may vary depending on the source song.
Converting a MIDI Song to a Style |305 5 When the conversion is complete, you are asked to write the new Style into a Style location. See the procedure in the next page. 6 After writing, the new Style is automatically selected. Fine-tune it with the functions seen in this part of the manual. In the end, you will get a Style including all the Style Elements, the four Pads, the four Keyboard Sets and a Chord Sequence containing the chords recognized in the source MIDI Song.
306| Customizing, recording and editing the Styles and Pads 25 Writing the new/edited Style or Pad Writing the Styles Styles can be saved into a Style memory location (usually, Favorite, User or Direct). When saving a Style, its Style Settings are automatically saved. 1 While in Style Record mode, choose the Write Style command from the page menu to open the Write Style dialog. Style name Style bank Style location 2 Touch to open the Style Select window You may change the name of the Style.
Writing the new/edited Style or Pad |307 a location as if you were choosing a Style. Blank locations are shown as a series of dashes (‘–––’). 4 When back at the Write Style dialog, confirm the Write operation by touching the OK button. Creating the Favorite Style banks You can create the Favorite Style banks in one of the following ways. Load Styles into the Favorite Style locations ▪▪ While in the Media > Load page, you can load any Style into the Favorite banks.
308| Customizing, recording and editing the Styles and Pads Writing the Pads Pads can be saved into a Pad memory location. After saving the Pads, assign up to four of them to a Style or SongBook Entry, that will recall them. 1 While in Pad Record mode, choose the Write Pad command from the page menu to open the Write Pad dialog. Pad name Pad bank Pad location 2 Touch to open the Pad Select window You may change the name of the Pad. Touch the Text Edit ( the virtual keyboard and edit the name.
Part VI: CUSTOMIZING, RECORDING AND EDITING THE SONGS |309
310| Customizing, recording and editing the Songs
Customizing the Songs 26 |311 Customizing the Songs How to play a Song – Song Play vs. Sequencer mode The Players are just that – players. So, to prevent undesired changes to the file, no changes made in Song Play mode can be saved. To save changes to a MIDI Song, load and edit it in Sequencer mode. However, you can do on-the-fly edits to the MIDI Song Sounds exactly as you would with the Keyboard Sounds. See the Customizing and editing the Sound sets section for more information.
312| Customizing, recording and editing the Songs Special tracks (Melody, Drum & Bass), Fast Play Choosing the Melody track You might want to define a Player’s track as the Melody track. You will then be able to mute it by using the Song Melody - Mute function, that you can assign to a switch, footswitch or EC5 switch. See the Controllers part for information on how to program the controllers. 1 Go to the Global > Mode Preferences > Song & Seq page.
Customizing the Songs 3 |313 Use the Drum & Bass Mode - Bass pop-up menu to choose one of the Song tracks to be used as the Bass track. Letting a MIDI Song start immediately MIDI Songs (MID and KAR files) may contain a silent setup measure at the beginning. You can skip this measure and let the Song start immediately. 1 Go to the Global > Mode Preferences > Song & Seq page. 2 Select the Fast Play checkbox to let the MIDI Songs ignore the silent setup measure at the beginning.
314| Customizing, recording and editing the Songs Mixing the Song Sounds Adjusting the volume of the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual MIDI Song Sounds. However, since MIDI Songs are already dynamically mixed by the original creators, their volume may automatically change during playback. The volume of the MIDI Song tracks will be reset when choosing a different Song.
Customizing the Songs |315 Adjust the Sound volume levels from the display 1 While in the main page of the Song Play mode, touch the Volume tab to select the Volume pane. Here, you can adjust the volume of the Keyboard Sounds. 2 Use the X-FADER slider to select the active Player. 3 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16. Song tracks 4 Touch the mixer channel whose volume level you want to change.
316| Customizing, recording and editing the Songs Muting the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can mute/unmute the individual MIDI Song Sounds. Mute the Song track that you will want to play or sing live (the melody track in a MIDI Song is usually #04). See the Song tracks ▪▪ While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button a first time to switch to Song tracks 1-8, a second time for Song tracks 9-16.
Customizing the Songs |317 Soloing a MIDI Song Sound You can solo a MIDI Song Sound exactly as you would do with a Keyboard Sound. ▪▪ While the Volume pane is shown, or while in any page where the digital mixer appears, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo. ▪▪ As an alternative, while in any page where the name of the Sound or the mixer channel appears, select it and choose the Solo Track command from the page menu.
318| Customizing, recording and editing the Songs Changing the Sounds of the MIDI Song tracks Changing the MIDI Song Sounds You can assign different Sounds to the current MIDI Song. These Sounds will be reset when choosing a different Song. Choose a different Sound for a Song track 1 While in the main page of the Song Play mode, touch the Volume tab to select the Volume pane. 2 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16.
Writing the Song Play Settings 27 |319 Writing the Song Play Settings Writing the default Players’ settings When you choose a different Song, switch to a different mode or turn the instrument off, all changes to the Song will be reset. If you want to preserve the current configuration for all the subsequent MIDI Songs, write it to memory. Write the Song Play Settings ▪▪ Go to the Global > Mode Preferences > Song & Seq. page, and choose the Write Song Play Track & FX command from the page menu.
320| Customizing, recording and editing the Songs 28 Listening the MIDI Songs in Sequencer mode Loading and listening a MIDI Song Listening MIDI Songs in the Sequencer mode is especially useful when you want to check the results of any editing carried on on the Song tracks, without having to switch to the Song Play mode. Loading a MIDI Song 1 Press the SEQUENCER button to go to the main page of the Sequencer mode.
Listening the MIDI Songs in Sequencer mode 2 |321 Touch the name of the Song to open the Song Selection window. Current path Device 3 Browse through the files and folders. When you see the MIDI Song (.mid, .kar) you want to load, touch it, then touch the Load button to load it. Importing a MIDI Song without initializing the current settings While in the Sequencer mode, you can import a MIDI Song without initializing the current Sequencer settings.
322| Customizing, recording and editing the Songs Playing the MIDI Song The main page of the Sequencer mode shows the Song playback controls. Name of the MIDI Song Beat counter and Tempo Alternative starting point Tempo Mode Transport controls While in the main page of the Sequencer mode, use the PLAYER 1 section’s PLAY/STOP ( ), HOME ( ), FAST FORWARD ( ) and REWIND ( ) controls.
Recording MIDI Songs 29 |323 Recording MIDI Songs Multitrack Recording a Song In Multitrack Sequencer mode, you will record a MIDI Song by playing live over up to 16 MIDI tracks. Accessing Multitrack Sequencer Recording 1 Press the SEQUENCER button to switch to the Sequencer mode. The main page of the Sequencer mode will appear. 2 Press the RECORD button to open the Song Record Mode Select dialog. 3 Choose the Multitrack Sequencer option and touch OK to access the Multitrack Sequencer Record page.
324| Customizing, recording and editing the Songs Measure and Beat counter Record parameters Track info Sounds and Octave transposition Mixer Setting the recording parameters When you enter the Multitrack Sequencer mode, you could simply start recording. However, there are some additional settings that you might want to do. Select the recording mode ▪▪ Use the Rec Mode pop-up menu to choose the Overdub or Overwrite recording mode.
Recording MIDI Songs |325 Set a starting point (left locator) ▪▪ Set the Start from measure number to choose the alternative starting position from where to start playback. Select the Start from measure checkbox to activate the alternative starting position. When pressing the HOME ( ) button, or using the REWIND ( go back to the beginning, the Song will return to this point. ) button to Choose a quantize resolution for recording ▪▪ Set the recording Resolution.
326| Customizing, recording and editing the Songs fore you begin recording anything. To insert a meter change in the middle of the Song, use the Sequencer > Song Edit > Insert Measure function. Choosing the Sounds and transpose You choose the Sounds in the dedicated Sound area of the Record page. Octave Transpose Sound icon Choose a Sound 1 Touch a Sound icon to select the corresponding track. 2 Touch it again, to open the Sound Select window and choose the Sound for the corresponding Song track.
Recording MIDI Songs |327 Recording Turn on the metronome ▪▪ Press the METRONOME ( recording. ) button to turn the metronome on or off while Select the track to record 1 Use the TRACK SELECT button to switch between Song Tracks 1-8 and Song Tracks 9-16. 2 Touch the track to record to select it. The Record icon ( ) will appear. Record 1 Press the PLAY/STOP ( ) button to begin recording. A 1-measure precount will play before the recording actually begins. When it begins, record freely.
328| Customizing, recording and editing the Songs Second-take recording You may want to record additional events, or replace a previously recorded track. If so, repeat recording. Prepare to record 1 Press the RECORD button to enter Record mode again. When the Song Record Mode Select dialog box appears, select Multitrack Sequencer again. 2 Select the track to record. 3 Choose the Overwrite Rec Mode if you want to replace recorded data, Overdub if you want to add events to the same track.
Recording MIDI Songs |329 2 Use the Start and End locators to choose the start and end points for recording. 3 Touch a track to record to select it. The Record icon ( 4 Press the PLAY/STOP ( ) will appear. ) button to start playing back the selected track. Recording will automatically begin and end at the Start and End points. 5 Press the PLAY/STOP ( ) button to stop recording. PedalPunch Recording You can use a footswitch or an EC5 switch to start and stop recording.
330| Customizing, recording and editing the Songs Step Recording a Song Step Recording allows you to create a new Song by entering single notes or chords into each track. This is very useful when transcribing an existing score, or in need for a higher grade of detail, and is particularly suitable to create drum and percussion tracks. In Overdub Step Recording mode you will add to existing events, while in Overwrite Step Recording mode you will overwrite all existing events.
Recording MIDI Songs |331 Choose a step value ▪▪ Use the Step Time values to choose the step value. Choose the relative note duration ▪▪ Use the Duration parameter to set the relative note duration. The percentage is always referred to the step value. Duration Meaning 50% Staccato 85% Ordinary articulation 100% Legato Choose the note velocity ▪▪ Use the Velocity parameter to set the velocity or playing strength of the event to be inserted. Velocity Meaning Kbd Keyboard.
332| Customizing, recording and editing the Songs Insert a chord made of notes with different velocity values You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important note stand out from the chord. 1 Edit the first note’s Velocity value. 2 Press the first note and keep it pressed. 3 Edit the second note’s Velocity value. 4 Press the second note and keep it pressed. 5 Edit the third note’s Velocity value.
Recording MIDI Songs Step Time = Step Time = Step Time = Off Release F On Press G (continue holding C) (continue holding C) On Press F and C Step Time = Step Time = Off Release G (continue holding C) On Step Time = Off Release D Press D (continue holding C) Step Time = |333 (continue holding C) Step Time = On Press E Off Release E and C (continue holding C) Step Time = Step Time = Tie On Press C On Off Press G (continue holding C) Release G and C Go back ▪▪ If you want to go b
334| Customizing, recording and editing the Songs Exit from Record 1 When finished recording, touch the Done button to exit the Step Record mode. A dialog box will appear, asking you to either cancel, discard or save the changes. 2 Touch Cancel to continue editing, No to exit from the Step Record without saving, or Yes to save and exit Step Record.
Recording MIDI Songs |335 Quick Recording a Backing Sequence Song What is a Backing Sequence Song? MIDI Songs are made of up to sixteen ‘tracks’ – that is, separate parts, each one with a different Sound. Usually, MIDI Songs are recorded one track at a time: the drums first, then the bass, then the accompaniment guitar, then the strings… Backing Sequence (Quick Record) makes this much easier and faster: you just record your live performance on the keyboard accompanied by the Styles.
336| 3 Customizing, recording and editing the Songs Choose the Backing Sequence (Quick Record) option and touch OK to access the Backing Sequence Record page. Measure and Beat counter Record parameters Track info Tracks Mixer Setting the recording parameters When you enter the Backing Sequence Record mode, the latest selected Style and Sounds are already selected, and all recorder’s tracks are armed and ready to record. You could simply start recording as if you were playing with the Styles.
Recording MIDI Songs |337 Choose a quantize resolution for recording ▪▪ Set the recording Resolution. Resolution Meaning High 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. When you select 1/8, all notes are moved to the nearest 1/8 division. A ‘3’ after the quantization value means triplet.
338| Customizing, recording and editing the Songs Recording Turn on the metronome ▪▪ Press the METRO ( ) button to turn the metronome on or off while recording. The metronome click will not be recorded with the Song. Select the tracks to record ▪▪ Select or deselect the Backing Sequence grouped tracks (Chord/Acc and Kbd/Pad). This status is reflected by the big status indicator above the track sliders. Track status Meaning Rec The Backing Sequence grouped track is in record.
Recording MIDI Songs |339 A 1-measure precount will play before the recording actually begins. When it begins, record freely. 3 Play as if you were performing live with the Styles. During recording, select any Style Element (Intro, Variation, Fill, Break, Ending…) you like. While recording in Backing Sequence Record mode, you cannot use the Synchro, Tap Tempo, Manual Bass, Balance controls.
340| Customizing, recording and editing the Songs Grouped BS Track Keyboard/Style Track Song Track/Channel Chord/Acc Bass 9 Drum 10 Percussion 11 Accompaniment 1 12 Accompaniment 2 13 Accompaniment 3 14 Accompaniment 4 15 Accompaniment 5 16
Recording MIDI Songs |341 Second-take recording (Overdubbing) You may want to record an additional ‘grouped’ track, or replace a previously recorded track. A good idea may be to record all chords and Style Element changes during the first take, then record Keyboard track during the second take. 1 Press the RECORD button to enter Record mode again. When the Song Record Mode Select dialog box appears, select Backing Sequence (Quick Record) again.
342| Customizing, recording and editing the Songs Using the KAOSS effects while recording While recording, you can use the KAOSS effects as if you were using them live. 1 While in the Backing Sequence Record page, touch the KAOSS button to access the KAOSS page. 2 Choose one of the KAOSS Preset by using the Preset menu or the Favorite buttons. 3 Start recording. 4 If you want to return to the Backing Sequence Record page, while continuing to record, press the EXIT button. 5 End recording.
Recording MIDI Songs |343 Step Recording a Backing Sequence Song The Step Backing Sequence mode allows you to enter single chords, to create or edit the Style (Ch/Acc) part of a Song. This mode lets you enter chords even if you are not a keyboard player, or fix any error made playing chords or selecting Style controls, during a Backing Sequence (Quick Record) recording. In this mode, you can only edit Songs created using the Backing Sequence (Quick Record) recording mode.
344| 3 Customizing, recording and editing the Songs Choose the Step Backing Sequence option and touch OK to access the Step Backing Sequence page. Position indicator Event list Step controls Recording While in edit, the events at the current position are shown by the right-pointing arrowheads ( ) on the left of the event. 1 Use the Measure parameter to go to the desired position in the Song, by using the VALUE controls.
Recording MIDI Songs 5 While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. |345 ) Event types There are the events you can enter or edit. Event type Meaning Style Latest selected Style. To insert a Style change at the current position, touch the Style name to open the Style Select window. Any Style Change inserted after the beginning of the measure (i.e., to a position other than Mxxx.01.000) will be effective at the following measure.
346| Customizing, recording and editing the Songs Event type Meaning Length This parameter will let you know where to place the following Style Element Change. For example, if you inserted an Intro event lasting for 4 measures, you can insert 4 empty measure after this event, and a Variation event at the end of the Intro, beginning at the 4th empty measure. Inserting measures ▪▪ Choose the Insert Measures command from the page menu, to insert an empty measure starting from the current measure.
Recording MIDI Songs |347 Deleting selected types of events ▪▪ To delete all events of a specified type starting at the current position, choose from the page menu the Delete All … from Selected command corresponding to the type of event to delete (Styles, Style Elements, Chords, Tempos). To delete all the events of the same type from the whole Song, go back to the M001.01.000 position, and select one of these commands. The events on the very first tick (M001.01.
348| Customizing, recording and editing the Songs 30 Editing the MIDI Songs Editing the Song tracks You can edit the Song data in the Sequencer > Song Edit section. ) button to listen to After modifying something, press the PLAY/STOP ( the edited Song. Use the transport controls to move through the Song. Quantizing The quantize function may be used to correct any timing mistake after recording, or to give the pattern a ‘groovy’ feeling. 1 Go to the Sequencer > Song Edit > Quantize page.
Editing the MIDI Songs 3 |349 Use the Resolution pop-up menu to choose the quantize resolution. Resolution (1/32) … Meaning (1/8) Grid resolution after recording, in musical values. For example, when you select 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all notes are moved to the nearest 1/8 division. A “b…f ” character added after the value means swing-quantization. A ‘3’ after the quantization value means triplet.
350| Customizing, recording and editing the Songs Transposing The transpose function may be used to transpose the selected track(s). 1 Go to the Sequencer > Song Edit > Transpose page. 2 Select the Track to edit. 3 4 Track Meaning All All tracks selected, apart for the tracks set in Drum mode (like the Drum and Percussion tracks). Track 1 … 16 Selected track. Use the Value parameter to choose the transpose value.
Editing the MIDI Songs 6 |351 Select the Include chords checkbox if you want to also transpose the Chord events, for example those recorded with a Backing Song. The Chord events will be shown in the Lyrics and Score pages, so we suggest to transpose them to match the notes and the chord abbreviations shown.
352| 4 Customizing, recording and editing the Songs If you want to use the advanced parameters, allowing you to select a velocity curve and create fade-ins or fade-outs, select the Advanced checkbox. When this parameter is selected, the Intensity, Curve, Start Velocity Value and End Velocity Value parameters become accessible. ▪▪ Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve.
Editing the MIDI Songs |353 Cutting or inserting measures You can delete a selected measure (or a series of measures), or insert new ones in the middle of the Song. 1 Go to the Sequencer > Song Edit > Cut/Insert page. 2 Use the Start parameter to select the first measure to be cut or inserted. 3 Use the Length parameter to choose the number of measures to be cut or inserted. 4 Use the Meter parameter to set the meter (time signature) of the measure to be inserted.
354| 2 3 4 Customizing, recording and editing the Songs Select the Track to edit. Track Meaning All All tracks selected Track 1 … 16 Selected track Master Master track. This is where the Tempo, Scale and Effect events are recorded. Use the Event pop-up menu to choose the type of event to delete. Event Meaning All All events. The measures are not removed from the Song. Note All notes in the selected range. Dup.Note All duplicate notes.
Editing the MIDI Songs |355 Copying data You can copy tracks or phrases. 1 Go to the Sequencer > Song Edit > Copy page. 2 Use the Mode parameter to choose a Copy mode. 3 Copy Mode Meaning Merge Copied data are merged with the data at the target position. Overwrite Copied data replace all data at the target position. Use the From Track parameter to choose the source track, and the To Track parameter to choose the target. Track Meaning All All tracks will be copied.
356| Customizing, recording and editing the Songs Moving data You can shift a track forward or backward by just a few ticks or whole measures. 1 Go to the Sequencer > Song Edit > Move page. 2 Use the Track parameter to choose the track to edit. 3 Track Meaning All All tracks will be moved. Track 1 … 16 Selected track. Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be moved.
Editing the MIDI Songs |357 Converting notes to RX Noises You can go to the Utility page to convert notes of a Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an external sequencer. 1 Go to the Sequencer > Song Edit > Utility page. 2 Edit the parameters, and choose the commands. ▪▪ Use the Track parameter to choose a track, then use the Velocity parameter to set the volume level of the RX Noises in the selected track(s). When done, touch the Execute button.
358| Customizing, recording and editing the Songs Converting MIDI Song’s notes to chords The Detect Chord function scans the MIDI Song’s tracks to detect chords, and then saves them as Chords events, to be seen in the Lyrics or Score page. 1 Go to the Sequencer > Song Edit > Utility page. 2 Touch the Execute button next to the Detect Chords parameter to automatically analyze the Standard MIDI File, and find chords. This command scans the whole Standard MIDI File, looking for chords.
Editing the MIDI Songs |359 Editing the MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected track. You can, for example, replace a note with a different one, or change its playing strength (that is, velocity value). The Event Edit page ▪▪ Go to the Sequencer > Event Edit > Event Edit page. b. Edit the events a. Touch here to choose the track to edit The Event Edit procedure Here is the general procedure to follow for the event editing.
360| Customizing, recording and editing the Songs Filtering the events shown ▪▪ Go to the Sequencer > Event Edit > Filter page to select the events to hide.
Editing the MIDI Songs |361 ▪▪ Select the M (Measure), and use the VALUE controls to change event’s position. ▪▪ Select the Type parameter, and use the VALUE to change the event type. ▪▪ Select the Value 1 and Value 2 parameters, and use the VALUE controls to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.
362| Customizing, recording and editing the Songs Jump to a different measure 1 Touch the Go/Catch button to go to a different measure. The Go To Measure dialog will appear: 2 Enter a target measure and touch OK to confirm The first event available in the target measure will be selected. Insert events ▪▪ Touch the Insert button to insert an event at the current Position (M). A Note event with default values will be inserted. Delete events ▪▪ Select an event, then touch the Delete button to delete it.
Saving MIDI Songs 31 |363 Saving MIDI Songs Saving the MIDI Song The Song will be lost when the instrument is turned off, or you switch to a different mode. Save it after recording. 1 While in the main page of the Sequencer mode, choose the Save Song command from the page menu. The Save Song window will appear. Current path Storage device This window is very similar to the Media > Save page. Files are filtered, so that can only see MIDI Song files (.mid, .kar).
364| Customizing, recording and editing the Songs ▪▪ If no Song is selected, a new Song file will be created on the target device. To deselect a selected Song, touch anywhere else in the Song list, or select the same storage device again. At this point, press the EXIT button if you prefer to exit without saving the Song. 4 Touch the Save button to save the Song into the current folder. The Save Song dialog box will appear. 5 You may change the name of the Song.
Recording MP3 Songs 32 |365 Recording MP3 Songs Recording and saving an MP3 Song Recording an MP3 Song Prepare for recording ▪▪ Either choose a Style or Song, if you want to record them in the new Song. You can choose either MIDI or MP3 Songs. ▪▪ Choose a Keyboard Set to assign Sounds to the keyboard. ▪▪ Choose a Voice Preset to add effects to your voice.
366| Customizing, recording and editing the Songs Please note that MP3 files recorded with lower sampling rates might not sound very good. With MP3 files there is always a trade-off between higher quality and smaller file size. Quality Meaning Highest 256 kbps High 192 kbps Medium 128 kbps ▪▪ Use the Device pop-up menu to choose a location where to temporary store the recorded MP3 file.
Recording MP3 Songs |367 If you exit from the MP3 Record dialog while recording, a red recorder icon will continue flashing in the display. Stop recording ▪▪ Touch the Stop button in the display to stop recording. As an alternative, press the RECORD button. What can you record into an MP3 Song? Everything you sing in the mic or play on the keyboard, the Styles and the MIDI or MP3 Songs performed by the Players, the events generated by the KAOSS effects, will be recorded.
368| Customizing, recording and editing the Songs Overdubbing MP3 Songs MP3 Songs are compressed audio. Compression replaces the original audio stream with encoded audio, taking less space while preserving high sound quality. Overdubbing is the process of recording audio over existing audio. When overdubbing an MP3 Song in MP3 Record mode, you recompress a compressed file, and artifacts will be amplified.
Creating text files (lyrics) 33 |369 Creating text files (lyrics) Creating text files on a personal computer Choosing the right language Pa4X supports lyrics text in various languages. This however requires that you choose the right language in Pa4X, and save the TXT file with the correct text encoding from a personal computer. To save a TXT file with the correct encoding, you can use a Windows PC or Mac with an advanced text editor.
370| Customizing, recording and editing the Songs Setting the language on the Pa To correctly read text on your Pa, be sure to set the Language parameter to your language. This can be done in the Global > General Controls > Interface page. 1 Since the instrument must be restarted at the end of this procedure, be sure to first save any unsaved data. 2 While in the Interface page, select a language from the popup menu. 3 The Change command will start flashing. Touch it.
Creating text files (lyrics) 6 Select all and copy the selected text. 7 Click on the tab containing the new TXT file. 8 Paste the copied text. 9 Save and assign a name to the new TXT file. |371 10 Load the file into your instrument, and check it. Editing the TXT file on a Mac 1 Launch BBEdit. 2 Open the original TXT file. 3 In the status bar (in the lower part of the window) find the Text Encoding parameter (it usually defaults to Unicode or Western ISO).
372| Customizing, recording and editing the Songs 4 While in the dialog, choose your language encoding. 5 Next to it in the status bar, find the Line Break Type parameter, usually defaulting to Unix (LF). Click it to open the popup menu, and choose Windows (CRLF). 6 Save a copy of the file by choosing File > Save As. Give the new file a name, and be sure that the Save As dialog box shows the correct Line breaks and Encoding. 7 Load the file into your instrument, and check it.
Creating text files (lyrics) |373 ▪▪ Small font in a text editor and the Pa: ▪▪ Big font in a text editor and the Pa: Using imported text as a memo Importing text files may be useful not only to load Lyrics, but also to load notes on the show. Please find below an example of playlist and gig outline.
374| Recording the Songs, creating the Styles
Part VII: CUSTOMIZING AND EDITING THE SOUNDS |375
376| Customizing and editing the Sounds
Listening and customizing the Sounds 34 |377 Listening and customizing the Sounds Accessing the Sound mode ▪▪ Press the SOUND button in the MODE section of the control panel. The main page of the Sound mode will appear.
378| Customizing and editing the Sounds Listening to individual Sounds While in the Sound mode, the selected Sound can always play across the full keyboard range. The split point will be ignored. Choosing a Sound 1 While in the main page of the Sound mode, touch the name of the Sound to open the Sound Selection window. 2 Browse through the Sounds, and touch the Sound to select. Choosing a Sound while in other modes While in a different mode, you can easily ‘send’ a Sound to the Sound mode.
Listening and customizing the Sounds |379 Customizing the Sound While in the main page of the Sound mode, you can edit some Sound parameters in realtime. This is useful both for on-the-fly adjustments, and for realtime sound manipulation. Using the Realtime Controls ▪▪ Use the Realtime Controls to edit the main parameters of the Sound. All values are offset of the original values memorized in the Sound (they are added to or subtracted from the original values).
380| Customizing and editing the Sounds Realtime Control Meaning Attack Attack time. This is the time during which the sound goes from the Start level (at the moment when you strike a key) to the Attack level. Decay Decay time. Time to go from the final Attack level to the beginning of the Sustain. Release Release time. This is the time during which the sound goes from the sustaining phase, to zero. The Release is triggered by releasing a key.
Listening and customizing the Sounds |381 Setting the Voice mode ▪▪ Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). ▪▪ Use the Legato checkbox to activate legato to a mono voice. Legato will make the second note’s attack smoother. Envelope and LFO will not be retriggered. This is particularly effective with wind instrument and analog synth-type sounds.
382| Customizing and editing the Sounds 35 Editing the Sounds You can edit each single parameter of a Sound. Pa4X is, at its core, a powerful sample-based synthesizer, with advanced analogue-like sound shaping features. Sound generation At the base of each Sound there are Samples, that are recordings of real sounds. Each Sample is assigned to a separate zone of the keyboard together with other Samples to create a Multisample. One or two Multisamples are assigned to each Oscillator.
Editing the Sounds |383 Choosing the oscillators (OSC) While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (1…24 max) to select one of the available oscillators. The number of available oscillators depends on the Oscillators Count parameter (in the Sound > Basic > Sound page). Oscillators If you cannot see the desired oscillator, touch the scroll arrow, until the hidden oscillator is shown in the display.
384| Customizing and editing the Sounds Setting the Sound’s basic parameters Before editing the oscillators, choose the number of oscillators in the Sound, the Sound’s mono/poly mode, and the transpose and legato ranges. ▪▪ Go to the Sound > Basic > Sound page. Setting the oscillators The Oscillator Count section is where you choose how many voices will be used by a single Sound.
Editing the Sounds |385 Limiting the number of oscillators when polyphony is low ▪▪ Use the Low priority parameter to allow the highest-numbered oscillators to be turned off when the instrument is short on voices. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard. Low Priority Meaning 0 No oscillator will be turned off in any case. 1 The highest-numbered oscillator will be turned off, if needed.
386| Customizing and editing the Sounds Polyphony, triggering, legato The Voice Assign Mode section is where you choose polyphony, triggering and legato. Choosing the mono/poly mode ▪▪ Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). Choosing triggering mode ▪▪ When the selected mode is Poly, use the Single Trigger checkbox to choose the triggering mode.
Editing the Sounds |387 Choosing the Mono note priority ▪▪ When the selected mode is Mono, use the Priority pop-up menu to specify which note will be given priority when two or more notes are played simultaneously. Priority Meaning Low The lowest note will take priority. High The highest note will take priority. Last The last note will take priority. Holding notes ▪▪ Select the Hold checkbox to let the notes play even after releasing the keys.
388| Customizing and editing the Sounds The controller can work in two ways: Sound Controller Mode Meaning Booking Activate the controller to ‘book’ its function, then play. The controller will be automatically deactivated. Toggle Use the controller to ‘toggle’ its function between activated and deactivated. The assigned controller type and status is shown by the indicators on the assignable switches. Indicator status Meaning Off No DNC function assigned.
Editing the Sounds |389 Detecting Legato Two notes can be considered legato when there is very little or no time between them (and they can even be overlapping). You can adjust the instrument’s sensitivity to detect legato. Legato can be used as an oscillator trigger, when you assign one of the Legato triggers to the OSC Trigger Mode parameter (in the Sound Edit > Basic > OSC Basic page).
390| Customizing and editing the Sounds Setting the oscillator’s basic parameters Each of the oscillators can play one or two different multisamples (High and Low layers), separated by a velocity switch. ▪▪ Go to the Sound > Basic > OSC page. The multisamples The OSC Multisample section contains the basic parameters of the assigned multisamples.
Editing the Sounds |391 Choosing and setting the multisamples ▪▪ Use the High and Low pop-up menus to choose the multisample’s bank (ROM or RAM). ▪▪ Use the numeric field next to the multisample name to choose the multisample inside the selected bank. Bank Meaning ROM Factory multisamples, supplied by KORG as standard. RAM User multisamples, loaded when loading some User Sounds. The High multisample will be triggered by velocities equal or higher than the Velocity SW L–>H value.
392| Customizing and editing the Sounds Setting octave and fine tuning ▪▪ Use the Oct(ave) parameter to adjust the pitch of the selected oscillator in octave units (-2…+1). The normal octave is 0 (Zero). ▪▪ Use the Transpose parameter to adjust the pitch of the selected oscillator over a range of ±1 octave (-12…+12 semitones). ▪▪ Use the Tune parameter to adjust the pitch of the sample over a range of ±1 octave (-1200…+1200 cents of a semitone) .
Editing the Sounds |393 Oscillator triggering Triggering Mode is how the oscillator will start after pressing a key or a controller. Choosing the oscillator triggering mode ▪▪ Use the first OSC Trigger Mode > Mode pop-up menu to choose the event triggering the selected oscillator. Trigger Mode (What) Meaning Note On The oscillator starts playing when a note is played. Note Off (VOn) The oscillator starts playing when a note is released. Note On Velocity is considered.
394| Customizing and editing the Sounds ▪▪ Use the second OSC Trigger Mode > Mode pop-up menu to choose an additional condition before triggering the selected oscillator. For example, a Normal-triggered oscillator will always play, while a Legato-triggered oscillator will only play when a note is played legato. Trigger Mode (How) Meaning Normal The oscillator always plays when a key, or another triggering control chosen in the first menu, is pressed.
Editing the Sounds |395 Trigger Mode (How) Meaning Cycle 2 As the above, for use with a different (and parallel) group of oscillators. Having two Cycle Trigger Modes allows for cycling stereo multisamples. Random As the above, but with a random selection of oscillators within the assigned group. Choosing a delay before note start ▪▪ Use the Delay parameter to set a lapse (0…5000ms) between pressing a key (or in general triggering the oscillator) and hearing the beginning of the sound.
396| Customizing and editing the Sounds Setting the velocity and key zone You can limit the selected oscillator to play inside a defined velocity zone and key range. This will allow for creating different key and velocity layers. ▪▪ Go to the Sound > Basic > Velocity/Range page. Setting a velocity zone ▪▪ Use the Velocity Zone (Top and Bottom) parameters (0…127) to specify the velocity zone for the selected oscillator.
Editing the Sounds |397 Programming the Damper pedal Programming the pedal Pa4X carefully recreates the way an acoustic piano Damper pedal works. ▪▪ Go to the Sound > Basic > Damper Mode page. Choosing a Damper pedal mode ▪▪ Use the Damper Mode pop-up menu to choose how the Damper pedal will work on the selected oscillator. Damper Mode Meaning Normal The Damper pedal works as usual: by keeping it pressed, the note decay is lengthened, to simulate the longer note decay of an acoustic piano.
398| Customizing and editing the Sounds Damper Mode Meaning Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly. Do not use Repedaling in Sounds used by Style tracks. Programming the Resonance/Halo You can program the Resonance/Halo effect that is enabled by the Resonance/Halo Damper Mode (see above).
Editing the Sounds |399 Triggering notes when pressing or releasing the Damper pedal Special effects can be achieved by triggering notes with the Damper pedal. ▪▪ Go to the Sound > Basic > Damper Trigger page. The parameters in this page apply to the Sound as a whole, and not to a single oscillator. As warned by the message on the lower area of the display, triggered notes must fall out of the Transpose Range programmed in the Sound > Basic > Sound page.
400| Customizing and editing the Sounds Playing a note when releasing the Damper pedal The Damper Off Trigger parameters allow to play a note when releasing the Damper pedal (Damper Off). Releasing the Damper pedal can play a special sample assigned to a particular note (for example, Damper pedal release noise in the ‘Grand Piano Demo’ Sound). ▪▪ Choose a Note, and set its Velocity.
Editing the Sounds |401 Equalizing the Sound You can use a three-band, semi-parametric equalizer on each oscillator. ▪▪ Go to the Sound > Basic > EQ page. Activating the EQ ▪▪ Select the Enable checkbox to activate the equalizer on the selected oscillator. Trimming and programming the EQ ▪▪ Use the Trim knob to limit the level of the signal passing through the equalizer (0…99). Extreme equalization values can overload the audio circuits and lead to distortion.
402| Customizing and editing the Sounds Setting the Drum Kit’s basic parameters When editing a Drum Kit, you first choose and set the percussive samples assigned to each key and velocity layer. ▪▪ Go to the Sound > DrumKit > DrumKit page. Selecting and setting a key The key can be selected and programmed in the KEY section. Choosing the key to edit ▪▪ Use the KEY parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
Editing the Sounds |403 Selecting the dry or ambient portion of the sound You can separately listen to the dry or ambient portion of the percussive samples while editing. ▪▪ Use the Dry+Amb menu to choose the dry and/or ambient portion of the sound. Layer and velocity switch After having selected a key to edit, choose the velocity layer. Choosing the layer to edit ▪▪ Use the radio buttons in the Layer Selector & Velocity Sample Switch area to select the layer to edit.
404| Customizing and editing the Sounds Choosing a drum sample ▪▪ Use the Drum Sample parameters to assign a different drum sample to each layer. You can use velocity to switch between the available samples. Offset and Level can be adjusted independently for the various drum samples. Use the pop-up menus to choose the bank (ROM or RAM). Use the numeric field next to the sample name to choose the sample inside the selected bank. Bank Meaning ROM Factory samples, supplied by KORG as standard.
Editing the Sounds |405 ▪▪ Use the AMS and Int(ensity) parameters to choose the AMS modulation source and its intensity. When the Intensity parameter has a positive value, the selected Offset point will depend on the AMS value. For example, with the Velocity AMS, playing softly will select the Off or 1st Offset, while playing loudly will select the 6th or No Attack Offset.
406| Customizing and editing the Sounds Equalizing the Drum Kit Each of the drum samples can be processed with a three-band, semi-parametric equalizer. ▪▪ Go to the Sound > DrumKit > EQ page. Choosing the key to edit ▪▪ Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard. The Layers and Assign parameters are the same of the Sample Setup page. Trimming and programming the EQ ▪▪ Select the Enable checkbox to activate the equalizer on the selected layer.
Editing the Sounds ▪▪ Use the EQ controls to create the equalization curve. EQ Control Meaning Value Low Gain Low frequencies equalization. This is a shelving -18…+18dB curve filter. Mid (Middle) Gain Middle frequencies equalization. This is a bell -18…+18dB curve filter. Mid (Middle) Freq Centre frequency of the middle frequencies 0.100…10kHz equalization. Hi (High) Gain High frequencies equalization. This is a shelving -18…+18dB curve filter.
408| Customizing and editing the Sounds Mixing the Drum Kit layers You can see all the drum samples, dry/ambient levels, and velocity switches of the available layers in a single page. While in this page, you can see which layer is playing. ▪▪ Go to the Sound > DrumKit > Velocity Switch Levels page. View which layer is playing ▪▪ Play a note on the keyboard. Depending on the velocity, an indicator will turn on on the extreme right of the page, next to the layer that is playing.
Editing the Sounds |409 Mixing and retriggering the drum samples You can choose a triggering mode, and mix the key (usually a percussive sound with its different velocity layers) with the other keys. All layers of the selected key will get the same settings. ▪▪ Go to the Sound > DrumKit > Voice/Mixer page. Choosing the key to edit ▪▪ Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
410| Customizing and editing the Sounds Creating exclusive groups Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing. Exclusive Group Meaning None No Exclusive Group assigned. The selected key will not be stopped by any other key. 1…127 Exclusive Groups assigned to the selected key.
Editing the Sounds |411 Modulating pitch Pitch can change depending on the note and the activated controllers. Pa4X also includes LFO generators that can modulate the pitch. ▪▪ Go to the Sound > Pitch > Pitch Mod page. Controlling pitch The oscillator’s pitch can follow the natural scale, or a different pitch ‘slope’. Setting the Pitch Slope ▪▪ Use the Pitch Slope parameter (-1.0…+2.0) to change pitch depending on the note position on the keyboard. Normally you will leave this parameter at +1.0.
412| Customizing and editing the Sounds The diagram shows how the Pitch Slope and pitch are related: Pitch +2 +1 2oct 1oct 1oct 0 –1 C4 C5 Key Controlling the pitch with physical controllers ▪▪ Use the Pitch Mode pop-up menu to set the Pitch Bend direction. Pitch Mode Meaning Normal Linear bending. Fixed Scale When this parameter is turned on on an oscillator, Pitch Bend and Sub Scale have no effect on its tuning. The relevant parameters are greyed out and non-selectable.
Editing the Sounds |413 Choosing a pitch modulation source ▪▪ Use the Pitch > AMS (Alternate Modulation Source) pop-up menu to select a modulation source for the pitch of the selected oscillator. A list of the available AMS sources is in the Appendix. The Intensity parameter (-12.00…+12.00) specifies the depth and direction of the effect produced by the AMS. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.
414| Customizing and editing the Sounds The Pitch EG > AMS and Pitch EG > Intensity will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG. Pitch change (level) Note-on Note-off Softly played (Intensity (Pitch EG) setting) Note-on Note-off Strongly played with a positive (+) value Note-on Note-off Strongly played with a negative (–) value Programming Portamento Portamento adds a slide between notes (a smooth change in pitch from one note to the next).
Editing the Sounds |415 Controlling the LFO Use the LFO 1/2 parameters to controls the LFO (Low Frequency Oscillation) on the selected oscillators. LFO generators are programmed in the Sound Edit > LFO > LFO 1 and LFO 2 pages. ▪▪ Use the LFO 1/2 Int parameter to set the intensity (-12…0…+12) of the corresponding LFO. Negative values will invert the LFO shape. ▪▪ Use the JS+Y parameter to set the intensity (-12…0…+12) of the corresponding LFO when the joystick is pushed forward.
416| Customizing and editing the Sounds Programming the pitch envelope (Pitch EG) Pa4X includes a pitch envelope generator (Pitch EG) that can vary the pitch over time. ▪▪ Go to the Sound > Pitch > EG page. You can see the shape of the envelope in the diagram on top of the page. Setting the Pitch EG levels and times Pitch EG can be programmed by setting the Level and Time parameters of the envelope segments. Time-varying pitch settings (when Pitch EG Intensity = +12.
Editing the Sounds |417 The actual amount of pitch change will depend on the Pitch EG > Intensity parameters (see the Sound > Pitch > Pitch Mod page). For example, with an Intensity setting of +12.00, a Level setting of +99 would raise the pitch one octave, and a Level setting of –99 would lower the pitch one octave. ▪▪ Use the Time parameters (0…99) to specify the time over which the pitch change will occur.
418| Customizing and editing the Sounds If the Intensity is a positive (+) value, a setting of + will increase the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.
Editing the Sounds |419 time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
420| Customizing and editing the Sounds Programming the filters As in a subtractive analogue synthesizer, filters are the main agents of the sound’s timbre quality. Envelope and modulation allow for timbral shift over time, making the sound alive. Choosing the filters You can choose one of two filters for the selected oscillator. ▪▪ Go to the Sound > Filter > Filter Type page. Choosing the filter type ▪▪ Use the Filter Type radio buttons to choose the type of filter for the selected oscillator.
Editing the Sounds |421 Trimming the filter input ▪▪ Use the Trim parameter (00…99) to adjust the level at which the audio signal generated by the selected oscillator is input to filter A. If this value is too high, the sound may distort when Resonance is set to a high value, or when you play a chord. Programming the filters Programming filter A ▪▪ Use the Filter A > Frequency parameter to set the cutoff frequency of filter A (00…99).
422| Customizing and editing the Sounds With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting. The resonance level is determined by summing the Resonance and Intensity values.
Editing the Sounds |423 Modulating the filters You can modulate the filter cutoff frequency of the selected oscillator. Modulation will add dynamic timbre variation. Programming realtime filter modulation ▪▪ Go to the Sound > Filter > Modulation page. When the filter type is Low Pass Resonance, the parameters for filter B will not be editable (dimmed). Tracking the cutoff frequency across the keyboard Keyboard Tracking changes the timbre quality across the keyboard.
424| Customizing and editing the Sounds ▪▪ Use the Ramp Low/High parameters to specify the slope of the keyboard tracking (-99…+99). Cutoff frequency High Ramp=+99 High Ramp=+62 High Ramp=0 High Ramp=–43 Low Ramp=+99 High Ramp=–99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62 Low Ramp=–99 Low Key High Key Key ▪▪ Set the Intensity to A and Intensity to B parameters (-99…+99) to specify the depth and direction of the changes applied to filters A and B.
Editing the Sounds |425 ▪▪ Use the AMS pop-up menu to select a modulation source for the filter EG applied to the cutoff frequency of filters A and B. ▪▪ Use the Int to A/B parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on filter A/B. The sum of the settings for Velocity to A/B, Intensity to A/B, and (AMS) Intensity to A/B will determine the depth and direction of the effect produced by the filter EG.
426| Customizing and editing the Sounds Applying LFO to the filters You can use LFO to apply cyclic modulation to the cutoff frequency of the filters. This will create cyclical changes in tone on the selected oscillator. ▪▪ Go to the Sound > Filter > LFO Mod page.
Editing the Sounds |427 For example if the AMS is Joystick Y+, higher settings of this parameter will allow greater change to be applied to LFO 1/2 when you move the Joystick up in the Y axis.
428| Customizing and editing the Sounds Programming the filter envelope (Filter EG) You can create an envelope to vary over time the cutoff frequency of the filters on the selected oscillator. ▪▪ Go to the Sound > Filter > EG page. You can see the shape of the envelope in the diagram on top of the page. Setting the Filter EG levels and times Filter EG can be programmed by setting the Level and Time parameters of the envelope segments. The result will depend on the filter type.
Editing the Sounds |429 ▪▪ Use the Level parameters (-99…+99) to specify the amount of cutoff frequency change. EG Level Meaning Start Change in cutoff frequency at the time of note-on. Attack Change in cutoff frequency after the attack time has elapsed. Break (Break Point) Change in cutoff frequency after the decay time has elapsed. Sustain Change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off occur.
430| Customizing and editing the Sounds Modulating the Filter EG Modulating the Filter EG levels ▪▪ Use the Level Modulation > AMS parameter to select the source that will control the Level parameters of the filter EG. ▪▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the AMS. With a setting of 0, the levels specified by the Frequency parameter will be used.
Editing the Sounds |431 Modulating the Filter EG times ▪▪ Use the Time Modulation > AMS 1/2 parameters to select a modulation source for the Time parameters of the filter EG. ▪▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on the Time parameters. With a setting of 0, the filter EG times will be just as specified by the Time settings.
432| Customizing and editing the Sounds Programming amplitude and pan You can program the amplitude and pan of each oscillator. Amplitude is the volume of the oscillators. Pan is the position of the oscillators in the stereo panorama. With amplitude envelope you can make the sound volume vary over time. Setting the basic amplitude and pan values You can set the basic volume and pan values of the selected oscillator. ▪▪ Go to the Sound > Amp > Level/Pan page.
Editing the Sounds |433 Setting the pan’s basic position ▪▪ Use the Pan parameter to set the stereo position (panorama) of the selected oscillator. This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key instead. Pan Meaning Random The sound will be heard from a different location at each note-on. L-63…C00…R+63 Sound placed from Left (L) to Right (R). A value of C00 is Center (C). The pan of a Sound can be controlled by CC#10 (Pan).
434| Customizing and editing the Sounds Modulating amplitude Modulating the amplitude level of each oscillator makes the sound alive and ever-changing. ▪▪ Go to the Sound > Amp > Modulation page. Tracking the amplitude across the keyboard Use the Keyboard Track parameters to adjust the volume of the selected oscillator across the keyboard. ▪▪ Use the Key Low/High parameters (C–1…G9) to specify keyboard tracking for the note number at which keyboard tracking will begin to apply.
Editing the Sounds |435 Here is an example of volume changes produced by keyboard location and Ramp settings: Volume Ramp Low=+99 Ramp High=+99 Ramp Low=0 Ramp High=0 Ramp Low=–99 Ramp High=–99 Key Low Key Key High Modulating amplitude Use the Amp Modulation parameters to specify how the volume of the selected oscillator will be affected by velocity. ▪▪ Use the Velocity Intensity parameter (-99…+99) to link velocity and volume.
436| Customizing and editing the Sounds axis. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard. Modulating amplitude with the LFOs LFO is a cyclic modulation. Applied to the amplitude it produces an effect usually called ‘tremolo’. ▪▪ Go to the Sound > Amp > LFO page.
Editing the Sounds |437 Programming the amplitude envelope (Amp EG) You can create time-varying changes in the volume of the selected oscillator. ▪▪ Go to the Sound > Amp > EG page. The diagram on top of the page shows the Amplitude envelope line. Setting the Amp EG levels and times Amp EG can be programmed by setting the Level and Time parameters of the envelope segments.
438| Customizing and editing the Sounds ▪▪ Use the Time parameters (0…99) to specify the time over which the volume level is reached. EG Time Meaning Attack Time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound. Decay Time over which the volume will change from when it reaches the attack level until it reaches the break point level.
Editing the Sounds |439 When Intensity has a positive (+) value, a setting of + for this parameter will allow the AMS to raise the EG level, and a setting of – will allow AMS to lower the EG level. With a setting of 0 there will be no change.
440| Customizing and editing the Sounds With positive (+) values of Intensity, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
Editing the Sounds |441 Programming the LFO LFO (Low Frequency Oscillation) can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator (LFO 1 and LFO 2). ▪▪ Go to the Sound > LFO > LFO 1 or LFO 2 page, depending on the LFO to program. Choosing the LFO waveform and settings You can choose the LFO waveform, program it and synchronize it.
442| Customizing and editing the Sounds Choosing the LFO waveform and frequency ▪▪ Use the Waveform parameter to choose the LFO waveform. The numbers appearing on the right of some of the LFO waveforms indicate the phase at which the waveform will begin.
Editing the Sounds |443 Synchronizing the LFO with the key strokes ▪▪ Select the Key Sync checkbox to synchronize the LFO to the key strokes. Key Sync Meaning On The LFO will restart each time you play a note, and an independent LFO will operate for each note. Off The LFO effect that was started by the first-played note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).
444| Customizing and editing the Sounds Modulating LFO frequency Use the Frequency Modulation parameters to set the two alternate modulation sources to adjust the speed of the LFO for the selected oscillator. ▪▪ Use the AMS 1/2 pop-up to choose the modulation sources that will adjust the frequency of the selected oscillator’s LFO. LFO 1 can be modulated by LFO 2. ▪▪ Use the Intensity parameters (-99…+99) to set the modulation depth and direction.
Editing the Sounds |445 Synchronizing the LFOs Use the Frequency MIDI/Tempo Sync parameters to synchronize the LFO to the Player’s Tempo. ▪▪ Select the MIDI/Tempo Sync checkbox to synchronize the LFO to the Player’s Tempo. The values specified in Frequency and Frequency Modulation will be ignored. ▪▪ Use the Base Note pop-up menu to choose a note length, and the Times parameter to choose a multiple of it. This will be the LFO frequency.
446| Customizing and editing the Sounds Adding effects to the Sound You can send the Sound to the effects of the FX B Group (usually reserved to the Keyboard Sounds). ▪▪ Go to the Sound > Effects > FX B page. Activating and choosing the insert effects Each Sound can go into an insert effect processor. Activate the insert effects ▪▪ Use the Insert FX > On/Off button to turn on or off the insert effect.
Editing the Sounds |447 You can adjust the Wet/Dry mix of the insert effects, but we suggest not to touch it, unless you are editing the effects. 4 When finished editing, press the EXIT button to return to the previous page. Activating and choosing the master effects Each Sound can send its audio signal to two master effects. Activate the master effects ▪▪ Use the Master Effects > On/Off buttons to turn on or off the master effects.
448| Customizing and editing the Sounds Setting the effect parameters All the parameters in this page are the same seen for the Sound sets. Please check the Customizing and editing the Sound sets section. ▪▪ Use the Send controls (0…127) to set the level of the Sound signal going to the Master FXs. ▪▪ Select the Dry > On checkbox to add the dry signal to the effected signal. If this is not selected, only the effected signal will be heard.
Editing the Sounds |449 Sound Edit utilities Listening to a single oscillator ▪▪ Choose the Solo Oscillator command from the page menu to solo the selected oscillator, and mute the other oscillators. ▪▪ Choose it again to unmute all oscillators. When this function is activated, the Solo OSC [n] indicator (n = oscillator number) blinks on the page header. While in this situation, you can select a different oscillator to be soloed.
450| Customizing and editing the Sounds Copying Drum Kits You can copy the Drum Kit from a different Drum Kit. 1 Choose the Copy Drum Kit command from the page menu. The Copy Drum Kit dialog will appear. 2 Touch the From Drum Kit button to open the Sound Select window, and choose the source Drum Kit. 3 Use the From Key parameters to choose the range of keys to copy from. 4 Use the To Key parameter to choose the key from which to start copying. 5 Touch the OK button to confirm.
Editing the Sounds |451 AMS (Alternate Modulation Sources) When the AMS abbreviation is encountered, an Alternate Modulation can be applied to the corresponding parameter. Alternate Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
452| Customizing and editing the Sounds AMS Description Note JS+Y & AT/2 (Joy Stick +Y & After Touch/2) Joystick +Y (vertical up- The effect will be controlled by the ward) direction and After joystick +Y (vertically upward) and Touch by after touch. In this case, the effect of after touch will be only half of the specified intensity.
Editing the Sounds Diagrams of the AmpKTrk sources follow.
454| 36 Customizing and editing the Sounds Writing the Sounds Writing the edited Sound After editing, you can save all the edited parameters into a User Sound location in memory. Note: Changes can only be saved onto User Sounds. 1 While in Sound Edit mode, choose the Write Sound command from the page menu to open the Write Sound dialog. Sound name Sound bank Sound location 2 Touch to open the Sound Select window You may change the name of the Sound.
Writing the Sounds |455 ▪▪ To save over a Factory Sound location, deselect the Protect > Factory checkbox in the Global > Mode Preferences > Media page. When replacing a Factory Sound, please be warned that all Keyboard Sets, Styles and Songs making use of it will be modified as well. Use this feature with great care! ▪▪ To restore the original data, please use the Factory Restore command in the Media > Utility page.
456| 37 Customizing and editing the Sounds Making new sounds with Sampling Creating new Sounds or Audio Grooves Pa4X includes a full-featured sampler, that allows you to create new Samples, new Multisamples and new synced Audio Grooves. In addition to recording, you can load Samples, Multisamples, Sounds and banks of Sounds from various formats.
Making new sounds with Sampling |457 Accessing and exiting the Sampling mode ▪▪ While in Sound mode, press the RECORD button to enter Sampling mode. Please note that no sound will be heard when you first enter Sampling mode. ▪▪ While in Sampling mode, choose the Exit from Record command from the page menu, or press the RECORD button to exit Sampling mode.
458| Customizing and editing the Sounds Loading samples and multisamples Loading samples You can load samples in the following formats. Sample format Meaning KSF KORG’s native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-Series arrangers. File names must have the .ksf extension. AIFF Apple Mac’s preferred format for audio. File names must have the .aif extension. WAVE Microsoft Windows preferred format for audio. File names must have the .wav extension.
Making new sounds with Sampling |459 While in this window, you can press the SEARCH button, and use the Search function to find samples in the various media. 2 Browse through the files, then select the sample to load, and touch the Load button. 3 After loading a sample, you can edit it in the other pages of the Sample section, then add it to a multisample. If it is an Audio Groove, continue editing it with the Time Slice function.
460| 1 Customizing and editing the Sounds While in any of the Sample or Multisample pages, choose the Import command from the page menu, to open the Load Sample window. While in this window, you can press the SEARCH button, and use the Search function to find files in the various media. 2 Browse through the files, then select the one to load, and touch the Load button.
Making new sounds with Sampling |461 Importing SF2 files When importing an SF2 file, you can choose between a single multisample or the whole bank: ▪▪ Choose MultiSample to choose a single Multisample (that is, SF2 Instruments); touch the multisample number and dial in the corresponding number. ▪▪ Choose Complete bank to import all the multisamples from the selected bank. Check Override Sample Names if you want to assign the sample names a progressive number.
462| Customizing and editing the Sounds Recording samples or audio grooves Connecting the sources and setting the levels Before starting to record, prepare the sources to be sampled. Connecting the source and accessing Sampling 1 With its MASTER VOLUME control set to zero, connect the source to be sampled (for example, a microphone or a CD player) to the relevant audio input(s) on the rear of the instrument. When the source has been connected, move the MASTER VOLUME control to a position other than zero.
Making new sounds with Sampling |463 Watch at the meters in the display to check the input level. Red means near distortion (signal clipping), so ideally, the meter bar should never go to red. When the Clip indicators turn red, the signal is too hot and is distorting. Also, check the microphone level with the AUDIO IN indicator in the MIC/ VOICE section on the control panel. It should never go to red, and stay to orange (green means too low an input signal).
464| Customizing and editing the Sounds Editing the samples After recording, loading or importing, you can edit the samples. ▪▪ Go to the Sampling > Edit page. This page allows you to cut, trim or normalize a sample, as well as edit the loop points. The sample can be played over the full keyboard. Choosing the sample to edit 1 Touch the name of the sample on top of the page to open the Sample Select window. 2 Touch the name of a sample to select it.
Making new sounds with Sampling |465 Use the Zoom controls to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maximum or minimum value has been reached. Increase the vertical size Decrease the horizontal size Full zoom out Increase the horizontal size Decrease the vertical size Full zoom in Changing the sample length When recording, you may have included exceeding materials at the beginning and/or ending of the sample.
466| Customizing and editing the Sounds When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sample Start in ordinary sounds (that is, a guitar, a piano, a voice…).
Making new sounds with Sampling |467 Cutting away part of the sample You can cut away the selected part of the sample. 1 While in the Edit page, use the Start and End points to choose the segment to cut away. 2 Choose the Cut command from the page menu. Cutting away the unused parts of the sample (trimming/ cropping) You can cut away the non-selected parts of the sample. 1 While in the Edit page, use the Start and End points to choose the segment to preserve.
468| Customizing and editing the Sounds Editing the loop After editing the sample, you can fine-tune the loop. ▪▪ Go to the Sampling > Loop page. The loop is a cycling portion of a sampled sound. Looping is a technique used to reduce the sampling time, cycling a portion of the sound to create the sustaining phase of the sound. After the attack stage, most sounds repeat the same waveform during their sustain stage.
Making new sounds with Sampling |469 Protecting the loop length ▪▪ Use the Loop Lock to fix the length of the loop being edited. When it is closed, moving the Loop Start automatically moves the Loop/Sample End point, or vice versa. This is convenient when you are creating a rhythm loop to match a specific tempo.
470| 3 Customizing and editing the Sounds Use the Curve radio buttons to specify how the volume will change in the crossfaded region. Curve Meaning Linear The volume will change linearly. Power The volume will change non-linearly. Sometimes a setting of Linear will produce the impression that the volume has dropped in the middle of the crossfade curve. In such cases, use Power.
Making new sounds with Sampling |471 Getting information on the Sampling memory In case you receive a message warning about not enough Sampling memory available, you can check what is filling it up. You will then be able to delete some data or compress the samples. ▪▪ Go to the Sampling > Info page. ▪▪ Use the Sampling area to get information on the number of samples, drum samples and multisamples in the Sampling memory. Parameter Meaning Samples Number of samples in memory.
472| Customizing and editing the Sounds Parameter Meaning Mono Time Remaining memory in seconds. This value is given for mono samples. With stereo samples, this time has to be halved. Bytes Remaining memory in Bytes. This value is given for mono samples. With stereo samples, this time has to be halved. Largest block Largest contiguous block of memory. This is the maximum size of a sample you can write to memory.
Making new sounds with Sampling |473 Writing, exporting or deleting the samples Writing the sample If you are creating an ordinary Sound or Drum Kit, write the sample to the internal memory. 1 While in any page of Sample editing section, choose the Write command from the page menu to open the Write Sample dialog. 2 You may change the name of the sample. Touch the Text Edit ( open the virtual keyboard and edit the name.
474| Customizing and editing the Sounds Exporting samples You can export the sample in edit in one of two popular computer audio file formats (WAVE and AIFF). 1 While in any page of the Sample section, choose the Export command from the page menu, to open the Export Sample window. 2 Choose a target location, then touch the Save button to make the Export Sample dialog appear: 3 You may change the name of the sample. Touch the Text Edit ( open the virtual keyboard and edit the name.
Making new sounds with Sampling |475 Deleting samples You can delete a sample, all the unused samples, or all the samples. Accessing the Delete Sample dialog ▪▪ While in any page of Sample editing section, choose the Delete command from the page menu to open the Delete Sample dialog. Deleting a sample ▪▪ Select the Selected option, choose the sample to be deleted, and touch OK to confirm.
476| Customizing and editing the Sounds Compressing the User Samples Pa4X can read and play compressed User Samples. It can compress User Samples when saving them, or in batch. Sample compression allows for doubling the available Sampling memory. Compressed samples can no longer be decompressed. If you want to keep the original samples, please save a copy before compressing them. Compressing User Samples when writing them You can compress a User Sample while writing it to the internal memory.
Making new sounds with Sampling |477 Creating multisamples After having recorded, loaded or imported all the needed samples, you can create a multisample. The multisample is a way of organizing several samples on the keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit. Later, the multisample will be assigned to an oscillator in an ordinary Sound. ▪▪ Go to the Sampling > Multisample > Edit page.
478| Customizing and editing the Sounds Reading the multisample diagram The keyboard diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big ‘–’ and ‘+’ buttons on its side to scroll the diagram one octave lower or upper. Assigning samples to the keyboard Creating a new zone By default, a new multisample contains a single zone. ▪▪ Touch the Insert button to split the current zone in half, and create a new zone (Index) on the left of the selected one.
Making new sounds with Sampling |479 Assigning a sample to the selected zone A zone always corresponds to a single sample. ▪▪ Use the Sample parameter to choose a sample. To create a silent zone, create it and assign no sample to it. Editing the selected sample ▪▪ Toutch the Edit Sample button to go to the Sampling > Sample > Edit page with the selected sample. Setting the zone parameters ▪▪ Use the Original Note parameter to automatically transpose the assigned sample on the keyboard.
480| Customizing and editing the Sounds Overview of the assigned samples and zones You can see the overall map of the samples assigned to the zones, and edit their range on the keyboard. ▪▪ Go to the Sampling > Multisample > Key Assign page. Multisample diagram Samples Zones ▪▪ Scroll the zones by using the list of samples on the left of the page. Use the big button with an arrow on top and to the bottom of the list to scroll the list up or down.
Making new sounds with Sampling |481 Writing, exporting or deleting the multisamples Writing the multisample Before creating a Sound, save the multisample organizing the samples on the keyboard to the internal memory. 1 While in any page of Multisample editing section, choose the Write command from the page menu to open the Write Multisample dialog. 2 You may change the name of the multisample. Touch the Text Edit ( icon to open the virtual keyboard and edit the name.
482| Customizing and editing the Sounds 2 Choose a target location, then touch the Save button to make the Export MultiSample dialog appear: 3 You may change the name of the multisample. Touch the Text Edit ( icon to open the virtual keyboard and edit the name. ) When done editing the name, confirm by touching the OK button under the virtual keyboard. 4 When back to the Export Multisample dialog, confirm saving by touching the OK button.
Making new sounds with Sampling |483 Use this option with care, since you may delete samples you would like to preserve, to be later used in new multisamples still to be created. Deleting all the multisamples ▪▪ Select the All Multisamples option, and touch OK to confirm. Deleting all the samples, multisamples and drum samples ▪▪ Select the All Samples, Multisamples, Drum Samples option, and touch OK to confirm. Select this command to delete all samples, multisamples and drum samples from the RAM memory.
484| Customizing and editing the Sounds Creating new Sounds from multisamples You can create a new Sound while in Sound mode. 1 Go to the Sound mode. 2 Choose a Sound similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu. 3 Go to the Sound > Basic > OSC page. 4 Select one of the available oscillators from the radio buttons on the right side of the page.
Making new sounds with Sampling |485 Creating new Drum Kits from percussive samples You can create a new Drum Kit while in Sound mode. 1 Go to the Sound mode. 2 Choose a Drum Kit similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu. 3 Go to the Sound > DrumKit > DrumKit page. 4 Use the KEY parameter to select a key. As an alternative, select it by pressing a key on the keyboard.
486| Customizing and editing the Sounds Assigning the new Sound or Drum Kit to a part/track The new Sounds or Drum Kits are contained in the User banks. Assign them to the Keyboard, Accompaniment or Song tracks, as you would do with any other Sound or Drum Kit. Drum Kits are better suited for the Drum or Percussion track. When done, save the Sound set (Keyboard Set, SongBook Entry, Style Settings, MIDI Song) to preserve your editing.
Making new sounds with Sampling |487 Creating Audio Groove Slices with Time Slicing Creating separate samples from a sliced audio groove After recording or loading an audio groove, you must ‘slice’ it to create a series of separate percussive samples, a multisample to organize them on the keyboard, and a MIDI Groove containing the original sequence converted to MIDI events. In the end, you will save it as a new Sound.
488| Customizing and editing the Sounds Slicing 1 Go to the Sampling > Time Slice page. 2 Use the Meter parameter to specify the Meter of the original sample. 3 Use the Measure parameter to specify the number of measures of the original sample. Usually, you will load a groove 1- or 2-measures long. 4 The BPM (Beats Per Minute) parameter specifies the tempo (in Beats Per Minute) of the original sample. This value is automatically calculated, based on the Start, End, Meter and Measures parameters.
Making new sounds with Sampling |489 The generated multisample Each individual sample generated from slicing the audio groove will be assigned to a different key.
490| Customizing and editing the Sounds Testing the generated Drum Kit ▪▪ To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above. ▪▪ To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, you can play the original pattern.
Making new sounds with Sampling |491 Extending the sample tails When using the sliced grooves with a Tempo slower than the original, an annoying gap may be heard between a sample and the following one. The Extend function allows you to fix this problem by adding a ‘tail’ to all samples, making their decay smoother and more musical. 1 After slicing and testing the groove, use the Extend function if needed. 2 Go to the Sampling > Time Slice page.
492| 4 Customizing and editing the Sounds Use the Extend Mode pop-up menu to specify if the added ‘tail’ must decay in a linear way, or sustain for a longer time and then fall suddenly. Choose the Extend method suitable for the processed materials. Extend Mode Meaning Normal Most suitable for percussive sound with a short (but not immediate) decay. The ‘tail’ envelope is linear, and the level decays fast. Long Most suitable for cymbals, whose sound should be sustained up until the next note.
Making new sounds with Sampling |493 Writing the Audio Groove Slices When the Time Slicing procedure is completed, you can save the data as a new Sound, together with a series of separate percussive samples, a multisample arranging them on the keyboard. A MIDI Groove containing the original sequence converted to MIDI events will also be created. 1 While in the Sampling > Time Slice page, choose the Write command from the page menu.
494| Customizing and editing the Sounds Using the Audio Groove Slices in a Style or Pad After generating the Audio Groove Slices, you can use them in a Style or Pad, by importing the MIDI Groove to a track, and assigning the corresponding Sound to the same track. Imported grooves can play at different Tempo values. However, please remember that they will not be transposed when playing different chords, since they are still audio data, that cannot be transposed by the Arranger.
Making new sounds with Sampling |495 Assigning the Sound to the Style or Pad track After having imported the MIDI Groove, assign the Sound generated by the Time Slicing procedure to the track playing the MIDI Groove. Assigning the Sound to a Style 1 Go to the Style Play mode, and choose the User Style to which to assign the Sound. 2 Go to the Style Play > Main page, and choose the Volume pane. 3 Use the TRACK SELECT button to see the accompaniment tracks (Style Tracks View).
496| Customizing and editing the Sounds Using the Audio Groove Slices in other Sounds You can use the multisample and samples generated by a Time Slicing operation in other Sounds. 1 Go to the Sound mode, and choose a Sound similar to the one you want to assign the multisample to. If you prefer to start from blank programming, choose the Initialize Sound command from the page menu. 2 Go to the Sound > Basic > OSC page, and select one of the oscillators.
|497 Part VIII: AUDIO IN/OUT AND THE VOICE PROCESSOR
498| Audio In/Out and the Voice Processor
Setting the audio outputs and the final effects 38 |499 Setting the audio outputs and the final effects Connecting the audio outputs Connect the audio outputs as described in Connecting the audio outputs on page 17. If installed, the (optional) PaAS amplification system will work in parallel with the main audio outputs.
500| Audio In/Out and the Voice Processor Choosing the audio outputs for the microphone and line audio inputs You can send the signal entering the AUDIO INPUTS to the main outputs, or to the auxiliary sub-ouputs. By default, the main LEFT and RIGHT audio outputs are selected. ▪▪ Go to the Global > Audio & Video > Audio In page, and use the Audio Out parameter to choose the audio output pairs.
Setting the audio outputs and the final effects |501 Sending Sounds and Drum Kits to the audio outputs Sounds from each part or track of the keyboard, the Style or MIDI Songs, as well as each Drum family, can be sent to a separate audio output. This routing is global, and will not change when choosing a different Keyboard Set, Style or Song. Choosing the audio outputs for the Keyboard, Style, and the Players The Keyboard, Style, and each of the Players’s Sound can be sent to different audio outputs.
502| Audio In/Out and the Voice Processor Choosing the audio outputs for the Drum families Drum Kits can be treated as ordinary tracks/Sounds, or as sets of separate percussive sounds that can be routed to different audio outputs. Drum Kits treated as ordinary tracks You can send the Drum Kit to an audio output (or output pair) as an ordinary track. All Drum families will be sent to the output chosen for the track the Drum Kit is assigned to.
Setting the audio outputs and the final effects |503 Choosing the audio outputs for the metronome click You can send the metronome click to any of the separate audio outputs (or output pairs). This will allow, for example, to send the click to the drummer’s headphone amplifier only. 1 Go to the Global > Drum/Metro page. 2 Use the Metronome > Output pop-up menu to choose an audio output (or output pair) for the metronome click.
504| Audio In/Out and the Voice Processor Programming the MAXX mastering effects The result of KORG’s long term cooperation with Waves Audio®, the MAXX AUDIO suite helps making the sound louder, clearer, fuller, and more polished. These effects apply to the final stage of the audio path, just before the audio outputs. Choosing a MAXX Preset You can quickly program the EQ and Master parameters by choosing a MAXX Preset. 1 Go to any page of the Global > MAXX Master EQ section.
Setting the audio outputs and the final effects |505 Turning the MAXX effects on/off You can turn the MAXX effects on or off, to quickly make the sound louder or flatter. 1 Go to any page of the Global > MAXX Master EQ section. 2 Use the On/Off button on top of the page to turn the MAXX effects on or off. Please note that MP3 Songs are always recorded without the MAXX effects. This will avoid adding final processing to the processing already applied to the MP3 files.
506| Audio In/Out and the Voice Processor Programming the EQ ▪▪ Look at the results of any edit in the diagram. The diagram shows the EQ curve. Its shape changes depending on the various parameter values. ▪▪ Use the Gain parameter to change the emphasis or attenuation of the corresponding band. Use it to make the frequencies stronger or weaker. ▪▪ Use the Freq parameter to change the center frequency of the corresponding band.
Setting the audio outputs and the final effects |507 Turning the separate effects on/off ▪▪ Use the On/Off buttons on top of each slider to turn the corresponding effect on/off. Programming the Master effects ▪▪ Use the IN/OUT indicators to check the level of the audio entering and coming out of the MaxxAUDIO processor. Be sure the indicators never go to the red area (since this means distortion). ▪▪ Use the virtual sliders to increase or decrease the level of the corresponding parameter.
508| Audio In/Out and the Voice Processor Using MaxxTreble technology you will be able to deliver louder, crisper and better defined high end without having to worry about clipping or peak-limiting. MaxxStereo MaxxStereo is for more realistic, wider stereo imaging. You will hear a wide, exciting stereo image, similar to what you’d hear in a modern movie theatre. MaxxStereo spatial imaging technology improves the stereo separation of closely placed loudspeakers.
Setting the audio outputs and the final effects |509 Writing a MAXX Preset Open the Write Maxx Preset dialog 1 Go to the any page of the Global > Maxx Master EQ section. 2 Choose the Write Global Maxx Preset command from the page menu to open the Write Maxx Preset dialog. Write over the current Maxx Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button. Write to a different Maxx Preset location 1 If you want to choose a different location, use the Maxx Preset pop-up menu.
510| Audio In/Out and the Voice Processor 39 Connecting the audio inputs Connecting a line audio device Connecting the audio device Use the AUDIO INPUT > LINE connectors to receive audio from an external device. These inputs are all line-level. Do not directly connect guitars, microphones or power amplifiers.
Connecting the audio inputs |511 Enabling the line audio input for MP3 recording ▪▪ Go to the Global > Audio & Video > Audio In page, and be sure the Audio In parameter is set to Line. ▪▪ In the same page, be sure the Audio Out parameter is set to L + R. This will send the line inputs to the internal MP3 recorder, and disconnects the Mic input.
512| Audio In/Out and the Voice Processor Connecting a microphone Connecting the microphone Use the MIC INPUT connector to connect a microphone. This is a combo connector, featuring an XLR and a 1/4” jack on the same connector. Use the balanced XLR jack to connect a condenser microphone, or the 1/4” jack to connect a dynamic microphone. Enabling the microphone input By default, the microphone input is enabled. In case it isn’t, activate it.
Connecting the audio inputs |513 Microphone types There are two main types of microphones that you can connect to your Pa4X: dynamic and condenser. Dynamic microphones do not require powering. They are usually conceived for live use, and have a narrow cardioid or hypercardioid pattern for better rejection of stage noise. Condenser microphones require phantom powering supplied by Pa4X.
514| Audio In/Out and the Voice Processor Disconnect and turn off the microphone When disconnecting a microphone from the XLR jack, the phantom power is automatically turned off. Phantom power is also automatically turned off each time you turn the Pa4X off. As an alternative, you can go to the Global > Audio & Video > Audio In page, and deselect the +48V Phantom Power checkbox. Adjusting the microphone input gain After connecting a microphone, you can adjust its input gain, mix level and output level.
Connecting the audio inputs |515 Turning the microphone on and adjusting the volume The microphone can be quickly turned on or off, and its volume in the mix adjusted, right from the control panel. Please note that, for safety reasons, the input is always switched off when turning the instrument on. 1 Use the MIC button in the MIC/VOICE section in the control panel to turn the microphone on (or off). 2 Adjust the microphone volume by using the MIC VOLUME knob in the MIC/ VOICE section.
516| Audio In/Out and the Voice Processor Shaping the sound of the lead voice The lead voice is your voice, or the one of your singer, entering the microphone input. You can apply effects and pitch correction, before sending it to the Voice Processor. Setting the lead voice general controls While in the Global > Mic Setup > Setup page, you can set the controls for the lead voice effects.
Connecting the audio inputs |517 Vibrato and bending ▪▪ While in the Global > Mic Setup > Setup page, use the Voices Vibrato Boost pop-up menu to specify how the Modulation message will affect vibrato. Voices Vibrato Boost Meaning Boost Adds more vibrato once the Modulation value reaches the corresponding amount of vibrato and then returns to the original amount at rest position. Manual Allows full range control of vibrato, once the Modulation message is received.
518| Audio In/Out and the Voice Processor The factory default value is 50%. Changing the value towards 0% reduces the correction effect and changing towards 100% increases it. Above 50% the effect becomes more noticeable when you slide from note to note. This is the effect of faster transition speed between your input note and the closest scale tone as well as the fact that the algorithm is trying to pull you closer to the target.
Connecting the audio inputs |519 Programming the Adaptive EQ When Adaptive is on, an automatic EQ algorithm is activated, and changes the control set for the EQ. Most of the adjustment is done automatically, so fewer controls are required. ▪▪ Use the Shape knob to automatically adjust the Adaptive EQ. Shape processing offers an EQ curve that adds an airy brightness, or ‘sizzle’ to your voice while reducing ‘mud’ due to the proximity effect from singing closely into a cardioid microphone.
520| Audio In/Out and the Voice Processor make them cut through a group of instruments and thus make a larger impression on the listener. The Shape feature, used at moderate settings, emulates this sound through the average microphone and amplification system. When making Shape adjustments, it’s important to sing while listening to the amplification system your audience will hear rather than only judging by your monitor sound. ▪▪ Use the Gain knob to adjust the level after using the Shape control.
Connecting the audio inputs |521 Programming the Adaptive Compressor When Adaptive is on, an automatic Compressor algorithm is activated, and changes the control set. Most of the adjustment is done automatically, so fewer controls are required. ▪▪ Use the Compress control to reduce the range between louder and softer singing to produce more even-sounding vocals. It does so by listening to your singing over time (less than 30 seconds) and adjusting accordingly.
522| Audio In/Out and the Voice Processor Programming the traditional Compressor When Adaptive is off, you switch compression to manual control. Be sure to reduce the level of your amplification or switch to headphones when adjusting the manual compressor, because high settings can cause more gain and thus feedback. ▪▪ Use the Threshold control to set the singing level at and above which the amount of gain reduction (compression) specified by the Ratio control will occur.
Connecting the audio inputs |523 quired and it then gets out of the way allowing the silky brightness to remain on the voiced portion of your singing. There is only the single DeEss Level control; no other manual adjustment settings are required. The factory setting of 50% gently reduces sibilance without becoming obvious. Higher settings of compression and Shape or a bright, sibilant voice may require a higher setting.
524| Audio In/Out and the Voice Processor 0 dB offers no gain reduction on your lead voice at all. Settings of -30 to Off effectively mute your voice when the Gate is on. ▪▪ Use the Harm(ony) Atten(uation) knob to set the amount of attenuation for the Harmony and Doubling voices when the Gate closes. They have a separate attenuation setting to reduce chatter caused by instrument sounds entering the mic and being harmonized when you aren’t singing.
Talking with your audience |525 40 Talking with your audience Soloing your voice (TalkOver) ▪▪ Go to the Main page > Mic pane, and touch the TalkOver button to talk to your audience. The background music will be softened, and the voice effects switched off. ▪▪ Touch the same button again to turn the TalkOver function off. Setting the Talk mode and level ▪▪ Go to the Global > Mic Setup > TalkOver page to set the TalkOver parameters.
526| Audio In/Out and the Voice Processor ▪▪ Use the Background Music Level control to set the level to which the volume of all Sounds (Keyboard, Style, Player, Pad…) will be reduced when TalkOver is engaged. 100% corresponds to no level reduction.
Using the voice effects and harmonization 41 Using the voice effects and harmonization Choosing a Voice Preset Voice Presets contain settings for the voice effects and harmonization. Choosing a Voice Preset from the library Open the Voice Preset window from the control panel ▪▪ Press the PRESET button in the MIC/VOICE section. Open the Voice Preset window from the display 1 While in the Main page, touch the Mic tab to see the Mic pane. 2 Touch the name of the selected Voice Preset.
528| Audio In/Out and the Voice Processor Select a Voice Preset As soon as you press the button or touch the display, the Voice Preset Select window appears. 1 In case you want to choose a different group of Voice Presets, touch one of the tabs on the sides of the Voice Preset Select window. 2 Touch the name of the Voice Preset you want to choose. 3 If you want to close the Voice Preset Select window (and it does not close by itself), press the EXIT button.
Using the voice effects and harmonization |529 Choosing a Voice Preset with a SongBook Entry When choosing a SongBook Entry, the Voice Preset might change. This will happen if the Global checkbox in the Main page > Mic tab is not selected. Changing the global Voice Preset The global Voice Preset is the general setting you use when there is no ‘local’ Voice Preset in a SongBook Entry. Some SongBook Entries might override the global Voice Preset with their memorized local Voice Presets.
530| Audio In/Out and the Voice Processor Harmonizing your voice Harmonization adds a choir of voices to your lead voice. Activating and setting the harmony voices Choose a Voice Preset ▪▪ Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired harmonization type. By default, these are some useful Presets to test harmonization: Voice Preset Harmonization Type Chord (Harm. Off) Chordal harmonization, especially meant for Styles.
Using the voice effects and harmonization |531 Where do chords and notes come from? Each Voice Preset contains settings to choose the source of the chords or notes. Depending on the preset, you will play on the keyboard, and/or let the MIDI Song send notes from a track selected from the preset. You can find more information in the section dedicated to programming the Voice Presets.
532| Audio In/Out and the Voice Processor Doubling your voice Doubling adds a second voice to your lead voice, making it thicker and stronger. Choose a Voice Preset ▪▪ Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired doubling type. A Voice Preset can be automatically selected when choosing a SongBook Entry. Turn doubling on or off ▪▪ Use the DOUBLE button to turn doubling on or off.
Using the voice effects and harmonization |533 Using the effects Effects can add ambience, improve or transform your lead voice and the added voices. They are always included in any Voice Preset as separate FX blocks, that you can turn on/off or edit. Turn the effects on or off 1 Go to the Main page > Mic pane. 2 Use the effect block buttons to turn each effect on or off.
534| Audio In/Out and the Voice Processor 42 Editing the Voice effects You can create your custom voice effects, to be saved into a Voice Preset and assigned to a SongBook Entry. Accessing Voice Preset editing 1 Press the STYLE PLAY or SONG PLAY button in the MODE section of the control panel to go to the corresponding mode. 2 Press the MENU button and touch the Voice Preset button in the edit menu to choose the Voice Preset section.
Editing the Voice effects |535 Mixing the lead voice and the effects While in the Voice Preset > FX Mixer page, you can set the master level of the effects, and internally route the effects. ▪▪ Use the Level control to adjust the level of each effect block inside the Voice Preset. ▪▪ Use the Del/Rev > Level control to adjust the level of the Delay and Reverb blocks. This corresponds to the DELAY/REVERB knob in the MIC/VOICE section of the control panel. This control is not memorized in the Voice Preset.
536| Audio In/Out and the Voice Processor Editing the harmony voices While in the Voice Preset > Harmony page, you can program the harmony voices. Setting the general harmony parameters The top area of the page contains general parameters. Choosing the Harmony set ▪▪ Use the Set pop-up menu to choose settings for the Harmony block. Choosing the harmony type ▪▪ Use the Type pop-up menu to choose the type of harmonization.
Editing the Voice effects |537 Choosing the source of chords or notes ▪▪ Use the Style Play Control pop-up menu to choose a source for chords or notes controlling harmony in the Style Play mode. Control source (Style Play) Meaning Chord Scan Play chords or notes in the area chosen with the CHORD SCAN buttons in the control panel. Lower Play chords or notes in the Lower area (under the split point). Upper Play chords or notes in the Upper area (above the split point).
538| Audio In/Out and the Voice Processor Choosing the Key and Scale With Scale harmonization, all of the chords in an entire song and your melody can belong to a single key. You can input this key by using the Key parameter. Use the Scale parameter to choose a type of scale for the harmony notes. You can choose between 3 Major and 3 Minor alternate scales that can be chosen if your harmony intervals sound incorrect at certain chord/melody combinations.
Editing the Voice effects |539 Programming the individual harmony voices The center area of the page contains parameters to program the individual voices. It is different, depending on the selected Harmony Type. Harmony Type Individual Voice Box Chord Scale Shift Notes ▪▪ Use the V1…V4 buttons to choose the harmony voice to program.
540| Audio In/Out and the Voice Processor Choosing the Shift for Shift-type harmonies ▪▪ Use the Shift pop-up menu to choose the interval the harmony voice is shifted relative to the input note. The values range from -24 semitones to +24 semitones. Programming the envelope for Notes-type harmonies ▪▪ Use the Smooth parameter to make the voice attack smoother and better in tune. At low values, Smoothing acts like pitch correction for the harmony voices.
Editing the Voice effects |541 Programming the expression, EQ and internal mix The bottom area of the page contains general parameters to control expression and mix the lead voice and effect. Humanizing the harmony voices ▪▪ Use the Humanize pop-up menu to choose a humanization style. The term ‘humanize’ simply means the application of processes designed to increase realism.
542| Audio In/Out and the Voice Processor Adding vibrato ▪▪ Use the Vibrato pop-up menu to choose a vibrato style. Vibrato assists in providing separation between your dry singing voice and the harmonies as well as to add some movement to the rigid pitch contour in Notes mode harmony. Even the smallest amount of vibrato applied to your harmony voices can achieve this.
Editing the Voice effects |543 Editing the Double voice While in the Voice Preset > Double page, you can program the Double voice. The Double effect uses the same type of Humanization technology as in the Harmony effect to create up to two overdubbed versions of your voice. The two voices are set to unison intervals as opposed to the moveable intervals available for the harmony voices.
544| Audio In/Out and the Voice Processor Editing the Filter effect While in the Voice Preset > Filter & Hard Tune page, you can program the Filter effect. This effect uses steep filters to emulate the sound of radios, phones and devices that generally degrade the audio signal. Choosing the Filter set ▪▪ Use the Set pop-up menu to choose settings for the Filter block. The Routing and Gate Threshold parameters are not part of the set.
Editing the Voice effects |545 Editing the filter parameters ▪▪ Use the Routing pop-up menu to specify where the Filter effect is inserted into the signal path. Routing Meaning Off No routing. Lead Filter is inserted on the Lead voice only. Harmonies and Doubling are unaffected. Harm+Double Filter is inserted on the Harmony+Double path only. Voices Filter is inserted on both the Lead, Harmony and Doubling voices. Harmony FX Filter is inserted on the Harmony send to the effects.
546| Audio In/Out and the Voice Processor Editing the Hard Tune effect While in the Voice Preset > Filter & Hard Tune page, you can program the Hard Tune effect. This effect is a pitch corrector that has been optimized to produce corrective pitch correction as well as obvious effects made popular by a number of artists. It only works when a chord is recognized. Choosing the Hard Tune set ▪▪ Use the Set pop-up menu to choose settings for the Hard Tune block.
Editing the Voice effects |547 Editing the μMod effect While in the Voice Preset > uMod page, you can program the micro-modulation effect. μMod is short for micro-modulation. The μMod effect is capable of creating many different sounds that range from subtle but lush thickening to creatively destructive. It uses a combination of stereo pitch shifting (Detune), small amounts of stereo delay (Delay), and then a complex path of filtering, feedback, and modulation.
548| Audio In/Out and the Voice Processor ▪▪ Use the Delay L/R parameters to set the left and right delay times. Up to 50 ms of delay is available on the left and right delay lines to create effects from flange to slapback. ▪▪ Use the Feedback L/R parameters to re-introduces a portion of the audio output signal of the μMod block back to the input to create flanges, tube and chorus effects. Values above 90 add a high amount of gain and cause distortion and higher audio levels.
Editing the Voice effects |549 Editing the Delay effect While in the Voice Preset > Delay page, you can program the delay effect. The delay effect is a configurable echo. You can control how far apart the echoes occur (Delay Time), and whether the echoes fade out quickly or slowly or build on themselves. In addition, there are filtering and stereo controls that allow you to create many popular delay sounds.
550| Audio In/Out and the Voice Processor ▪▪ Use the Quantize Left/Right parameters, when the Source is set to MIDI, to divide the Tempo into even (e.g. 1/4 or quarter notes) or syncopated subbeats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right delays. ▪▪ Use the Time L/R parameters to display the exact delay time and to allow editing with all Source settings. You may set from 0 to 2500ms (2.5 seconds) of delay for the left and right delay lines.
Editing the Voice effects |551 Editing the Reverb effect While in the Voice Preset > Reverb page, you can program the reverb effect. Reverb is arguably the most common vocal effect. It can add a spaciousness that softens the abrupt beginnings and endings of lyric phrases. Many reverb types are meant to imitate the natural sound of spaces like churches, clubs and halls but not all. Some reverb effects are recreations of electromechanical effects meant to imitate real spaces like plates and springs.
552| Audio In/Out and the Voice Processor spaces and to provide audio separation between the dry signal and the reverb effect. ▪▪ Use the Hi Color / Lo Color parameters to adjust the corresponding preset-frequency filters inserted into the Reverb feedback path that tailor the low and high frequency response and decay of the tails. Values toward -50 will cut response in its respective band and a values toward 50 increase response. ▪▪ Use the Duck Amount parameter to set the effect attenuation.
Editing the Voice effects |553 Writing a Voice Preset Voice Presets can store the Voice effects settings for instant recall. The library is where you organize them by type. Note: Changes can be saved onto User Voice Presets. They cannot normally be saved onto Factory Voice Presets. Writing a Voice Preset Open the Write Voice Preset dialog from the control panel ▪▪ While in any mode, keep the MIC/VOICE > PRESET button pressed for about one second.
554| Audio In/Out and the Voice Processor When done editing the name, confirm by touching the OK button under the virtual keyboard. 3 When back at the Write Voice Preset dialog, confirm the Write operation by touching the OK button. Saving a Voice Preset with a Keyboard Set, Style or Song If you want to save the selected Voice Preset together with the Keyboard Sets, Styles or Songs, you can create a new SongBook Entry based on them.
Part IX: EFFECTS FOR THE SOUNDS |555
556| Effects for the Sounds
The effects 43 |557 The effects Editing the effects Editing the insert effects (IFX) 1 Go to the Style Play or Song Play > Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type 2 While in the Insert FX page, touch the name of the selected effect type, or the ‘x’ symbol under the On/Off button, to open the FX Edit page. Selected FX FX edit parameters FX mix and modulation 3 If you want, use the pop-up menu on top of the page to choose a different effect.
558| Effects for the Sounds Editing the master effects (MFX) 1 Go to the Master Effects > FX A/B page containing the master effect you want to edit. 2 While in the FX A or FX B page, touch the name of the assigned effects to open the FX Edit page. Selected FX FX edit parameters FX mix and modulation 3 If you want, use the pop-up menu on top of the page to choose a different effect. 4 Edit the effect parameters, as described in the following pages.
The effects |559 Mixing the dry (direct) signal and the effects ▪▪ While in the FX Edit page, use the Wet/Dry parameter to set the balance between the Wet (effected) and Dry (direct) signal inside the corresponding FX processor. ▪▪ With master effects, you can set this value directly from the W/D parameters in the Master Effects > FX page. We suggest not to change the insert effects’ internal mix, unless you are trying to achieve a particular effect.
560| Effects for the Sounds Set the modulation intensity ▪▪ While in the FX Edit page (for both the insert or master effects), use the Amt (Amount) parameter to set the intensity of modulation. This is an offset to the normal value received from the source. Feeding the master effects back to the MFX1 input Master effects are set in parallel, but you can set them in a serial chain by sending the output of the MFX2 or MFX3 processor back to the input of the MFX1 processor.
The effects |561 Adapting reverb to the room size Pa4X includes a master offset for all the reverbs. Use it to adjust reverb tails to the room where you are playing. Use negative values when you are in a very reverberant room, positive values if the room is too dry. 1 Go to the Global > General Controls > Basic page. 2 Use the Reverb Offset parameter to change the reverb master.
562| Effects for the Sounds Effects list The following list contains all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages. REV (Reverb) St.HarmonicChorus AMP (Amplifier) O–verb1 Classic Chorus GuitarAmp + P4EQ Reverb Hall Multitap Cho/Delay GuitarAmp + Cabinet Reverb SmoothHall Stereo Flanger Amp Clean Combo Reverb Wet Plate St. Random Flanger Amp Clean Combo + Cab Reverb Dry Plate St. Env.
The effects |563 St.Exciter/Enhncr MISC (Miscellaneous) Exciter - Limiter Stereo Isolator Stereo Decimator Exciter-Cho/Flng St. Random Filter St. Analog Record Exciter - Phaser St. MultiModeFilter Doppler Exciter - Mt.Delay Talking Modulator Scratch OD/HG - Cho/Flng 2Voice Resonator Auto Reverse OD/HG - Phaser Vox Treble Booster P4EQ - Cho/Flng OD/HG - Mt.Delay Vocoder3 P4EQ - Phaser Decimator - Comp P4EQ - Mt. Delay Cho/Flng - Mt.
564| Effects for the Sounds 44 Effect parameters REV (Reverbs) O–verb The O-verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reflections and the main reverberant wash, and via separate controls for the high, mid, and low decay times. The O-verb also includes randomization, for richer and smoother reverb timbres.
Effect parameters d Rolloff 0…100 This controls a lowpass filter on the output of the effect. Pre Delay [msec] 0…1360 Sets the delay time from the dry sound Diffusion 1 0…100 Diffusion 2 0…100 Diffusion 1 and 2 soften the sound before it enters the reverb core, shaping the timbre of the initial reflections. Setting both diffusers to around 50 generally produces sufficient diffusion for smooth reverbs; extremely high levels may cause ringing.
566| i Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source e: Diffusion Reverb Size, Time, and Diffusion: Size / Reverb Time / Diffusion Reverb Time: small large Size: small large Diffusion: small large Reverb Hall This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.
Effect parameters |567 Reverb Dry Plate This plate reverb simulates dry (light) reverberation. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Pre Delay Thru EQ Trim LEQ + HEQ Pre Delay Reverb EQ Trim Right a FX Amt Reverb Time [sec] 0.1…10.
568| Effects for the Sounds Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Louder Level Reverb - Hall / Plate Type Dry Reverb Pre Delay Thru Time Pre Delay Reverb Time Reverb Room This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.
Effect parameters e EQ Trim 0…100 Sets the EQ input level f Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or midhigh) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0…+15.
570| Effects for the Sounds Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.
Effect parameters |571 a: Type This parameter selects the decay curve for the early reflection. Early Reflections - Type Sharp Loose Modulated Reverse Dry Pre Delay ER Time Early Reflections Hi Dens This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Early Reflections). You can create a very smooth and dense sound.
572| Effects for the Sounds d EQ Trim 0…100 Sets the input level of EQ applied to the effect sound e Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0…+15.
Effect parameters b [R]Pre Delay [msec] 0…200 Sets the delay time of the reverb sound and gate control signal c [R]EQ Trim 0…100 Sets the EQ input level Reverb Balance 0…100 Sets the reverb effect balance [R]PreLEQ Fc Low, Mid-Low Selects the cutoff frequency (low or mid-low) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer [R]PreLEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0…+15.
574| Effects for the Sounds When “[G]Envelope Select” is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output. Normally, set “[G]Input Reverb Mix” to Dry (the gate is controlled only by the dry sound). If you wish to extend the gate time, set the “[G]Input Reverb Mix” value higher and adjust the “Threshold” value.
Effect parameters |575 DEL (Delay) L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound.
576| Effects for the Sounds h Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source e: High Damp [%] e: Low Damp [%] These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back. g: Spread This parameter sets the pan width of the effect sound.
Effect parameters d L Feedback –100…+100 Sets the feedback amount for the left channel Src Off…Tempo Selects the modulation source of feedback amount Amt L –100…+100 Sets the modulation amount of the left channel feedback R Feedback –100…+100 Sets the feedback amount for the right channel Amt R –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the damping amount in the low range
578| Effects for the Sounds St. Multitap Delay (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds.
Effect parameters j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 |579 Mode: Cross Pan2 a: Mode You can change how the left and right delay signals are panned by modifying the routing of the left and right delay as shown in the figure above.
580| Effects for the Sounds St. Mod Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.
Effect parameters g h i j k L LFO Phase [deg] –180…+180 Sets the phase obtained when the left LFO is reset L Depth 0…200 Sets the depth of the left LFO modulation R LFO Phase [deg] –180…+180 Sets the phase obtained when the right LFO is reset R Depth 0…200 Sets the depth of the right LFO modulation L Delay Time [msec] 0.0…1000.0 Sets the delay time for the left channel L Feedback –100…+100 Sets the feedback amount of left delay R Delay Time [msec] 0.0…1000.
582| Effects for the Sounds St. Dynamic Delay (Stereo Dynamic Delay) This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.
Effect parameters |583 a: Control Target This parameter selects no level control, delay output control (effect balance), or feedback amount control. a: Polarity b: Threshold b: Offset c: Attack d: Release The “Offset” parameter specifies the value for the “Control Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “Wet/Dry” value with “Control Target”=Output level, or the “Feedback” value with “Control Target”=Feedback).
584| Effects for the Sounds St. AutoPanningDly (Stereo Auto Panning Delay) This stereo delay effect pans the delay sound left and right using the LFO. Stereo In - Stereo Out Left High Damp Low Damp Delay FX Amt Pan Depth Feedback Delay High Damp Low Damp Pan Right FX Amt LFO Phase LFO: Tri / Sin a LFO Shape L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel L Feedback –100…+100 Sets the feedback amount for the left channel R Delay Time [msec] 0.0…1360.
Effect parameters h i Panning Depth 0…100 Sets the panning width Src Off…Tempo Selects the modulation source for the panning width Amt –100…+100 Set the modulation amount of the panning width Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |585 Tape Echo This effect simulates a tape echo unit with three playback heads.
586| e Effects for the Sounds Tap2 Level 0…100 Sets the Tap2 output level Pan L, 1…99, R Sets the stereo image of tap2 FB Amt –100…+100 Sets the Tap2 feedback amount Tap3 Level 0…100 Sets the Tap3 output level Pan L, 1…99, R Sets the stereo image of tap3 FB Amt –100…+100 Sets the Tap3 feedback amount Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3 Src Off…Tempo Selects the modulation source of feedback amount Amt –100…+100 Sets the feedback amount High Damp [%]
Effect parameters |587 d: FB Amt e: FB Amt f: FB Amt g: Feedback The feedback output from Tap 1, 2, and 3 is mixed according to the “FB Amt,” and then the final amount of feedback is specified by “Feedback.” Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
588| Effects for the Sounds e f g High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: BPM b: Rhythm Pattern With t
Effect parameters a b c d BPM MIDI, 40.00… 300.
590| Effects for the Sounds a: Time Over? You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Stereo BPM Delay This stereo delay enables you to set the delay time to match the song tempo.
Effect parameters d e L Feedback –100…+100 Sets the feedback amount for the left channel Src Off…Tempo Selects the modulation source of feedback amount Amt L –100…+100 Sets the modulation amount of the left channel feedback R Feedback –100…+100 Sets the feedback amount for the right channel Amt R –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the damping amount in the low ran
592| Effects for the Sounds St.BPM Mtap Delay (Stereo BPM Multi tap Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
Effect parameters g h i j High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Spread –100…+100 Sets the width of the stereo image of the effect sound Src Off…Tempo Selects the modulation source of the effect sound’s stereo image width Amt –100…+100 Sets the modulation amount
594| Effects for the Sounds a Modulation Mode LFO, D-mod Switches between LFO modulation control and modulation source control b D-mod Modulation L/R:+/+, L/R:+/– Reversed L/R control by modulation source Src Off…Tempo Selects the modulation source that controls delay time Response 0…30 Sets the rate of response to the modulation source LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the Waveform LFO Sync Off, On Switches LFO reset off/on Src Off…Te
Effect parameters j k l L Delay Base Note … Selects the type of notes to specify the left channel delay time Times x1…x32 Sets the number of notes to specify the left channel delay time Feedback –100…+100 Sets the feedback amount of left delay R Delay Base Note … |595 Selects the type of notes to specify the right channel delay time Times x1…x32 Sets the number of notes to specify the right channel delay time Feedback –100…+100 Sets the feedback amount of right delay Wet/Dry -Wet, -1
596| Effects for the Sounds St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) This stereo auto panning delay enables you to set the delay time to match the song tempo. Stereo In - Stereo Out Left Delay High Damp Low Damp FX Amt Pan Depth Feedback Delay High Damp Low Damp Pan Right FX Amt Tempo BPM BPM Base Note x Times Base Note x Times LFO: Tri / Sin a b c d e LFO Phase LFO Shape BPM MIDI, 40.00… 300.
Effect parameters f Panning Freq [Hz] 0.02…20.00 Sets the panning speed g MIDI Sync Off, On When this is on, the pan LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
598| Effects for the Sounds Tape Echo BPM This is a tape echo that lets you synchronize the delay time to the tempo of the song. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt (3) Feedback (2) (1) Feedback Amt + Trim Pre Tone Tape Saturation High / Low Damp Wah Flatter Right Tempo PM ase ote Times Level Pan Delay Tap2/3 Position Delay Time FX Amt PM D-mod a b c BPM (Delay) MIDI, 40.00… 300.
Effect parameters g Tap2 Level 0…100 Sets the Tap2 output level Pan L, 1…99, R Sets the stereo image of tap2 FB Amt –100…+100 Sets the Tap2 feedback amount Tap3 Level 0…100 Sets the Tap3 output level Pan L, 1…99, R Sets the stereo image of tap3 FB Amt –100…+100 Sets the Tap3 feedback amount Feedback 0…100 Sets the amount of feedback for Taps 1, 2, and 3 Src Off…Tempo Selects the modulation source of feedback amount Amt –100…+100 Sets the depth by which feedback amount will be mod
600| Effects for the Sounds b: Time Over? You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Classic Tape Echo This models a famous analog tape echo unit. On the original device, “echo” was created by a playback head, and the “delay time” was specified by adjusting the speed of the motor.
Effect parameters d Low Damp [%] 0…100 Sets the damping amount in the low range e Input Level Dmod –100…+100 Amount of input level modulation Src Off…Tempo Selects the modulation source of Input Level Dmod. See DMS (Dynamic Modulation Source) Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source f |601 Hold Delay This effect records the input signal and plays it back repeatedly.
602| d Effects for the Sounds Loop Base Note … Selects the type of notes to specify the delay time Times x1…x32 Sets the number of notes to specify the delay time e REC Control Src Off…Tempo Selects control source for recording f RST Control Src Off…Tempo Selects control source for reset g Manual REC Control REC Off, REC On Sets the recording switch h Manual RST Control Off, RESET Sets the reset switch i Pan L100…L1, C, R1… R100 Sets the stereo image of the effect Src Off…Tempo
Effect parameters |603 b: Loop BPM Sync c: BPM d: Loop Base Note d: Times If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is determined by “BPM,” “Loop Base Note,” and “Times.” Even in this case, the delay time cannot exceed 10,800 msec.
604| Effects for the Sounds e: REC Control Src g: Manual REC Control “REC Control Src” selects the modulation source that controls recording. If this modulation is on, or if “Manual REC Control” is set to On, you can record the input signal. If a recording has already been carried out, additional signals will be overdubbed. The effect is off when a value for the modulation source specified for the “REC Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.
Effect parameters b C Delay Time [msec] 0…5460 Sets the delay time of TapC Level 0…50 Sets the output level of TapC R Delay Time [msec] 0…5460 Sets the delay time of TapR Level 0…50 Sets the output level of TapR Feedback (C Delay) –100…+100 Sets the feedback amount of TapC Src Off…Tempo Selects the modulation source for the TapC feedback Amt –100…+100 Sets the modulation amount of the TapC feedback High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 S
606| Effects for the Sounds St/Cross Long Delay (Stereo/Cross Long Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.
Effect parameters j Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |607 LCR BPM Long Dly The L/C/R delay enables you to match the delay time with the song tempo.
608| e Effects for the Sounds Feedback (C Delay) –100…+100 Sets the feedback amount of TapC Src Off…Tempo Selects the modulation source for the TapC feedback Amt –100…+100 Sets the modulation amount of the TapC feedback High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level h Sp
Effect parameters |609 St. BPM Long Dly (Stereo BPM Long Delay) The stereo delay enables you to match the delay time with the song tempo. Stereo In - Stereo Out Left Delay Input Level D-mod High Damp Low Damp FX Amt Feedback Input Level D-mod Delay High Damp Low Damp Right Tempo BPM a b c d FX Amt BPM Base Note x Times Base Note x Times Adjust [%] Adjust [%] BPM MIDI, 40.00… 300.
610| Effects for the Sounds e R Feedback –100…+100 Sets the feedback amount for the right channel R Amt –100…+100 Sets the modulation amount of the right channel feedback f High Damp [%] 0…100 Sets the damping amount in the high range g Low Damp [%] 0…100 Sets the damping amount in the low range h Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Wet Balance between th
Effect parameters |611 MOD (Modulation) Stereo Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
612| Effects for the Sounds e Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source for the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth f EQ Trim 0…100 Sets the EQ input level g Pre LEQ Fc Low, Mid-Low Selects the cutoff frequency (low or midlow) of the low-range equalizer Pre HEQ Fc High, Mid-High Selects the cutoff frequency (high or mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.
Effect parameters |613 Black Chorus/Flanger This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinctive tone. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Mode & Intensity + + Chorus Input Gain - + + Mono Right Wet / Dry LFO a b Output Mode Stereo Speed [Hz] 0.10…10.
614| Effects for the Sounds St.HarmonicChorus (Stereo Harmonic Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.
Effect parameters g h i Feedback –100…+100 Sets the feed back amount of the chorus block High Damp [%] 0…100 Sets the high range damping amount of the chorus block Low Level 0…100 Sets the low range output level High Level 0…100 Sets the high range (chorus) output level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |615 f: High/Low Split Point This parameter sets the fre
616| Effects for the Sounds Classic Chorus This models a famous chorus unit that was built into a guitar amp. Although it does not provide a chorus and vibrato select switch, you can use the “Wet/ Dry” and “Bus” settings to produce their effect. The “Speed,” “Depth,” and “Manual” parameters allow an even wider range of sounds than the original unit.
Effect parameters |617 Multitap Cho/Delay (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.
618| Effects for the Sounds e f g Tap4 (270) [msec] 0…1000 Sets the Tap4 (LFO phase=270 degrees) delay time Depth 0…30 Sets the Tap4 chorus depth Level 0…30 Sets the Tap4 output level Pan L6…L1, C, R1… R6 Sets the Tap4 stereo image Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Src Off…Tempo Selects the modulation source of Tap1 feedback amount and effect balance Amt –100…+100 Sets the Tap1 feedback amount and modulation amount Wet/Dry Dry, 1:99…99:1, Balance between the we
Effect parameters |619 Stereo Flanger This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left FX Amt Flanger Feedback Flanger Right LFO Phase LFO: Tri / Sine High Damp FX Amt LFO Shape a Delay Time [msec] 0.0…50.
620| g h Effects for the Sounds Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the feedback damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source g: Feedback h: Wet/Dry The peak shape of the positive and negative “Feedback” value is different.
Effect parameters a Delay Time [msec] 0.0…50.0 Sets the delay time from the original sound b LFO Waveform Step-Tri, Random Selects the LFO Waveform LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects the modulation source used for both LFO speed and step speed Amt –20.00… +20.00 Sets the modulation amount of LFO speed LFO Step Freq [Hz] 0.05…50.
622| Effects for the Sounds St. Env. Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. Stereo In - Stereo Out Left FX Amt Flanger Feedback Flanger Right D-mod a FX Amt D-mod EG Attack/Decay EG High Damp Sweep Mode L Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the left-channel delay time L Dly Top [msec] 0.0…50.
Effect parameters |623 c: Sweep Mode c: Src This parameter switches the flanger control mode. With “Sweep Mode” = EG, the flanger will sweep using the envelope generator. This envelope generator is included in the envelope flanger, and not related to the Pitch EG, Filter EG, or Amp EG. The “Src” parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received.
624| Effects for the Sounds Classic Flanger This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Feedback + Flanger Right LFO Sync a Wet / Dry Reset Offset LFO Speed [Hz] 0.10...10.0 Sets the speed of LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –10.00… +10.
Effect parameters |625 Stereo Phaser This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
626| f h j Effects for the Sounds Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source for the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth Resonance –100…+100 Sets the resonance amount High Damp [%] 0…100 Sets the resonance damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount
Effect parameters |627 St. Random Phaser (Stereo Random Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. Stereo In - Stereo Out Left FX Amt Phaser Resonance High Damp Phaser Right LFO Phase FX Amt LFO: Step-Tri/Random a b c d LFO Waveform Step-Tri, StepSin, Random Selects the LFO Waveform LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right LFO Frequency [Hz] 0.02…20.
628| f Effects for the Sounds Manual 0…100 Sets the frequency to which the effect is applied Src Off…Tempo Selects the modulation source for the LFO modulation Amt –100…+100 Sets the modulation amount of the LFO modulation g Depth 0…100 Sets the depth of LFO modulation h Resonance –100…+100 Sets the resonance amount High Damp [%] 0…100 Sets the resonance damping amount in the high range Wet/Dry -Wet, -1:99… Dry…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DM
Effect parameters c Sweep Mode EG, D-mod Determines whether the flanger is controlled by the envelope generator or by the modulation source Src Off…Tempo Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the flanger to sweep (when D-mod is selected for Sweep Mode) EG Attack 1…100 Sets the EG attack speed EG Decay 1…100 Sets the EG decay speed e Resonance –100…+100 Sets the resonance amount f High Damp [%] 0…100 Sets
630| Effects for the Sounds Orange Phaser This phaser pedal is a favorite on many recordings. It’s useful for adding sparkle, animating chord passages, and widening and fattening the sound. The original had only a speed control; this version adds depth, control of the center frequency, and more. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Resonance + Phaser Right LFO a Wet / Dry Speed 0.10…10.00 This controls the speed of the phaser’s LFO.
Effect parameters |631 Small Phaser This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Color + Phaser Right LFO a Wet / Dry Speed 0.10…10.00 This controls the speed of the phaser’s LFO. The default is 1.00 Hz. Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
632| Effects for the Sounds Phaser - Cho/Flng (Phaser - Chorus/Flanger) This effect combines a mono phaser and a chorus/flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Phaser + Phaser Resonance FX Amt Chorus/Flanger Chorus/Flanger EQ LEQ HEQ Trim Phaser Feedback FX Amt Right LFO: Tri / Sine LFO: Tri / Sine Normal Output Mode Wet Invert Cho/Flng FX Amt + – FX Amt PHASER a [P]LFO Frequency [Hz] 0.02…20.
Effect parameters i [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |633 St. Phaser + Trml (Stereo Phaser + Tremolo) This effect combines a stereo phaser and tremolo, with linked LFOs.
634| c Effects for the Sounds MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |635 f: Phaser Wet/Dry i: Wet/Dry PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT Wet/Dry sets the balance between the final phaser and tremolo output level and the dry sound. Stereo Tremolo This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.
636| d Effects for the Sounds MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |637 St. Env. Tremolo (Stereo Envelope Tremolo) This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that becomes deeper and faster as the input gets more quiet.
638| Effects for the Sounds d: LFO Frequency [Hz] d: Envelope Amount [Hz] e: Depth e: Envelope Amount The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but also modulates the Depth to 0–so the tremolo doesn’t have any effect.
Effect parameters e Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |639 Ensemble This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
640| Effects for the Sounds c: Shimmer This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer. Ensemble LFO Level Shimmer Time Polysix Ensemble This models the ensemble effect built PolySix programmable polyphonic synthesizer.
Effect parameters |641 Stereo Vibrato This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
642| g h Effects for the Sounds Depth 0…100 Sets the depth of LFO modulation Src Off…Tempo Selects the modulation source of the LFO modulation depth Amt –100…+100 Sets the modulation amount of the LFO modulation depth Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Autofade Src b: Fade-In Delay [msec] b: Fade-In Rate d: LFO Frequency Mod When “LFO Frequency Mod” is set to A
Effect parameters |643 U-Vibe Modeled on the most famous chorus/vibrato pedal effect unit. This effect simulates a rotating speaker and produces a wonderfully seductive and ‘watery’ tone. Interestingly enough, the guy responsible for this great pedal is also responsible for the birth of the KORG Nuvibe and Valve Reactor Technology. a b c d Speed [Hz] 1…100 Sets the speed of the U-Vibe effect Src Off…Tempo Selects a modulation source for the U-Vibe effect Amt –10.00… +10.
644| Effects for the Sounds St. Auto Fade Mod. (Stereo Auto Fade Modulatiom) This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.
Effect parameters a Autofade Src Off…Tempo Selects the modulation source that starts AutoFade Fade-In Delay [msec] 00…2000 Sets the fade-in delay time Rate 1…100 Sets the rate of fade-in LFO Frequency Mod D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the LFO frequency modulation Wet/Dry Mod D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the effect balance modulation LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the curvature of the
646| Effects for the Sounds St. Biphase Mod. (Stereo Biphase Modulation) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analogtype, unstable modulated sound.
Effect parameters f g h L Pre Delay [msec] 0.0…50.0 Sets the delay time for the left channel R Pre Delay [msec] 0.0…50.
648| a Effects for the Sounds LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the curvature of the LFO Waveform b LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
Effect parameters |649 You’ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels. Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees LFO Phase = 90 degrees L-In L-In LFO Phase = 180 degrees L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In Left L-In R-In R-In R-In Right Center Output Stereo Image St.
650| a b c d e Effects for the Sounds OSC Mode Fixed, Note (Key Switching between specifying the oscillator Follow) frequency and using a note number Pre LPF 0…100 Sets the damping amount of the high range input to the ring modulator Fixed Frequency [Hz] 0…12.00k Sets the oscillator frequency when OSC Mode is set to Fixed Src Off…Tempo Selects the modulation source for the oscillator frequency when OSC Mode is set to Fixed Amt –12.00k… +12.
Effect parameters |651 a: OSC Mode This parameter determines whether or not the oscillator frequency follows the note number. a: Pre LPF This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of harmonics, the effect may sound dirty. In this case, cut a certain amount of high range. b: Fixed Frequency [Hz] This parameter sets the oscillator frequency when “OSC Mode” is set to Fixed.
652| c d e f g Effects for the Sounds Preset Type V1, C1, V2, C2, V3, C3 Selects the effect type when Mode=Preset Src Off…Tempo Selects the modulation source that will change the effect type Amt –5…+5 Sets the modulation amount for changing the effect type Custom Mix Vibrato, 1:99…99:1, Chorus Sets the mix level of the direct sound when Mode=Preset Src Off…Tempo Selects the modulation source that will control the mix level of the direct sound Amt –100…+100 Sets the modulation amount
Effect parameters |653 c: Amt If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1›C1›V2›C2›V3›C3. Rotary Speaker This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately. The effect also simulates the stereo microphone settings.
654| e Effects for the Sounds Rotor Acceleration 0…100 Determines how quickly the rotor rotation speed in the low range is switched Rotor Ratio Stop, 0.50…2.00 Adjusts the (low-frequency) rotor speed. Standard value is 1.00.
Effect parameters |655 c: Manual Speed Ctrl If you wish to control the rotation speed manually, instead of switching between Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don’t want to use manual control, set this to Off. d: Horn Acceleration e: Rotor Acceleration On a real rotary speaker, the rotation speed accelerates or decelerates gradually after you switch the speed.
656| Effects for the Sounds Rotary SpeakerOD (Rotary Speaker Overdrive) This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.
Effect parameters f g h i j Horn/Rotor Balance Rotor, 1…99, Horn Sets the volume balance between the high-range horn and low-range rotor Manual SpeedCtrl Off…Tempo Sets a modulation source for direct control of rotation speed Horn Acceleration 0…100 Sets how quickly the horn rotation speed changes Horn Ratio Stop, 0.50…2.00 Adjusts the (high-frequency) horn rotation speed. Standard value is 1.00.
658| Effects for the Sounds DYN (Dynamics) Stereo Compressor This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.
Effect parameters h Wet/Dry Dry, 1:99…99:1, Sets the Balance between the wet and Wet dry signal Src Off…Tempo Selects a modulation source for Wet/Dry Amt –100…+100 Sets the modulation amount for Wet/Dry |659 a: Envelope Select This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently. b: Sensitivity g: Output Level The “Sensitivity” parameter sets the sensitivity of the compressor.
660| Effects for the Sounds Dyn. Compressor (Dynamic Compressor) This effect reduces the dynamic range of the input signal, to regulate the level and give a ‘punchy’ effect. It is useful for guitar, piano, and drum sounds. This is a true stereo effect; you can link the left and right channels, or use each channel separately.
Effect parameters |661 Stereo Limiter The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter. You can link left and right channels, or use each channel individually.
662| g h Effects for the Sounds Side PEQ Cutoff [Hz] 20…12.00k Sets the EQ center frequency for the trigger signal Q 0.5…10.0 Sets the EQ bandwidth for the trigger signal Gain [dB] –18.0…+18.
Effect parameters |663 Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced. Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 Louder Level Dry Input Level Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold Ratio=Inf : 1 Time d: Attack d: Release These parameters set the attack time and release time.
664| Effects for the Sounds f: Trigger Monitor Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Usually, set this to Off. f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB] These parameters are used to set the EQ applied to the trigger signal. The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal.
Effect parameters g High Offset [dB] –40…0 Gain of the high-range trigger signal h Gain Adjust [dB] –Inf, –38…+24 Sets the output gain Src Off…Tempo Selects the modulation source for the output gain Amt –63…+63 Sets the modulation amount of the output gain Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source i |665 e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB] These
666| Effects for the Sounds d Release 1…100 Sets the release time e Low Offset [dB] –40…0 Sets the low range gain of trigger signal f Mid Offset [dB] –40…0 Sets the mid range gain of trigger signal g High Offset [dB] –40…0 Sets the high range gain of trigger signal h Gain Adjust [dB] –Inf, –38…+24 Sets the output gain Src Off…Tempo Selects the modulation source for the output gain Amt –63…+63 Sets the modulation amount of the output gain Wet/Dry Dry, 1:99…99:1, Wet Balance betw
Effect parameters |667 Stereo Gate This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
668| Effects for the Sounds h Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source c: Threshold d: Attack d: Release “Threshold” specifies the level at which gating occurs when “Envelope Select” is set to L/R Mix, L Only, or R Only. “Attack” and “Release” specify the attack time and release time of the gate.
Effect parameters |669 e: Delay Time [msec] This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.
670| Effects for the Sounds AMP (Amplifier) Pa4X includes accurate guitar and bass amplifier and cabinet modeling. Some of the effects combine an amplifier and a cabinet model. Modelling amplifiers Pa4X comes with a wide selection of the best amps, that offer the widest possible array of great tones.
Effect parameters |671 Modelling speaker cabinets The accurate amp models can be paired with speaker cabinet models of the same quality. The output stage of a tube amp works in close harmony with the varying impedance curve of the speaker(s) it is driving. This intimate and vital relationship plays a major role in producing the warm, punchy sound and pleasing feel of tube amps.
672| Effects for the Sounds Cabinet types When a cabinet can be chosen, these are the available types. Cabinet Type Meaning TWEED - 1x12 Open-back cabinet with one 12” Alnico magnet speaker, typically used for blues. It is usually paired with the Tweed Amp. TWEED - 4x10 Open-back cabinet with four 10” 8 Ohm Alnico magnet speakers, wired in parallel for a total of 2 Ohms impedance. BLACK - 2x10 Open-back cabinet with two 10” ceramic magnet 35 Watt speakers.
Effect parameters |673 Amp + Cabinet combinations These are the recommended combinations of guitar amp models and cabinet simulators: Amp Type Cabinet Type VOX AC15 VOX AC15 - 1x12 VOX AC15TB VOX AC15 - 1x12 VOX AC30 VOX AC30 - 2x12 VOX AC30TB VOX AC30 - 2x12 UK BLUES UK H30 - 4x12 UK 70’S UK H30 - 4x12 UK 80’S UK T75 - 4x12 UK 90’S UK T75 - 4x12 UK MODERN UK T75 - 4x12, US V30 - 4x12 US MODERN US V30 - 4x12 US HIGAIN US V30 - 4x12, UK T75 - 4x12 BOUTIQUE OD UK H30 - 4x12 BOUTIQU
674| Effects for the Sounds GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a four-band equalizer. By using this in conjunction with St. Guitar Cabinet (Stereo Guitar Cabinet), you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.
Effect parameters e Post P4EQ Thru, On Selects through or on for the equalizer f Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of |675 Band 1 g Q 0.5…10.0 Sets Band 1’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 1 Band2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 h Q 0.5…10.0 Sets Band 2’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 2 Band3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 i Q 0.5…10.
676| Effects for the Sounds GuitarAmp + Cabinet As the above, minus the EQ, plus the cabinet.
Effect parameters e Cabinet Type TWEED - 1x12, TWEED - 4x10, Selects the cabinet type BLACK - 2x10, BLACK - 2x12, VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12, UK H30 - 4x12, UK T75 - 4x12, US V30 - 4x12 f g Cabinet Trim 0…100 Sets the input level Cabinet Air 0…100 Sets the mic position Noise Gate On/Off On, Off Switches Gate on/off Threshold 0…100 Sets the level at which gating is applied Attack 1…100 Sets the attack time Release 1…100 Sets the release time Wet/Dry Dry, 1:9
678| Effects for the Sounds Amp Clean Combo This models the clean channel of a amp that went on sale in 1975 and contained two 12” speakers. As the name suggests, it produces a clean tone with a tight sounding character, and a deep and compact low-end. When pushed hard the bass tends to crumble. The original amp doesn’t have a Presence control but does have a Bright Switch. The Presence control on your Pa4X emulates this switch when Off and On, plus all points in-between.
Effect parameters Amp Clean Combo + Cab As the above, plus cabinet.
680| Effects for the Sounds Amp California This 45W American combo amp with four 10” speakers, produced in South California during the years 1963–1968, was known for its big, clean sound and its warm and husky sound when driven heavily. This amp’s medium output and powerful sound was a favorite in clubs. Original’s tube compliment: 4 x 12AX7 in the preamp, 1 x 5AR4 rectifier tube, 2 x 6L6 tubes in the power amp, plus 2 x 12AT7 tubes.
Effect parameters Amp California + Cab As the above, plus cabinet.
682| Effects for the Sounds Amp Tweed This 40W American-made tweed-covered 1957 model combo amp with two 12” speakers is known for its rich, clean tone that is ideal for classic rock, blues, and country. By raising the volume you can also produce a powerful and punchy overdrive sound. It quickly became a favorite of the greatest bands of the ’60s, and is what you can call ‘the classic tone’.
Effect parameters Amp Tweed + Cab As the above, plus cabinet.
684| Effects for the Sounds Amp Modded OD This models the Overdrive channel of a 100W boutique amp head produced in North Hollywood. Its beautifully deep and rounded low-end, delightfully transient midrange attack and sweet treble, with an harmonically rich overdrive, the lushest clean tone, woody attack and blooming sustain, make it an instant pleasure to play. Original’s tube compliment: 2 x 12AX7s in the preamp, 1 x 12AX7s rectifier, 4 x EL34s (or 6L6s) in the power amp.
Effect parameters Amp Modded OD + Cab As the above, plus cabinet.
686| Effects for the Sounds St. Guitar Cabinet (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet.
Effect parameters |687 Gtr. Cabinet + NR (Guitar Cabinet + Noise Reduction) Guitar cabinet and Noise Reduction.
688| Effects for the Sounds OD/HI-GAIN a b e f g [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion Drive 1…100 Sets the degree of distortion [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.
Effect parameters |689 OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.
690| g h i j Effects for the Sounds Mid1Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1 (peaking type) Q 0.5…10.0 Sets the band width of Mid/High EQ 1 Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1 Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2 (peaking type) Q 0.5…10.
Effect parameters |691 be controlled by the modulation source specified in the “Wah Sweep Src” parameter. d: Pre Low-cut Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion. d: Drive e: Output Level The degree of distortion is determined by the level of input signal and the setting of “Drive”. Raising the “Drive” setting will cause the entire volume level to increase. Use the “Output Level” parameter to adjust the volume level.
692| Effects for the Sounds c Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hi-gain distortion d Drive 1…120 Sets the degree of distortion Pre Low-cut 0…10 Sets the low range cut amount of the distortion input Output Level 0…50 Sets the output level Src Off…Tempo Selects the modulation source for the output level Amt –50…+50 Sets the modulation amount of the output level Low Cutoff [Hz] 20…1.
Effect parameters |693 Comp - Amp Sim (Compressor - Amp Simulation) This effect combines a mono compressor and an amp simulation. You can change the order of the effects.
694| Effects for the Sounds Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an overdrive/high-gain distortion. You can change the order of the effects.
Effect parameters h [O]Wet/Dry Dry, 1 : 99…99 : 1, Wet Sets the overdrive effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the overdrive Amt –100…+100 Sets the Wet/Dry modulation amount for the overdrive i Routing Comp › OD/HG, Switches the order of the compressor OD/HG › Comp and overdrive j Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |695 Wah - Am
696| c d Effects for the Sounds [W]LFO Frequency [Hz] 0.02…20.
Effect parameters b c [D]Sampling Freq [Hz] 1.00k…48.
698| e Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) This simulates a bass amp (with gain and drive) and speaker cabinet.
Effect parameters i Cabinet Type LA - 4x10, MODERN Selects the cabinet type - 4x10, METAL - 4x10, CLASSIC -8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI 1x12 & 1x18 j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Amp Type i: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type STUDIO
700| Effects for the Sounds Bass Amp Model This simulates a bass amp. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt + Volume Bass Amp Model Right FX Amt D-mod a Amp Type Selects the amplifier type LA STUDIO An amp that is typical of the LA sound. JAZZ A combo amp favored by jazz bassists. GOLD PANEL An amp distinctive for its eye-catching gold panel and clean sound. SCOOPED An amp typical of 80’s sounds. VALVE2 A tube amp suitable for rock.
Effect parameters Bass Amp+Cabinet (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet.
702| i Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Amp Type h: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type LA STUDIO LA - 4x10, LA - 1x18 JAZZ JAZZ - 1x15 GOLD PANEL MODERN - 4x10 SCOOPED METAL - 4x10 VALVE2 CLASSIC - 8x10 VALVE CLASSIC - 8x10 CLASSIC COMBI - 1x12 & 1x18
Effect parameters |703 St. Bass Cabinet (Stereo Bass Cabinet) This simulates the acoustical character of a bass amp’s speaker cabinet.
704| Effects for the Sounds Tube PreAmp Model (Tube PreAmp Modeling) This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt + Tube Pre Amp1 Invert + – Tube Pre Amp2 Right a Output Level FX Amt Tube1 Low Cut [Hz] Thru, 21…8.
Effect parameters |705 b, f: Saturation [%] With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response. Mic/Pre Amp - Saturation Out Saturation = 0 Saturation = 50 Saturation = 100 In Bias = 0 c: Tube1 Bias This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of this value will produce distortion even at low gain levels.
706| Effects for the Sounds St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (Tube PreAmp Model (Tube PreAmp Modeling)).
Effect parameters |707 Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.
708| Effects for the Sounds St. Mic + PreAmp (Stereo Mic Modeling + PreAmp) This is a stereo mic and preamp simulator (Mic Model+PreAmp (Mic Modeling + PreAmp)). For example you might use this to simulate micing of a stereo source such as a rotary speaker.
Effect parameters |709 FILT (EQ and Filters) St.Parametric4EQ (Stereo Parametric 4-Band EQ) This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
710| Effects for the Sounds h i Band4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4 Q 0.5…10.0 Sets the bandwidth of Band 4 Gain [dB] –18.0…+18.0 Sets the gain of Band 4 Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source b: Band1 Type c: Band4 Type Selects a filter type for Band 1 and 4.
Effect parameters |711 St. Graphic 7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.
712| Effects for the Sounds P4EQ – Exciter (Parametric 4-Band EQ - Exciter) This effect combines a mono four-band parametric equalizer and an exciter. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + Exciter FX Amt Exciter Trim Right FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.
Effect parameters |713 P4EQ - Wah (Parametric 4-Band EQ – Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection.
714| Effects for the Sounds g h i j [W]Sweep Mode Auto, D-mod, LFO Selects the control from auto-wah, modulation source, and LFO Src Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod [W]LFO Frequency [Hz] 0.02…20.
Effect parameters a b c d e Frequency Bottom 0…100 Sets the lower limit of the wah center frequency Frequency Top 0…100 Sets the upper limit of the wah center frequency Sweep Mode Auto, D-mod, LFO Selects the control from auto-wah, modulation source, and LFO Src Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod Respon 0…100 Sets the response speed when Sweep Mode = Auto or D-mod Envelope Sens 0…100 Sets the sensitivity of auto-wah Envelope Shape –100…+100 Se
716| Effects for the Sounds a: Frequency Bottom a: Frequency Top The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings.
Effect parameters |717 c: Envelope Shape This parameter determines the sweep curve for auto-wah. Envelope Shape Level Envelope value = 0...+100 value = 0...–100 Time d: LFO Frequency [Hz] e: MIDI Sync When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO Frequency parameter setting. When “MIDI/Tempo Sync”=On, the LFO speed follows the “BPM”, “Base Note”, and “Times” settings.
718| Effects for the Sounds St. Vintage Wah (Stereo Vintage/Custom Wah) This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.
Effect parameters g MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
720| Effects for the Sounds VOX Wah This effect is modeled on two legendary VOX wah pedals: the V847 and the V848 Clyde McCoy model. Thanks to their unique ‘throaty’ tone, these are the only wah pedals that many professionals will consider putting under their feet. Played musically, they can make your melody lines cry like a baby—or howl like a man possessed! A great tonal trick is to find a ‘sweet spot’ within the range of the Wah pedal and then leave it there.
Effect parameters |721 St.Exciter/Enhncr (Stereo Exciter/Enhancer) This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.
722| i Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Exciter Blend This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values. b: Emphasis Freq This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
Effect parameters |723 Stereo Isolator This is a stereo effect that separates the input signal into low, mid, and highfrequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.
724| Effects for the Sounds g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source St. Random Filter (Stereo Random Filter) This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation.
Effect parameters d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
726| Effects for the Sounds a: LFO Phase [degree] Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect. LFO Phase 0 –180 –90 +90 +180 [degree] 0 [degree] a: LFO Waveform b: LFO Frequency [Hz] c: LFO Step Freq [Hz] When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed.
Effect parameters |727 i: Wet/Dry The effect sound’s phase will be reversed when you set this parameter in the negative range of values. St. MultiModeFilter (Stereo Multi Mode Filter) This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.
728| e f Effects for the Sounds LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.00 Sets the modulation amount of LFO speed MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |729 Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
730| Effects for the Sounds h MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
Effect parameters |731 f: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value. f: Resonance This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound.
732| Effects for the Sounds c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00…300.00 MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Base Note d e f g h i … Selects the type of notes that specify the LFO speed Times x1…x32 Sets the number of notes that specify the LFO speed Mod.
Effect parameters |733 When “Control Mode” = Manual, the “Resonance” parameter sets the intensity of resonance. If the “Resonance” parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower. When “Control Mode” = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between specified pitches an octave apart in turn.
734| Effects for the Sounds VOX Treble Booster Vintage booster of high frequencies. a Drive 0...99 Amount of the boost effect b Level 0...
Effect parameters |735 Vocoder This effect applies the timbral character of a different signal (the modulator) to the input signal (the carrier). A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a microphone. A special effect is also achieved by using rhythm or effect sounds. Strings or distortion guitar sounds with a lot of harmonics are suitable as Carrier signals.
736| Effects for the Sounds i j Low Gain [dB] –12...+12 Sets the low-range output level of the vocoder High Gain [dB] –12...+12 Sets the high-range output level of the vocoder Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source e: Formant Shift By offsetting the Carrier filter, you can adjust the height of the frequency range to which the vocoder effect is applied.
Effect parameters |737 You can add reverb to the Vocoder, by way of the to MFX1 parameter. To create a new Song making use of the Vocoder, enter the Sequencer > Backing Sequence mode with a Keyboard Set including the Vocoder effect.
738| Effects for the Sounds FREQ (Frequency) St. Sub Oscillator (Stereo Sub Oscillator) This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver. Stereo In - Stereo Out Left Envelope Sens Pre LPF D-mod Note No.
Effect parameters f Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Wet Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |739 a: OSC Mode b: Note Interval b: Note Fine The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver.
740| Effects for the Sounds Grain Shifter This effect cuts extremely short samples (‘grains’) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.
Effect parameters |741 a: Duration c: LFO Sample Cycle [Hz] Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously. Sample Cycle / Duration Sample Cycle Duration In Out Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal.
742| Effects for the Sounds d e Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source d: Input Level Dmod [%] d: Src This parameter sets the dynamic modulation of the input level. Input Level Input Level Dmod Input Level x1.0 x1.
Effect parameters |743 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.
744| Effects for the Sounds a: Mode This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is inbetween these two. If you do not need to set too much pitch shift amount, set this parameter to Slow. If you wish to change the pitch significantly, use Fast.
Effect parameters |745 Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo.
746| Effects for the Sounds h i Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Src Off…Tempo Selects the modulation source for the input level Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source d: BPM e: Delay Base Note e: Times The delay time is the duration of “Times” number of “Delay Base Note” note values at the “BPM” tempo (or if “BPM” is set to MI
Effect parameters |747 Pitch Shift Mod (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.
748| Effects for the Sounds g Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: Pitch Shift [cents] e: Depth These parameters set the amount of pitch shift and amount of modulation by means of the LFO.
Effect parameters |749 St. Pitch Shifter (Stereo Pitch Shifter) This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other.
750| i Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source a: L/R Pitch When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered. St.
Effect parameters c d e Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent Amt –100…+100 Sets the modulation amount of pitch shift amount Sets the modulation amount of pitch shift amount BPM MIDI, 40.00… 300.
752| Effects for the Sounds MISC (Miscellaneous) Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).
Effect parameters d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency BPM MIDI, 40.00… 300.
754| Effects for the Sounds St. Analog Record (Stereo Analog Record) This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable. Stereo In - Stereo Out Left EQ Trim Pre EQ EQ Trim Pre EQ Analog Record Simulation Right FX Amt FX Amt a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m.
Effect parameters |755 b: Flutter This parameter enables you to set the depth of the modulation caused by a warped turntable. e: Click Level This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes. Doppler This effect simulates the “Doppler effect” of a moving sound with a changing pitch, similar to the siren of an passing ambulance.
756| Effects for the Sounds a LFO Mode Loop, 1-Shot Switches LFO operation mode Src Off…Tempo Selects the modulation source of LFO reset b LFO Sync Off, On Switches between LFO reset on and off when LFO Mode is set to Loop c LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Src Off…Tempo Selects a modulation source for LFO speed Amt –20.00… +20.
Effect parameters |757 When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the “Src” field is turned on. At this time if you do not set the “Src” parameter, the Doppler effect will not be created, and no effect sound will be output. The effect is off when a value for the modulation source specified for the “Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher.
758| Effects for the Sounds 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.
Effect parameters |759 a: Scratch Source b: Response The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modulation source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.
760| Effects for the Sounds Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).
Effect parameters |761 When “Rec Mode” is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec. If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single. If you record only one note, set “Rec Mode” to Multi. The “Reverse Time” parameter specifies the maximum duration of the reverse playback. The part in excess of this limit will not be played in reverse.
762| Effects for the Sounds P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger) This effect combines a mono four-band parametric equalizer and a chorus/ flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + FX Amt Chorus/Flanger Chorus/Flanger Trim Feedback + – Normal Output Mode Wet Invert Cho/Flng FX Amt Right LFO: Tri / Sine FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.
Effect parameters h [F]Cho/Flng Wet/ Dry -Wet, -1:99… Dry…99:1, Wet Sets the effect balance of the chorus/flanger Src Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger Amt –100…+100 Sets the Wet/Dry modulation amount for the chorus/flanger i [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/ flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of
764| Effects for the Sounds P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 Q 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB] –18…+18 Sets the gain of Band 2 [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 Q 0.5…10.
Effect parameters |765 P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay) This effect combines a mono four-band parametric equalizer and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Parametric 4Band EQ + Multitap Delay FX Amt Feedback Trim Delay High Damp (1) Right (2) Mt.Dly FX Amt FX Amt P4EQ a [E]Trim 0…100 Sets the parametric EQ input level b [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.
766| Effects for the Sounds i j [D]Mt.
Effect parameters COMPRESSOR a [C] Sensitivity 1…100 Sets the sensitivity b [C]Attack 1…100 Sets the attack level Output Level 0…100 Sets the compressor output level c [C]EQ Trim 0…100 Sets the EQ input level d [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ [W]Frequency Bottom 0…100 Sets the lower limit of the wah center frequency Frequency Top 0…100 Sets the upper limit of the wah center frequency [w]Sweep Mode Auto, D-m
768| Effects for the Sounds Comp - P4EQ (Compressor - Parametric 4-Band EQ) This effect combines a mono compressor and a four-band parametric equalizer. You can change the order of the effects.
Effect parameters i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source |769 Comp - Cho/Flng (Compressor - Chorus/Flanger) This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.
770| Effects for the Sounds g [F]Cho/Flng Wet/Dry -Wet, -1:99… Dry…99:1, Wet Sets the effect balance of the chorus/flanger Src Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger Amt –100…+100 Sets the Wet/Dry modulation amount for the chorus/flanger h [F]Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger i Routing Comp › Flanger, Flanger › Comp Switches the order of the compressor and chorus/flanger j Wet/Dry Dry, 1:99…99:1, Wet Balance b
Effect parameters |771 Comp - Phaser (Compressor - Phaser) This effect combines a mono compressor and a phaser. You can change the order of the effects.
772| Effects for the Sounds j Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Comp - Mt. Delay (Compressor - Multitap Delay) This effect combines a mono compressor and a multitap delay. You can change the order of the effects.
Effect parameters h [D]Mt.Delay Wet/Dry Dry, 1 : 99…99 : 1, Wet Sets the multitap delay effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the multitap delay Amt –100…+100 Sets the Wet/Dry modulation amount for the multitap delay i Routing Comp › Mt.Delay, Mt.
774| Effects for the Sounds d [E]Trim 0…100 Sets the parametric EQ input level e [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 Q 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 Q 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB] –18…+18 Sets the gain of Band 2 [E]B3 Cutoff [Hz] 300…10.00k Sets the center frequency of Band 3 Q 0.5…10.
Effect parameters |775 Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced. Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 Louder Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Dry Level Input Level Threshold Ratio=Inf : 1 Time Limiter - Cho/Flng (Limiter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
776| Effects for the Sounds LIMITER a [L]Ratio 1.0 : 1… 50.0 : 1, Inf : 1 Sets the signal compression ratio Threshold [dB] –40…0 Sets the level above which the compressor is applied [L]Attack 1…100 Sets the attack time Release 1…100 Sets the release time [L]Gain Adjust [dB] –Inf, –38…+24 Sets the limiter output gain [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO LFO Waveform Triangle, Sine Selects the LFO Waveform [F]Delay Time [msec] 0.0…1350.
Effect parameters |777 Limiter - Phaser This effect combines a mono limiter and a phaser. You can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing Limiter + Phaser Limiter Gain Adjust Resonance + – Normal Output Mode Wet Invert Phaser FX Amt Right Envelope - Control FX Amt Phaser LFO: Tri / Sine FX Amt LIMITER a b [L]Ratio 1.0 : 1… 50.
778| Effects for the Sounds i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS Source) Amt –100…+100 Amount of modulation source (Dynamic Modulation Limiter - Mt.Delay (Limiter - Multitap Delay) This effect combines a mono limiter and a multitap delay. You can change the order of the effects.
Effect parameters LIMITER a [L]Ratio 1.0 : 1… 50.0 : 1, Inf : 1 Sets the signal compression ratio Threshold [dB] –40…0 Sets the level above which the compressor is applied [L]Attack 1…100 Sets the attack time Release 1…100 Sets the release time [L]Gain Adjust [dB] –Inf, –38…+24 Sets the limiter output gain [D]Tap1 Time [msec] 0.0…1360.0 Sets the Tap1 delay time Tap1 Level 0…100 Sets the Tap1 output level [D]Tap2 Time [msec] 0.0…1360.
780| Effects for the Sounds Exciter - Comp (Exciter – Compressor) This effect combines a mono exciter and a compressor. You can change the order of the effects.
Effect parameters |781 Exciter – Limiter This effect combines a mono exciter and a limiter. You can change the order of the effects.
782| Effects for the Sounds Exciter - Cho/Flng (Exciter – Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
Effect parameters i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source Exciter - Phaser This effect combines a mono limiter and a phaser.
784| g Effects for the Sounds [P]Phaser Wet/Dry -Wet, -1:99… Dry…99:1, Wet Sets the phaser effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the phaser Amt –100…+100 Sets the Wet/Dry modulation amount for the phaser h [P]Output Mode Normal, Wet Invert Selects the phaser output mode i Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS Source) Amt –100…+100 Amount of modulation source (Dynamic Modulation Exciter - Mt.
Effect parameters f [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount g [D]High Damp [%] 0…100 Sets the damping amount in the high range h [D]Mt.
786| b e f g Effects for the Sounds [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18 Sets the gain of Low EQ [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1 (peaking type) Q 0.5…10.
Effect parameters |787 OD/HG - Phaser (Overdrive/Hi.Gain - Phaser) This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects.
788| i j k l Effects for the Sounds [P]Manual 0…100 Sets the frequency to which the effect is applied Depth 0…100 Sets the depth of LFO modulation Resonance –100…+100 Sets the resonance amount [P]Phaser Wet/Dry -Wet, -1:99… Dry…99:1, Wet Sets the phaser effect balance Src Off…Tempo Selects the Wet/Dry modulation source for the phaser Amt –100…+100 Sets the Wet/Dry modulation amount for the phaser [P]Output Mode Normal, Wet Invert Selects the phaser output mode Routing OD/HG › Pha
Effect parameters b e f g [O]Output Level 0…50 Sets the overdrive output level Src Off…Tempo Selects the modulation source for the overdrive output level Amt –50…+50 Sets the modulation amount of the overdrive output level [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18 Sets the gain of Low EQ [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/ High EQ 1 (peaking type) Q 0.5…10.
790| Effects for the Sounds Decimator - Comp (Decimator - Compressor) This effect combines a mono decimator and a compressor. You can change the order of the effects.
Effect parameters Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) This effect combines a mono chorus/flanger and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left + EQ LEQ HEQ Trim Right Chorus/Flanger Feedback FX Amt Multitap Delay Chorus/Flanger Feedback Delay (2) (1) Cho/Flng FX Amt High Damp Mt.Dly FX Amt FX Amt LFO: Tri / Sine CHORUS/FLANGER a [F]LFO Frequency [Hz] 0.02…20.
792| Effects for the Sounds i j [D]Mt.
Effect parameters c d e f g h Tap2 (180) [msec] 0…2000 Sets the Tap2 (LFO phase=180 degrees) delay time Depth 0…30 Sets the Tap2 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation source for the control of Tap2 output Tap3 (060) [msec] 0…2000 Sets the Tap3 (LFO phase=60 degrees) delay time Depth 0…30 Sets the Tap3 chorus depth Status Always On, Always Off, On›Off (Dm), Off›On (Dm) Selects on, off, or modulation source for the control of
794| i j Effects for the Sounds Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Src Off…Tempo Selects the modulation source for the Tap output level, feedback amount, and effect balance Amt –100…+100 Sets the modulation amount of Tap1 feedback amount Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Src Off…Tempo See DMS (Dynamic Modulation Source) Amt –100…+100 Amount of modulation source b, c, d, e, f, g: Status These parameters set the output status of each Ta
Effect parameters |795 PianoBody/Damper (PianoBody/Damper Simulation) This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.
796| Effects for the Sounds a: Sound Board Depth This parameter sets the intensity of resonance of the piano sound board. b: Damper Depth b: Src This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The “Src” parameter selects the modulation source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal).
Effect parameters |797 DMS (Dynamic Modulation Sources) When the Src or DMS abbreviation, or the symbol is shown, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
798| Effects for the Sounds Gate1, Gate1+Dmpr (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed. Gate1,Gate1+Dmpr Note 1 2 1 3 2 3 Dmpr Damper Pedal On Off Gate1 Gate1+Dmpr Time Gate2, Gate2+Dmpr (Gate2+Damper) This is essentially the same as for Gate 1 or Gate 1 + Dmpr.
|799 Part X: KAOSS EFFECTS
800| KAOSS Effects
Using the KAOSS effects 45 |801 Using the KAOSS effects The KAOSS page What are the KAOSS effects? KAOSS is a KORG technology, allowing for live generation of MIDI events and simultaneous control of multiple parameters via a control surface. In Pa4X, it lets you transform the music flow, or do creative and interactive ‘liquid mixing’. For example, you can smoothly morph between Variations and Drum Kit types, to create an evolving and always renewed arrangement.
802| KAOSS Effects Going to the KAOSS page You can go to the KAOSS page by touching the KAOSS tab in the main page of the Style Play or Song Play mode. ▪▪ In Style Play mode: Recognized chord KAOSS pad Selected Preset Favorite Presets Tabs recalling other panes Effects parameters ▪▪ In Song Play mode: Song’s Tempo and Beat KAOSS pad Selected Preset Favorite Presets Tabs recalling other panes Effects parameters When you leave this page, the KAOSS is automatically stopped.
Using the KAOSS effects |803 Choosing the KAOSS Presets Choosing a KAOSS Preset or Favorite Presets A series or KAOSS Presets is already supplied with the instrument. You can choose a separate KAOSS Preset for the Style Play and the Song Play mode. Choose a KAOSS Preset from the library ▪▪ Use the pop-up menu in the top left corner of the page to choose one of the presets from the library containing all the presets.
804| KAOSS Effects Assigning a KAOSS Preset to one of the Favorite Preset buttons You can assign any of the presets from the library to one of the Favorite Preset buttons. This way, you will have a set of favorite presets always ready. The Favorites can be different for the Style Play and Song Play mode. 1 Choose one of the KAOSS Presets by using the pop-up menu in the top left corner of the page. 2 Touch the Assign button under the Favorite Preset buttons.
Using the KAOSS effects |805 KAOSS Preset list The following table contains all the Factory KAOSS Presets. Some of the presets can be chosen both in Style Play and Song Play mode. Some can only be chosen in Style Play mode. Please note that time-based effects can require a few moments, before starting to work.
806| KAOSS Effects KAOSS Preset X-Axis Y-Axis Works on HalfDouble&Bending D&B Speed Attack&Decay Style, Song Tracks HalfDouble&Halo D&B Speed FX&Release HalfDouble&Filter D&B Speed Cutoff&Resonance RhytSpeed&Balance D&B Speed D&B Balance DrumDecim&Filter Drum Decimator Cutoff&Resonance DrumDecim&Envelope Drum Decimator Attack&Decay Decimator&Halo Decimator FX&Release Decimator&Balance Decimator D&B Balance Decimator&Transp Decimator Transpose NoteMirror&Transp Mirror Note
Using the KAOSS effects Preset for the Style Play only KAOSS Preset X-Axis Y-Axis Works on Density1&Filter Density Cutoff&Resonance Style Tracks Density1&RhythmRig Density Rig Set Density1&HalfDouble Density D&B Speed Density2&DrumDecim Density Drum Decimator Density2&Halo Density FX&Release Density2&Repeater2 Density Loop Length Density3&Filter Density Cutoff&Resonance Density3&Balance Density D&B Balance Density4&Halo Density FX&Release Ending Den1&Rep Density Loop Lengt
808| KAOSS Effects Using the KAOSS effects Using the KAOSS effects is just a matter of letting the instrument play, or playing some notes, and swiping your finger in the KAOSS pad area to change the music flow. Starting the original music flow Transformation vs. Arpeggiator There are two general categories of KAOSS effects: ▪▪ Transformation effects, where the music flow generated by the Arranger or Player is processed to create new music.
Using the KAOSS effects |809 Using the KAOSS pad Check the effect’s parameters assigned to the X/Y axis ▪▪ See the name of the parameters under the pad. Axis Meaning X Finger movement from left to right, right to left. Y Finger movement from top to bottom, bottom to top. Change the parameters’ value ▪▪ To change the parameters’ value, move your finger in the KAOSS pad. Depending on the selected preset, the grid in the KAOSS pad will change.
810| KAOSS Effects Freeze the current values Do one of the following: ▪▪ Keep the SHIFT button pressed, and touch an area of the KAOSS pad, then release the SHIFT button and finally raise your finger. You are free to continue moving your finger, or to release it to freeze the current values. ▪▪ Press the SHIFT button while the finger is touching the KAOSS pad, then raise your finger and finally release the SHIFT button. The values of the latest position of your finger will be frozen.
Part XI: CONTROLLERS |811
812| Controllers
Hand controllers 46 |813 Hand controllers Programming the joystick Assigning functions to the joystick The left/right (X-, X+) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound programming. The up/forward movement (Y+) is usually Modulation, and sometimes a different Sound parameter, depending on the Sound programming. The down/ backward movement (Y-) can be assigned to various controls, or is left unused.
814| Controllers Setting the Pitch Bend range Pitch Bend range is defined for each Sound set, and can change with different Keyboard Sets, SongBook Entries or Styles. 1 Go to the Mixer/Tuning > Tuning page. 2 Use the Pitch Bend Sens(itivity) knobs to set the Pitch Bend range for each Sound. 3 PB Sensitivity Meaning 0 No pitch bend allowed. 1 … 12 Maximum up/down pitch bend range (in semitones). 12 = ±1 octave. Write the changes to a Sound set (Keyboard Set, Style Settings).
Hand controllers |815 Programming the keyboard’s velocity and aftertouch Assigning functions to velocity and aftertouch Velocity usually controls the Sound’s loudness, while aftertouch controls modulation. However, they can be assigned to other roles by each individual Sound. Assigning Sound parameters can be done in Sound Edit. Assigning aftertouch to the Sounds You can activate/deactivate aftertouch on each Keyboard Sound. 1 Go to the Keyboard/Ensemble > Ribbon/Aftertouch page.
816| 2 3 Controllers Use the Velocity Curve parameter to set the sensitivity of the keyboard to your playing strength. Velocity Curve Meaning Fixed No dynamic control available. Dynamic values are fixed, as in classic organs. When this option is chosen, you can set the fixed velocity value. Soft1 … Hard3 Curves, from the lightest one to the hardest one. Use the Aftertouch Curve parameter to set the sensitivity of the keyboard to the pressure you apply after playing a key. A.
Hand controllers |817 Programming the ribbon controller Assigning functions to the ribbon controller The function controlled by the ribbon depends on the selected Sounds. Assigning Sound parameters to the ribbon controller can be done in Sound Edit. Assigning the ribbon controller to the Sounds You can activate/deactivate the ribbon on each Keyboard Sound. 1 Go to the Keyboard/Ensemble > Ribbon/Aftertouch page. 2 Use the Ribbon checkbox to turn the ribbon on/off on each Sound.
818| Controllers Adjusting the ribbon controller’s sensitivity You can define how sensitive is the ribbon controller to your finger’s swipe. 1 Go to the Global > Controllers > Hand page. 2 Use the Ribbon > Sensitivity parameter to set the ribbon’s response.
Hand controllers |819 Programming the assignable sliders How the sliders work depend on the status of the SLIDER MODE indicator. The status of this button is saved with each Keyboard Set, but can be freely changed by repeatedly pressing the button. Choosing the slider mode 1 Use the SLIDER MODE button to select one of the slider modes. Slider mode Meaning Volume Each of the sliders controls the volume of the corresponding Sound/ part/track.
820| Controllers Programming the assignable sets 1 Go to the Global > Controllers > Sliders page. 2 Choose a function for each of the sliders. There are two sets (Assignable A and Assignable B), that you can recall by selecting the corresponding slider mode. Functions assignable to the sliders Slider function Meaning Off No function assigned Master Volume Master Volume control Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied.
Hand controllers |821 Slider function Meaning Song Track 1…16 Volume Volume of the corresponding MIDI Song track. SMF Melody Volume Volume of the corresponding MIDI Song’s special tracks (selected in the Global > Mode Preferences > Song & Seq page). SMF Drum&Bass Mode Vol.
822| Controllers Programming the assignable switches Assigning a function to the assignable switches You can program the ASSIGNABLE SWITCHES in a different way for each Keyboard Set. Choosing a different set of Sounds may therefore change the controls assigned to these switches, to match the different types of Sounds. 1 Go to the Style Play/Song Play > Pad/Switch > Switch page. 2 Use one of the Switch 1…3 menus to choose a command to be assigned to the corresponding switch.
Hand controllers |823 Switch function Meaning Synchro Start Same functions as the control panel buttons with the same name Synchro Stop Style Drum Mute Mute of the corresponding track Style Perc Mute Style Bass Mute Style Acc1…5 Mute Style Acc 1-5 Mute Mute/Unmute all the Acc tracks at once Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global > Mode Preference > Song & Seq.
824| Controllers Switch function Meaning Set List Next Moves to the next SongBook Entry in the selected Set List Set List Prev Moves to the previous SongBook Entry in the selected Set List Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the function assigned in Sound Edit in DNC Sounds. Sound Controller 2 Setting the Accelerando/Ritardando times Accelerando and Ritardando are controls you can assign to an assignable switch or footswitch.
Foot controllers 47 |825 Foot controllers Programming the damper pedal You can connect a footswitch, or a dedicated damper pedal, to the PEDAL > DAMPER connector on the back of the instrument. This pedal always works as a Damper pedal. Assigning the Damper pedal to the Sounds You can activate/deactivate the damper pedal on each Keyboard Sound. This is useful, for example, to only sustain some Upper Sounds and not the others. 1 Go to the Keyboard/Ensemble > Joystick/Pedal page.
826| Controllers Programming the assignable pedal/ footswitch Assigning a function to the pedal/footswitch You can connect a footswitch or expression pedal to the PEDAL > ASSIGNABLE connector on the back of the instrument. Depending on the connected type of pedal, you will choose a suitable function. Program the pedal/footswitch 1 Connect the pedal or footswitch to the PEDAL > ASSIGNABLE connector. 2 Go to the Global > Controllers > Foot page.
Foot controllers |827 Functions assignable to a footswitch Footswitch function Meaning Off No function assigned Style Start/Stop Same functions as the control panel buttons with the same name Play/Stop Player 1 Play/Stop Player 2 Go to Beginning Player 1 Go to Beginning Player 2 Chord Seq. Record Chord Seq.
828| Controllers Footswitch function Meaning Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET section under the display Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET LIBRARY Sound Up Selects the next Sound Sound Down Selects the previous Sound Transpose (b) Same functions as
Foot controllers |829 Footswitch function Meaning QuarterTone Turns Quarter Tone on/off Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks. Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled.
830| Controllers Functions assignable to an expression pedal Pedal function Meaning Master Volume Master Volume control Accompaniment Volume Volume of the Accompaniment Sounds Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied.
Foot controllers |831 Assigning the Expression pedal to the Sounds Expression is a relative level control, always subtracted from the Volume value. It can be assigned to any continuous pedal (also called a Volume/ Expression pedal). As an example, imagine you have a Piano sound assigned to Upper 1, and a Strings sound assigned to Upper 2.
832| Controllers 2 Use the PB Sensitivity parameter to set the Pitch Bend range (in semitones). 3 Write the changes to a Keyboard Set. Change the Glide time 1 Go to the Global > General Controls > Basic page. 2 Use the Glide > Time parameter to set the glide time.
Foot controllers |833 Calibrating the pedal and setting its polarity If needed, you might have to calibrate the pedals to use their full range of values, without any ‘dead spot’. Also, this procedure allows to choose the pedal’s polarity. Calibrate the pedal 1 Go to the Global > Controllers > Foot page. 2 Touch the Calibration button in the area of the button to calibrate, to make the Damper & Pedal/Footswitch Calibration dialog appear.
834| Controllers 5 Touch the Push button in the display to confirm the minimum value. Check if the pedal is working properly. In case it isn’t, repeat the procedure. 6 Press the EXIT button to return to the previous page.
Foot controllers |835 Programming the EC5 multiswitch Programming the EC5 switches You can connect a KORG EC5 multiswitch controller to the EC5 connector on the back of the instrument. This will give you a set of five programmable switches. 1 Connect the EC5 multiswitch to the EC5 connector. 2 Go to the Global > Controllers > EC5 page. 3 Use the A…E pop-up menus to choose a control function to each of the switches.
836| Controllers Functions assignable to an EC5 switch EC5 function Meaning Off No function assigned Style Start/Stop Same functions as the control panel buttons with the same name Play/Stop Player 1 Play/Stop Player 2 Go to Beginning Player 1 Go to Beginning Player 2 Chord Seq. Record Chord Seq. Play Synchro Start Synchro Stop Tap Tempo/Reset Tempo Lock Ritardando Accelerando Slowing down or making the Tempo faster, according to the curves programmed in the Global > General Controls > Basic page.
Foot controllers |837 EC5 function Meaning Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET section under the display Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET LIBRARY Sound Up Selects the next Sound Sound Down Selects the previous Sound Transpose (b) Same functions as th
838| Controllers EC5 function Meaning QuarterTone Turns Quarter Tone on/off Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks. Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled.
|839 Part XII: GLOBAL SETTINGS AND PREFERENCES
840| Global settings and preferences
Customizing the user interface |841 48 Customizing the user interface Display and control panel preferences Choosing the chords and alphanumeric keyboard language You can choose the language used to show chord names and the characters that can be inserted using the alphanumeric virtual keyboard. Please note that some of the characters can only be used when editing SongBook Entry names. 1 Since the instrument must be restarted at the end of this procedure, be sure to first save all unsaved data.
842| Global settings and preferences Control panel illumination You can adjust the button indicators’ brightness, to adapt the control panel glowing/luminosity to the ambient light. 1 Go to the Global > General Controls > Interface page. 2 Use the Panel Backlight pop-up menu to select one of the available luminosity degrees.
Customizing the user interface |843 Program Change and activity indicators Showing/Hiding the Program Change number You can make Program Change numbers be shown next to Sound names in the Sound Select window. Please note that Program Change numbers are always shown in the various Track Info areas. 1 Go to the Global > General Controls > Interface page. 2 Select/deselect the Program Change > Show checkbox.
844| Global settings and preferences Showing/Hiding the track’s activity You can turn on/off the Track Activity display. When it is turned on, you can monitor events coming from the internal Sounds or the MIDI messages. Incoming events are shown by the color changing on each track’s label. 1 Go to the Global > General Controls > Interface page. 2 Select/deselect the Track Activity > Show checkbox.
Automatic selection and locking 49 |845 Automatic selection and locking Automatically choosing Styles and Keyboard Sets Preferred Styles and Keyboard Sets can be assigned to the STYLE and KEYBOARD SET LIBRARY buttons. They are also assigned to the side tabs in the Style Select and Keyboard Set Library Select windows.
846| Global settings and preferences Automatically selecting the Keyboard Sets from the library When the Auto Select > Keyboard Set Library parameter is activated, pressing one of the KEYBOARD SET LIBRARY buttons, or touching the name of a bank in the Keyboard Set Library Select window, automatically selects the Keyboard Set you latest selected in that bank. This way, you can assign your preferred Keyboard Set to each control panel’s button, and select it just with a single press.
Automatic selection and locking |847 Locking parameters to prevent changes In various pages, next to some parameters, you can find a lock ( ) icon. All these locks are collected in the Global > General Controls > Lock pages for easy access. Locking the Tuning parameters 1 Go to the Global > General Controls > Lock > Tuning page. 2 Select/deselect the desired locks. Tuning lock Meaning Master Transpose Prevents Master Transpose from changing when choosing a SongBook Entry.
848| Global settings and preferences SongBook Entries, Keyboard Sets, and the sub-scale If you want that choosing a SongBook Entry also changes the sub-scale, the SubScale/Quarter Tone has to be unlocked. However, if you don’t want that choosing a Keyboard Set (by pressing one of the KEYBOARD SET buttons under the display) also changes the sub-scale, lock the SubScale/Quarter Tone Keyboard Set 1-4. Locking the Control parameters 1 Go to the Global > General Controls > Lock > Control page.
Automatic selection and locking |849 Control lock Meaning Assignable Switches When locked, selecting a Keyboard Set will not change the functions assigned to the Assignable Switches. Upper 1 FXs When choosing the Upper 1 Sound, the Sound’s or the Keyboard Set’s effect settings can be selected. • If this lock is closed, the Keyboard Set’s effect parameters are left unchanged. • If this lock is open, the Sound’s effect parameters are selected.
850| Global settings and preferences Locking the Style parameters 1 Go to the Global > General Controls > Lock > Style page. 2 Select/deselect the desired locks. Style locks Meaning Style Tracks Volume When this lock is closed, choosing a different Style does not change the volume of the accompaniment tracks. This is useful when you create your own User Styles, and prefer to dynamically adjust the volume by using the internal mixer.
System preferences 50 |851 System preferences Setting the date and time for file saving Pa4X includes a battery-backed system calendar and clock. This allows for automatically adding a time-stamp to the files, when they are created or edited. 1 Go to the Global > General Controls > Clock & Power page. 2 Set the Month/Day/Year and Time values. Use the Time numeric field to input the time, in the ‘hour:minute:second’ format.
852| Global settings and preferences Automatic power off Pa4X can automatically enter standby after two hours of not being used, to save power and help preserving the environment. 1 Go to the Global > General Controls > Clock & Power page. 2 Select/deselect the Auto Power Off checkbox. When this parameter is checked, a few minutes before automatic standby a message will warn you that the instrument is going to be put in standby. All unsaved data currently in editing or recording will be lost.
Master Transpose and Tuning 51 |853 Master Transpose and Tuning Master Tuning You can fine tune the instrument (in cents of a semitone), to adapt it to an acoustic instrument that is not possible to tune (for example an acoustic piano without a professional tuner or the right tools, or a period instrument). 1 Go to the Global > Tuning > Master page. 2 Use the Master Tuning parameter to fine tune the instrument.
854| Global settings and preferences Master Transpose Transposing the whole instrument The instrument’s key can be transposed to make singing or playing together with another instrument more comfortable. Master Transpose settings are also sent to any GM-compliant instrument. The transpose value is usually shown in the page header. Transpose down from the control panel ▪▪ Use the TRANSPOSE > FLAT ( ) button to lower the Master Transpose in steps of one semitone.
Master Transpose and Tuning |855 MP3 Songs and Master Transpose MP3 Songs can be transposed inside the range of -5…+6 semitones. This range is enough to cover all keys, while avoiding excessive audio degradation. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3 Song will actually play 5 semitones lower (Just Fourth Down).
856| Global settings and preferences Displaying transposed chord abbreviations in MIDI Songs When changing the Master Transpose, chord abbreviations contained in MIDI Songs are transposed and correctly shown in the display. Master Transpose must be applied to the Player, but not to the Keyboard. Please note that chords contained in a linked TXT file or shown in a CDG file are not transposed. When is Master Transpose applied? You can decide when the Master Transpose will take effect.
Master Transpose and Tuning |857 Transpose Meaning Off No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, transposed. Next Measure When you press either of the TRANSPOSE buttons, the new transpose setting will not take effect until the first beat of the next measure is reached.
858| Global settings and preferences Master Transpose and Scale You can define the relation between the Scale and the Master Transpose. 1 Go to the Global > Tuning > Transpose Control page. 2 Use the Position > Scale and Transpose pop-up menu to choose where transposition will apply in relation to the Scale. Transpose position Meaning Post-KB/Pre-Scale When this option is selected, notes will be transposed immediately after they leave the keyboard. The Scale will be applied to the transposed notes.
Scale 52 |859 Scale Main Scale Choosing the main scale The main scale is usually applied to all or most of the Sounds. Some Sounds may use an alternative sub-scale. Some Style Elements may use alternative sub-scales. The main scale is used wherever there is no sub-scale assigned. Choose the main scale 1 Go to the Global > Tuning > Scale page. 2 Use the Main Scale pop-up menu to choose the main scale of the instrument.
860| Global settings and preferences Scales list Scale Description Equal Equal tuning, the standard scale for modern Western music. It is made of 12 identical semitones. Pure Major Major chords in the selected key are perfectly tuned. Pure Minor Minor chords in the selected key are perfected tuned. Arabic An Arabic scale, using quarters of tone.
Scale |861 Sub-Scale Choosing a sub-scale for the Keyboard and/or Accompaniment Sounds You can assign a different scale (a sub-scale) to the Keyboard Sounds. This will allow, for example, to play a piano solo with the Stretch tuning, while the backing tracks continue to play in the Equal tuning. A different sub-scale can be associated to each Keyboard Set. You can also assign a sub-scale to all the Sounds of the Style, separate from the Sounds of a MIDI Song (that will still use the main scale).
862| Global settings and preferences Assigning the sub-scale to the Keyboard and/or Accompaniment Sounds 1 Go to the Global > Mode Preferences > Style 2 page. 2 Use the Scale Mode parameter to choose the Sounds to which to apply the sub-scale. All the other Sounds will use the main scale.
Scale |863 2 Program the User scale, as explained below. To make programming easier, this sub-scale can only be a User scale. 3 Select the checkbox corresponding to the track(s) to which you want to apply the sub-scale. The root key of this scale can dinamically change while you play, to allow for retuning the Style depending on the song section. How to retune the Style is explained later in this chapter.
864| Global settings and preferences ▪▪ Use the numbers appearing in each note of the keyboard diagram to fine tune each note pitch. Detuning is referred to Equal tuning considered as zero detune. Detuning Meaning -99 … +99 Note detuning in cents or a semitone. Zero is no detuning (Equal tuning), ±50 is a full quarter tone up or down, ±99 is nearly one whole semitone up or down. Memorize the User sub-scale into a Sound set ▪▪ Write the changes to a Sound set (Keyboard Set, Style Settings, Style).
Scale |865 Quarter Tone Sub-Scale (Scale Presets) Editing a Quarter Tone sub-scale (Scale Preset) Quarter Tone scales (Scale Presets) are custom scales where detuning can be activated or deactivated while playing. Changing note tuning while playing is typical of Middle East/Arabic music. The detuning interval is usually next to a quarter tone. You can save up to fifteen Quarter Tone scales into the Scale Presets. The Scale Presets are global and do not change with Keyboard Sets, Styles or Songs.
866| Global settings and preferences ▪▪ In the right-side scale diagram, turn on (black dot shown) the scale degree you want to be detuned, and turn off (black dot hidden) the scale degree that will use the standard tuning. When no preset is selected, a default scale is automatically recalled. This scale assigns a -50 cent value (equivalent to a quarter tone down) to all notes, and turns all scale degrees off.
Scale |867 Using the Quarter Tone sub-scales (Scale Presets) You can instantly recall a Quarter Tone sub-scale, by just choosing one of the Scale Presets. Activate the Quarter Tone sub-scale 1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes. 2 Touch the Quarter Tone button to make it appear selected. The Scale Preset buttons will appear. Choose a Scale Preset ▪▪ Touch one of the Scale Preset buttons to choose the corresponding Scale Preset.
868| Global settings and preferences Use the Quarter Tone sub-scale ▪▪ Touch any note whose pitch you want to lower, making a big dot appear on the note diagram. ▪▪ Touch the note again to make the dot disappear, and reset to standard tuning. Scale alteration made in this page is momentary and is not memorised. It is only meant to allow for quick scale alteration while playing. Deactivate the Quarter Tone sub-scale ▪▪ Touch the Quarter Tone button to make it appear deselected.
Scale |869 Use the Quarter Tone function 1 Lower some note pitches. Keep the Quarter Tone switch or footswitch pressed. The keyboard will not play at this time. Press the notes whose pitch you want to lower. Release the switch or footswitch. The black dots will appear in the keyboard diagram of the Sub-Scale pane from the main page of the Style Play and Song Play modes. 2 Play with your new scale. The pitch of the notes you pressed are now lowered. 3 Reset the original scale.
870| Global settings and preferences Retuning the Style while playing Style Element Scale, Chord Follow, Retune Style While in the Style Record > Element Track Controls > Scale page, you can program a sub-scale for each Style Element, and enable the sub-scale on each track of the Style Element. This scale starts from a root key, that can change with each recognized chord, or after a deliberate command. Depending on your style of music, you will choose how to retune the Style.
Scale |871 Assigning the Retune Style command to an assignable switch, footswitch or EC5 switch Assign the Retune Style command to an assignable switch 1 Go to the Style Play/Song Play > Pad/Switch > Switch page. 2 Use one of the Switch 1…3 menus to choose a command to be assigned to the corresponding switch. Since the first two switches are usually assigned to the Sound Controllers, we suggest you use Switch #3. 3 Write the changes to a Keyboard Set.
872| Global settings and preferences Retune with a footswitch or EC5 switch 1 Just before having to retune the Style, press the footswitch or EC5 switch. 2 Play a chord in the chord recognition area. The root of the chord will be the new root of the scale.
|873 Part XIII: MIDI
874| MIDI
Connecting MIDI devices 53 |875 Connecting MIDI devices Introduction to MIDI Ports, channels, messages What is MIDI? MIDI stands for Musical Instruments Digital Interface. This interface lets you connect two musical instruments, or a computer and various musical instruments. From a software point of view, MIDI is a protocol that describes messages for playing notes and controlling them.
876| MIDI There are various messages, but here are the most commonly used: MIDI Message CC# Note On Meaning This message instructs an instrument to play a note on a specific channel. Notes have both a name (C4 standing for the center C) and a number (60 being the equivalent for C4). A Note Off message is often used to say the note has been released. Together with the Note On message, a Velocity value is always sent. This value tells the instrument how loud the note must play.
Connecting MIDI devices |877 MIDI standards Standard MIDI Files Standard MIDI Files (abbreviated as SMF) are a practical way of exchanging songs between different instruments and computers. Pa4X uses the SMF format as its default MIDI Song format, so reading a song from a computer, or saving a song that a computer software can read, is not a problem at all. The internal Players are compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack).
878| MIDI Special MIDI channels The Control channel You can set a MIDI IN channel as the Control channel (in the Global > MIDI > MIDI IN Channels page), to select Styles, Keyboard Sets and SongBook Entries from an external device (see the Appendix for a list of messages corresponding to Pa4X’s internal data). On this special channel you can also send controls to start/stop the Arranger and Players, and select the Style Elements (see later in this part).
Connecting MIDI devices |879 The Chord 1 and Chord 2 channels Two special Chord channels (programmed in the Global > MIDI > MIDI IN Control page) can be used to receive notes for chord recognition. These notes will be combined with the notes received on the special Global channel. Contrary to the Global channel, the Chord channels are not affected by the split point.
880| MIDI Connecting via the MIDI interface You can use the MIDI connectors to connect external controllers (master keyboard, MIDI guitar, wind controller, MIDI accordion…) or additional musical instruments (for example, your preferred piano expander). You can also use the MIDI connector to connect a personal computer through a MIDI interface. However, you can use the USB port for a simpler connection. ▪▪ Use the IN connector to receive MIDI data from a controller or computer.
Connecting MIDI devices |881 Connecting via the USB DEVICE port The USB DEVICE port can be used for MIDI communication between Pa4X and a personal computer or tablet. Use a standard A-to-B USB cable to connect your instrument and computer. A dedicated software driver can be found in our web site. Installing the KORG USB MIDI Driver KORG USB-MIDI Driver system requirements Be sure your personal computer meets the requirements, as described in the documents accompanying the driver.
882| MIDI Installing the KORG USB-MIDI Driver on Mac OS X 1 Double-click on KORG USB- MIDI Driver v.n.n.n.dmg to open a virtual drive in the Finder (‘n.n.n’ meaning the version number). 2 Double-click on KORG USB-MIDI Driver.pkg to run the installer. 3 Follow the instructions appearing on screen. 4 When installation is completed, eject the virtual drive, and connect the USB DEVICE port of your Pa4X to one of the USB ports of your Mac by using a standard A-to-B USB cable.
Connecting MIDI devices |883 Quick settings using MIDI Presets Using the MIDI Presets Connecting an instrument to a master keyboard, a personal computer or a tablet, usually requires some programming. To help you configure the MIDI channels, we have provided some MIDI Presets, that will automatically configure the MIDI parameters according to your needs. Choosing a MIDI Preset 1 Go to the Global > MIDI > General Controls page.
884| MIDI Parameter MIDI IN Channel MIDI OUT Channel Default Master Kbd Player 1 Player 2 1 Ply 1 Tr 1 Global Ply 1 Tr 1 Ply 2 Tr 1 2 Ply 1 Tr 2 Control Ply 1 Tr 2 Ply 2 Tr 2 3 Ply 1 Tr 3 - Ply 1 Tr 3 Ply 2 Tr 3 4 Ply 1 Tr 4 - Ply 1 Tr 4 Ply 2 Tr 4 5 Ply 1 Tr 5 - Ply 1 Tr 5 Ply 2 Tr 5 6 Ply 1 Tr 6 - Ply 1 Tr 6 Ply 2 Tr 6 7 Ply 1 Tr 7 - Ply 1 Tr 7 Ply 2 Tr 7 8 Ply 1 Tr 8 - Ply 1 Tr 8 Ply 2 Tr 8 9 Ply 1 Tr 9 - Ply 1 Tr 9 Ply 2 Tr 9 10 Ply 1 Tr 10 - Ply
Connecting MIDI devices Parameter MIDI IN Channel MIDI OUT Channel Accordion 1 Accordion 2 Accordion 3 Tablet 1 Global Upper 1 Upper 1 - 2 Lower Lower Lower - 3 Bass - Bass - 4 - Upper 2 Upper 2 - 5 - Upper 3 Upper 3 - 6 - - - - 7 - - - - 8 - - - - 9 - Bass - - 10 Drum Drum Drum - 11 Percussion Percussion Percussion - 12 Acc 1 Acc 1 Acc 1 - 13 Acc 2 Acc 2 Acc 2 - 14 Acc 3 Acc 3 Acc 3 - 15 Acc 4 Acc 4 Acc 4 - 16 Acc 5 Acc 5
886| MIDI You will use the supplied MIDI Presets in the following cases: MIDI Preset Use Default Generic settings, good for most situations Master Kbd When connecting to an external master keyboard Player 1 When using an external sound generator (an expander or a virtual instrument) driven by either Player 1 or Player 2 Player 2 Accordion 1 Different configurations for connecting a MIDI accordion.
Connecting MIDI devices |887 Writing a MIDI Preset Open the Write Midi Preset dialog 1 Go to the any page of the Global > MIDI section. 2 Choose the Write Midi Preset command from the page menu to open the Write Midi Preset dialog. Write over the current MIDI Preset ▪▪ If you want to overwrite the current Preset, just touch the OK button. Write to a different MIDI Preset location 1 If you want to choose a different location, use the Midi Preset pop-up menu.
888| MIDI Synchronizing Tempo with other instruments Sending the MIDI Clock The Arranger or the selected MIDI Song can send a synchronization message to the other devices. 1 Go to the Global > MIDI > General Controls page. 2 Select the Clock Send parameter to send the internal MIDI Clock to the MIDI IN and USB ports. When the MIDI Clock signal is sent, you can slave another instrument to the Pa4X Tempo, Start/Stop and Play/Stop commands.
Connecting MIDI devices |889 1 Go to the Global > MIDI > General Controls page. 2 Use the Clock Source pop-up menu to choose a MIDI Clock source for the Style Play and Sequencer modes. Clock Source Meaning Internal MIDI Clock is generated by the Pa4X’s Arranger or Players internal metronome. When in Song Play mode, the Internal clock is always used. External MIDI MIDI Clock is received from the MIDI IN or USB port. In Style Play or Sequencer mode, Pa4X is slaved to an external device.
890| MIDI MIDI data routing, processing and transposing Connecting the keyboard to the internal or external sounds The ‘local’ controls (keyboard, physical controllers) can be connected to the internal sounds directly, or echoed back from an external device. 1 Go to the Global > MIDI > General Controls page. 2 Use the Local Control On parameter to connect or disconnect the keyboard and controllers to the internal sounds.
Connecting MIDI devices |891 Converting notes to RX Noises RX Noises are special ambience or mechanical sounds that allow Sounds to be more realistic. They are usually located above C7, depending on the Sound. 1 Go to the Global > MIDI > General Controls page. 2 Select the Note to RX Noise checkbox to convert incoming notes to RX Noises.
892| MIDI Transposing the notes received Applying master and octave transposition to the notes received 1 Go to the Global > Tuning > Transpose Control page. 2 Use the Mode > Midi In Notes checkbox to determine if notes received on the MIDI IN and USB ports have to be transposed. Midi In Transpose Meaning On Notes received on the MIDI IN and USB ports are transposed according to the Master Transpose. Off Data received on the MIDI IN and USB ports are not transposed.
Connecting MIDI devices |893 Midi In Octave Meaning On Notes received on the MIDI IN and USB ports are transposed according to the Octave Transpose setting for each Sound. Off Data received on the MIDI IN and USB ports are not transposed. Applying octave transposition to the Upper and Lower parts 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Upper Trk Octave Transp. and Lower Trk Octave Transp. parameters to transpose the MIDI notes received on the Upper and Lower parts.
894| MIDI Playing muted tracks via MIDI 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Track Mute Active checkbox to determine if notes received on the USB port will play on muted tracks. Track Mute Active Meaning On No received MIDI data can play on muted tracks. Off Received MIDI data can play on muted tracks. Choosing a fixed velocity value for the incoming notes You can set a fixed velocity value for the notes received from MIDI.
Connecting MIDI devices 2 3 |895 Use the Midi In Velocity Value parameter to set a fixed Note On velocity value for all the notes received via MIDI. This is useful when playing Pa4X with an organ or a MIDI accordion, often sending a fixed velocity value. Midi In Velocity Meaning Normal Received velocity values are left unchanged. 40 … 127 All received velocity values are converted to the selected value.
896| MIDI Programming the MIDI channels Programming the MIDI IN channels 1 Go to the Global > MIDI > MIDI IN Channels page. 2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI channel. Track Meaning Off Nothing assigned Lower Keyboard’s Lower Sound Upper 1...3 One of the Keyboard’s Upper Sounds Pad 1...4 One of the Pad Sounds Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...
Connecting MIDI devices |897 Programming the MIDI OUT Channels 1 Go to the Global > MIDI > MIDI OUT Channels page. 2 Use the Channel pop-up menus to assign an instrument’s track to each MIDI channel. Track Meaning Off Nothing assigned Lower Keyboard’s Lower Sound Upper 1...3 One of the Keyboard’s Upper Sounds Pad 1...4 One of the Pad Sounds Drum Style’s Drum Sound Percussion Style’s Percussion Sound Bass Style’s Bass Sound Acc 1...
898| MIDI Filtering out MIDI messages You can set up to eight filters for the MIDI data received or sent. Filters are applied to all MIDI channels at the same time. 1 Go to the Global > MIDI > Filters page. 2 Use the Midi In Filters pop-up menus to choose filters on the data received. 3 Use the Midi Out Filters pop-up menus to choose filters on the data sent.
Connecting MIDI devices |899 Programming the special Chord channels 1 Go to the Global > MIDI > MIDI IN Controls page. 2 Use the Chord 1 Midi Channel and Chord 2 Midi Channel parameters to assign the special Chord channels to a MIDI channel. Chord channel Meaning Off Special Chord channel not activated. 1…16 Assigned Chord channel. Two special Chord channels can be used to receive notes for chord recognition.
900| MIDI Connecting Pa4X to a personal computer or tablet You can program a new song on a personal computer or tablet connected to Pa4X. The computer has to run some sequencing or notation software. When a song is ready, you can transfer it to the internal drive of Pa4X, and read it with the internal Players. Connection and settings 1 Install the KORG USB MIDI Driver, as explained earlier in this part. 2 Connect Pa4X and the computer or tablet via the USB DEVICE port.
Connecting MIDI devices |901 Control Change messages The following is a table including all Control Change messages, and their effect on various functions of the instrument. Note that not all controllers are available in all operative modes.
902| MIDI CC# CC Name Pa4X Function 72 Release Release time 73 Attack Attack time 74 Filter cutoff Filter cutoff (Brilliance) 75 Decay Time Decay time 76 Lfo1 Speed Vibrato speed 77 Lfo1 Dpt Vibrato depth 78 Lfo1 Dly Vibrato initial delay 79 FilterEgþ 80 Gen.pc.5 Sound Controller 1 81 Gen.pc.6 Sound Controller 2 82 Gen.pc.7 83 Gen.pc.
Connecting MIDI devices |903 (*) The following NRPN messages are recognized in Song Play and Sequencer mode only. These controls are reset when stopping a Song, or choosing a different Song.
904| MIDI Controlling the Arranger and Players via MIDI You can remotely control the Arranger and Players via MIDI. Please note that the Program Change and Control Change numbers shown in this page follow the 0-127 numbering system. Selecting the Style Elements You can remotely select the various Style Elements, by sending Program Change messages on the Control channel.
Connecting MIDI devices |905 Selecting the Keyboard Sets (from a Style or SongBook Entry) You can remotely select the Keyboard Sets of a Style or SongBook Entry (buttons under the display). ▪▪ With Styles, you will send Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel. If a Style is already selected, just send the Program Change message.
|907 Part XIV: FILE MANAGEMENT
908| File management
Managing files in the internal memory |909 54 Managing files in the internal memory Copying, renaming and deleting Copying musical data You can copy any Keyboard Set, Sound, Style, Pad, Voice or Guitar Preset onto a Favorite/User/Direct location. Copying Factory data onto Favorite/ User/Direct locations would make them editable. If you want to overwrite Factory data, remove protection by unchecking the Protect > Factory parameter in the Global > Media Preferences page.
910| File management 4 Choose the Copy and Paste command from the page menu to copy the selected items. 5 Select the target location. In case you are copying more than a single item, all subsequent items will sequentially follow the first one. If there aren’t enough locations available, the procedure will be cancelled. Warning: If you confirm, any item already existing at the target locations will be overwritten! A good idea is to paste to a blank location, identified by a series of dashes (–––).
Managing files in the internal memory |911 The Direct Styles, Keyboard Sets, SongBook Direct data are additional Keyboard Sets, Styles and SongBook Entries and Set Lists, residing in a storage device like the internal drive or a removable USB drive. They can be considered as an extension of the internal memory.
912| File management 4 Browse though the drives and folders, and select the SET folder to be used as the Direct set of banks. 5 Touch the Select button to confirm. Please note that you can only have a single Direct folder of Keyboard Sets, Styles, SongBook. 6 If you select a folder from a different Pa-Series instrument, you are asked if you want to convert the data to a format that Pa4X can read. If you confirm, you are prompted to choose a name and position for the new SET folder.
Managing files in the internal memory |913 1 While in the Global > Mode Preferences > Media page, touch the Direct Folder > Browse button to open the file selector. 2 Touch the Deselect button to remove any assignment. Creating the Direct Keyboard Set and Style banks Load Keyboard Sets or Styles into the Direct locations ▪▪ While in the Media > Load page, you can load any Keyboard Set or Style into the Direct banks.
914| File management Using the Direct Keyboard Sets and Styles ▪▪ When choosing a Style or Keyboard Set from the library, press the USER/ DIRECT button a second time to make the Direct type of banks appear. As an alternative, touch the Direct type button on top of the list in a Style Select or Keyboard Set Library Select window. Using the Direct SongBook Selecting Entries and Set Lists The Direct SongBook Entries and Set Lists are mixed with the internal SongBook Entries and Set Lists.
Managing files in the internal memory |915 Renaming the Favorite/User/Direct banks You can rename the User/Favorite and Direct User/ Favorite banks, to create your own sets of Keyboard Sets, Styles or Pads. 1 Open the Keyboard Set, Style, or Pad Select window, and select the User or Direct type of data. 2 Choose the Rename User Banks command from the page menu to open the Rename User Banks dialog. 3 Assign the User/Favorite or Direct User/Favorite tabs any name you like.
916| File management 55 Managing files Overview on file management You can access the Media pages by pressing the MEDIA button. Media pages are where you manage files and storage devices. Media page structure Most Media pages share some basic elements. Labels File list Scrollbar Current path Device Browsing through the files You can see the files and folders in the center of the Media pages. ▪▪ Scroll the file list by using the scrollbar. ▪▪ Open the selected folder by touching the Open button.
Managing files |917 Changing the list view You can touch one of the labels on top of the file list to change the order in which files are shown. For example, by touching the Name label, the list is alphabetically re-ordered according to the file names. The selected label appears highlighted, showing the currently selected ordering. If you touch the highlighted label again, the alphabetic order changes from ascending to descending, or vice-versa.
918| File management You can access the following mass storage device types: Device Type DISK Main internal drive HD Secondary internal drive (optional in Pa4X-61) SD Optional internal microSD USB-F Optional device connected to the front (F) USB HOST port USB-R Optional device connected to the rear (R) USB HOST port Types of files The following table describes all the file and folder types Pa4X can read or write. Extension File/folder type SET All the User data.
Managing files Extension File/folder type MP3 MP3 file (MP3 Song) TXT Plain text file |919 Pa4X can also read (but not write) the following types of data. Extension File type PKG Operating System and Musical Resource files KAR Karaoke file CDG CD+Graphics file PCG KORG Triton Programs KSF Korg Trinity/Triton Sample SF2 Sound bank format by Creative Labs. Ordinary data and reserved data Each device (and the internal memory) can contain files and folders.
920| File management Media structure MYDATA.SET GLOBAL SETUP.GBL MXPRESET.MXP MIDI.MPR QTPRESET.QTP STYLE SONGBOOK BANK01.STY 1-1 70’s Guitar Pop … 1-48 Soft Beat 2 KEYBOARDSET BANK … .STY BANK01.PRF 1-1 Concert Grand … 1-48 Grand Piano BANK13.STY 13-1 Libertad Tango … 13-48 Chill Out 2 BANK … .PRF BANK11.PRF FAVORITE01.STY 11-1 Mandolin … 11-48 Asian Flute 1-1 Favorite 1 … 1-48 Favorite 48 FAVORITE … .STY USER01.PRF 1-1 MyPiano1 … 1-48 MyPiano48 FAVORITE10.
Managing files |921 Loading musical resources and settings Loading files or folders You can load all the memory content, a separate type of musical resources, a separate bank, or a single resource. Choose the data to be loaded 1 Go to the Media > Load page. 2 If loading from an external device, connect the device to one of the USB HOST ports. 3 Use the Device pop-up menu to choose the source device. 4 Touch an item (file or folder) in the file list to select it. 5 Browse through the folders.
922| File management In this example you are choosing a target where to load a bank of Styles: Name of the Style bank being loaded Name of the target bank in memory In this example you are choosing a target where to load a single Style: Name of the Style being loaded Name of the target location in memory 2 Touch here to open the Select window Touch OK to confirm. After confirming, any item you are overwriting will be deleted.
Managing files |923 Loading data from other instruments Loading Global data from Pa-Series instruments Being unique to each instrument, Global data (Preferences, MIDI Presets, MaxxAudio settings, etc.) can’t be loaded from other KORG Pa-Series instruments. They are therefore discarded when loading a SET folder generated by an instrument other than Pa4X. Loading data from Pa-Series instruments You can load most data from KORG Pa-Series instruments.
924| File management Load from Loaded data Pa3XLe, Pa900, Pa600, Pa300, HAVIAN 30 You can load most data as if they were Pa4X data. There are however a few exceptions to be considered: • Performances and STSs are converted to Keyboard Sets. • Due to the different order in memory, Factory Styles must be manually reassigned to SongBook Entries by using the KORG SongBook Editor software. • Favorite Style banks over #10 are missing and are not loaded.
Managing files |925 Loading data from i-Series instruments Pa4X is compatible with the Styles of the older KORG i-Series instruments. You can load them as if they were ordinary Pa4X data. 1 Copy the old i-Series data into an USB device, or transfer them to the internal drive of Pa4X. 2 Go to the Media > Load page. 3 Use the Device pop-up menu to select the device containing the i-Series data. 4 If you are reading an i30 file, select the SET folder, then touch the Open button.
926| File management Merging data When loading all User data, or all data of a specified type, most data loaded from a storage device are merged with data already existing in memory. For example, if there is data in all three USER Style banks in memory (USER01, USER02, USER03), and there is only the USER01 Style bank in the storage device, the USER01 bank will be overwritten, while USER02 and USER03 banks will be left unchanged.
Managing files |927 Saving musical resources and settings Saving files or folders You can save all the memory content, a separate type of musical resources, a separate bank, or a single resource. Pa4X’s proprietary data has to be saved into special folders with the ‘.set’ filename extension. These special folders can be saved inside ordinary folders. Choose the data to be saved 1 Go to the Media > Save page. 2 Touch an item (file or folder) in the file list to select it. 3 Browse through the folders.
928| File management Choose the target device After touching Save, the target device appears: 1 If saving to an external device, connect the device to the USB HOST port. 2 Use the Device pop-up menu to choose the target device. Choose an existing SET folder You can save data into an existing SET folder. If you are saving data that is not yet in the target folder, data will be merged. Otherwise, it will be overwritten.
Managing files 3 |929 When back at the Create New SET Folder dialog, touch the OK button to create the new SET folder and exit the dialog. Save the data ▪▪ Save all the memory content, a type or data, single banks or items as described below. Saving all data 1 After having selected an existing SET folder or having created a new one, touch the Save button to confirm.
930| File management Saving single items 1 When saving single items, choose a target location in the storage device. In this example you are choosing a target where to save a single Style: Name of the Style being saved Name of the target location in the storage device 2 Touch OK to confirm. After confirming, any item you are overwriting will be deleted.
Managing files |931 Copying files and folders Copying files or folders You can copy files and folders. Folders can be generic or SET folders. In addition, you can copy the content of the generic folder you are in. You can copy inside the same device, or from a device to a different one (both devices must be connected to Pa4X during the copy operation). To preserve data structure integrity, during Copy operations you can’t open SET folders and copy only one of the files it contains.
932| File management Choose the target device After touching Copy To, the target device appears: Current path Device 1 If copying to an external device, connect the device to one of the USB HOST ports. 2 Use the Device pop-up menu to choose the target device. Choose a target and confirm copying ▪▪ Select an existing folder, and touch the Copy command to confirm. If no folder is selected, you will copy into the current folder.
Managing files |933 Overwriting existing files or folders When copying files, a file or folder with the same name of the file or folder being copied might be found in the target device. In this case, Pa4X will ask you if you want to overwrite it. When a duplicate file or folder is met, the following dialog will appear: Overwrite Meaning Cancel The procedure is interrupted. No The file or folder is not overwritten. The source file or folder is not copied.
934| File management Deleting files and folders Deleting files or folders You can delete files and folders from a storage device. Choose the data to be deleted 1 Go to the Media > Delete page. 2 If deleting from an external device, connect the device to one of the USB HOST ports. 3 Use the Device pop-up menu to choose the source device. 4 Touch an item (file or folder) in the file list to select it. 5 Browse through the folders. Touch the Open button to open the selected folder.
Managing files |935 Selecting more items at once While in the Copy and Delete pages, you can select several files or folders at the same time before executing the operation. Files or folders can be selected consecutively (that is, in a row), or discontinuously (that is, with other files or folders in the middle). To choose either to select files in a consecutive or discontinue way, use the Select Mode button on the right of the page command buttons, to choose how pressing the SHIFT button will work.
936| File management Deselect the files or folders ▪▪ To deselect one or more files or folders, without deselecting everything, keep SHIFT pressed and touch the file or folder to be deselected. ▪▪ To deselect everything, select any other file or folder. All selected files and folders will be deselected.
Managing files |937 Exporting playlists Exporting a list of Songs as a text file A list of the Songs contained inside a folder or a Jukebox list, or the SongBook and Set Lists, can be exported, to be printed and be used as the playlist of the show. Exporting a list of songs contained in a folder 1 Open the Song Select window. 2 Browse through the files and folders, and open the folder whose content you would like to export as a text file.
938| File management Exporting a Jukebox list 1 While a Jukebox file is assigned to Player 1, choose the Export Jukebox List command from the page menu to open the Write Jukebox List dialog. 2 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the device’s root. When saved, the text file will be named after the selected Jukebox file. For example, a Jukebox file named ‘Dummy.jbx’ will generate a ‘Dummy.txt’ file.
Managing files |939 Exporting a SongBook Book list or Custom List 1 While you are in the SongBook > Book or SongBook > Set List page, choose the desired list filtering. 2 Choose the Export as Text File command from the page menu to open the Export as Text File dialog. 3 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the device’s root. 4 ) icon to open You may change the name of the list.
940| File management 56 Managing media Formatting storage devices Formatting a storage device The Format function lets you initialize a device. Pa4X uses a PC-compliant device format (DOS FAT16 and FAT32). Warning: Formatting a storage device deletes all the data it contains! Choose the device to be formatted 1 Go to the Media > Format page. 2 If formatting an external device, connect the device to one of the USB HOST ports. 3 Use the Device pop-up menu to choose the device.
Managing media |941 Also, if you try to rename the internal volume when Pa4X is connected to a PC through the USB port, the original name is automatically restored. 2 ) icon to open the virtual keyboard and edit the Touch the Text Edit ( name. When done editing the name, confirm by touching the OK button under the virtual keyboard. Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files.
942| File management Backing up and restoring musical resources A set of file backup and restore utilities can be found in the Media > Utility page. Backing up the musical resources You can backup the internal data (musical resources and settings) to a storage device. Backup should only be used for archiving purpose, since you will not be able to load individual data from a backup archive.
Managing media |943 Choose the target device and folder After touching Execute, the target device appears: 1 If you are making a backup to an external device, connect the device to one of the USB HOST ports. 2 Use the Device pop-up menu to choose the target device. 3 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder. 4 Select the folder where to backup the data, then touch the Backup command to confirm.
944| File management Restoring the musical resources You can restore data from a backup archive created with the Full Resource Backup command. Choose the restore command 1 Go to the Media > Utility page. 2 Select the Resource Restore option, then touch the Execute button to see the file selector. Choose the source device and folder 1 If you are restoring from an external device, connect the device to one of the USB HOST ports. 2 Use the Device pop-up menu to choose the target device.
Managing media |945 Restoring the original musical resources After an OS update, or when you want to erase all changes to your Factory and User data, and restore your Pa4X to the same condition it was when new, use the Factory Restore operation. Warning: This command deletes all data from memory (including your custom data). 1 Go to the Media > Utility page. 2 Select the Factory Restore option, then touch the Execute button. 3 A dialog will appear, with a list of types of data to be restored.
946| File management Connecting one of the internal drives to a personal computer In order to exchange files, you can access one of the internal drives of Pa4X from a personal computer. You don’t need any dedicated driver to connect Pa4X and the personal computer. Connect Pa4X to the personal computer ▪▪ Use a standard USB cable to connect one of the USB DEVICE ports of Pa4X to an USB port of the personal computer.
Managing media |947 Disable USB communication 1 When finished transferring the files, you can disconnect Pa4X from the personal computer. ▪▪ On a Windows PC, select the dedicated command by clicking on the USB ) with the right mouse button. device icon ( ▪▪ On a Mac, select the USB device icon ( ), then select the Eject command or drag the drive icon to the eject icon in the Dock ( ).
948| File management Storage device organization Creating folders You can create generic folders, where to store any type of data (other folders, Songs, SET folders…). 1 While in any of the Media pages, browse through the folders to find the place where to create a new folder. Touch the Open button to open the selected folder. Touch the Close button to close the current folder. 2 Choose the Create New Folder command from the page menu to open the Create New Folder dialog.
Managing media |949 2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard. 3 When back at the Rename dialog, touch the OK button to confirm the new name. Getting information on the selected items ▪▪ While in any of the Media pages, select one or more items and choose the Object(s) Info command from the page menu. Select this command to see the size of any selected file or folder.
950| File management Rename the storage device ) icon to ▪▪ While in the Device Information dialog, touch the Text Edit ( open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard. Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files. We suggest to give the device the same name it had before formatting.
Managing media |951 Changing the media display preferences You can choose what to see when a file selector window opens in the Media Preferences page. Seeing the file’s size and date To view longer names in their entirety, you can hide the Size and Date columns in the File Selector window. 1 Go to the Global > Mode Preferences > Media page. As an alternative, keep the SHIFT button pressed and press the MEDIA button to open the Media page.
952| File management Protecting storage devices and files You can protect media and files in the Media Preferences page. Protecting the media You can protect the internal drive from writing. 1 Go to the Global > Media Preferences page. As an alternative, keep the SHIFT button pressed and press the MEDIA button to open the Media page. 2 Select the Media Protect checkbox to protect the internal drives.
Managing media |953 Removing protection from Factory data Factory Keyboard Sets, Sounds, Styles, Pads and Voice Presets are normally protected, to avoid overwriting the standard musical resources. You can, however, remove this protection and use any Factory location as if they were User locations. 1 Go to the Global > Mode Preferences > Media page. As an alternative, keep the SHIFT button pressed and press the MEDIA button to open the Media page.
954| File management Care of storage devices Pa4X can save most of the data contained in memory to the internal drive, an internally installed microSD card, or to external devices (like hard drives or USB memory sticks) connected to the USB HOST ports. Here are some precautions when handling these devices. Internal drive write protection You can protect the internal drive from writing, by using the software protection found in the Global > Mode Preferences > Media page (Media Protect checkbox).
Part XV: APPENDIX |955
956| Appendix
Musical Resources 57 |957 Musical Resources The following pages list all the musical resources supplied as standard with your Pa4X.
958| Appendix Styles This list shows the Styles as they appear in the Style Select window. The table also includes MIDI data used to remotely select the Styles on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Musical Resources Style CC00 CC32 PC Style 70’s Ballad 0 1 10 Ballroom Unplugged Heaven 0 1 11 Groovy Ballad 1 0 1 12 Groovy Ballad 2 0 1 Analog Ballad 1 0 Analog Ballad 2 0 6/8 Ballad 1 6/8 Ballad 2 |959 CC00 CC32 PC English Waltz 0 2 0 Quick Step 0 2 1 13 Pasodoble 0 2 2 1 14 Paso Dance 0 2 3 1 15 Viennese Waltz 0 2 4 0 1 16 Jive 0 2 5 0 1 17 Argentina Tango 0 2 6 6/8 Brush Ballad 0 1 18 Modern Tango 0 2 7 6/8 Slow 0 1 19 Sl
960| Appendix Style CC00 CC32 PC Style CC00 CC32 PC Dj Disco Mix 0 3 8 Rock Spanish Remix 0 3 9 ChaCha Remix 0 3 10 Foo Rock 0 4 0 21 Gun Anthem 0 4 1 Western Remix 0 3 11 First Kid Rock 0 4 2 Tacata Dance 0 Kuduro Dance 0 3 12 Killer Rock 0 4 3 3 13 HighwayHell Rock 0 4 4 Gangnam Dance Party Anthem 0 3 14 Rock on Fire 0 4 5 0 3 15 Welcome Rock 0 4 6 Bailando Dance 0 3 16 Rock Star 0 4 7 Get Luck Disco 0 3 17 80’s Rock 0 4
Musical Resources Style CC00 CC32 PC Style Slow Latin Rock 0 4 33 Latin Rock 0 4 SouthStrait Rock 0 4 Classic Rock 0 4 |961 CC00 CC32 PC Country 16 Beat 0 5 21 34 Bluegrass 0 5 22 35 Bar Country 0 5 23 36 Desert Shuffle 0 5 24 Rock Boogie 0 4 37 Country Shuffle 0 5 25 Rock Blues 0 4 38 South Shuffle 0 5 26 Power Rock 0 4 39 Country Boogie 0 5 27 Rock Shuffle 0 4 40 Easy Strumming 0 5 28 8 Beat Rock 0 4 41 Traditional Rock Beat 0
962| Appendix Style CC00 CC32 PC Style CC00 CC32 PC French Waltz 0 6 25 Mambo 0 7 27 Irish Slow Waltz 0 6 Irish Med.
Musical Resources Style CC00 CC32 PC Style Tropicana Dance 0 8 16 Modern Bossa 0 8 Disco ChaCha 0 8 Calypso 0 8 Reggae 1 0 Reggae 2 0 Latin Club Andean |963 CC00 CC32 PC Swing Ballad 2 0 9 17 17 Slow Swing Brush 0 9 18 18 Orchestral Swing 0 9 19 19 Classic Swing 0 9 20 8 20 Acoustic Jazz 0 9 21 8 21 Easy Swing 0 9 22 0 8 22 Easy JazzWaltz 0 9 23 0 8 23 Dixieland 0 9 24 Lambada 0 8 24 Charleston 0 9 25 Meneaito 0 8 25 Stride
964| Appendix Style CC00 CC32 PC Spaghetti Western 0 10 2 Burt’s Bounce 0 10 ScreenEpicMarch1 0 10 ScreenEpicMarch2 0 10 Weird Movie 0 Mystery Man 0 Ritz Swing Tap Dance Style CC00 CC32 PC Everybody Bros 0 11 6 3 Soul Bros 0 11 7 4 Blues 0 11 8 5 Soul 0 11 9 10 6 Talkin’ Funk 0 11 10 10 7 Donald Mood 0 11 11 0 10 8 Capital Soul 0 11 12 0 10 9 Soul Power 0 11 13 Movie Ballad 0 10 10 Level Funk 0 11 14 Safari Swing 0 10 11 Ac
Musical Resources Style CC00 CC32 PC Style Little Shuffle 0 11 40 Slow & Jazzy 0 11 Slow Funk 0 11 Swing HipHop 0 11 Slow Mood 0 Kool Funk 0 Libertad Tango |965 CC00 CC32 PC Scottish Reel 0 12 27 41 Alpen Schlager 0 12 28 42 Classic Schlager 0 12 29 43 Modern Schlager 0 12 30 11 44 Vienna Waltz 0 12 31 11 45 Orleans 0 12 32 Cajun 0 12 33 0 12 0 Zydeco 0 12 34 Spanish Dance 0 12 1 Hora 0 12 35 Hawaiian 0 12 2 OrchestralBolero
966| Appendix Style CC00 CC32 PC Style CC00 CC32 PC Stand Up 1 0 14 Trap Dance 2 1 2 7 Pop Promises 1 0 Treat & Beat 1 0 15 Reggaeton DJ 1 2 8 16 House Class 1 2 9 Feel the Pop 1 0 17 Deep House 1 2 10 Guitar Pop 1 0 18 Deep Remix 1 2 11 Trance 1 2 12 Favorite/Ballad Paradise Ballad 1 1 0 Saturday Night 1 2 13 Sweet Ballad 1 1 1 Hey Dance 1 2 14 3/4 Jazz Ballad 1 1 2 Slowly L.
Musical Resources |967 Keyboard Set Library This list shows the Keyboard Sets as they appear in the Keyboard Set Library Select window. The table also includes MIDI data used to remotely select the Keyboard Sets on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
968| Appendix Keyboard Set CC00 CC32 PC Keyboard Set CC00 CC32 PC Comp&Phaser E.P. 16 1 18 Dark Organ V. 16 2 19 Bell Tine E.P. 16 1 19 Pipe Flute 16 2 20 E.Piano & Pad 16 1 20 Full Pipes 16 2 21 E.Piano &Strings 16 1 21 Theatre Organ 1 16 2 22 E.Piano&SynVoice 16 1 22 Theatre Organ 2 16 2 23 E.P. Atmosphere 16 1 23 Harmonica 1 16 2 24 Digital E.P. Bld 16 1 24 Harmonica 2 16 2 25 Stage E.Piano 16 1 25 Harmonica 3 16 2 26 Hybrid E.
Musical Resources |969 Keyboard Set CC00 CC32 PC Keyboard Set CC00 CC32 PC Carlos Guitar2 16 3 12 Room Strings 16 4 10 Distortion Gtr 16 3 13 Movie Strings 16 4 11 My Overdrive Gtr 16 3 14 Real Violin 16 4 12 Nylon Guitar 16 3 15 Jazz Violin 16 4 13 Gtrs Atmosphere 16 3 16 Serenade Violin 16 4 14 Real Dobro 16 3 17 Soprano Voice 16 4 15 Folk Guitar 16 3 18 CinematicStrFast 16 4 16 Jazz Guitar 2 16 3 19 Epic Sound 16 4 17 Crunch Gtr DN
970| Appendix Keyboard Set CC00 CC32 PC Keyboard Set CC00 CC32 PC Smooth Band 16 5 6 Soft Trombone 16 6 14 Warm Brass 16 5 7 Dixie Trumpet 16 6 15 Sforzato Brass 16 5 8 Sweet Flugel 16 6 16 Horns & Strings 16 5 9 Trumpet Delay 16 6 17 Brass Overtone 16 5 10 eXp Trombone 16 6 18 Shake Brass2 Y+ 16 5 11 Club Sax & Trp 16 6 19 Cup Mute Brass 16 5 12 Band Trumpet V. 16 6 20 Ballad Brass 16 5 13 Trump.
Musical Resources Keyboard Set CC00 CC32 PC Keyboard Set Tenor Sax 4 16 7 15 Breath Tenor Sax 16 7 Super Tenor Sax 16 7 Soprano Pad 16 7 Sax Ensemble 16 Super Sax Sect.1 16 Miller Serenade 16 Sax & Brass V. 16 Super Sax Sect.
972| Appendix Keyboard Set CC00 CC32 PC Keyboard Set CC00 CC32 PC Trinity Pad 16 9 26 Italian Jazz P. 17 0 2 Moon Pad 16 9 27 It.Grand Stack 1 17 0 3 Pa800 Pad 16 9 28 It.Grand Stack 2 17 0 4 Wave Synth 16 9 29 Grand & Ensemble 17 0 5 Wave Sequence 16 9 30 Grand & Orch. 17 0 6 Space Trailer 16 9 31 It. Grand Atmo 17 0 7 Far Memories 16 9 32 Octave 2 Pianos 17 0 8 Step Sequencer 16 9 33 User/Strings & Orch.
Musical Resources Keyboard Set CC00 CC32 PC It.Acc.& Strings 17 2 11 Terziana - 2 man. Tutti A 17 3 0 Tutti B 17 3 1 Trumpet - 2 man. Sesquialtera 17 3 2 Plenum1 - 2 man. 17 3 35 Plenum A 17 3 3 Plenum2 - 2 man. 17 3 36 Plenum B 17 3 4 Tutti - 2 man.
974| Appendix Keyboard Set Square Solo CC00 CC32 PC Keyboard Set CC00 CC32 PC 17 4 25 Hans Sound 17 5 6 Saw Solo 17 4 26 Landscape 17 5 7 Square & Pulse 17 4 27 Waterland 17 5 8 16-8-4 & Sub32 17 4 28 Meditation Stack 17 5 9 Layers Enjoy 17 5 10 Mixed Echoes 17 5 0 Ipnotic bpm 17 5 11 Running bpm 17 5 1 Fisarmony 17 5 2 User 17 0-10 0-47 Pacific Sea 17 5 3 Direct User 18 0-10 0-47 Nighthawk 17 5 4 Wave Echoes 17 5 5 User/Fantas
Musical Resources |975 Sounds The following table lists all Factory Sounds as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change. Sound CC00 CC32 PC Factory/Piano Sound Upright Piano CC00 CC32 PC 121 15 0 Concert Grand 121 13 0 Factory/E.
976| Appendix Sound CC00 CC32 PC Tine E. Piano 1 121 18 4 Club E. Piano 121 11 Suit E.Piano 1 121 20 Suit E.Piano 2 121 Classic Wurly 1 Classic Wurly 2 R&B E.
Musical Resources Sound CC00 CC32 PC Sound Jazz Organ 121 8 16 Organ LowPc V. 121 4 Organ Low 121 39 Organ Low 1 V. 121 15 16 Big Theatre Org.
978| Appendix Sound Single Coil Pro CC00 CC32 PC Sound CC00 CC32 PC 121 14 27 Hmm Choir 121 13 53 Pat Guitar Synth 121 10 26 DaDiPaTu & Bass 121 26 52 Chorus Guitar 121 3 27 DaDiDuLaPaTu 121 27 52 Chorus Gtr Pro 121 18 27 Unknown Ens.
Musical Resources Sound Real Muted DN2 CC00 CC32 PC Sound 121 10 59 |979 CC00 CC32 PC Tight Brass 2 121 29 61 Jazz Trumpet DN1 121 33 56 Trpt. & Horns 121 5 60 Jazz Trumpet DN2 121 34 56 Trpts & Trombs 121 34 61 Cup Muted DN2 121 9 59 Tight Brass 3 121 2 61 Concert Trumpet 121 19 56 Brass of Power 121 30 61 Jazz Cornet DN1 121 32 56 Movie Brass 121 20 61 Jazz Cornet DN2 121 36 56 Brass Expr. 121 15 61 Jazz Trb.
980| Appendix Sound CC00 CC32 PC Sound 121 25 65 Rhythmsphere Far Muted Atmos. ConcertFlute DN1 121 15 73 Far Memories ConcertFlute DN2 121 16 73 Atmoschoir Pad 121 Latin Flute DN1 121 17 73 Space Trailer Latin Flute DN2 121 18 73 Jurassic Pad RealClarinet DN1 121 21 71 Pisco Pad JazzClarinet DN1 121 22 71 Tension Scene Oboe 1 121 5 68 Dronas Pad 121 SaxEns.Leg.
Musical Resources Sound Fresh Air 2 CC00 CC32 PC Sound 121 11 91 |981 CC00 CC32 PC Dance ReMix 121 10 91 80’s Pop Synth 121 2 93 Rave 121 6 97 Blender 121 1 92 Synth Pianoid 121 12 81 Deep Noise 121 4 127 HipHop Lead 121 6 87 Port Whine 121 12 80 Next Dance DNC 121 13 87 Sub Harmonic 121 15 80 Lab Synth DNC 121 8 84 Factory/Ethnic Deep Modul.
982| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Bouzouki 121 5 104 SR Fing.Slap Bs 121 31 33 Nay 121 2 Kawala 121 1 72 SR Slap Bass 121 9 36 75 PBsFing.Vint.DN1 121 25 33 Clarinet G 121 2 71 PBsFing.Vint.DN2 121 26 33 Klarnet 1 121 11 Klarnet 2 121 12 71 FS Pick BsDN1 121 14 34 71 FS Pick BsDN2 121 15 34 Hichiriki 121 2 111 Fretless Bs DN1 121 11 35 HighlandBagPipes 121 3 109 FretlessVib.
Musical Resources Sound Jungle Reso. CC00 CC32 PC Sound 121 5 39 |983 CC00 CC32 PC Bell E. Piano 2 121 24 4 30303 Bass 121 5 38 EP+Damper 2 121 26 4 Disclosure Bass 121 16 39 Vintage EP 121 4 4 Fancy Bass 121 17 39 Stereo Dig. EP 121 6 5 Techno Org.Bass 121 6 17 FM Stack EP 121 16 5 Org.
984| Appendix Sound Cassotto CC00 CC32 PC Sound CC00 CC32 PC 121 9 21 Drawbars Organ 121 14 16 Cassotto 16’ DNC 121 30 21 Organ Mid V. 121 16 16 Cassotto Or.Tune 121 13 21 Organ Hi V. 121 17 16 Master Accordion 121 23 21 Drawbars Fast V. 121 18 16 Steirisch.Akk.4 121 28 21 Drawbars Slow V. 121 19 16 Harmonica 121 2 22 Organ Low+1’V. 121 33 16 Harmonica AT 1 121 3 22 Organ HiMix1 V. 121 34 16 Harmonica AT 2 121 4 22 Organ HiMix2 V.
Musical Resources Sound Finger Key Off CC00 CC32 PC Sound 121 7 25 12 Strings Pro |985 CC00 CC32 PC 121 17 25 Club Jazz Gtr 2 121 3 26 Steel Slide Pro1 121 13 25 Pop Steel Slide 121 23 25 Steel Slide Pro2 121 14 25 Finger Tips 121 8 25 Steel Guitar RX1 121 15 25 Country Nu 121 11 27 Steel Guitar RX2 121 16 25 Reso Guitar 121 12 25 12 Strings RX 121 18 25 Tel.
986| Appendix Sound Clean Guitar RX1 CC00 CC32 PC Sound 121 14 28 Power Chords 2 CC00 CC32 PC 121 4 30 Clean Guitar RX2 121 15 28 Legacy/Strings & Vocal Clean Guitar RX3 121 16 28 Violin Expr. 2 121 2 40 Clean Guitar RX4 121 17 28 Violin Expr. 3 121 4 40 Clean Guitar RX5 121 18 28 Slow Violin 121 3 40 Clean Guitar RX6 121 20 28 Violin Expr. DNC 121 5 40 Stra. Vel. Pro 121 16 27 Conc.Violin DNC 121 6 40 Vintage S.
Musical Resources Sound CC00 CC32 PC Sound N Strings 121 6 48 Arco Strings 121 7 Octave Strings 121 8 Arabic Strings 121 Strings Quartet Chamber Strings |987 CC00 CC32 PC Analog Strings 2 121 2 50 48 Synth Strings 2 121 1 51 48 Analog Velve 121 3 50 13 48 Legacy/Trumpet & Trbn.
988| Appendix Sound JazzCornet 1 DNC CC00 CC32 PC Sound CC00 CC32 PC 121 25 56 Netherland Hit 121 8 55 Trumpet Expr.DNC 121 26 56 Brass Impact 121 4 55 JazzTrumpet2 DNC 121 27 56 Classic Horns 121 3 60 JazzTrumpet3 DNC 121 28 56 Horns & Ensemble 121 4 60 JazzCornet 2 DNC 121 29 56 Brass & Sax 121 16 61 Hard Trombone 121 3 57 Trpts & Brass 121 7 61 HardTrombone DNC 121 19 57 Soft Horns 2 121 7 60 Trombone Expr.
Musical Resources Sound CC00 CC32 PC Sound Sweet Alto Sax 1 121 5 65 Sweet Alto Sax 2 121 6 Soft Alto Sax 121 7 Alto Sax Pro 121 8 Alto Sax Expr. 121 9 65 Alto Sax 121 10 65 Alto Sax 1 DNC 121 12 65 Section Winds 1 Jazz Sax 1 DNC 121 13 65 Section Winds 2 Jazz Sax 2 DNC 121 14 65 Real Sax Ens. 121 15 Jazz Sax 3 DNC 121 16 Alto Sax 2 DNC 121 17 SoftLatinSax DNC 121 Tenor Sax Noise1 121 Tenor Sax Noise2 Tenor Sax Expr.
990| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Whistle 1 121 3 78 Ravelian Pad 121 8 91 Whistle 2 121 4 Whistle DNC 121 5 78 Pop Synth Pad 2 121 12 91 78 Techno Stab DNC 121 3 93 Double Sweep 121 9 95 Legacy/Synth Pad Sky Watcher 121 2 90 Motion Ocean 121 1 96 Vintage Pad 121 11 89 Wave Cycle 121 3 96 You Decide 121 8 95 Pods In Pad 121 4 97 Korgmatose 121 13 90 Moving Bell 121 5 98 Reoccuring Astra 121 6 95 Bengione 121 1 99
Musical Resources Sound CC00 CC32 PC Sound LoFi Ethnic 121 7 84 Mandolin Ens. 2 Dance Lead 121 4 80 Legacy/Bass Sine Wave 121 6 80 Analog Lead 121 7 Gliding Square 121 Sine Switch 121 |991 CC00 CC32 PC 121 27 25 Ac.
992| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Finger E.Bass 4 121 3 33 GM/XG/Piano Finger E.Bass 5 121 6 33 Bright Finger B. 121 9 33 AcousticPiano GM 121 0 0 Ac. Piano Wide 121 1 0 FingerE.Bass1 RX 121 10 33 Ac. Piano Dark 121 2 0 Finger Slap 121 FingerE.Bass2 RX 121 12 33 Bright Piano GM 121 0 1 13 33 Bright PianoWide 121 1 1 Finger E.Bass 6 121 Vintage P.Round 121 15 33 E.Grand Piano GM 121 0 2 17 33 E.
Musical Resources Sound CC00 CC32 PC E. Grand Detuned 0 32 2 Layered E.Grand1 0 40 Layered E.Grand2 0 41 Honky-Tonk XG 0 0 Honky-Tonk KP 0 E. Piano 1 XG 0 E. Piano 1 KP 0 Mellow EP1 0 Chorus EP 1 0 32 Hard El. Piano 0 Vel. X-Fade EP 1 0 60’s El.
994| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Perc.Organ GM 121 0 17 Slow Rotary 0 65 18 Det. Perc. Organ 121 1 Perc. Organ 2 121 2 17 Fast Rotary 0 66 18 17 Church Organ XG 0 0 19 Rock Organ GM 121 0 18 Church Organ 3 0 32 19 Church Organ GM Church Oct. Mix 121 0 19 Church Organ 2 0 35 19 121 1 19 Notre Dame 0 40 19 Detuned Church 121 Reed Organ GM 121 2 19 Organ Flute 0 64 19 0 20 Trem. Org.
Musical Resources Sound Jazz Man CC00 CC32 PC Sound 121 3 28 |995 CC00 CC32 PC Gtr Harmonic XG 0 0 31 Overdrive Gtr GM 121 0 29 Gtr Feedback 0 65 31 Guitar Pinch 121 1 29 Gtr Harmonic 0 66 31 DistortionGtr GM 121 0 30 GM/XG/Bass Feedback DistGtr 121 1 30 Acoustic Bass GM 121 0 32 Dist. Rhythm Gtr 121 2 30 Finger Bass GM 121 0 33 Gtr Harmonic GM 121 0 31 Finger Slap Bass 121 1 33 Guitar Feedback 121 1 31 Picked E.
996| Appendix Sound Fretless Det. CC00 CC32 PC Sound 0 33 35 Tremolo Str. GM CC00 CC32 PC 121 0 44 Fretless Soft 0 34 35 Pizzicato Str.GM 121 0 45 Synth Fretless 0 96 35 Harp GM 121 0 46 Smooth Fretless 0 97 35 Yang Chin 121 1 46 Slap Bass 1 XG 0 0 36 Timpani GM 121 0 47 Resonant Slap 0 27 36 Violin XG 0 0 40 Punch Thumb Bass 0 32 36 Slow Atk Violin 0 8 40 Slap Bass 2 XG 0 0 37 Viola XG 0 0 41 Velo. Sw.
Musical Resources Sound |997 CC00 CC32 PC Sound CC00 CC32 PC 121 3 55 Impact 0 64 55 Strings Ens.
998| Appendix Sound CC00 CC32 PC Sound CC00 CC32 PC Tpt&Tbn Section 0 35 61 Tenor Sax 2 0 64 66 Brass Section 3 0 40 Hit Brass 0 41 61 Baritone Sax XG 0 0 67 61 Oboe XG 0 0 68 Mellow Brass 0 42 61 English Horn XG 0 0 69 Synth Brass 1 XG 0 0 62 Bassoon XG 0 0 70 Quack Brass 0 12 62 Clarinet XG 0 0 71 Res.
Musical Resources Sound CC00 CC32 PC Sound Charang GM 121 0 84 Velocity Lead Wire Lead 121 1 84 Voice Lead GM 121 0 85 Fifths Lead GM 121 0 86 |999 CC00 CC32 PC 0 45 81 Sequenced Analog 0 96 81 Calliope XG 0 0 82 Pure Lead 0 65 82 Bass & Lead GM 121 0 87 Chiff XG 0 0 83 Lead Soft Wrl 121 1 87 Rubby 0 64 83 New Age Pad GM 121 0 88 Charang XG 0 0 84 Warm Pad GM 121 0 89 Distorted Lead 0 64 84 Sine Pad 121 1 89 Wire Lead 0 65 84
1000| Appendix Sound C.C. Pad CC00 CC32 PC Sound CC00 CC32 PC 0 67 91 Popcorn 0 14 98 Bowed Glass XG 0 0 92 Tiny Bells 0 18 98 Glacier 0 64 92 Round Glocken. 0 35 98 Metallic Pad XG 0 0 93 Glocken.
Musical Resources Sound CC00 CC32 PC Sound Bell Choir 0 96 101 Taisho-Kin Echo Drops XG 0 0 102 Echoes 0 8 102 Echo Pan X 0 14 102 Echo Bell X 0 64 Big Pan 0 65 Synth Piano 0 Creation 0 Star Dust |1001 CC00 CC32 PC 0 96 107 Kanoun X 0 97 107 Kalimba XG 0 0 108 Bag Pipes XG 0 0 109 102 Fiddle XG 0 0 110 102 Shanai XG 0 0 111 66 102 GM/XG/Percussive 67 102 Tinkle Bell GM 121 0 112 0 68 102 Agogo GM 121 0 113 Pan Reso X 0 69 102
1002| Appendix Sound Gran Cassa CC00 CC32 PC Sound CC00 CC32 PC 0 96 116 Car Pass 121 3 125 Melodic Tom XG 0 0 117 Car Crash 121 4 125 Melodic Tom 3 0 64 117 Siren 121 5 125 Real Tom 0 65 117 Train 121 6 125 Rock Tom 0 66 117 Jetplane 121 7 125 Synth Drum XG 0 0 118 Starship 121 8 125 Analog Tom 0 64 118 Burst Noise 121 9 125 Electric Perc.
Sound Musical Resources |1003 CC00 CC32 PC CC00 CC32 PC Sound Plenum A 121 14 19 SimplePulse Bass 121 19 39 Plenum B 121 15 19 Fifth Bass 121 20 39 Plenum C 121 16 19 Robert Bass 121 21 39 Plenum D 121 17 19 Movie Action 121 29 48 Plenum E 121 18 19 Strings & Vocal 121 30 48 Pipe Cornet 121 19 19 Soft Strings 121 20 49 Viola+Cornet 121 20 19 Horns Swell3 DNC 121 45 61 Principal 8' 121 21 19 JP8 121 6 62 Pipe Flute 8' 121 22 19 Voc
1004| Appendix Sound Big Side Attack CC00 CC32 PC Sound 121 18 89 Layers Enjoy CC00 CC32 PC 121 11 99 80's Mellow 121 19 89 Ipnotic Stack 121 12 99 80's Super Pad 121 20 89 Lfo Sound bpm 121 5 101 Synth Whooo 121 16 90 Wave Echoes 121 6 102 Analog Synth 121 17 90 Metallic Syn Seq 121 2 114 Synth Yes 121 18 90 Dance Syn Perc 121 3 114 Poly6 + JP8 121 19 90 Wood&Metal Seq 121 4 114 Mixed Echoes 121 16 91 Shape Sound 121 5 114 Running 12
Musical Resources |1005 DNC Sounds and controls The following table lists the DNC Sounds and their DNC controls. DNC, DN1 and DN2 Sounds use different sets of controls.
1006| Appendix Sound Name CC 00 PC 32 Legato In SC1 Out Note On SC2 Note Off Note On Y+ Y– After Touch Note Off Dist. Gtr 1 DNC 121 16 30 Slide Up Harm Feedback Vibrato Dist. Gtr 2 DNC 121 14 30 Legato Atk Slide Up Harm Feedback Vibrato Crunch Gtr DNC 121 3 29 Legato Atk Slide Up Harm Feedback Vibrato Jazz Gtr 1 DNC 121 8 26 Legato Atk Slide Up Harm Octave (toggle) Vibrato Slide Up Harm Legato Atk Slide Up Harm Stra.GtrUpDwDNC 121 33 27 E.
Musical Resources Sound Name CC PC Legato 00 32 In HardTrombone DN1 121 24 57 Legato Atk HardTrombone DN2 121 25 57 Legato Atk Muted Trp.1 DN1 121 6 59 Muted Trp.2 DN1 121 7 59 Muted Cornet DN1 121 8 59 SC1 Out SC2 Y+ Y– After Touch Doit Alt Timbre More Vib. Riff Down Doit Alt Timbre More Vib. Fall Down Riff Down Doit Alt Timbre More Vib. Fall Down Riff Down Doit Alt Timbre More Vib. Fall Down Riff Down Doit Alt Timbre More Vib.
1008| Appendix Sound Name CC PC Legato In SC1 Out Note On SC2 Note Off Note On Y+ Y– After Touch Reson. Detune HP Filter LP Filter Reson. LP Filter Reson. 00 32 Note Off 121 10 96 White Noise RND filter Next Dance DNC 121 13 87 White Noise Alt Timbre Lab Synth DNC 121 8 84 HP Filter Detune Deep Modul. DNC 121 10 84 HP Filter Alt Attack LFO Speed Increase Mandolin DNC 121 40 25 Berimbau DNC 121 02 106 Caxixi Crash Belly Berimbau Rel.
Musical Resources |1009 The following table explains the meaning of the DNC controls. DNC Control Meaning Legato (In) Playing legato inside the Legato range (as defined in the Sound > Basic > Sound page, and shown in the previous table) Legato (Out) Playing legato out of the Legato range SC1 Note On Sound Controllers 1 & 2 (SC1, SC2) are MIDI controllers that can be assigned to a physical control (assignable switch, footswitch, EC5 switch).
1010| Appendix Drum Kits The following table lists all Factory Drum Kits as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Musical Resources Drum Kit Standard PercKit CC00 CC32 PC Drum Kit 120 0 69 |1011 CC00 CC32 PC House Kit 3 120 0 26 Braz. Perc. Kit 120 0 115 House Kit 4 120 0 27 Arabian Kit 1 120 0 51 House Kit 5 120 0 28 Arabian Kit 2 120 0 117 Brush Kit 4 120 0 125 Turkish Kit 120 0 118 Brush Kit 5 120 0 41 Oriental PercKit 120 0 119 Orchestra Kit 120 0 49 Percussion Kit 120 0 64 Log Drum 121 4 12 Latin Perc.
1012| Appendix Drum Kit Dance Kit Remix CC00 CC32 PC 120 0 29 Pop Kit 2 Amb 120 0 70 Pop Kit 3 Amb 120 0 71 Jazz Kit 2 Amb 120 0 83 Brush Kit 1 Amb 120 0 84
Musical Resources |1013 Multisamples The following table contains all the Factory Multisamples.
1014| Appendix # Multisample # Multisample # Multisample 93 E.Piano Suit Bright mf 127 Clav. BC 4 161 16’ 8’ 51/3’ Perc LF R 94 E.Piano Suit Bright f 128 Clav. 1 162 16’ 8’ 51/3’ Perc LS L 95 E.Piano Dyno p 129 Clav. 2 163 16’ 8’ 51/3’ Perc LS R 96 E.Piano Dyno mf 130 Clav. 3 164 Theater Organ 1 97 E.Piano Dyno f 131 Clav. 4 165 Theater Organ 2 98 E.Piano Dyno Soft 132 Clav. GM 166 50s E.Organ Bright 99 E.Piano Dyno SoftLP 133 Harpsichord1 167 50s E.
Musical Resources # Multisample # Multisample # Multisample 195 H Organ Leakage 229 Steel Drum GM 263 Whistle Breath 196 H Organ 2nd Harmonic 230 Steel Drum HardLP 264 Shakuhachi 197 H Organ Click Kon 231 Gamelan 265 Shakuhachi Atk 198 H Organ Click Koff 232 FM Bell 266 Shakuhachi Mid 199 ON-Click (Organ) 200 OFF-Click (Organ) 201 Pipe Flute L 233 Flute mf 267 234 Flute f 268 Bottle Shakuhachi High 235 Flute Chiff 269 Bottlizer 202 Pipe Flute R 236 Flute Singed 270 Shan
1016| # Appendix Multisample # Multisample 331 Accordion 16’ 365 French Horn T1 298 Tenor Sax Glissando 332 Accordion 16’ OT 366 Tenor Horn 299 Tenor Sax Falls 333 Accordion 8’ 367 2Horns Str p L 300 Tenor Sax Straight 334 Accordion 8’ OT 368 2Horns Str p R 335 Accordion 4’ 369 2Horns Str mf L 336 Accordion 4’ OT 370 2Horns Str mf R 297 Tenor Sax Vib 4 301 Tenor Sax Riff Up 302 Tenor Sax Fall Down # Multisample 303 Tenor Sax Vibrato 337 Accordion preset 1 371 2Horns Str f L
Musical Resources # Multisample # Multisample # |1017 Multisample 399 Flugel Atk Noise 433 2 Trombones Sfp< L 467 TRP CupMute Wha Growl 400 Euphonium Vibrato p 434 2 Trombones Sfp< R 468 TRP CupMute Dw 4th 401 435 2 Trombones Shake L 469 TRP CupMute Up 4th 436 2 Trombones Shake R 470 TRP CupMute Fall p Euphonium Vibrato f 402 Euphonium Staccato p 403 Euphonium Staccato f 437 2 Trombones Fall L 471 404 Tuba p 438 2 Trombones Fall R 472 TRP MuteHarm Vib p TRP CupMute Doit 405 Tuba f
1018| # 501 Appendix Multisample # Multisample # Multisample Brass Ensemble Stereo L 535 Choir Ohh Male/Fem L 569 Violin 1 Play End 502 Brass Ensemble Stereo R 536 Choir Ohh Male/Fem R 570 Violin 1 Bow Noise 503 Brass Ensemble 1 537 Choir Uhh Male/Fem L 571 504 Brass Ensemble 2 538 Choir Uhh Male/Fem R 572 Violin 2 Gliss Up 505 Brass Ensemble 2LP 539 Choir Da Male/Fem L 573 Violin 2 Gliss Dw 506 Brass Ensemble GM 540 Choir Da Male/Fem R 574 575 Violin 2 Trill Up Choir Di Male/Fem
Musical Resources # Multisample # Multisample # |1019 Multisample 603 Strings Quartet Vibrato2 637 Ac.Gtr T 2 L 671 604 Pizzicato 638 Ac.Gtr T 2 R 672 Ac.Gtr M Mute 2 R 605 Strings Ens Legato1 L 639 Ac.Gtr T 3 L 673 Ac.Gtr M Harmonics L 606 Strings Ens Legato1 R 640 Ac.Gtr T 3 R 674 607 Strings Ens Legato2 L 641 675 Ac.Gtr M HTone Up 1 L 608 Strings Ens Legato2 R 642 Ac.Gtr T 4 R Ac.Gtr T 4 L 676 Ac.Gtr M Mute 2 L Ac.Gtr M Harmonics R Ac.
1020| # Appendix Multisample # Multisample 705 Nylon Gtr1 mf2 L 739 FS N Dw DI 5 706 Nylon Gtr1 mf2 R 707 Nylon Gtr1 mf3 L 708 Nylon Gtr1 mf3 R # Multisample 773 Tele M Dw Clean 3 740 FS N Dw DI 6 774 Tele M Dw Clean 4 741 FS N Ghost DI 775 Tele M Mute Clean 1 742 FS N Mute DI 1 776 Tele M Mute Clean 2 709 Nylon Gtr1 f L 743 FS N Mute DI 2 777 Tele M Mute Clean 3 710 Nylon Gtr1 f R 744 FS N Mute DI 3 FS N Mute DI 4 778 Tele M Mute Clean 4 711 Nylon Gtr1 Slide p L 745 71
Musical Resources # Multisample # Multisample G335 B Ghost DI # |1021 Multisample 807 GLP M RX Noise Clean 2 841 875 Stra P2 Up4 808 GLP M RX Noise Clean 3 842 G335 B Mute DI 1 876 Stra P2 Up5 809 GLP M Dw DI 1 843 G335 B Mute DI 2 877 Stra P2 SlideHT p 810 GLP M Dw DI 2 844 G335 B Mute DI 3 878 Stra P2 SlideHT f 811 GLP M Dw DI 3 845 G335 B Mute DI 4 879 Stra P2 Harm 12 812 GLP M Dw DI 4 846 G335 B Mute DI 5 880 Stra P2 Harm 7 813 GLP M Dw DI 5 847 G335 B RX Noise DI 1 881
1022| # Appendix Multisample # Multisample # Multisample 909 El.Guitar Clean Slide 943 Dist.Guitar2 Mute2 977 Bass SR Pick Mute 1 910 El.Guitar Clean GM 944 El.Guitar DistMuted 1 978 Bass SR Pick Mute 2 911 El.Guitar Fret Noise GM 945 El.Guitar DistMuted 2 979 Bass SR Pick Mute 3 912 El.Guitar Cut Noise GM 946 El.Guitar PowerChord1 980 Bass SR Harmonics 913 El.Guitar Le Neck 947 El.Guitar PowerChord2 981 914 El.Guitar Le Bridge 948 El.
Musical Resources # 1011 Multisample PB FS Finger 3 # Multisample # |1023 Multisample 1045 Bass Prec Pick Dead 1079 E.Bass9 PickLP 1012 PB FS Finger 4 1046 Bass Sray Finger 1080 E.Bass10 Thumb 1013 PB FS Ghost 1047 Bass Sray Harmonics 1081 E.Bass11 SlapThumb 1014 PB FS Fing Mute 1 1048 Bass Sray Deads 1082 E.Bass11 SlapThumbLP 1015 PB FS Fing Mute 2 1049 Bass Sray HandNoise 1083 E.Bass Gliss 1016 PB FS Fing Mute 3 1050 Bass Almb Fingered p 1084 E.
1024| # Appendix Multisample # Multisample # 1181 Multisample 1113 Mandolin monoLP 1147 Banjo1 Thumb Op 1 Dobro Muted 3 L 1114 Mandolin Tremolo 1148 Banjo1 Thumb Op 2 1182 Dobro Muted 3 R 1115 Mandolin Ensemble 1149 Banjo1 Thumb Op 3 1183 Dobro Rake Blues L 1116 Viola Caipira p 1150 Banjo1 Thumb Op 4 1184 Dobro Rake Blues R 1117 Viola Caipira mf 1151 Banjo1 Thumb Op 5 1185 Dobro Vibrato L 1118 Viola Caipira f 1152 Banjo1 Thumb Op 6 1186 Dobro Vibrato R 1119 Viola Caipira Mu
Musical Resources # Multisample # Multisample # |1025 Multisample 1215 Mouth Harp4 1249 White Pad 1283 Square MG 1216 Mouth Harp5 1250 N1 Air Vox 1284 Square JP 1217 Syn Flute Pad 1251 SynthBell 1285 Triangle MG 1218 Synth Sub Bass-L 1252 Ether Bell 1286 Ramp 1219 Synth Sub Bass-R 1253 Ether BellLP 1287 Ramp MG 1220 Syn Bass Reso 1254 Lore 1288 Sine 1221 Syn Bass FM1 1255 Lore NT 1289 DWGS Syn Sine1 1222 Syn Bass FM1LP 1256 Space Lore 1290 DWGS Syn Sine2 1223 Syn Bass FM2 12
1026| # Appendix Multisample # Multisample # Multisample 1317 Birds1 1351 Orchestra Crash 1385 Cowbell & Clave 1318 Birds2 1352 Ride Jazz 1386 Cabasa 1319 Crickets 1353 Ride Edge1 1387 Shaker 1320 Church Bell 1354 Ride Edge2 1388 Cabasa & Shaker 1321 Thunder 1355 HiHat Closed 1389 Dumbek - Djambe - Udu 1322 Stream 1356 88 HiHat Open 1390 Caxixi 1323 Bubble 1357 88 Cowbell 1391 Tabla & Baya 1324 Dog 1358 88 Tom 1392 WoodBlock & Castanet 1325 Gallop 1359 88 Conga 1393 Mix Lat
Musical Resources # Multisample 1419 FX Rim Large Hall1 L # Multisample 1450 IT G.
1028| Appendix Drum Samples The following table contains all the Factory Drum Samples. DF: Drum Family.
Musical Resources |1029 # Drum Sample DF # Drum Sample DF # Drum Sample DF 93 BD 24x14 f BD 127 BD Acoustic2 f GM BD 161 BD Jazz OPW3 BD 94 BD 24x14 f GM BD 128 BD open p BD 162 BD Jazz OPW4 BD 95 BD 24 inch Open p BD 129 BD open mf BD 163 BD Jazz OPW5 BD 96 BD 24 inch Open mf BD 130 BD open f BD 164 BD Jazz OPW6 BD 97 BD 24 inch Open f BD 131 BD Peak BD 165 BD Jazz OPW7 BD 98 BD 26 inch Open p BD 132 BD Dry1 BD 166 BD Jazz OPW8 BD 99 BD 26 i
1030| # Appendix Drum Sample DF # Drum Sample DF # 195 BD Satur 3 BD 196 BD Elektro 197 BD HipHop1 198 Drum Sample DF 229 BD ET House A 3 BD 263 BD Pop BD BD 230 BD ET House B 1 BD 231 BD ET House B 2 BD 264 BD Deep BD BD 265 BD Deep GM BD BD HipHop2 BD 232 BD ET House B 3 BD 266 BD Klanger BD 199 BD IDM 1 BD 233 BD ET Gliss Up 1 BD 267 BD Electribe01 BD 200 BD IDM 2 BD 234 BD ET Gliss Up 2 BD 268 BD Electribe02 BD 201 BD Tribal 1 BD 235 B
Musical Resources # Drum Sample DF # Drum Sample DF # 297 SD DW Pop 3 SD 331 SD Alc A 5 SD 298 SD DW Pop 4 SD 332 SD Alc A 6 299 SD DW Pop 5 SD 333 SD Alc A 7 300 SD DW Pop 6 SD 334 |1031 Drum Sample DF 365 SD D2 1 SD SD 366 SD D2 2 SD SD 367 SD D2 3 SD SD Alc A 8 SD 368 SD D2 4 SD 301 SD DW Pop 7 SD 335 SD Alc B 1 SD 369 SD D2 5 SD 302 SD DW Pop 8 SD 336 SD Alc B 2 SD 370 SD D2 6 SD 303 SD Brady 1 SD 337 SD Alc B 3 SD 371 SD P1 1 SD
1032| # Appendix Drum Sample DF # Drum Sample DF # SD Y1 5 SD 433 SD CrvOpen pp SD 467 400 SD Y1 6 SD 434 SD CrvOpen p SD 468 SD Crv Roll Gate1 p SD 401 SD Y2 1 SD 435 SD CrvOpen mf SD 469 SD Crv Roll Gate1 mf SD 402 SD Y2 2 SD 436 SD CrvOpen f SD 470 SD Crv Roll Gate1 f SD 403 399 Drum Sample DF SD Crv OpRim Gate1 f SD SD Y2 3 SD 437 SD CrvOpRim pp SD 471 SD Crv Gate2 p SD 404 SD Y2 4 SD 438 SD CrvOpRim p SD 472 SD Crv Gate2 mf SD SD CrvOpRim mf
Musical Resources # Drum Sample DF # Drum Sample DF # 501 SD LdwBB1A Cl3 SD 535 SD LdwSup Std Gate f SD 502 SD LdwBB1A Cl4 503 SD LdwBB1A OpRim1 SD 536 SD LdwSup S+R Gate p SD 537 SD LdwSup S+R Gate mf 504 SD LdwBB1A OpRim2 SD 538 |1033 Drum Sample DF 569 SD Spr StdRim mf SD SD 570 SD Spr StdRim f SD SD 571 SD Spr Open p SD SD LdwSup S+R Gate f SD 572 SD Spr Open mf SD 505 SD LdwBB1A OpRim3 SD 539 SD LdwSup Std Room p SD 573 SD Spr Open f SD 506 SD Ldw
1034| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF SD Dry Rim1 SD 637 SD Piccolo1 f SD 671 SD Snr Ghost1 b SD 604 SD Dry Rim2 605 SD 638 SD Piccolo2 pp SD 672 SD Snr Ghost2 a SD SD 639 SD Piccolo2 p SD 673 SD Snr Ghost2 b SD 606 SD Dry Roll SD 640 SD Piccolo2 mf SD 674 SD Snr Ghost2 c SD 607 603 SD Dry Rim3 SD 641 SD Piccolo2 f SD 675 SD Snr Signature p SD 608 SD Pop1 p GM SD Pop1 p SD 642 SD Solid1 p SD 676 SD Snr Signature mf SD 60
Musical Resources # Drum Sample DF # Drum Sample DF # 705 SD Trinity2 SD 739 SD Dance24 SD 706 SD Stereo Gate 707 SD Stereo Gate GM SD 740 SD House1 SD 741 SD House2 708 SD Processed SD 742 709 SD Processed GM SD 710 SD Processed + AMB SD |1035 Drum Sample DF 773 SD ET DubStep1_1 SD SD 774 SD ET DubStep1_2 SD SD 775 SD Orchestra SD SD House3 SD 776 SD Orch.
1036| # Appendix Drum Sample DF # SD Swirl B3 SD 808 SD Swirl B4 809 SD Swirl C1 810 807 Drum Sample DF # Drum Sample DF 841 SD JBrush open mf SD 875 Rim1 m Room SD SD 842 SD JBrush open f SD 876 Rim2 m Room SD SD 843 SD JBrush short SD 877 Rim3 m Room SD SD Swirl C2 SD 844 SD JBrush shot p SD 878 Rim4 m Room SD 811 SD Swirl C3 SD 845 SD BrushHit1 SD 879 Rim1 st Room SD 812 SD Swirl C4 SD 846 SD BrushHit2 SD 880 Rim2 st Room SD 813 SD Swirl L1 SD
Musical Resources # Drum Sample DF # Drum Sample DF # 909 Rim3 m Hall SD 943 Tom Pop Hi 4 Tm 910 Rim4 m Hall SD 944 Tom Pop Hi 5 911 Rim1 st Hall SD 945 Tom Pop Hi 6 912 Rim2 st Hall SD 946 |1037 Drum Sample DF 977 Tom Pop Floor Hi 6 Tm Tm 978 Tom Pop Floor Hi 7 Tm Tm 979 Tom Pop Floor Hi 8 Tm Tom Pop Hi 7 Tm 980 Tom Pop Floor Low 1 Tm Tom Pop Hi 8 913 Rim3 st Hall SD 947 Tm 981 Tom Pop Floor Low 2 Tm 914 Rim4 st Hall SD 948 Tom Pop Hi Mid 1 Tm 982
1038| # Appendix Drum Sample DF 1011 Tom Rock Low Mid 8 1012 1013 # Drum Sample DF # Drum Sample DF Tm 1045 Tom D Floor p Tm 1079 Tom2 Low f Tm Tom Rock Low 1 Tm 1046 Tom D Floor mf Tm 1080 Tom2 Floor p Tm Tom Rock Low 2 Tm 1047 Tom D Floor f Tm 1081 Tom2 Floor f Tm 1014 Tom Rock Low 3 Tm 1048 Tom P Hi Tm 1082 Tom3 Hi Tm 1015 Tom Rock Low 4 Tm 1049 Tom P Mid Tm 1083 Tom3 Floor Tm 1016 Tom Rock Low 5 Tm 1050 Tom P Low Tm 1084 Tom4 Hi Tm 1017 Tom Rock Low 6 T
Musical Resources # Drum Sample DF # 1113 Tom Jazz HW Floor 3 Tm 1147 1114 Tom Jazz HW Floor 4 1115 Tom Jazz HW Floor 5 1116 |1039 Drum Sample DF # Drum Sample DF Tom Brush Op Low 1 Tm 1181 HH Pop Z Op 2 HH Tm 1148 Tom Brush Op Low 2 Tm 1182 HH Pop Z Op 3 HH Tm 1149 Tom Brush Op Low 3 Tm 1183 HH Pop Z Op 4 HH Tom Jazz HW Floor 6 Tm 1150 Tom Brush Op Low 4 Tm 1184 HH Pop Z Op 5 HH 1117 Tom Jazz HW Floor 7 Tm 1151 Tom Brush Op Low 5 Tm 1185 HH Pop Z Op 6 HH
1040| Appendix # Drum Sample DF 1215 HH Rock HOp 6 1216 1217 # Drum Sample DF HH 1249 HH Natural cup Op2 HH Rock HOp 7 HH HH Rock QOp 1 HH Drum Sample DF HH 1283 HH1 Closed mf HH 1250 HH Soul Cl p HH 1284 HH1 Closed f HH 1251 HH 1285 HH1 Open mp HH 1218 HH Rock QOp 2 HH 1252 HH Soul Cl f HH 1286 HH1 Open mf HH 1219 HH Soul Cl mf # HH Rock QOp 3 HH 1253 HH Soul Op p HH 1287 HH1 Foot mp HH 1220 HH Rock QOp 4 HH 1254 HH Soul Op mf HH 1288 HH1 Foot mf HH 1221
Musical Resources # Drum Sample DF # 1317 HH Brush Nat Cl 3 HH 1351 1318 HH Brush Nat Cl 4 1319 HH Brush Nat Cl 5 # Drum Sample |1041 Drum Sample DF DF HH Ped Nat Op 2 HH 1385 HH Dance1 HH HH 1352 HH Ped Nat Op 3 HH 1386 HH Dance2 HH HH 1353 HH Ped Nat Op 4 HH 1387 HH Syn. Closed HH 1320 HH Brush Nat Cl 6 HH 1354 HH Ped Nat Op 5 HH 1388 HH Syn.
1042| # Appendix Drum Sample DF Cy 1453 Ride Z20 cup2 Cy 1487 Ride Brush Nat 2 1 Cy 1420 Ride Pop1 8 Cy 1454 Ride Z20 cup3 Cy 1488 Ride Brush Nat 2 2 Cy 1421 Ride Pop2 1 Cy 1455 Ride 20’ mp1 Cy 1489 Ride Brush Nat 2 3 Cy 1422 Ride Pop2 2 Cy 1456 Ride 20’ mp2 Cy 1490 Ride Brush Nat Cup 1 Cy 1419 Drum Sample DF Ride Pop1 7 # # Drum Sample DF 1423 Ride Pop2 3 Cy 1457 Ride 20’ mf1 Cy 1491 Ride Brush Nat Cup 2 Cy 1424 Ride Pop2 4 Cy 1458 Ride 20’ mf2 Cy 1492 Ride B
Musical Resources # Drum Sample DF Cy 1555 Splash Rock 4 Cy 1589 Claps Natural 2c LP 1522 Crash 19’ open 1 Cy 1556 Splash U11 1 Cy 1590 Claps Natural 2d LP 1523 Crash 19’ open 2 Cy 1557 Splash U11 2 Cy 1591 Claps Natural 2e LP 1524 Crash T20 1 Cy 1558 Splash U11 3 Cy 1592 Claps Natural 3a LP 1525 Crash T20 2 Cy 1559 Splash U11 4 Cy 1593 Claps Natural 3b LP 1526 Crash T20 3 Cy 1560 Splash 8’ edge1 Cy 1594 Claps Natural 3c LP 1521 Drum Sample DF Crash 17’ edge 2 #
1044| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF Surdo Mute GM LP 1623 Syn. Noise SFX 1657 DJ Vinyl Sliced 24 SFX 1691 1624 Syn. FX1 SFX 1658 DJ Scratch1 SFX 1692 Tumba Open1 mf LP 1625 Syn. FX2 SFX 1659 DJ Scratch2 SFX 1693 Tumba Open1 f LP 1626 Syn. FX3 SFX 1660 DJ Scratch3 SFX 1694 Tumba Open2 mf LP 1627 Syn. FX4 SFX 1661 DJ Scratch4 SFX 1695 Tumba Open2 f LP 1628 Syn. FX5 SFX 1662 DJ Scratch5 SFX 1696 Tumba Open Flam LP 1629 Syn. Perc.
Musical Resources # Drum Sample DF # Drum Sample DF # |1045 Drum Sample DF 1725 Conga1 Hi Open mf LP 1759 Hi Bongo 3 LP 1793 Bongo3 Lo Open LP 1726 Conga1 Hi Open Slap LP 1760 Bongo1 Lo Muffled mp LP 1794 Bongo3 Lo Slap LP 1727 Conga1 Hi Muffled LP 1761 LP 1795 Bongo3 Lo Stick LP 1728 Conga1 Hi Closed LP 1762 Bongo1 Lo Closed LP 1796 Bongo3 Hi Open LP Bongo1 Lo Muffled f 1729 Conga1 Hi Closed Slap LP 1763 Bongo1 Lo Flam LP 1797 Bongo3 Hi Slap LP 1730 Conga1 Hi Heel
1046| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 1861 Timbales1 Lo RimShot LP 1895 Cowbell4 Open HP 1827 Baya Mute3 LP 1828 Tabla1 Na LP 1862 Timbales1 Lo Abanico LP 1896 Cowbell4 Mute HP 1829 Tabla1 Open LP 1863 Timbales1 Lo Roll LP 1897 Cowbell5 Open a HP 1830 Tabla1 Tin LP 1864 Timbales1 Lo Mute mf LP 1898 Cowbell5 Open b HP 1831 Tabla1 Mute1 LP 1865 Timbales1 Lo Mute f LP 1899 Cowbell5 Mute HP 1832 Tabla1 Mute2 LP 1866 Timbales1 Lo Paila mf H
Musical Resources # Drum Sample DF 1929 Finger Cymbal HP 1963 Castanet 1 a LP 1997 Caxixi3 Hard HP 1930 Marc Tree HP 1964 Castanet 1 b LP 1998 Caxixi3 Soft HP 1931 HP 1965 Castanet 1 c LP 1999 Shaker Amb HP HP 1966 Castanet 2 LP 2000 Shaker1 PuE_Sh a HP Marc Tree GM 1932 Marc TreeLP # Drum Sample DF # Drum Sample |1047 DF 1933 Marc Tree Amb HP 1967 Castanet Single LP 2001 Shaker1 PuE_Sh b HP 1934 Rainstick SFX 1968 Castanet Single GM LP 2002 Shaker1 Pull a HP
1048| # Appendix Drum Sample DF 2031 Djembe L Basstone a # Drum Sample DF LP 2065 WD Ethno SD3 # Drum Sample DF SD 2099 M.E.1 Pand Pattern2 LP 2032 Djembe L Basstone b LP 2066 WD Ethno SD4 SD 2100 M.E.1 Pand Pattern3 LP 2033 Djembe L Basstone c LP 2067 WD Ethno SD5 SD 2101 M.E.1 Pand Pattern4 LP 2034 Djembe L Open LP 2068 WD Ethno SD6 SD 2102 M.E.1 Rek Dom Ak HP 2035 Djembe L Open Slap LP 2069 WD Kangaroo1 SFX 2103 M.E.
Musical Resources # # Drum Sample DF # Drum Sample |1049 Drum Sample DF DF 2133 M.E.1 Darbuka6 Open LP 2167 M.E.2 Kenartek LP 2201 Comp Voice Noise SFX 2134 M.E.1 Darbuka6 Rim LP 2168 M.E.2 Ramazangum LP 2202 Stadium Amb SFX 2135 M.E.1 Darbuka6 Dom Ak LP 2169 M.E.2 Ramazantek LP 2203 Stadium SFX 2136 M.E.1 Davul HP 2170 M.E.2 Renk LP 2204 Applause Amb SFX 2137 M.E.1 Hollo1 LP 2171 M.E.2 Renkbir LP 2205 Applause SFX 2138 M.E.1 Hollo2 LP 2172 M.E.
1050| # Appendix Drum Sample DF # Drum Sample 2235 Wind SFX 2269 Slice Groove A 005 2236 Stream SFX 2237 Bubble SFX 2238 Bubble GM DF # Drum Sample DF SFX 2303 Slice Groove A 039 SD 2270 Slice Groove A 006 SD 2304 Slice Groove A 040 SFX 2271 Slice Groove A 007 BD 2305 Slice Groove A 041 SFX SFX 2272 Slice Groove A 008 BD 2306 Slice Groove A 042 SD 2239 Church Bell SFX 2273 Slice Groove A 009 BD 2307 Slice Groove A 043 SFX 2240 Telephone Ring SFX 2274 Slice Groove A
Musical Resources # Drum Sample 2337 Slice Groove A 073 DF # Drum Sample DF # Drum Sample |1051 DF BD 2371 Slice Groove A 107 SFX 2405 Slice Groove B 013 SD 2338 Slice Groove A 074 SD 2372 Slice Groove A 108 SFX 2406 Slice Groove B 014 SD 2339 Slice Groove A 075 BD 2373 Slice Groove A 109 SFX 2407 Slice Groove B 015 SFX 2340 Slice Groove A 076 SFX 2374 Slice Groove A 110 SFX 2408 Slice Groove B 016 BD 2341 Slice Groove A 077 SD 2375 Slice Groove A 111 HH 2409 Slice Gro
1052| # Appendix Drum Sample DF 2439 Slice Groove B 047 SFX 2440 Slice Groove B 048 2441 Slice Groove B 049 # Drum Sample DF # Drum Sample DF 2473 Slice Groove B 081 SD 2507 Slice Groove B 115 SD SFX 2474 Slice Groove B 082 SD 2508 Slice Groove B 116 SD SFX 2475 Slice Groove B 083 SD 2509 Slice Groove B 117 HH 2442 Slice Groove B 050 BD 2476 Slice Groove B 084 SFX 2510 Slice Groove B 118 SFX 2443 Slice Groove B 051 SFX 2477 Slice Groove B 085 SD 2511 Slice Groove B 119
# Drum Sample DF 2541 Grv BD21 BD 2542 Grv BD22 2543 Grv BD23 # Drum Sample DF # Drum Sample DF 2575 Grv HH Closed9 HH 2609 Grv Fx5 SFX BD 2576 Grv HH Closed10 HH 2610 Grv Fx6 SFX BD 2577 Grv HH Closed11 HH 2611 Grv Fx7 SFX 2544 Grv SD1 SD 2578 Grv HH Closed12 HH 2612 Grv Fx8 SFX 2545 Grv SD2 SD 2579 Grv HH Closed13 HH 2613 Grv Fx9 SFX 2546 Grv SD3 SD 2580 Grv HH Closed14 HH 2614 Grv Fx10 SFX 2547 Grv SD4 SD 2581 Grv HH Closed15 HH 2615 Grv Fx11 SFX 2548 Gr
1054| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 88 HH Close1 acc GM HH 2643 Grv Slice4 SFX 2677 55 Tom Mid Tm 2711 2644 Grv Slice5 SFX 2678 55 Tom Low Tm 2712 88 HH Close2 HH 2645 Grv Slice6 SFX 2679 66 BD BD 2713 88 HH Close2 GM HH 2646 Grv Slice7 SFX 2680 66 SD SD 2714 88 HH Open1 HH 2647 Grv Slice8 SFX 2681 66 HH Close HH 2715 88 HH Open1 GM HH 2648 Grv Slice9 SFX 2682 66 HH Open HH 2716 88 HH Open2 HH 2649 Grv Slice10 SFX 2683 66 Tom T
Musical Resources # Drum Sample DF # Drum Sample DF # |1055 Drum Sample DF 2745 99 Tom Hi Tm 2779 BR_Agg2Bc2agu2 HP 2813 BR_AlfaiaBqt1 LP 2746 99 Tom Mid Tm 2780 BR_Agg2Bc2agu3 HP 2814 BR_AlfaiaBqt2 LP 2747 99 Tom Low Tm 2781 BR_Agg2Bc2agu4 HP 2815 BR_AlfaiaBqt3 LP 2748 99 Claps LP 2782 BR_Agg2Bc2agu5 HP 2816 BR_AlfaiaBqt4 LP 2749 99 Guiro1 LP 2783 BR_Agg4Bc1grv1lp HP 2817 BR_AlfaiaCl1 LP 2750 99 Guiro2 LP 2784 BR_Agg4Bc1grv2lp HP 2818 BR_AlfaiaCl2 LP 2751 99 R
1056| # Appendix Drum Sample DF 2847 BR_CuicaGrvC1 LP 2848 BR_CuicaGrvC2 2849 BR_CuicaGrvC3 # Drum Sample DF # Drum Sample DF 2881 BR_PndCocoCls5 LP 2915 BR_PndCouroPlt2 LP LP 2882 BR_PndCocoDeepMt1 LP 2916 BR_PndCouroPlt3 LP LP 2883 BR_PndCocoDeepMt2 LP 2917 BR_PndCouroPlt4 LP 2850 BR_CuicaMedA1 LP 2884 BR_PndCocoDeepMt3 LP 2918 BR_PndCouroPlt5 LP 2851 BR_CuicaMedA2 LP 2885 BR_PndCocoDeepMt4 LP 2919 BR_PndCouroPltOnly1 LP 2852 BR_CuicaMedA3 LP 2886 BR_PndCocoDeepMt
Musical Resources # Drum Sample DF 2949 BR_PndNylonSlap4 # # Drum Sample |1057 Drum Sample DF DF LP 2983 BR_RecoHitB1 HP 3017 BR_RpnqRimMad1 LP 2950 BR_PndNylonSlap5 LP 2984 BR_RecoHitB2 HP 3018 BR_RpnqRimMad2 LP 2951 BR_PndTradCls1 LP 2985 BR_RecoHitB3 HP 3019 BR_RpnqRimMad3 LP 2952 BR_PndTradCls2 LP 2986 BR_RecoHitB4 HP 3020 BR_RpnqRimMad4 LP 2953 BR_PndTradCls3 LP 2987 BR_RecoHitB5 HP 3021 BR_RpnqRimNyl1 LP 2954 BR_PndTradCls4 LP 2988 BR_RecoSlideA1 HP 3022 BR
1058| # Appendix Drum Sample DF # Drum Sample DF # Drum Sample DF 3051 BR_SmbSnr1Rll3 SD 3085 BR_SrdPriMtBqtCl1 LP 3119 BR_SrdTerHandMt3 LP 3052 BR_SmbSnr1Rll4 SD 3086 BR_SrdPriMtBqtCl2 LP 3120 BR_SrdTerHandMt4 LP 3053 BR_SmbSnr2Opn1 SD 3087 BR_SrdPriMtBqtCl3 LP 3121 BR_SrdTerMtBqtCl1 LP 3054 BR_SmbSnr2Opn2 SD 3088 BR_SrdPriMtBqtCl4 LP 3122 BR_SrdTerMtBqtCl2 LP 3055 BR_SmbSnr2Opn3 SD 3089 BR_SrdPriOp1 LP 3123 BR_SrdTerMtBqtCl3 LP 3056 BR_SmbSnr2Opn4 SD 3090 BR_Sr
Musical Resources # Drum Sample DF # 3153 BR_TamzinHndMt1 LP 3181 3154 BR_TamzinHndMt2 3155 BR_TamzinHndMt3 # Drum Sample |1059 Drum Sample DF DF BR_TimbaLoOpn1 LP 3209 BR_WdTmbOpnA2 LP LP 3182 BR_TimbaLoOpn2 LP 3210 BR_WdTmbOpnA3 LP LP 3183 BR_TimbaLoOpn3 LP 3211 BR_WdTmbOpnA4 LP 3156 BR_TamzinHndMt4 LP 3184 BR_TimbaLoOpn4 LP 3212 BR_WdTmbOpnB1 LP 3157 BR_TamzinHndSlp1 LP 3185 BR_TimbauLoBs LP 3213 BR_WdTmbOpnB2 LP 3158 BR_TamzinHndSlp2 LP 3186 BR_TimbauToBs1 LP
1060| # Appendix Drum Sample DF # Drum Sample DF Legend: BD = Bass Drum 3237 BR_ZabuTopCl2 LP 3243 BR_ZabuTopGrvOp4 LP 3238 BR_ZabuTopCl3 LP 3244 BR_ZabuTopOp1 LP Tm = Tom 3239 BR_ZabuTopCl4 LP 3245 BR_ZabuTopOp2 LP HH = Hi Hat 3240 BR_ZabuTopGrvOp1 LP 3246 BR_ZabuTopOp3 LP Cy = Cymbal 3241 BR_ZabuTopGrvOp2 LP 3247 BR_ZabuTopOp4 LP 3242 BR_ZabuTopGrvOp3 LP 3248 Empty SD = Snare Drum LP = Low Percussion HP = Hi Percussion SFX = Special FX
Musical Resources Pads The following table contains all the Factory Pads. # Pad # HIT - Drum Pad # Pad HIT - Percussion 31 1 88 Cowbell 1 Agogo 1 32 Windchimes 3 Windchimes 2 2 88 Crash 2 Agogo 2 3 China 3 Castanet 1 1 Baja 1 4 Crash 1 4 Castanet 2 2 Baja 2 HIT - World 1 5 Crash 2 5 Conga Hi 3 China Gong 6 Rev.
1062| # Appendix Pad # Pad 12 Sagat 1 14 Elastick Pad # Pad 4 Cat 13 Sagat 2 15 Rave 5 Church Bell 14 Tef 1 16 Dance Remix 6 Crickets 15 Tef 2 17 Vintage Sweep 7 Dist. Slide 1 16 Tef 3 18 You Decide 8 Dist. Slide 2 17 Tef 4 HIT - Voice 9 Dog 18 Tef 5 1 Aah ! 10 Door Creak 19 Tef 6 2 Hit it ! 11 Door Slam HIT - Orchestral 3 Laughing 12 Foosteps 1 1 Brass Fall 4 Scream 13 Foosteps 2 2 Orch.Cymbal 1 5 Uuh ! 14 Heart Beat 3 Orch.
Musical Resources # Pad 14 River # Pad 4 Perc Latin 2 # Pad 12 Grv Funk 1 15 Seashore 5 Perc Latin 3 13 Grv Funk 2 16 Siren 6 Perc Mix 14 Grv Funk 3 17 Starship 7 Perc Soft 15 Grv House 1 18 Thunder 8 Perc Conga 16 Grv House 2 19 Train 9 Perc Conga+Ride 17 Grv Analog 20 Wind 10 Perc Conga+Mix 18 Grv Garage 1 SEQ - Drum 11 Perc Conga+Bongo 19 Grv Garage 2 1 Drum DrumBasSolo 12 Perc Conga+Tamb.
1064| # Appendix Pad # Pad 8 Piano Accomp 8 16 Gtr Nylon Strum2 # Pad 4 Solo Steel Drums 9 Piano Accomp 9 17 Gtr Nylon Strum3 5 Solo Vibes 10 Piano Arpeg. 1 18 Gtr Nylon Strum4 6 Solo Gtr Dist. 11 Piano Arpeg.
Musical Resources # Pad 12 Synth Portam. 1 # Pad # Pad 2 Military 2 13 Metronome 3/4 13 Synth Portam. 2 3 Military 3 14 PreCount 3/4 14 Synth Portam. 3 4 Military 4 15 Metronome 4/4 15 Synth Portam.
1066| Appendix 58 Recognized chords The following pages show the main recognized chords, when the selected Chord Recognition mode is Fingered 3-Notes.
Recognized chords Minor 3-note T T 4-note T Minor 7th 4-note T Minor 6th 2-note T Minor-Major 7th 3-note T 4-note T Diminished T Diminished 7th 3-note T 4-note 3-note T Diminished Major 7th 4-note T T T T Minor 7th 5 4-note T T Augmented 3-note T Augmented 7th 4-note T T T T T T Augmented Major 7th 4-note T T T T No 3rd, no 5th No 3rd 2-note 1-note = constituent notes of the chord T = can be used as tension T |1067
1068| Appendix 59 Connecting an external display You can connect Pa4X to a TV or video monitor, to read lyrics and chords with your fellow musicians or audience. Connect the external video monitor ▪▪ Use the VIDEO OUT connector to connect Pa4X to a TV set or video monitor. Depending on the type of video monitor, you can use a cable of the RCA-toRCA type (if the monitor is equipped with a Video Composite input), or the RCA-to-SCART type (if the monitor is equipped with a SCART connector).
Connecting an external display |1069 Turn the external monitor on ▪▪ Turn the video monitor on, and tune it on the correct AV input. Set the colors ▪▪ In the same page, use the Colors menu to choose the preferred set of colors for the lyrics and the background. Colors Meaning 1...5 Color set. Try them to find the one you feel most comfortable with. Choose what to display ▪▪ In the same page, use the External Video menu to choose what to show in the video monitor.
1070| 61 Appendix Installing the options Assembling the amplification system (PaAS) If you purchased the (optional) PaAS Amplification System, here is how to install it, and add a three-way amplification system, a pair of integrated speakers and a bass-reflex box. Installing the PaAS will not deactivate the main audio outputs. Connecting the headphones will deactivate the PaAS (but not the main audio outputs).
Installing the options |1071 Installation 1 Remove the protective cap (b) from the connector (c) on the back of the instrument (a), by gently pulling it and making it turn down.
1072| 2 Appendix Now locate the front (d1) and the rear (d2) side of the speaker box, to be sure you will place it in the right way. d1 d2 3 Lift the speaker box (d) by making the back side (d2) look toward you and the front side (d1) toward the Pa4X. Align its extruding guide (e) to the matching slot (f) on the back of the instrument (a). Slightly tilt the speaker box (d) forward, to prevent the fixing pin (j, see below) to damage the back of the instrument.
Installing the options 4 |1073 Insert the speaker box’s extruding guide (e) entirely into the slot (f) on the back of the instrument, being sure the speaker box is perfectly horizontal. e f Be sure the nylon supports (i) for the music stand are perfectly resting on the control panel of the instrument (a).
1074| 5 Appendix When the speaker box (d) is perfectly aligned to the stoppers/delimiters, and the fixing pin (j) is over the corresponding hole (k) on the back of the instrument (a), tilt down the speaker box (d), to make the fixing pin (j) enter the hole (k). k j d a 6 Use the SPEAKER LOCK slider (l) next to the display to lock (or later unlock) the speaker box (d). When the box is locked, you must see the closed lock icon ( ). This will firmly join the speaker box (d) to the instrument (a).
Installing the options 7 |1075 At this point, the speaker box is correctly installed. To remove it, reverse the above instructions. Please note that, since Pa4X has to recognize the new circuit, the integrated speakers will start operating only a few seconds after the speaker box has been installed. Turning the integrated loudspeakers on and off The integrated speakers are automatically deactivated when inserting a jack into the PHONES connector. They can also be deactivated from the display.
1076| Appendix Assembling the music stand Follow these instructions to assemble the supplied music stand. Assembling the music stand without the amplification bar installed 1 Insert the music stand into the dedicated guide on the back of Pa4X, as shown in the illustration. 2 Freely adjust the music stand, by sliding it to the left or the right of the standard central position.
Installing the options |1077 Assembling the music stand with the amplification bar installed ▪▪ When the (optional) PaAS amplification system is installed, make the music stand rest over the nylon supports in front of the PaAS, as shown in the illustration.
1078| Appendix Assembling the stand (ST-SV1 BK) You can use the KORG ST-SV1 BK stand as a steady support for your Pa4X. Precautions before assembly Before you begin to assemble the stand, please keep the following in mind: ▪▪ To assemble the stand, two people are strongly suggested. Failing to do so may damage the instrument and cause injury. ▪▪ When placing the instrument on the stand, be careful not to pinch your hands.
Installing the options 3 |1079 Slightly lift the stand, and push the spring bolt (b) located under the tubing. b 4 Once the spring bolt has been extended, raise the leg (c), until you hear a ‘click’. At this point, the spring bolt (c) is automatically retracted, and the leg is fixed in place. Please repeat the same procedure for all four legs.
1080| 5 Appendix Lift the bracket (a), and insert it into the corresponding hole (d) in the leg (c). Repeat the same procedure for all four legs. Warning: Be careful not to pinch your fingers between the leg and the bracket! c 6 d a Turn the stand (B) upside down, so that the feet are laying on the floor. Place the concave side of the bracket (e) toward you.
Installing the options 7 |1081 Adjust the height of the feet (f), by turning them by hand and leveling the stand on each side, even if it is not completely even. We suggest you prevent the nut (g) from turning with the help of the supplied 11/16” wrench (h). After adjusting each of the feet, make sure that the nut (g) touches the leg’s border.
1082| 9 Appendix If the instrument and the stand are correctly aligned, the screws (j) should fit into the threaded nuts of the holes (k). If this does not happen, align the instrument and stand again. Once the screws are inside the threaded nuts, tighten them to attach the instrument to the stand. A B k j j 10 Be sure all screw are tightened, and all brackets correctly inserted. 11 Place the instrument in the location where it will be played.
Installing the options |1083 Disassembly If you need to packup the instrument, reverse the assembly order by which the instrument was attached to the stand and the stand was assembled. For improved protection, we suggest you also replace the protective sheet (see step 1).
1084| Appendix Replacing the clock backup battery You can replace the clock backup battery with a standard lithium battery (model CR2032). Do not use replacements different than the one suggested by KORG, or you risk to damage the instrument! Precautions ▪▪ Installation of the battery is done at the user’s own risk. KORG will assume no responsibility for any data loss, damage or injury resulting from its improper installation or use.
Installing the options 3 |1085 With the help of your fingernail, lift the exhausted battery (c) from its lower side, and remove it from the battery slot, being very careful not to let it fall inside the instrument. ⓒ 4 Insert the new battery (d) into the empty battery slot, being sure the positive (+) side is facing down. Be very careful not to let it fall inside the instrument.
1086| 5 Appendix Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).
Installing the options |1087 Installing a microSD card To expand the available onboard storage memory, you can install an (optional) microSD card. The card can be installed by the user. Do not use parts different than the one suggested by KORG, or you risk to damage the instrument! Please consider a card containing localized musical resources could have already been installed by your KORG Distributor. If you are not sure, contact them before removing the installed card.
1088| 2 Appendix From the back of the instrument, use the cross-point screwdriver to remove the fixing screw (a), then remove the cover and keep it apart. ⓐ 3 Push on the microSD card (c) already installed in the slot (if any) to unlock it, and remove it, being very careful not to let it fall inside the instrument. ⓒ 4 Insert the microSD card (d) into the empty card slot, being sure the connector side is facing up and toward the instrument.
Installing the options |1089 you hear a click sound meaning it is properly inserted. Warning: Be sure to insert the card correctly, or it may slip inside the instrument! ⓓ 5 Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).
1090| Appendix Accessing the microSD card Once the microSD card is installed, restart your Pa4X. You can access the card from any Media page or from the Song Select window, by using the Device selector and choosing the SD storage device.
Installing the options |1091 Installing an additional internal drive The HDIK-3 kit allows you to install a standard internal 2.5” SATA hard disk drive in your Pa4X-61 (an additional drive comes as standard with Pa4X-76). The hard disk drive is not supplied with the kit, so you will have to purchase it separately. Do not use parts different than the one suggested by KORG, or you risk to damage the instrument! Precautions • Installation of the kit is done at the user’s own risk.
1092| Appendix Installation 1 Extract the hard disk kit from its package, being careful not to touch any component on the interface board’s surface with your fingers. Turn the instrument upside down, being careful not to damage the display, joystick and knobs. 2 Attach the connector of the interface board (a) to the matching connector on the hard disk drive. Align the two connectors, and delicately push them together.
Installing the options |1093 4 From the bottom of the instrument, remove the two fixing screws (e) and keep them apart. Open the cover (f) by lifting it as if it was hinged on the opposite side, and keep it apart. 5 Disconnect the data cable (i) from the fixing clip (g), and remove the clip (g) by unscrewing the fixing screw (h). i 6 Connect the data cable (i) to the dedicated connector on the interface board (a).
1094| Appendix 8 By following the opening instructions in reversal, close the instrument by replacing the cover (f). 9 When the installation is finished, turn the instrument over, connect the power cord, and switch the instrument on again. If the hard disk drive is not already formatted, go to the Media > Format page, and format it (HD device) before accessing it for data storage.
Shortcuts 62 |1095 Shortcuts Shift functions You can keep the SHIFT button pressed, and press another button on the control panel to directly jump to an edit page or dialog box. Long keypress You can keep a button pressed for about one second to directly jump to an edit page or dialog box. Special functions Other available shortcuts are the following ones.
1096| Appendix 63 Troubleshooting In case of problems, please check the following list to find a solution. Problem Solution General problems Power does not turn on Make sure that (1) the power cable is plugged into the outlet, (2) the cable is plugged into the connector on the back of the instrument, (3) and is not damaged, (4) there are no problems with the mains. Is the POWER indicator turned on? If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
Troubleshooting |1097 Problem Solution The selected Style or Song cannot start Make sure that the Clock parameter is set to Internal. If you are using the MIDI Clock of another device (like a sequencer), you must set the MIDI Clock parameter to MIDI or USB, and make sure that the external device transmits MIDI Clock data. Does not respond to MIDI messages Make sure that the MIDI or USB cable is connected correctly.
1098| Appendix 64 Specs KORG Pa4X Features Keyboard Pa4X-76: 76 keys (E1 – G7) Pa4X-61: 61 keys (C2 – C7) Semi-weighted keys with velocity and aftertouch System Upgradable operating system Multitasking, Load while play Sound Generator EDS-X (Enhanced Definition Synthesis – eXpanded) Filters with resonance, 3-band EQ on each Sound/channel Polyphony 128 voices, 128 oscillators Effects Accompaniment/Song: 4 insert effects; 3 master effects (148 types) Keyboard Sounds: 1 insert effect; 2 master e
Specs |1099 KORG Pa4X Features Styles Factory: More than 550 Factory Styles, freely reconfigurable sets User: 1,248 locations, including User, Favorite and Direct banks Eight Accompaniment tracks, 4 Keyboard Sets, 4 Pads per Style; Style Settings (Sounds and Arranger parameters) on each Style Guitar Mode 2, Parallel and Fixed NTT (Note Transposition Table) Style/Pad Record with Step Record, Track and Event Edit Style Creator Bot (MIDI Song to Style Converter) Style controls: 3 Intros, 4 Variations, 4 F
1100| Appendix KORG Pa4X Features Sequencer Quick Record (Backing Sequence), Multitrack and Step Record functions Full-featured sequencer, 16 tracks, Up to 200,000 events, SMF (MID) native format SongBook Fully programmable music database, based on Styles, MIDI Songs (MID and KAR files), MP3 Songs, with automatic selection of Style Play and Song Play modes User definable Set Lists, with Entries selectable from the control panel Filtering and sorting options Compatibility ‘i-Series’ models: Styles P
Specs KORG Pa4X Features Storage Hard Disk Drive |1101 Pa4X-76: standard Pa4X-61: optional, user installable; HDIK-3 hard disk installation kit required microSD card (card not included); rear panel slot with plastic cover USB external drives (drive not included); 1 front panel port, 1 rear panel port Display 7” Wide capacitive color TouchView™ TFT display Clock Internal System Clock Power Consumption 100-240 Volts, 50/60 Hz < 0.
O Mono (Channel) O O O 65, 5 71, 72, 73 74, 75 Control Change O O O 38 7, 11, 16 O O O 12, 13 64, 66, 67 O O 6 O O O O O O O O O 1, 2 O O O O O O 8n, V=0–127 O 9n, V=1–127 0–127 0–127 0, 32 O O O 8n, V=0–127 Note Off Poly (Key) O 9n, V=1–127 Note On **************** 0–127 **************** Altered True Voice 3 X X 1–16 Default 1–16 Changed 1–16 Recognized Messages 1–16 Transmitted Default 10, 91, 93, 96 Pitch Bend Aftertouch Velocity Number:
X 120, 121 X Reset X O O (123-124) X O O X X X O 0–127 O 0–127 O O All sounds off, Reset all controllers RPN (LSB, MSB) NRPN (LSB, MSB) Sound Controller (1, 2) Vibrato Rate, Depth, Delay Mode 2: OMNI ON, MONO Mode 4:OMNI OFF, MONO Mode 3:OMNI OFF, POLY X: No O: Yes *5: Transmitted only when the Clock Send parameter (Global mode) is set to on. *4: Includes Inquiry, Master Volume and Transpose messages, FX settings, Quarter Tone settings. GM Mode On.
IMPORTANT NOTICE TO CONSUMERS THE FCC REGULATION WARNING (FOR USA) This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy Web www.korg.com © KORG Italy 2017.
