E 1 Advanced Edit ENGLISH OS Ver. 1.
Table of Contents 1 Table of Contents Pad Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 The Pad structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Entering the Pad Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Exit by saving or deleting changes . . . . . . . . . . . . . . . . . . . . . . . 36 Listening to the Pad while in Record/Edit mode . . . . . . . . . . . 36 Main page - Record 1 . . . . . . . . . . . . .
2 Table of Contents Write MultiSample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Write Slice dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Delete Sample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Delete Multisample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Export Sample page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Export Multisample page . . . . . . . . .
Style Record mode The Style structure 3 Style Record mode By entering the Style Record mode, you can create your own Styles, or edit an existing Style. Each Style Element is made up of smaller units, called Chord Variations (CV), but not all of them have the same number of CVs. Variations 1-4 have up to 6 CVs each, while the other Style Elements have only up to 2 CVs.
4 Style Record mode Style/Pad Import/Export Just to summarize, when you play a chord on the chord recognition area, the arranger determines which Style Element is used, then determines which Chord Variation should be used for the played chord, then Style sequences for every track of that Chord Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.
Style Record mode Exit by saving or deleting changes Note: While in Record mode, the footswitch and EC5 pedals are disabled. On the contrary, volume/expression-type pedals can be used. Exit by saving or deleting changes List of recorded events The Style/Pad Record mode filters out some events that may cause wrong operation of the Style or Pad. Here are the recorded events, and the most important filtered-out events. When finished editing, you can save your Style or Pad in memory, or abort any change.
6 Style Record mode Main page - Record 1 Recording parameters area Main page - Record 1 Element (Style Element) After having pressed the RECORD button, and having chosen whether you want to edit an existing Style or create a new one, the main page of the Style Record mode appears, with the tab “Record 1” selected. Page sub-header Page header Page menu icon This parameter lets you select a Style Element for editing.
Style Record mode Main page - Record 1 Warning: If you assign CV Length a value lower than Rec Length, the value of Rec Length is not immediately updated in the display. Therefore, you are still free of changing the value of CV Length, before the measures exceeding its value are deleted (see warning in “CV Length (Chord Variation Length)” below). However, if you press START/STOP to begin recording, the real Rec Length value is changed to the new one, even if the display still shows the old value.
8 Style Record mode Main page - Record 1 NTT Area Parallel/Root The root note (in CMaj = C) is transposed to the missing notes. NTT Type/Table Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes. NTTs (Note Transposition Tables) are the sophisticated algorithms that allow Korg arrangers to convert recognized chords into musical patterns.
Style Record mode Main page - Record 2/Cue Delete Note button Use this command to delete a single note or a single percussive instrument from a track. For example, to delete a snare, keep the D2 note (corresponding to the snare) pressed. 1. Select a track. 2. Touch the “Delete Note” button, and keep it pressed. 3. Press START/STOP to start the Style. 4. 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. 5.
10 Style Record mode Main page - Guitar Mode Cue area Main page - Guitar Mode Cue mode for [Style element] This parameter lets you decide how the current Style Element will enter after it has been selected. This setting is only available for the ‘Variation’ and ‘Fill’ Style Elements. While in the main page, and a Guitar track has been selected, touch the “Guitar Mode” tab to see this page.
Style Record mode Main page - Guitar Mode Recording strumming types The octave from C1 to B1 is devoted to selecting a strumming type. By pressing these keys, you play fast strumming samples: 11 key; with them, you can always play the lowest notes of an arpeggio.
12 Style Record mode Main page - Guitar Mode You can record the pattern by playing it in the range shown by the diagram. Pa3X 76 Pa3X 61 Recording a Chord Shape You can finely choose Chord Shapes by using MIDI messages. When you play a C0 note with the velocity value shown in the following table, a chord is played in a particular position and on a certain number of strings. Vel. Range from Str. to Str.
Style Record mode Main page - Guitar Mode Vel. Range from Str. to Str. Position 87 2 Strings Treble I II 2 88 2 Strings Treble I II 3 89 2 Strings Treble I II 4 90 2 Strings Treble I II 5 Choosing a Key/Chord for Intro 1 and Ending 1 The pattern is recorded in the key indicated by the Key/Chord pair of parameters. However, this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements.
14 Style Record mode Style Record procedure Style Record procedure Realtime Record procedure 1. There are two different methods for recording a Style: Realtime and Step. • Realtime Recording allows you to record Style patterns in realtime. • Step Recording allows you to create a new Style by entering single notes or chords in each track. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.
Style Record mode Style Record procedure Step Record procedure 1. While in the main page of the Style Record mode, select the “Overdub Step Recording” command from the page menu, to enter the Overdub Step Record mode. 2. The “Pos” parameter shows the current position. • If you do not want to insert a note or chord at the current position, insert a rest instead, as shown in step 4. • To jump to the next measure, filling the remaining beats with rests, touch the Next M. button in the display. 3. 4.
16 Style Record mode Edit menu Other pages have a slightly different structure. Edit menu Operating mode Edit section Chord Page menu icon From any page (apart for Step Record), press the MENU button to open the Style Record edit menu. This menu gives access to the various Style Record edit sections. When in the menu, select an edit section, or press EXIT to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.
Style Record mode Event Edit: Event Edit 17 Position Event Edit: Event Edit The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a different one, or change its playing strength (i.e., velocity value). See “Event Edit procedure” on page 18 for more information on the event editing procedure. Page header You can edit this parameter to move the event to a different position.
Style Record mode 18 Event Edit: Event Edit When in this dialog box, select a target measure, and touch OK. The first event available in the target measure will be selected. 9. Scroll though the various events by using the scrollbar. 10. Select an event to be edited by touching it in the display. Insert This is usually a note, that you can edit. Touch the Insert button in the display to insert a new event at the current shown Position.
Style Record mode Event Edit: Filter 19 Event Edit: Filter Style Edit: Quantize This page is where you can select the event types to be shown in the Event Edit page. The quantize function may be used to correct any timing mistake after recording, or to give the pattern a “groovy” feeling. Turn On the filter for all event types you do not wish to see in the Event Edit page. After setting the various parameters, touch Execute. Use this parameter to select a track.
20 Style Record mode Style Edit: Transpose Top parameters, you can select a single percussive instrument in a Drum or Percussion track. Note: These parameters are available only when a Drum or Percussion track is selected. Execute Touch this button to execute the operation set in this page. Track status icon Status of tracks. Touch this icon to change the status. Play status. The track can be heard. Mute status. The track cannot be heard. Track names Under the buttons, a label for each track is shown.
Style Record mode Style Edit: Cut E / CV (Style Element/Chord Variation) Track status icon Use these parameters to select the Style Element and Chord Variation for editing. Status of tracks. Touch this icon to change the status. 21 Play status. The track can be heard. Value Mute status. The track cannot be heard. Velocity change value (±127). Track names Start / End Tick Under the buttons, a label for each track is shown.
22 Style Record mode Style Edit: Delete Note: Some CC data are automatically removed during recording. See the table on page 5 for more information on the allowed data. Style Edit: Delete This page is where you can delete MIDI events out of the Style. This function does not remove measures from the pattern. To remove whole measure, use the Cut function (see “Style Edit: Cut” on page 21) Start / End Tick Use these parameters to set the starting and ending points of the range to delete.
Style Record mode Style Edit: Copy from Style 23 E / CV (Style Element/Chord Variation) From… To E/CV (Style Element/Chord Variation) Use these parameters to select the Style Element and Chord Variation for editing. Use these parameters to select the source and target Style Elements or Chord Variations. All Note: You can’t copy from a Variation to a different Style Element (or vice-versa), because of their different structure. All Style Elements, i.e. the whole Style.
24 Style Record mode Style Edit: Copy from Pad the source will be copied once, then the first 2 measures will be copied to fit the remaining 2 measures. Style Edit: Copy from Pad 1 2 3 4 5 6 Here you can copy a Chord Variation from a Pad. Furthermore, you can copy a whole Pad. 1 2 3 4 5 6 1 2 Note: Avoid copying to a Chord Variation with a different meter (time signature), for example a 4/4 Chord Variation onto a 3/4 one. Warning: The Copy operation deletes all data at the target location (overwrite).
Style Record mode Style Element Track Controls: Sound/Expression In this page you can assign a different Sound to each track of the selected Style Element. Each Style Element can have different Sound; after saving the new Style, please don’t forget to check the “Original Style Sounds” parameter in the Style Play mode (see page 114), to let the Style select the Sound bypassing the Style Performance settings.
26 Style Record mode Style Element Track Controls: Keyboard Range Style Element Track Controls: Keyboard Range The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch, compared to the original acoustic instrument, when transposed by the arranger. This will result in a more natural sound for each accompaniment instrument.
Style Record mode Style Track Controls: Type/Trigger/Tension Style Track Controls: Type/Trigger/Tension In this page you can set the Mode, Retrigger mode for the Style tracks, and activate/deactivate the Tension for the Accompaniment tracks. 27 Tension Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, even if they haven't been written in the Style pattern.
28 Style Record mode Import: Import SMF Import: Import SMF The Import SMF function allows you to import MIDI data from a Standard MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation. Note: You cannot use this function to import data from any generic Song. The Standard MIDI File to be imported must be programmed as if it was one of Pa3X’s Chord Variations. the CV Length value to reset the Chord Variation length.
Style Record mode Import: Import SMF 29 Importing an SMF separated by Markers into a Style Whenever they are not saved in the SMF, Program Change, Control Change 00, 11 and 32, can be still programmed in Style Record mode, by using the edit features available. As an alternative to importing single Chord Variations, you can import a whole Style as an SMF separated by Markers, i.e., a single SMF containing all the Chord Variations (Variation 1, Variation 2, etc.
30 Style Record mode Export SMF Export SMF Exporting a Style as an SMF separated by Markers The Export SMF function allows you to export a Chord Variation as a Standard MIDI File (SMF), and edit it on your preferred external sequencer. 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, i.e., a single SMF containing all the Chord Variations (Variation 1, Variation 2, etc.
Style Record mode Page menu 31 Copy Chord Table Page menu Touch the page menu icon to open the page menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command. Only available while in the Style Element Chord Table page. Select this command to open the Copy Chord Table dialog box (see “Copy Chord Table dialog box” on page 33). Delete Current Track (Only available in the Main Record pages). Select this command to delete the selected track.
32 Style Record mode Copy Key/Chord dialog box Note: A User or Favorite Style is usually prompted when writing a Style. However, you can overwrite a Factory Style, when the “Factory Style and Pad Protect” parameter is left unchecked (see page 236). Select… button Touch this button to open the Style Select window, and select a target location. Copy Sounds dialog box Open this window by choosing the Copy Sounds item from the page menu.
Style Record mode Copy Key Range dialog box 33 Copy Key Range dialog box Overdub Step Recording window Open this window by choosing the Copy Keyboard Range item from the page menu. Here you can copy all Keyboard Range values for the current Style Element tracks to a different Style Element. The Step Record allows you to create a new Style by entering single notes or chords to each track, by playing them on the keyboard one at a time, with no need to play on time.
34 Style Record mode Overdub Step Recording window Free Memory Tie Remaining memory for recording. Touch this button to tie the note to be inserted to the previous note. Duration Relative duration of the inserted note. The percentage is always referred to the step value. Back Goes to the previous step, erasing the inserted event. 25% Staccatissimo. 50% Staccato. 85% Ordinary articulation. Goes to the next measure, and fills the remaining space with rests. 100% Legato.
Pad Record mode The Pad structure 35 Pad Record mode By entering the Pad Record mode, you can create your own Pads, or edit an existing Pad. The Pad structure Pattern data vs. track data While the Pad Record mode is where you can create or edit music patterns for the Pad, track parameters (like Volume, Pan, FX settings…) have to be edited in Style Play mode.
36 Pad Record mode Exit by saving or deleting changes Exit by saving or deleting changes Main page - Record 1 When finished editing, you can save your Pad in memory, or cancel any change. The Main - Record page of the Pad Record mode looks like a simplified version of the Main page of the Style Record mode, with just a single track to be recorded and no Style Elements to be chosen. The only addition is the “Pad Sync” parameter.
Pad Record mode Main page - Record 1 The sequence will start at the next beat, in sync with the arranger’s or player’s tempo. It will start from its very beginning (i.e., tick 1 or measure 1). Rec Length (Recording Length) Pad Track info area This line lets you see the Sound assigned to the selected track. PAD This parameter sets the recording length (in measures) of the sequence. Its value is always equal to, or a divider of, the Chord Variation Length (see next parameter).
38 Pad Record mode Main page - Record 1 NTT Area Parallel/Root The root note (in CMaj = C) is transposed to the missing notes. NTT Type/Table PAD NTTs (Note Transposition Tables) are the sophisticated algorithms that allow Korg arrangers to convert recognized chords into musical patterns. The Note Transposition Table (NTT) determines how the arranger will transpose pattern notes, when a chord is recognized that does not exactly match the original chord of a Chord Variation.
Pad Record mode Main page - Guitar Mode 39 Main page - Guitar Mode Edit menu While in the main page, and a Guitar track has been selected, touch the “Guitar Mode” tab to see this page. This is where you can access Guitar Mode programming: When pressing the MENU button while in Pad Record mode, the Pad Record Edit Menu will appear. Note: To access this page, the Pad track must be of Guitar type (Pad Track Controls > Sound/Expression page, see “Track Type” on page 44).
40 Pad Record mode Event Edit: Event Edit Other pages exhibit a slightly different structure. Operating mode Edit section Page menu icon Event Edit: Filter This page is where you can select the event types to be shown in the Event Edit page. Parameters area Tabs Operating mode This indicates that the instrument is in Pad Record mode. Edit section Turn On the filter for all event types you do not wish to see in the Event Edit page.
Pad Record mode Pad Edit: Transpose 41 Pad Edit: Transpose Pad Edit: Velocity In this page you can transpose the selected track(s). In this page you can change the velocity (dynamics) value of notes in the selected track. Note: After transposing, please don’t forget to readjust the “Key/ Chord” parameter in the main page of the Pad Record mode (see page 37). After setting the various parameters, touch Execute. After setting the various parameters, touch Execute.
42 Pad Record mode Pad Edit: Cut Pad Edit: Cut Pad Edit: Delete This function lets you quickly delete a selected measure (or a series of measures) from the selected Chord Variation. All following events are moved back, to replace the cut measure(s). This page is where you can delete MIDI events out of the Pad. This function does not remove measures from the pattern. To remove a whole measure, use the Cut function (see “Pad Edit: Cut” on page 42) After setting the various parameters, touch Execute.
Pad Record mode Pad Edit: Delete All Bottom / Top Note Use these parameters to set the bottom and top of the keyboard range to delete. Note: These parameters are available only when the All or Note option is selected. 43 Note: If you copy too many events on the same “tick”, the “Too many events!” message appears, and the copy operation is aborted. Note: When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
44 Pad Record mode Pad Track Controls: Sound/Expression From Pad Expression Choose this option to select the source Pad to copy the Chord Variation from. Touch the Select button to open the Pad Select window and select the source Pad. Use this knob to set the Expression (CC#11) value for the Pad track. This value can be seen at the beginning of the Event Edit list. From CV (Chord Variation) The Expression is useful to balance the Pad with the other Pads.
Pad Record mode Pad Chord Table RX Noise PAD Use these controls to adjust the volume of RX Noises in the corresponding tracks. This control applies to all types of tracks (provided the Sound includes RX Noises). Humanize GTR PAD Use these controls to apply a random value to the position, velocity and length of notes of Guitar tracks (see “Track Type” on page 44). This control has no effect on other types of track.
46 Pad Record mode Export: SMF Initialize Check this parameter if you want all Pad settings (i.e., Key/ Chord, Chord Table, Sound…) are reset when loading the SMF. Hint: It is a good idea to check this parameter when importing the first Chord Variation of the Pad, and uncheck it when importing the following Chord Variations. Page menu Touch the page menu icon to open the page menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Pad Record mode Write Pad dialog box 47 Write Pad dialog box Open this window by selecting the Write Pad item from the page menu. Here you can save the recorded or edited Pad to memory. Parameters saved in the Pad are marked with the through the user’s manual. Name PAD symbol PAD Name of the Pad to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window. Pad Bank Target Pad bank. Only User banks can be selected. Pad Target Pad location in the selected bank.
48 Sound operating mode The MIDI channel Sound operating mode The Sound operating mode is where you can listen to individual Sounds, and edit them. Before pressing MENU to enter the edit environment, you should select a Sound of the type you wish to edit or create. To select a Sound, see the “Interface basics” chapter in the User’s Manual. Note: Notes pointing to special Drum Kit features are marked by the icon. In this mode, the selected Sound can always be played across the full keyboard range.
Sound operating mode Main page 49 Bank Cutoff Filter cutoff. This sets the sound brightness. Bank the current Sound belongs to. LFO Depth Intensity of the Vibrato (LFO). Bank Select / Program Change sequence LFO Speed Speed of the Vibrato (LFO). LFO Delay Delay time before the Vibrato (LFO) begins, after the sound starts. Resonance Use the Filter Resonance to boost the cutoff frequency.
50 Sound operating mode Digital Drawbars page Selected Effect Percussion/Rotary tab Non editable. This shows the effect assigned to the corresponding FX processor. To select a different effect, see “Effects: “B” FX Config” on page 74. Percussion adds a percussive sound to the attack segment of the organ sound. Rotary adds the effect of a rotating speaker. Send Use this knob to adjust the level of the dry sound sent to the corresponding effect.
Sound operating mode Edit menu Tone/Noise tab Tone is the timbre of the sound. Noises are mechanical noises from the keyboard and the tonewheels. 51 Edit menu From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections. When in the menu, select an edit section, or press EXIT or SOUND to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.
52 Sound operating mode Edit page structure Oscillator Count Edit page structure Oscillators Count Use this box to specify the number of oscillators (up to 24) the Sound is based on. All edit pages share some basic elements. Operating mode Edit section Page menu icon Selected oscillator Parameters area The total amount of polyphony varies depending on the number of oscillators used by the Sound (a maximum of 120 with only 1 oscillator per voice).
Sound operating mode Basic: OSC Basic 53 Legato This parameter is only available when the selected mode is Mono. It is the same found on the main page of the Sound mode. See “Legato” on page 49 for information on this parameter. Priority This parameter is available when the selected mode is Mono. It specifies which note will be given priority to play when two or more notes are played simultaneously. Low Lowest note will take priority. High Highest note will take priority.
54 Sound operating mode Basic: OSC Basic 1st…6th The sound will begin from the offset location predetermined for each sample. always play, while a Legato Oscillator will only play when a note is played Legato. No Attack The initial portion of the multisample is ignored. Mode AMS Activates the Alternate Modulation Source (see below). PseudoRandom (Only works when more than one Offset point is available in the multisample).
Sound operating mode Basic: Vel/Key Zone Hint: This is especially useful to trigger different sound nuances or create vector-like sound sequences. 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.
56 Sound operating mode Basic: Damper Mode ple of this kind of Sounds to be avoided in a Style track. Basic: Damper Mode Here you can program how the Damper pedal works, the Resonance/Halo effect, and the range within the Note Off message is not sent to the selected Oscillator: Resonance/Halo Here you can program the Resonance/Halo effect that is enabled by the “Resonance/Halo” Damper Mode (see above).
Sound operating mode Basic: Damper Trigger 57 Basic: Damper Trigger Basic: EQ Here you can set the notes triggered by pressing and releasing the Damper Pedal. The parameters in this page have effect on the Sound as a whole, and not on a single Oscillator. In this page, you can set the semi-parametric three-band equalizer for the selected oscillator.
Sound operating mode 58 DrumKit: Sample Setup (Drum Kits) DrumKit: Sample Setup (Drum Kits) This page appears when you edit a Drum Kit. Here you can select a different percussive sample for each key and layer. Drum Kits use only one oscillator. The pop-up menu is where you select the bank (ROM or RAM), while the numeric field under it is for selecting the sample inside the selected bank. The sample name appears on its right.
Sound operating mode DrumKit: EQ (Drum Kits) the Off or 1st Offset, when playing loudly you will select the 6th or No Attack Offset. When the “Intensity” parameter has a negative value, the selection will happen in reverse (higher-numbered Offsets will be selected before the lowest-numbered ones). Level 59 DrumKit: EQ (Drum Kits) This page appears when you edit a Drum Kit. In this page, you can set the semi-parametric three-band equalizer for the selected key, layer and Drum sample.
60 Sound operating mode DrumKit: Voice Mixer (Drum Kits) Exclusive Group DrumKit: Voice Mixer (Drum Kits) This page appears when you edit a Drum Kit. Here you can set various parameters for the different percussive sample assigned to the selected key and layer. 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.
Sound operating mode Pitch: Pitch Mod 61 Lowest Pitch Bend only Pitch: Pitch Mod Here you can make pitch settings for each oscillator. These settings specify how keyboard location will affect the pitch of each oscillator, and select the controllers that will affect the oscillator pitch and specify the depth of control. You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2, switch portamento on/off and specify how it will apply.
62 Sound operating mode Pitch: Pitch Mod Pitch EG AMS (Alternate Modulation Source) Fingered This parameter selects the source that will modulate the pitch EG of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 77). This parameter specifies whether the portamento effect restarts or not with each note played. On Portamento will restart with each note. Pitch EG Intensity Off Portamento will not restart with each note.
Sound operating mode Pitch: Pitch EG 63 Attack Time Pitch: Pitch EG Specifies the time over which the pitch will change from note-on until it reaches the pitch specified as the attack level. Here you can make settings for the pitch EG, which creates timevariant changes in the pitch of the oscillators. The depth of pitch change produced by these EG settings on the oscillators is adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see page 63). 0…99 Parameter value.
64 Sound operating mode Filter: Filter Type At (Attack Level Swing) This parameter specifies the direction of change in “Attack Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change. Time Modulation Filter: Filter Type Here you can make settings for the filters that will be used by the oscillators.
Sound operating mode Filter: Filter Mod 65 Resonance (Resonance A) The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by “Frequency”, producing a more distinctive sound. Increasing this value will produce a stronger effect. 00…99 Resonance value. Filter: Filter Mod These settings let you apply modulation to the cutoff frequency (“Frequency”) of the filter for the selected oscillator to modify the tone. Res. Mod.
66 Sound operating mode Filter: Filter Mod Tracking to A/B AMS (EG Alternate Modulation Source) These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and “Intensity to B” parameters to specify the depth and direction of the change applied to filters A and B.
Sound operating mode Filter: Filter LFO 67 Intensity to A Filter: Filter LFO Specifies the depth and direction of the effect that “AMS” will have on filter A. Here you can use the filter LFO to apply cyclic modulation to the cutoff frequency of the filter (for the selected oscillator) to create cyclical changes in tone. For example if “AMS” is After Touch, higher settings of this parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard.
68 Sound operating mode Filter: Filter EG Level Modulation Start This parameter specifies the change in cutoff frequency at the time of note-on. -99…+99 Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-on Note-on Note-off Note-off Note-off Level value. Attack This parameter specifies the change in cutoff frequency after the attack time has elapsed.
Sound operating mode Amp: Amp Level/Pan Time Modulation and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.
70 Sound operating mode Amp: Amp Mod as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect. -99…+99 Parameter value. Amp Modulation These parameters specify how the volume of the selected oscillator will be affected by velocity. Velocity Intensity With positive (+) values, the volume will increase as you play more strongly.
Sound operating mode Amp: Amp EG 71 Diagram Slope The diagram on top of the page shows the Amplitude envelope line. This parameter specifies the time over which the volume will change from when it reaches the break point level until it reaches the sustain level. Level 0…99 These parameters are the level of the envelope segment. Release Amplifier EG Note-on This parameter specifies the time over which the volume will change after note-off until it reaches 0. Note-off Attack Level Time value.
72 Sound operating mode LFO: LFO1 Time Modulation Sl (Slope Time Swing) These parameters let you use an alternate modulation source to modify the amp EG times that were specified in “Time” on page 71. This parameter specifies the direction of the effect that “AMS1” will have on “Slope”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.
Sound operating mode LFO: LFO1 73 Frequency AMS1 (Alternate Modulation Source1) Set the LFO frequency. A setting of 99 is the fastest. Selects the source that will adjust the frequency of the selected oscillator LFO1 (see “AMS (Alternate Modulation Source) list” on page 77). LFO1 can be modulated by LFO2. 00…99 Frequency rate. Offset Intensity (AMS1 Intensity) This parameter specifies the central value of the LFO waveform.
74 Sound operating mode LFO: LFO2 LFO: LFO2 Effects: IFX 1 Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscillator. See “LFO: LFO1” for more information on the parameters value. In this page you can edit the effect assigned to the Insert FX 1 effect processor. See “Effects” on page 106 for more information. However in “Frequency Modulation”, the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.
Sound operating mode Page menu 4. Page menu Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command. 75 Choose the “Paste FX” command from the page menu. To copy all effects: 1. Select the source Sound, then go to the Effects > B FX Config page, to copy all the effects. 2. Choose the “Copy FX” command from the page menu. 3. Select the target Sound, then go to the page of the Effects > B FX Config page. 4.
76 Sound operating mode Copy Oscillator dialog box Name Name of the Sound to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window. Sound Bank Target bank of Sounds. Use the VALUE controls to select a different bank. Copy Drum Kit dialog box Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy settings from a range of keys of a Drum Kit. Sound Target Sound location in the selected bank.
Sound operating mode AMS (Alternate Modulation Source) list 77 Off Do not use Alternate Modulation Pitch EG Pitch EG Filter EG Filter EG within the same oscillator Amp EG Amp EG within the same oscillator LFO1 LFO1 within the same oscillator LFO2 LFO2 within the same oscillator Flt KTrk +/+ (Filter Keyboard Track +/+) Filter keyboard tracking within the same oscillator Flt KTrk +/– (Filter Keyboard Track +/) Filter keyboard tracking within the same oscillator Flt KTrk 0/+ (Filter Keyboard
78 +/0 Sound operating mode AMS (Alternate Modulation Source) list The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High” will have no AMS effect. example of Amp Keyboard Track settings JS +Y & AT/2 (Joy Stick +Y & After Touch/2) The effect will be controlled by the joystick +Y (vertically upward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity.
Sampling operating mode Entering and exiting the Sampling mode 79 Sampling operating mode Entering and exiting the Sampling mode New Sounds. Sampling allows you to create new sounds, by recording from an external source (e.g., a microphone or a CD player) connected to Pa3X Audio Inputs, or by loading files from a storage device.
80 Sampling operating mode The Record (Sampling) procedure Recording the RAM bank of multisamples. Finally, select the new multisample. Next, you’ll record the sound or audio groove. 1. • To access the new sample(s), you must assign them to a Drum Kit. First select a Drum Kit. Press MENU and go to the “DrumKit: Sample Setup (Drum Kits)” page (see page 58). Select a key and a layer, then select the RAM bank of samples. Finally, select the new samples.
Sampling operating mode Edit menu Warning: Generated MIDI Grooves will be deleted when turning the instrument off. Import them to a Style track before turning the instrument off. Edit menu 81 Sampling: Record This page allows you to record a 16-bit, 48kHz stereo or mono sample . While in this page, you will be able to monitor the input signal. The keyboard will not play. From any page of the Sampling mode, press the MENU button to open the Sampling edit menu.
82 Sampling operating mode Sampling: Edit will be saved as mono files. Stereo samples will be saved as two separate mono files, and will be treated as mono files when reloaded. Sampling: Edit Source Use this parameter to choose either a microphone or a line source as the input. Line You can connect a mono or stereo line source to the Left and/or Right audio inputs. Use the “Record Mode” mode parameter (see above) to choose one or both inputs. Mic You can connect a microphone to the Mic input.
Sampling operating mode Sampling: Loop Edit When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sample Start in ordinary sounds (i.e., a guitar, a piano, a voice…). Loop Start (L) Loop End (E) Loop 83 Changing the sample length and finding good-sounding loop points To adjust the sample length and loop points, check the “Loop On” parameter, then use the “Start”, “Loop Start” and “End” parameters to create a fine sounding cycling loop.
84 Sampling operating mode Sampling: Sampling Info Use Zero See “Use Zero” on page 83. When you touch the Crossfade button, the Crossfade Loop dialog box appears: Loop Lock This fixes the length of the loop being edited. Off The “Loop S.” and “End” parameters can be edited separately. On When the “Loop S.” or “End” parameter is edited, the other one will be automatically adjusted so that the distance between them (i.e., the loop length) does not change.
Sampling operating mode Time Slice 85 Drum Samples How timeslice works Number of drum samples in memory. Number of multisamples in memory. Analyzing and processing. This function detects the attacks (e.g., kick and snare) inside a rhythm audio groove (a sample that loops a drum pattern), and automatically divides the audio groove into individual percussive samples.
86 Sampling operating mode Time Slice Ex.1 - Generating samples and MIDI Groove data: Ex.
Sampling operating mode Time Slice 87 Metronome Information Slices Meter This (non-editable) parameter shows the number of generated slices, i.e. generated samples and notes in the midifile. To change this value, edit the Release and Threshold parameters. Use this parameter to specify the Meter of the original sample. Note: You can have a maximum of 100 slices. Measures Use this parameter to specify the number of measures of the original sample. Usually, you will load a groove 1- or 2-measures long.
Sampling operating mode 88 The Time Slice procedure Long This option is most suitable for cymbals, whose sound should be sustained up until the next note. The “tail” envelope is sustained and falls slowly, then falls suddenly next to the end. A MIDI Groove with the original pattern will also be generated. The screen will change, to show slices separated by vertical lines: 4. Extend Test the generated sliced drum kit on the keyboard.
Sampling operating mode The Extend procedure 1. Set the By parameter, according to the tempo of the groove you will use. If you will slow down the groove very much, assign higher values to this parameter, otherwise you may assign lower values. 2. Select the Extend Mode. “Long” is more suitable for cymbals. 3. Select the Extend command. 4. After the Extend operation is complete, test the full pattern at different speed, by playing notes from C2 (half speed) to C3 (original speed).
Sampling operating mode 90 Multisample: Key Assign Pitch Fine tuning of the selected sample in cents (1 cent = 1/100 of a semitone). From … To Range of the selected Zone (or Index). The minimum size is one key. When reducing the range of a zone, the adjacent one is automatically increased to fill the gap. Page menu Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Sampling operating mode Page menu 91 Trim/Crop Import Select this command to cut all parts of the sample out of the selected range (i.e., out of the “Start” and “End” points). Use the Import command to import complex formats, i.e., sounds, multisamples and samples in non-native (i.e., non-Korg) formats. Select All Use this command to select the whole sample. Init Multisample Only available in the Multisample page. Select this command to create a new, blank multisample.
92 Sampling operating mode Write Sample dialog box Compress all samples When there is no more space in the Sample memory for your samples, you can compress the samples. With the optional EXBM256 Sample RAM expansion, this will allow to load up to 512MB of samples. Note: Compressing the whole content of the Sample memory can last up to four hours. Write MultiSample dialog box Open this dialog box by selecting the Write command from the page menu, while in the Multisample section.
Sampling operating mode Delete Sample dialog box 93 Name To assign a different name to the Sound, touch the Edit) button to open the Text Edit window. (Text Sound Bank Target bank of Sounds. Each bank corresponds to one of the SOUND buttons. Use VALUE controls to select a different bank. Delete Multisample dialog box Open this dialog box by selecting the Delete command from the page menu, while you are in any page of the Multisample section. Sound Target Sound location in the selected bank.
94 Sampling operating mode Export Multisample page Then touch the Save button to see the Export Sample dialog box: and a folder containing a series of “.KSF” files (Korg’s proprietary file format for samples) inside the same directory. Note: When exporting a stereo multisample, be careful to assign a different name to the Left and Right channel files, to avoid overwriting. A “-L” and “-R” suffix is usually added after the name of this kind of files. Original Name Name of the sample being exported.
Voice Processor Accessing the Voice Processor edit pages 95 Voice Processor The Voice Processor applies effects, doubling and four-part harmony to your voice. Some dedicated controllers on the control panel (MIC SETUP section) allows you to quickly access the most often used functions. In addition, you can edit the Voice Processor Setup (general settings for the singer’s voice) and Presets (programming of various effects) in the dedicated pages of the Global edit mode, described in this chapter.
96 Voice Processor Voice Processor Setup: Mic Tone Adjusting the control from 0% to 50% reduces mud while increasing brightness to a useful range for your voice. Turning from 50% up to 100% adds more brightness. Voice Processor Setup: Mic Tone In this page you can set parameters for the microphone input, choosing the most suitable settings for the Lead voice (i.e., the main singer). Lead Level VPs This parameter sets the Lead voice level. Off Lead voice is turned off. -60dB … 0dB Lead voice level.
Voice Processor Voice Processor Setup: Mic Tone • High band shelving Compress/DeEss with Adaptive On The 2 “Shelving” EQs boost or cut all frequencies below or above the the frequencies set by the Low and High controls respectively. These are most like the common Bass and Treble controls on a stereo system. When Adaptive is checked, it allows for simplified editing. The 3 Gain (upper) controls allow +/-12 dB of adjustment. The 3 Frequency (lower) controls range from 20 Hz to 20 kHz.
98 Voice Processor Voice Processor Setup: Mic Tone 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. Gate If your musical accompaniment is loud or you hear feedback, the Gate control will enable you to make adjustments.
Voice Processor Voice Processor Setup: Talk 99 Voice Processor Setup: Talk Voice Processor Preset: Easy Preset This page is where you can set the Talk function, to be used to address the audience, speaking over the background music. Parameters contained in this page are relative, and are used to attenuate the music when speaking. This page allows you to select a Voice Processor Preset, as well as turning on or off the various Voice processor blocks.
100 Voice Processor Voice Processor Preset: Mixer/FX Delay to Rev Voice Processor Preset: Mixer/FX VPp Master Level of the Delay effect going to the Reverb block. This page contains master level controls for the Voice Processor as a whole. Del/Rev Dly/Rev Level Master Level of the Delay and Reverb blocks. This corresponds to the DELAY/REVERB knob in the MIC SETTINGS section. This control is not memorized in the Voice Processor Preset.
Voice Processor Voice Processor Preset: Harmony The area is chosen with the CHORD SCANNING buttons in the control panel. Lower Lower area (under the Split Point). Upper Upper area (under the Split Point). Full The full extension of the keyboard. Set VPp VPp Sets the level for the overall Harmony effect in the current preset. VPp Portamento is a delayed response to the pitch movement of your singing voice. It is also referred to as “Glide” in synthesizers.
102 Voice Processor Voice Processor Preset: Double Amount VPp You can vary the amount of humanization for the harmony voices. All the styles except for the last one (Time & Pitch) were designed at middle values to allow you to add or remove effects as you see fit. Time & Pitch was designed so you can create wild special effects as you experiment with high values.
Voice Processor Voice Processor Preset: Filter & Hard Tune Gate Threshold Voice Processor Preset: Filter & Hard Tune This page contains the Filter and HardTune effects, which dramatically change the sound’s character. 103 VPp A gate, separate from the main Gate under the “Voice Processor Setup: Mic Tone” page is used to help prevent feedback when using the Filter with presence filtering that can introduce feedback in a live environment.
104 Voice Processor Voice Processor Preset: μMod Values above 90 add a high amount of gain and cause distortion and higher audio levels. Voice Processor Preset: μMod 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.
Voice Processor Voice Processor Preset: Reverb beats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right delays. These parameters are used 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. Feedback L/R VPp Re-introduces a portion of the audio output signal of the Delay block back to the input to add echo repeats.
106 Effects Dynamic Modulation sources Effects Pa3X is equipped with four powerful Effect Processors for the internal MIDI tracks (Upper, Lower, Style, Song, Pads). Modulation source Note Damper: #64 Dynamic Modulation sources Prta.SW: #65 Portamento Switch Sostenu: #66 Sostenuto Pedal MIDI(CC#67) When the symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect.
Effects Dynamics (Dynamic) 107 Compressor - Sensitivity Level Dynamics (Dynamic) Wet Louder Sensitivity=100 0: No Effect Sensitivity=40 Dry Select this option when you do not use any effects. Time c: Attack 1: Stereo Compressor This parameter controls the attack level. 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.
108 Effects Dynamics (Dynamic) Limiter - Threshold / Ratio Stereo In - Stereo Out Left Ratio=1.0 : 1 FX Amt Gain Adjust Limiter Side PEQ Envelope - Control + Output Level Ratio=2.0 : 1 Trigger Monitor Threshold Ratio=4.
Effects Dynamics (Dynamic) d: Attack d: Release These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly. h Limiter - Attack / Release Threshold i Dry Ratio=Inf : 1 Attack=1 Release=1 Wet Ratio=Inf : 1 Attack=100 Release=100 Wet Gain Adjust [dB] –Inf, –38...+24 Sets the output gain Src Off...Tempo Selects the modulation source for the output gain Amt –63...
110 c d e f g h Effects EQ and Filters (EQ/Filter) Threshold 0...100 Sets the level at which gating is applied Polarity +, – Switches the polarity of gating Attack 1...100 Sets the attack time Release 1...100 Sets the release time Delay Time [msec] 0...100 Sets the delay time for the gate input Side PEQ Insert Off, On Switches the trigger signal equalizer on/off Trigger Monitor Off, On Switches between monitoring the effect output and the trigger signal Side PEQ Cutoff [Hz] 20...
Effects EQ and Filters (EQ/Filter) b: Band1 Type c: Band4 Type j Selects a filter type for Band 1 and 4. Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry Wet signal Src Off...Tempo Table , “Dynamic Modulation sources,” on page 106 Amt –100...+100 Amount of modulation source 111 Parametric 4EQ - Band1, Band4 Type a: Type 3dB Band4 Type=Shelving High Band4 Type=Peaking +Gain This parameter selects a combination of center frequencies for each band.
112 Effects EQ and Filters (EQ/Filter) b: Emphasis Freq This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies. c: Enhancer Delay L [msec] d: Enhancer Delay R [msec] 11: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. These parameters set the delay time for the Enhancer left and right channel.
Effects EQ and Filters (EQ/Filter) 113 12: St. Vintage Wah (Stereo Vintage/Custom Wah) 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. This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.
Effects 114 EQ and Filters (EQ/Filter) a: Mode b: Frequency Bottom b: Frequency Top c: Resonance Bottom c: Resonance Top b If Mode=Preset, this simulates a vintage wah pedal. In this case, internally fixed values are used for Frequency Bottom/Top and Resonance Bottom/Top, and these settings will be ignored. The settings for Frequency Bottom/Top and Resonance Bottom/Top are valid if Mode=Custom. c d 13: VOX Wah This models the legendary VOX V847 and V848 Clyde McCoy wah pedals.
Effects EQ and Filters (EQ/Filter) Random Filter LFO LFO Frequency Step Frequency Step Frequency Step-Tri 115 15: 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.
116 Effects EQ and Filters (EQ/Filter) 16: St. Sub Oscillator (Stereo Sub Oscillator) 17: Talking Modulator This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
Effects EQ and Filters (EQ/Filter) 117 18: Stereo Decimator c: Voice Top d: Voice Center e: Voice Bottom These parameters assign vowels to the top, center, and bottom position of the controller. 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). Stereo In - Stereo Out E.g.
118 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 19: 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 FX Amt EQ Trim EQ Trim Pre EQ Analog Record Simulation Overdrive, Amp models, and Mic models (OD Amp Mic) 20: OD/Hi.Gain Wah (Overdrive/Hi.
Effects Overdrive, Amp models, and Mic models (OD Amp Mic) a: Wah The Wah parameter switches the wah effect on/off. a: Sw This parameter sets how the wah effect is switched on and off via the modulation source. 119 21: St. Guitar Cabinet (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet. Stereo In - Stereo Out Left When “Sw” = Moment, the wah effect is usually turned off. It is turned on only when you press the pedal or operate the joystick.
120 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 22: Gtr. Cabinet + NR 24: Bass Amp Model This simulates the acoustic qualities of a guitar amp’s speaker cabinet. It also adds a Noise Reduction control. This simulates a bass amp. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt 23: St. Bass Cabinet (Stereo Bass Cabinet) Volume + Bass Amp Model This simulates the acoustical character of a bass amp’s speaker cabinet.
Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 121 25: Bass Amp+Cabinet (Bass Amp Model+Cabinet) 26: Tube PreAmp Model (Tube PreAmp Modeling) This simulates a bass amp and speaker cabinet. 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.
122 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 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. 27: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (See “Tube PreAmp Model (Tube PreAmp Modeling)” on page 121.).
Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) Chorus, Flanger, and Phaser (Cho/Fln Phaser) 29: Stereo Chorus 30: 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.
Effects 124 Chorus, Flanger, and Phaser (Cho/Fln Phaser) 31: 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. 32: 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.
Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 125 33: St. Biphase Mod. (Stereo Biphase Modulation) 34: Multitap Cho/Delay (Multitap Chorus/Delay) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound. This effect has four chorus blocks with a different LFO phase.
126 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 35: Ensemble 36: Polysix 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. This models the ensemble effect built into the classic Korg PolySix programmable polyphonic synthesizer.
Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 127 37: Stereo Flanger 38: Classic 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. This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano.
Effects 128 Chorus, Flanger, and Phaser (Cho/Fln Phaser) 39: St. Random Flanger (Stereo Random Flanger) 40: St. Env. Flanger (Stereo Envelope Flanger) The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect. 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.
Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 129 41: Stereo Phaser 42: Orange Phaser This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. This models a standard model of analog phaser that achieved great popularity. It gives a sense of movement to electric piano sounds, adding a rich-sounding phase shift effect.
130 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 44: St. Random Phaser (Stereo Random Phaser) 45: St. Env. Phaser (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.
Effects Modulation and Pitch Shift (Mod./P.Shift) Modulation and Pitch Shift (Mod./P.Shift) 46: 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.
132 Effects Modulation and Pitch Shift (Mod./P.Shift) 47: St. Auto Fade Mod. (Stereo Auto Fade Modulatiom) 48: 2Voice Resonator 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. This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators individually.
Effects Modulation and Pitch Shift (Mod./P.Shift) a: Control Mode f: Voice 1: Resonance h: Voice 2: Resonance This parameter determines the resonance intensity. 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.
Effects 134 Modulation and Pitch Shift (Mod./P.Shift) 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. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher. e: Pitch Depth With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch variation.
Effects Modulation and Pitch Shift (Mod./P.Shift) 135 51: Grain Shifter 52: Stereo Tremolo This effect cuts extremely short samples (“grains”) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound. 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.
136 Effects Modulation and Pitch Shift (Mod./P.Shift) 53: Classic Tremolo This models the highly-acclaimed tremolo circuit that was built into a US-made combo amp. The Spread setting lets you create a pan effect that wavers between left and right. Stereo In - Stereo Out Left Wet / Dry 54: St. Env. Tremolo (Stereo Envelope Tremolo) This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation).
Effects 137 Modulation and Pitch Shift (Mod./P.Shift) 55: Stereo Auto Pan Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, such as making the left and right inputs seem to chase each other around the stereo field.
Effects 138 i Modulation and Pitch Shift (Mod./P.Shift) Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry Wet signal Src Off...Tempo Table , “Dynamic Modulation sources,” on page 106 Amt –100...+100 Amount of modulation source e a: Type a: LFO Phase [degree] Select the type of phaser LFO and tremolo LFO for the “Type” parameter. How the effect sound moves or rotates depends on the type of LFO.
Effects Modulation and Pitch Shift (Mod./P.Shift) 139 58: Detune 59: Pitch Shifter Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality).
Effects 140 Modulation and Pitch Shift (Mod./P.Shift) value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated. If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch. 60: Pitch Shifter BPM 61: Pitch Shift Mod.
Effects Modulation and Pitch Shift (Mod./P.Shift) 62: Organ Vib/Chorus (Organ Vibrato/Chorus) 141 63: Rotary Speaker This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized. 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.
142 Effects Delay b: Speed Switch This parameter controls how the rotation speed (slow and fast) is switched via the modulation source. When Mode = Toggle, the speed will switch between slow and fast each time you press the pedal or move the joystick. Via MIDI, the speed will switch each time the modulation amount exceeds 64. When Mode = Moment, the speed is usually slow. It becomes fast only when you press the pedal or move the joystick.
Effects Delay 65: Stereo/CrossDelay This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. 143 66: 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.
Effects 144 Delay 67: 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.
Effects Delay 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 145 69: St. AutoPanningDly (Stereo Auto Panning Delay) This stereo delay effect pans the delay sound left and right using the LFO.
146 Effects Delay 70: Tape Echo This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt (2) Feedback Amt Tape Saturation Trim Pre Tone (1) High / Low Damp Wah Flatter D-mod b c d e f g j k l Tap2/3 Position Delay Time FX Amt Delay (Tap1) [msec] 0...2700 Src Off...
Effects Delay Dry, 1:99...99:1, Balance between the wet and dry Wet signal Src Off...Tempo Table , “Dynamic Modulation sources,” on page 106 Amt –100...+100 Amount of modulation source 73: Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
Effects 148 Delay 74: L/C/R BPM Delay 75: Stereo BPM Delay The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with the song in real-time. Delay time is set by notes. This stereo delay enables you to set the delay time to match the song tempo.
Effects Delay 149 76: St.BPM Mtap Delay (Stereo BPM Multi tap Delay) 77: St.BPM Mod. Delay (Stereo BPM Modulation Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song.
150 Effects Delay Wet/Dry -Wet, 1:99...Dry...99:1 Balance between the wet and dry signal , Wet Src Off...Tempo Table , “Dynamic Modulation sources,” on page 106 Amt –100...+100 Amount of modulation source l 78: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) This stereo auto panning delay enables you to set the delay time to match the song tempo. i: Time Over? L, R Stereo In - Stereo Out Left FX Amt You can set the delay time up to 2,550msec.
Effects Delay 79: 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 Tape Saturation + Trim Pre Tone BPM High / Low Damp Base Note x Times Tap2/3 Position Delay Time FX Amt D-mod a MIDI, 40.00... 300.00 MIDI syncs to the system tempo; 40– 300 sets the tempo manually for this individual effect Tap1 Dmod Src Off...
152 Effects Reverb and Early Reflections (Reverb ER) Reverb and Early Reflections (Reverb ER) b: Pre Delay [msec] b: Pre Delay Thru [%] The “Pre Delay” sets the delay time to the reverb input, allowing you to control spaciousness. 80: Reverb Hall This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound.
Effects Reverb and Early Reflections (Reverb ER) 153 85: Reverb BrightRoom 86: Reverb Spring This room-type reverb emphasizes the early reflections that make the sound brighter. The R2-type reverbs R2.Spring–R2.Room have a different sonic character than Rev.Hall–Rev.Room2. They model the spring reverb systems that are built into some amps.
154 Effects Mono-Mono Serial (Mono-Mono) 89: P4EQ - Wah (Parametric 4-Band EQ Wah/Auto Wah) Mono-Mono Serial (Mono-Mono) This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection. 88: P4EQ - Exciter (Parametric 4-Band EQ - Exciter) FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out This effect combines a mono four-band parametric equalizer and an exciter.
Effects Mono-Mono Serial (Mono-Mono) 155 90: P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger) 91: P4EQ - Phaser (Parametric 4-Band EQ - Phaser) This effect combines a mono four-band parametric equalizer and a chorus/flanger. This effect combines a mono four-band parametric equalizer and a phaser.
Effects 156 Mono-Mono Serial (Mono-Mono) 92: P4EQ - Mt. Delay (Parametric 4-Band EQ Multitap Delay) This effect combines a mono four-band parametric equalizer and a multitap delay. 93: Comp - Wah (Compressor - Wah/Auto Wah) This effect combines a mono compressor and a wah. You can change the order of the connection.
Effects Mono-Mono Serial (Mono-Mono) 157 94: Comp - Amp Sim (Compressor - Amp Simulation) 95: Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp simulation. You can change the order of the effects. This effect combines a mono compressor and an overdrive/highgain distortion. You can change the order of the effects.
158 Effects Mono-Mono Serial (Mono-Mono) 96: Comp - P4EQ (Compressor - Parametric 4-Band EQ) 97: Comp - Cho/Flng (Compressor - Chorus/Flanger) This effect combines a mono compressor and a four-band parametric equalizer. You can change the order of the effects. This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.
Effects Mono-Mono Serial (Mono-Mono) 159 98: Comp - Phaser (Compressor - Phaser) 99: Comp - Mt. Delay (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You can change the order of the effects. This effect combines a mono compressor and a multitap delay. You can change the order of the effects.
160 Effects Mono-Mono Serial (Mono-Mono) 100: Limiter - P4EQ (Limiter - Parametric 4-Band EQ) a: [L]Ratio a: Threshold [dB] c: [L]Gain Adjust [dB] This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing Limiter + FX Amt Parametric 4Band EQ This parameter sets the signal compression “[L]Ratio”.
Effects Mono-Mono Serial (Mono-Mono) 101: Limiter - Cho/Flng (Limiter - Chorus/Flanger) 161 102: Limiter - Phaser This effect combines a mono limiter and a chorus/flanger. You can change the order of the effects. This effect combines a mono limiter and a phaser. You can change the order of the effects.
162 Effects Mono-Mono Serial (Mono-Mono) 103: Limiter - Mt.Delay (Limiter - Multitap Delay) 104: Exciter - Comp (Exciter -Compressor) This effect combines a mono limiter and a multitap delay. You can change the order of the effects. This effect combines a mono exciter and a compressor. You can change the order of the effects.
Effects Mono-Mono Serial (Mono-Mono) 105: Exciter - Limiter This effect combines a mono exciter and a limiter. You can change the order of the effects. 106: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger.
164 Effects Mono-Mono Serial (Mono-Mono) 107: Exciter - Phaser 108: Exciter - Mt.Delay (Exciter - Multitap Delay) This effect combines a mono limiter and a phaser. This effect combines a mono exciter and a multitap delay.
Effects Mono-Mono Serial (Mono-Mono) 109: OD/HG - Amp Sim (Overdrive/Hi.Gain Amp Simulation) This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the effects. 165 110: OD/HG - Cho/Flng (Overdrive/Hi.Gain - Chorus/Flanger) This effect combines a mono overdrive/high-gain distortion and a chorus/flanger. You can change the order of the effects.
166 Effects Mono-Mono Serial (Mono-Mono) 111: OD/HG - Phaser (Overdrive/Hi.Gain - Phaser) 112: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects. This effect combines a mono overdrive/high-gain distortion and a multitap delay.
Effects Mono-Mono Serial (Mono-Mono) 167 113: Wah - Amp Sim (Wah - Amp Simulation) 114: Decimator - Amp (Decimator - Amp Simulation) This effect combines a mono wah and an amp simulation. You can change the order of the effects. This effect combines a mono decimator and an amp simulation. You can change the order of the effects.
168 Effects Mono-Mono Serial (Mono-Mono) 115: Decimator - Comp (Decimator - Compressor) 116: AmpSim - Tremolo (Amp Simulation- Tremolo) This effect combines a mono decimator and a compressor. You can change the order of the effects. This effect combines a mono amp simulation and a tremolo.
Effects Mono-Mono Serial (Mono-Mono) 117: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) 118: Phaser - Cho/Flng (Phaser - Chorus/Flanger) This effect combines a mono chorus/flanger and a multitap delay. This effect combines a mono phaser and a chorus/flanger.
170 Effects Mono-Mono Serial (Mono-Mono) 119: Reverb - Gate f: [G]Envelope Select f: Src g: [G]Input Reverb Mix g: Threshold This effect combines a mono reverb and a gate. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Reverb EQ Trim + Pre Delay Reverb Gate Reverb Balance LEQ HEQ Right FX Amt Input Reverb Mix Input Envelope - Control Gate+Dmpr D-mod Envelope Select Gate REVERB a b c [R]Reverb Time 0.1...10.
Effects Double Size 171 121: PianoBody/Damper (PianoBody/Damper Simulation) Double Size Double-size effects take two processing units, therefore “stealing” one unit to the following FX processors. 120: St. Mltband Limiter (Stereo Mltband Limiter) 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.
Effects 172 Double Size 122: OD/HyperGain Wah (Overdrive/Hyper Gain Wah) This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect.
Effects Double Size 173 combined with a relaxed sustain, making for an enjoyable playing experience. a: Amp Type d: Presence If the Amp Type is VOX AC15...VOX AC30TB, this sets the attenuation of the high-frequency range. For other types, this sets the boost of the high-frequency range. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Volume This corresponds to the Cut knob control of amps made by the VOX Corporation.
174 Effects Double Size 128: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) 129: St. Mic + PreAmp (Stereo Mic Modeling + PreAmp) This simulates a bass amp (with gain and drive) and speaker cabinet. This is a stereo mic and preamp simulator (See “Mic Model+PreAmp (Mic Modeling + PreAmp)” on page 122.). For example you might use this to simulate micing of a stereo source such as a rotary speaker.
Effects Double Size Tap6 (300) [msec] 0...2000 Sets the Tap1 (LFO phase=300 degrees) delay time Depth 0...30 Sets the Tap6 chorus depth Status Always On, Always Off, On Off (Dm), Off On (Dm) Panning Preset 1 : L 1 2 3 4 5 6 R, 2 : L 135 246 R, 3 : L 1 3 5 2 4 6 R, 4:L145632R h i j Selects on, off, or modulation source for the control of Tap6 output Stereo In - Stereo Out Left FX Amt High Damp Sets the Tap1 feedback amount Src Off...
Effects 176 Double Size 132: St. PitchShift BPM (Stereo Pitch Shifter BPM) 133: Rotary SpeakerOD (Rotary Speaker Overdrive) This stereo pitch shifter enables you to set the delay time to match the song tempo. 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.
Effects Double Size a: Sw This parameter determines how to switch on/off the overdrive via a modulation source. When “Sw” = Toggle, overdrive is turned on/off each time the pedal or joystick is operated. Overdrive will be switched on/off each time the value of the modulation source exceeds 64.
Effects 178 Double Size 136: Hold Delay This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation source. Easy to use for real-time performances. “Times.” Even in this case, the delay time cannot exceed 10,800 msec. “Hold” procedure (when Loop Time = Auto) 1.
Effects Double Size The effect is off when a value for the modulation source specified for the “RST Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher. 179 138: St. BPM Long Dly (Stereo BPM Long Delay) The stereo delay enables you to match the delay time with the song tempo. 137: LCR BPM Long Dly The L/C/R delay enables you to match the delay time with the song tempo.
180 Effects Vocoder 139: Early Reflections This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (See “Early Reflections” on page 153.). You can create a very smooth and dense sound.
Effects Vocoder 181 e: Formant Shift By offsetting the Carrier filter, you can adjust the height of the frequency range to which the vocoder effect is applied. The tonal quality will change significantly. g: Noise Level This parameter enables you to mix white noise with the Carrier. h: Modulator High Mix This parameter sets the high-range output level of the modulator sound. If the modulator is a human voice, it will make the words more clear.
182 Factory data Styles Factory data Styles Note: You can remotely select Styles on the Pa3X, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see “MIDI: MIDI In Channels” on page 211 of the User’s Manual).
Factory data Styles CC0 CC32 PC Name # CC0 CC32 PC Name 17 16 Slow Band 3 2 Classic Rock 18 17 Big Band Jump 4 3 Rolling Blues 19 18 Big Band Fox 5 4 50's R&Roll 20 19 Big Band 40's 6 5 60's R&Roll 21 20 Fox Shuffle 1 7 6 Rock Boogie 22 21 Fox Shuffle 2 8 7 Rock Blues 23 22 Italian Tango 1 9 8 Power Rock 24 23 Italian Tango 2 10 9 English Rock 25 24 Easy Listening 11 10 Rock & Roll 26 25 Twist 12 11 Hard Rock 27 26 Hully Gully 13 12
184 # Factory data Styles CC0 CC32 PC Name # 23 22 Unplugged Swing 27 26 French March 24 23 Unplugged 3/4 28 27 Irish Waltz 25 24 Acoustic Bld.
Factory data Styles CC0 CC32 PC Name 9 8 Sambalegre 10 9 Samba Dance 11 10 Disco Samba 12 11 Mambo Party 13 12 Mambo 2000 14 13 Modern Bachata 15 14 Classic Beguine 16 15 Modern Beguine 17 16 Bayon 18 17 Modern Bossa 19 18 Disco ChaCha 20 19 Calypso 21 20 Reggae 1 22 21 Reggae 2 23 22 Latin Club 24 23 Andean 0 Swing Band 2 1 3 4 # CC0 CC32 PC Name Bank: Movie & Show 1 0 11 2 0 ScreenEpicMarch1 1 ScreenEpicMarch2 3 2 Orchestral Movie 4
186 # Factory data Styles CC0 CC32 PC Name 27 26 Groove Funk 28 27 Cool Vocal Bank: World 1 2 0 13 # CC0 CC32 PC Name Bank: Contemporary 1 0 Love 4 All 2 0 14 1 Dance to Rhythm 0 Spanish Dance 3 2 Latin Rock Hit 1 Flamenco 4/4 4 3 Chill Out Fast Smooth Jazz 3 2 Flamenco 3/4 5 4 4 3 Casatchock 6 5 Slow Smooth Jazz 5 4 Greek Rumba 7 6 Funk & Rock 6 5 Xasapiko 8 7 Funk Groovin' 7 6 Sirtaki 9 8 Ambient RMX 8 7 Zouk 10 9 Kyoto Lounge 9 8
Factory data Style Elements 187 Style Elements Note: You can remotely select the various Style Elements on the Pa3X, by sending it Program Change messages on the Control channel (see “MIDI: MIDI In Channels” on page 211 of the User’s Manual).
188 Factory data Sounds (Bank order) Sounds (Bank order) The following table lists all Pa3X Factory Sounds as they appear in the banks accessed by pressing the SOUND SELECT buttons on the control panel. Legend: 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. Bank: Sound Select button.
Factory data Sounds (Bank order) CC00 CC32 Sound Name CC00 CC32 PC Sound Name 121 12 21 Cassotto 16' 121 18 16 Drawbars Fast V. 121 9 21 Cassotto 121 14 16 Drawbars Organ 121 23 21 Master Accordion 121 8 16 Jazz Organ 121 11 21 Sweet Musette 121 17 16 Organ Hi V. 121 18 21 French Musette 121 4 17 Organ LowPc V. 121 16 21 2 Voices Musette 121 4 16 Organ Low 1 V. 121 17 21 3 Voices Musette 121 15 16 Organ Low 2 V.
190 Factory data Sounds (Bank order) CC00 CC32 121 33 121 8 121 PC Sound Name CC00 25 Real 12 Strings 121 13 24 Nylon Gtr RX2 24 Nylon Gtr Pro1 121 15 25 Steel Guitar RX1 11 24 Nylon Gtr Pro2 121 16 25 Steel Guitar RX2 121 14 24 Nylon Slide Pro 121 18 25 12 Strings RX 121 19 25 Steel Guitar Pro 121 22 24 Concert 12Str RX 121 17 25 12 Strings Pro 121 24 25 Pop SteelGtr RX1 121 5 25 Steel 12 Strings 121 25 25 Pop SteelGtr RX2 121 31 25 Real Ste
Factory data Sounds (Bank order) CC32 PC 121 19 48 121 16 48 121 17 48 Sound Name CC00 CC32 PC Sound Name Orchestra Tutti2 121 16 56 Trumpet Pro 3 Orch. & Oboe 1 121 2 56 Trumpet Overb. Orch. & Oboe 2 121 22 56 Cornet Pro 1 121 20 48 Orchestra&Flute 121 23 56 Cornet Pro 2 121 15 48 Strings & Horns 121 8 57 Trombone Vel. 1 121 18 48 Strings & Glock. 121 9 57 Trombone Vel. 2 121 1 45 Pizz. Ensemble 121 10 57 Trombone Vel. 3 121 2 45 Pizz.
192 CC00 Factory data Sounds (Bank order) CC32 PC Sound Name CC00 CC32 PC Sound Name 121 5 62 Synth Brass 1 121 1 73 Jazz Flute Expr. 121 4 62 Electrik Brass 121 3 73 Flute Dyn.
Factory data Sounds (Bank order) CC32 PC 121 6 97 121 5 98 121 10 89 121 12 121 2 121 11 121 4 121 12 91 Sound Name CC00 CC32 PC Sound Name Rave 121 25 24 Ukulele Moving Bell 121 9 104 Zither Analog Pad 3 121 8 104 Sitar 90 Big Sweep Stab 121 1 110 Fiddle 91 Fresh Air 1 121 11 25 Mandolin Trem. 91 Fresh Air 2 121 26 25 Mandolin Ens. 1 91 Pop Synth Pad 1 121 27 25 Mandolin Ens.
194 Factory data Sounds (Bank order) CC00 CC32 PC Sound Name CC00 CC32 PC Sound Name 121 3 32 Acous. Bass Pro1 120 0 80 Room Kit Amb 121 4 32 Acous.
Factory data Sounds (Bank order) CC32 PC 120 0 118 120 0 119 120 0 120 120 Sound Name CC00 CC32 Turkish Kit 121 2 18 Oriental PercKit 121 7 17 BX3 Short Decay 64 Percussion Kit 121 6 18 Super BX Perc. 0 65 Latin Perc.Kit 1 121 9 16 Gospel Organ 0 68 Latin Perc.Kit 2 121 3 17 Old Wheels 120 0 66 Trinity Perc.Kit 121 7 16 Dark Organ 1 120 0 67 i30 Perc.
196 CC00 Factory data Sounds (Bank order) CC32 PC Sound Name Legacy: Strings & Vocal 121 21 48 Strings Ens. 1 121 3 49 Strings Ens.
Factory data Sounds (Bank order) CC32 PC Sound Name CC00 CC32 PC Sound Name 121 6 84 Arp Twins 120 0 27 121 7 84 LoFi Ethnic 120 0 28 House Kit 3 120 0 125 Brush Kit 1 120 0 41 Brush Kit 2 120 0 49 Orchestra Kit 121 4 12 Log Drum 121 2 117 Reverse Tom 121 3 118 Reverse Snare Legacy: Ethnic 121 2 77 Shakuhachi 121 10 25 Mandolin Key Off 121 1 109 War Pipes 121 7 104 Sitar Sitar 121 5 55 Hit in India 121 6 104 Tambra 121 3 104 Indian St
198 CC00 Factory data Sounds (Bank order) CC32 PC Sound Name CC00 CC32 PC Sound Name 121 1 16 Det.Drawbar Org 121 3 38 Clavi Bass 121 2 16 It. 60's Organ 121 4 38 Hammer 121 3 16 Drawbar Org. 2 121 0 39 Synth Bass 2 GM 121 0 17 Perc.Organ GM 121 1 39 SynthBass Attack 121 1 17 Det. Perc. Organ 121 2 39 SynthBass Rubber 121 3 39 Attack Pulse 121 2 17 Perc. Organ 2 121 0 18 Rock Organ GM 121 0 19 Church Organ GM 121 1 19 Church Oct.
Factory data Sounds (Bank order) CC00 CC32 Sound Name 121 0 63 Synth Brass 2 GM 121 1 98 Synth Mallet 121 1 63 Synth Brass 4 121 0 99 Atmosphere GM 121 2 63 Analog Brass 2 121 0 100 Brightness GM GM2/XG: Reed 121 0 64 Soprano Sax GM 121 0 65 Alto Sax GM 121 0 66 Tenor Sax GM CC00 CC32 PC Sound Name 121 0 101 Goblins GM 121 0 102 Echo Drops GM 121 1 102 Echo Bell 121 2 102 Echo Pan 121 0 103 Star Theme GM 121 0 67 Baritone Sax GM 121 0 68
200 CC00 Factory data Sounds (Bank order) CC32 PC Sound Name CC00 GM2/XG: Drum 121 3 124 Door 121 4 124 Scratch 121 5 124 Wind Chime 121 0 125 Helicopter GM 121 1 125 Car Engine 121 2 125 Car Stop 121 3 125 Car Pass 121 4 125 Car Crash 121 5 125 Siren 121 6 125 Train 121 7 125 Jetplane 121 8 125 Starship 121 9 125 Burst Noise 121 0 126 Applause GM 121 1 126 Laughing 121 2 126 Screaming 121 3 126 Punch 121 4 126 Heart Beat 121 5
Sounds (Program Change order) The following table lists all Pa3X Factory Sounds in order of Bank Select-Program Change number. Legend: 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. Bank: Sound Select button. CC00 CC32 PC Name Sound Family 121 0 0 AcousticPiano GM GM2/XG: Piano 121 1 0 Ac. Piano Wide GM2/XG: Piano 121 2 0 Ac.
202 Factory data Sounds (Program Change order) CC00 CC32 PC 121 16 5 121 17 5 121 0 6 Name Sound Family CC00 CC32 PC Name Sound Family FM Stack EP Legacy: E. Piano 121 8 16 Jazz Organ Factory: Organ VPM E. Piano Factory: E. Piano 121 9 16 Gospel Organ Legacy: Organ Harpsichord GM GM2/XG: Piano 121 10 16 BX3 Rock 1 V.
CC00 CC32 121 11 121 12 121 13 PC Name Sound Family CC00 CC32 18 Rock Organ 2 Legacy: Organ 121 3 18 BX3 Rock 4 V. Factory: Organ 121 4 18 Jimmy Organ DNC Factory: Organ 121 PC 203 Name Sound Family 22 Harmonica AT 1 Factory: Accordion 22 Harmonica AT 2 Factory: Accordion 5 22 Harmonica DNC Factory: Accordion 121 0 19 Church Organ GM GM2/XG: Organ 121 6 22 Jazz Harm. DNC Factory: Accordion 121 1 19 Church Oct. Mix GM2/XG: Organ 121 7 22 Sweet Harm.
204 CC00 Factory data Sounds (Program Change order) CC32 PC Name Sound Family CC00 CC32 PC Name Sound Family Legacy: Guitar 121 10 25 Mandolin Key Off Legacy: Ethnic 121 11 27 Country Nu 121 11 25 Mandolin Trem.
CC00 CC32 PC Name Sound Family CC00 CC32 PC Name Sound Family Factory: Bass 121 4 29 Lead Guitar DNC Factory: Guitar 121 19 33 5 Strings BassRX 121 0 30 Distortion GtrGM GM2/XG: Guitar 121 20 33 Dark E.Bass 1 Factory: Bass 121 1 30 Feedback DistGtr GM2/XG: Guitar 121 21 33 Finger Jazz B.RX Factory: Bass 121 2 30 Dist. Rhythm Gtr GM2/XG: Guitar 121 22 33 Dark E.Bass DNC Factory: Bass 121 3 30 Joystick Gtr Y- Legacy: Guitar 121 23 33 Vintage P.
206 CC00 Factory data Sounds (Program Change order) CC32 PC Name Sound Family CC00 CC32 PC Name Sound Family GM2/XG: Strings 121 7 38 Bass Square Legacy: Bass 121 0 47 Timpani GM 121 8 38 Syn Bass Reso Factory: Bass 121 0 48 Strings Ens.
CC00 CC32 121 7 121 8 121 PC Name Sound Family CC00 CC32 52 Aah Choir 52 Wuuh Choir Legacy: Strings & Voc. 121 14 Factory: Strings & Voc. 121 15 9 52 Oh-Ah Voices Factory: Strings & Voc. 121 121 10 52 121 11 52 Slow Choir Legacy: Strings & Voc. Grand Choir Factory: Strings & Voc. 121 12 121 13 52 Choir Light 52 Strings Choir 121 14 52 Femal&Male Scat 121 15 52 121 16 52 121 17 121 121 PC 207 Name Sound Family 56 Trumpet Factory: Trpt & Trbn.
208 Factory data Sounds (Program Change order) CC00 CC32 121 0 121 1 121 2 PC Name Sound Family CC00 CC32 61 Brass Section GM GM2/XG: Brass 121 4 61 Brass Section 2 GM2/XG: Brass 121 0 61 Tight Brass 3 Factory: Brass 121 1 PC Name Sound Family 64 Sweet Soprano 2 Factory: Sax 65 Alto Sax GM GM2/XG: Reed 65 Alto Breath Legacy: Sax 121 3 61 Glenn & Friends Factory: Brass 121 2 65 Sax Ensemble Factory: Sax 121 4 61 Big Band Brass 2 Factory: Brass 121 3
CC00 CC32 PC 121 12 71 121 13 71 121 14 121 121 Name CC32 PC 209 Sound Family CC00 Name Sound Family Klarnet 2 Factory: Ethnic 121 7 Clarinet DNC Factory: Woodwind 121 8 80 Analog Lead Factory: Synth Lead 80 Old & Analog 71 RealClarinet DNC Factory: Woodwind 121 9 Legacy: Synth Lead 80 Gliding Square Factory: Synth Lead 15 71 JazzClarinet DNC Factory: Woodwind 121 16 71 SoloClarinet DNC Factory: Woodwind 121 10 80 Sine Switch Factory: Synth Lead 11 80
210 Factory data Sounds (Program Change order) CC00 CC32 121 1 PC 89 Name Sound Family Sine Pad GM2/XG: Synth Lead / Pad 121 2 89 Master Pad Legacy: Strings & Voc.
Factory data Sounds (Program Change order) CC32 PC Name Sound Family CC00 CC32 PC Name Sound Family GM2/XG: SFX 121 0 105 Banjo GM GM2/XG: Ethnic 121 1 120 Guitar Cut Noise 121 1 105 Banjo Key Off Factory: Ethnic 121 2 120 Ac.
212 Factory data Drum Kits Drum Kits The following table lists all Pa3X Factory Drum Kits in order of Bank Select-Program Change number. Legend: The table also includes MIDI data used to remotely select the Drum Kits. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Drum Kits CC00 CC32 PC Name Bank 127 0 32 Jazz Kit 1 XG GM2/XG: Drum 127 0 48 Jazz Kit 2 XG GM2/XG: Drum 127 0 40 Brush Kit XG GM2/XG: Drum 127 0 17 Classic Kit XG GM2/XG: Drum 120 64 0-127 … User DK 213 Advanced Factory data
214 Factory data Multisamples Multisamples The following table lists all Pa3X Factory Multisamples. * OrigTune: Original Tune, i.e., samples use the natural tuning of the original instrument, instead of the equal tuning. Beating may occur at the extreme pitch, when the sound is used in conjunction with other sounds. 0 Grand Piano L 38 E.Piano Dyno f 76 4' 22/3' 2' LF R 1 Grand Piano R 39 E.Piano Dyno ff 77 4' 22/3' 2' LS L 2 Grand Piano OT L 40 E.
Multisamples 114 Rotor Noise LF L 159 Flute Frull 204 Tenor Sax mf Vib 115 Rotor Noise LF R 160 Flute Voice 205 Tenor Sax f Vib 116 Rotor Noise LS L 161 Flute Jazz 206 Tenor Sax ff Vib 117 Rotor Noise LS R 162 Flute Vibrato 207 Tenor Sax Glissando 118 H Organ Leakage 163 Flute Attack p 208 Tenor Sax Falls 119 H Organ 2nd Harmonic 164 Flute Attack f 209 Tenor Sax mf Straight 120 H Organ Click Kon 165 Piccolo 210 Tenor Sax Riff Up 121 H Organ Click Koff 166 Pan Flute 211 Tenor Sax Riff
216 Factory data Multisamples 249 Accordion Volkst.
Multisamples 384 Ac.Gtr Dwn1 L 429 Nylon Gtr1 Slide p R 474 El. Guitar Tel Mid p 385 Ac.Gtr Dwn1 R 430 Nylon Gtr1 Slide f L 475 El. Guitar Tel Mid mf 386 Ac.Gtr Dwn2 L 431 Nylon Gtr1 Slide f R 476 El. Guitar Tel Mid f 387 Ac.Gtr Dwn2 R 432 Nylon Gtr1 Harmonics L 477 El. Guitar Tel Bridge p 388 Ac.Gtr Dwn3 L 433 Nylon Gtr1 Harmonics R 478 El. Guitar Tel Bridge mf 389 Ac.Gtr Dwn3 R 434 Nylon Gtr2 p 479 El. Guitar Tel Bridge f 390 Ac.Gtr SlideHT Up p L 435 Nylon Gtr2 mf 480 El.
218 Factory data Multisamples 519 Dist. Guitar1 Harmo. 564 E.Bass2 RH Stop 609 BouzoukiLP 520 Gtr Harmonic GM 565 E.Bass2 Harmo. 610 Mandolin Dw mf L 521 Dist. Guitar2 Harmo P1 566 E.Bass3 p 611 Mandolin Dw mf R 522 Dist. Guitar2 Harmo P2 567 E.Bass3 mf 612 Mandolin Dw f L 523 Dist. Guitar2 Mute1 568 E.Bass3 f Slap 613 Mandolin Dw f R 524 Dist. Guitar2 Mute2 569 E.Bass4 Pick 614 Mandolin Up L 525 El. Guitar DistMuted p 570 E.Bass4 Harmo. 615 Mandolin Up R 526 El.
Multisamples 654 Detuned Super 699 Ramp MG 744 Footstep2 655 Detuned PWM 700 Sine 745 Door Creak 656 Synth Brass 701 DWGS Syn Sine1 746 Door Slam 657 PopSynth-2 702 DWGS Syn Sine2 747 Car Engine 658 An.Strings1 703 DWGS Organ1 748 Car EngineLP 659 An.
220 Factory data Multisamples 789 Timpani 803 Tabla & Baya 817 Stereo Snare1 L 790 Taiko 804 WoodBlock & Castanet 818 Stereo Snare1 R 791 Djembe Open 805 Mix Latin Percussion 819 Stereo Snare2 L 792 Djembe Mute 806 Kangaroo 820 Stereo Snare2 R 793 Conga 807 DJ Eddie Set 821 FX SD Large Hall1 L 794 Quinto & Bongo 808 Claps Natural Set1 L 822 FX SD Large Hall1 R 795 Okonkolo 809 Claps Natural Set1 R 823 FX SD Large Hall2 L 796 Timbales 810 Claps Natural Set2 L 824 FX SD Large Hall2 R
Factory data Drum Samples 221 The following table lists all Pa3X Factory Drum Samples.
222 # Factory data Drum Samples Name Family 147 SD Crv+Rim Stage f Snare Drum 148 SD Crv Open Stage pp Snare Drum 149 SD Crv Open Stage p 150 151 152 153 # Name Family # Name Family 200 SD LdwBB1A Cl4 Snare Drum 253 SD LdwVint Room p Snare Drum 201 SD LdwBB1A OpRim1 Snare Drum 254 SD LdwVint Room mf Snare Drum Snare Drum 202 SD LdwBB1A OpRim2 Snare Drum 255 SD LdwVint Room f Snare Drum SD Crv Open Stage mf Snare Drum 203 SD LdwBB1A OpRim3 Snare Drum 256 SD LdwVin
Drum Samples # Name Family 306 SD Pop1 p GM Snare Drum 307 SD Pop1 mf Snare Drum 308 SD Pop1 mf GM 309 310 # Name Family 359 SD Brass1 mf Snare Drum 360 SD Brass1 f Snare Drum Snare Drum 361 SD Brass2 p SD Pop1 f Snare Drum 362 SD Pop1 f GM Snare Drum 363 # 223 Name Family 412 SD Dance01 Snare Drum 413 SD Dance02 Snare Drum Snare Drum 414 SD Dance03 Snare Drum SD Brass2 mf Snare Drum 415 SD Dance04 Snare Drum SD Brass2 f Snare Drum 416 SD Dance05 Snare D
224 # Factory data Drum Samples Name Family 465 SD Syn.2 Snare Drum 466 SD Syn.3 Snare Drum 467 SD Syn.
Drum Samples # Name Family 624 Tom5 Low Tom 625 Tom6 Vintage Hi p Tom 626 Tom6 Vintage Hi mf 627 628 # Name Family # 677 HiHat Jazz op1 a HiHat 678 HiHat Jazz op1 b HiHat Tom 679 HiHat Jazz op1 c Tom6 Vintage Hi f Tom 680 Tom6 Vintage Mid p Tom 681 629 Tom6 Vintage Mid mf Tom 630 Tom6 Vintage Mid f Tom 631 Tom6 Vintage Low p 632 633 225 Name Family 730 HH Brush cl 3 HiHat 731 HH Brush op 1 HiHat HiHat 732 HH Brush op 2 HiHat HiHat Jazz op2 a HiHat 733
226 # Factory data Drum Samples Name Family # Name Family # Name Family 783 Claps Natural 2b Low Perc. 836 DJ Vinyl Sliced 13 SFX 889 Conga1 Hi Open mf Low Perc. 784 Claps Natural 2c Low Perc. 837 DJ Vinyl Sliced 14 SFX 890 Conga1 Hi Open Slap Low Perc. 785 Claps Natural 2d Low Perc. 838 DJ Vinyl Sliced 15 SFX 891 Conga1 Hi Muffled Low Perc. 786 Claps Natural 2e Low Perc. 839 DJ Vinyl Sliced 16 SFX 892 Conga1 Hi Closed Low Perc. 787 Claps Natural 3a Low Perc.
Factory data Drum Samples Name Family # Name Family # Name Family 942 Bongo2 Lo Open a Low Perc. 995 Tabla2 Na b Low Perc. 1048 Cowbell7-Open Hi Perc. 943 Bongo2 Lo Open b Low Perc. 996 Tabla2 Na c Low Perc. 1049 Cowbell7-Mute Hi Perc. 944 Bongo2 Lo Mute Low Perc. 997 Tabla2 Tun a Low Perc. 1050 Agogo Bell Hi Perc. 945 Bongo2 Hi Open a Low Perc. 998 Tabla2 Tun b Low Perc. 1051 Chacha Bell Hi Perc. 946 Bongo2 Hi Open b Low Perc. 999 Tabla2 Tele a Low Perc.
228 # Factory data Drum Samples Name Family # Name Family 1101 Cabasa 1 L b Up Hi Perc. 1102 Cabasa 1 S a Down Hi Perc. 1103 Cabasa 1 S a Up 1104 1105 # Name Family 1154 Djembe L Open Low Perc. 1207 M.E.1 Douf Tek Ak2 Low Perc. 1155 Djembe L Open Slap Low Perc. 1208 M.E.1 Pand Open Low Perc. Hi Perc. 1156 Djembe L Closed Slap Low Perc. 1209 M.E.1 Pand Pattern1 Low Perc. Cabasa 1 S b Down Hi Perc. 1157 Djembe S Basstone a Low Perc. 1210 M.E.
Drum Samples # Name Family # Name Family 1260 M.E.2 Asagum Low Perc. 1313 Stadium SFX 1261 M.E.2 Asmatek Low Perc. 1314 Applause SFX 1262 M.E.2 Bendirgum Low Perc. 1315 Scream 1263 M.E.2 Bendirtek1 Low Perc. 1316 1264 M.E.2 Bendirtek2 Low Perc. 1317 1265 M.E.2 Dm1 Low Perc. 1318 1266 M.E.2 Findik Low Perc. 1319 1267 M.E.2 Gum Low Perc. 1320 1268 M.E.2 Hollotokat Low Perc. 1269 M.E.2 Islik1 SFX 1270 M.E.
230 # Factory data Drum Samples Name Family # Name Family # Name Family 1419 Grv HH Closed8 HiHat 1420 Grv HH Closed9 HiHat 1472 Grv Slice2 1473 Grv Slice3 SFX 1525 88 BD1 Bass Drum SFX 1526 88 BD2 1421 Grv HH Closed10 HiHat 1474 Bass Drum Grv Slice4 SFX 1527 88 BD Long Bass Drum 1422 1423 Grv HH Closed11 HiHat Grv HH Closed12 HiHat 1475 Grv Slice5 SFX 1528 88 SD1 Snare Drum 1476 Grv Slice6 SFX 1529 88 SD2 Snare Drum 1424 Grv HH Open1 1425 Grv HH Ope
Factory data Drum Samples Name Family # 1578 99 Ride Cymbal 1587 1579 99 Ride Dance Cymbal 1588 1580 99 Crash1 Cymbal 1589 1581 99 Crash2 Cymbal 1582 99 Crash3 Cymbal 1583 99 Cabasa 1584 99 Bongo Hi 1585 1586 Name Family # Name Family 99 Agogo Low Hi Perc. 1596 Click GM SFX 99 Conga Hi Low Perc. 1597 Seq Click SFX 99 Conga Mid Low Perc. 1598 Empty Bass Drum 1590 99 Conga Low Low Perc. 1591 99 WoodBlock Low Perc. Hi Perc. 1592 99 Timbale Hi Low Perc.
232 Factory data Pads Pads You can assign the following Hits or Sequences to the four Pads. Older sounds might be still assigned to the Pads when loading musical resources generated with an older operating system (see the following section). # HIT - Drum # HIT - Percussion # HIT - World 1 # Hit - World 2 # HIT - Orchestral 1 88 Cowbell 1 Agogo 1 1 Baja 1 1 Kup 1 1 Brass Fall 2 88 Crash 2 Agogo 2 2 Baja 2 2 Kup 2 2 Orch.
Factory data Pads # HIT - Synth&Pad # HIT - Blocks # HIT - Misc&SFX 1 # 1 Cosmic 1 Aah ! 1 Blk Funk 1 A 1 Applause 1 Bubble 2 VCF Modulation 2 Hit it ! 2 Blk Funk 1 B 2 Bird 1 2 Car Crash 3 Planet Lead 3 Laughing 3 Blk Funk 1 C 3 Bird 2 3 Car Engine 4 Brightness 4 Scream 4 Blk Funk 1 D 4 Cat 4 Car Pass 5 Crystal 5 Uuh ! 5 Blk Funk 2 A 5 Church Bell 5 Car Stop 6 New Age Pad 6 Yeah ! 1 6 Blk Funk 2 B 6 Crickets 6 Explosion 7 Fifths Lead 7
234 Factory data Pads 27 27 27 27 27 28 28 28 28 28 29 29 29 29 29 30 30 30 30 30 31 31 31 31 31 32 32 32 32 32 # SEQ - Guitar # SEQ - Orchestral # SEQ - Solo # SEQ - Synth&Pad # SEQ - Misc&SFX 1 Gtr Steel Strum1 1 Timpani Roll 1 1 Solo Marimba 1 Synth Seq 1 1 Military 1 2 Gtr Steel Strum2 2 Timpani Roll 2 2 Solo Kalimba 1 2 Synth Seq 2 2 Military 2 3 Gtr Steel Strum3 3 Orch.
Factory data Effects 235 0 No Effect 1 Stereo Compressor 2 Dyn. Compressor 3 Stereo Limiter 4 Multiband Limiter 5 St.MasteringLimtr 6 Stereo Gate 7 St.Parametric4EQ 8 St. Graphic 7EQ 9 St.Exciter/Enhncr 10 Stereo Isolator St. Vintage Wah 13 VOX Wah 14 St. Random Filter 15 St. MultiModeFilter 16 St. Sub Oscillator 17 Talking Modulator 8 Stereo Decimator 19 St. Analog Record 20 OD/Hi.Gain Wah 21 St. Guitar Cabinet 22 Gtr. Cabinet + NR 23 St.
Factory data Effects St.Mltband Limiter 121 PianoBody/Damper 97 Comp - Cho/Flng 122 OD/HyperGain Wah 98 Comp - Phaser 123 GuitarAmp + P4EQ 99 Comp - Mt. Delay 124 Amp Clean Combo 100 Limiter - P4EQ 125 Amp California 101 Limiter-Cho/Flng 126 Amp Tweed 102 Limiter - Phaser 127 Amp Modded OD 103 Limiter - Mt.Delay 128 BassTubeAmp+Cab. 104 Exciter - Comp 129 St. Mic + PreAmp 105 Exciter - Limiter 130 Multitap Cho/Delay 131 St. Pitch Shifter 132 St.
Factory data 237 MIDI Setup MIDI IN Channel Default Master Kbd Player1 Player 2 Accordion 1 Accordion 2 Accordion 3 Ext.
238 Assignable parameters List of Assignable Footswitch / Pedal functions Assignable parameters List of Assignable Footswitch / Pedal functions Function STS Mode STS1 STS2 The following functions can be assigned to a footswitch or a continuous pedal. Meaning Same functions of the control panel buttons with the same name STS3 STS4 STS Up Selects the next STS Function Meaning STS Down Selects the previous STS Off No function assigned Perform.
Assignable parameters List of Assignable Footswitch / Pedal functions 239 Function Meaning Function SubScale Preset 1 (SC1)…4 (SC4) Same functions of the SC Preset buttons in the display.
240 Assignable parameters List of Assignable Slider functions List of Assignable Slider functions List of Assignable Switch functions The following functions can be assigned to the Assignable Sliders. The following functions can be assigned to the Assignable Switches.
Assignable parameters List of EC5 functions Meaning Text Page Down These options let you move to the previous or next page, when reading a text file loaded with a Song or Song Book entry (see “Text files loaded with Standard MIDI Files and MP3 files” on page 170 of the User’s Manual). Text Page Up SongBook Next Moves to the next SongBook entry in the selected Custom List. Sound Controller 1 To be used as triggers for two DNC parameter (transmit CC#80 or CC#81).
242 Assignable parameters List of EC5 functions Function Meaning Function Meaning Perform. Down Selects the previous Performance Microphone Talk Style Change Style number Turns all Voice Processor effects down, to let you address the audience. See “Voice Processor Setup: Talk” on page 99. Sound Up Selects the next Sound Mic Lead On/Off Sound Down Selects the previous Sound On/off switch controls assigned to the Voice Processor. Press to activate, press a second time to deactivate.
Assignable parameters Scales 243 Scales The following is a list of scales (or tunings) you can select in various operating modes. 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.
244 MIDI Data MIDI Controllers MIDI Data CC# MIDI Controllers The following is a table including all Control Change messages, and their effect on various Pa3X functions. Note that not all controllers are available in all operative modes. CC# CC Name Pa3X Function 0 Bank Select Program selection 1 Mod1 (Y+) Joystick forward 2 Mod2 (Y-) Joystick backward 3 Undef. ctl 4 Foot ctl 5 Port.time 6 Data ent. 7 Volume 8 Balance 9 Undef.
Recognized chords 245 Recognized chords The following pages show the most important chords recognized by the Pa3X, when the selected Chord Recognition mode is Fingered 2 (see “Chord Recognition Mode” on page 135 of the User’s Manual). Recognized chords may vary with a different Chord Recognition mode. Note: Fingered 2 is selected while in Split keyboard mode; in Full Upper keyboard mode, Fingered 3 or Expert are selected instead.
246 Recognized chords Minor Minor 6th 3-note 2-note T T 4-note T T Minor 7th Minor-Major 7th 4-note T T 3-note T T Diminished T Diminished 7th 3-note 3-note 4-note 4-note T Diminished Major 7th 4-note T T T T Minor 7th 5 4-note T T Augmented 3-note T T No 3rd 2-note T Augmented 7th 4-note T T Augmented Major 7th 4-note T T T T T T No 3rd, no 5th 1-note = constituent notes of the chord T = can be used as tension T
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