Kurzweil PC3A7 [160/423] If you look at the back of the instrument you will see that there are two jacks for plugging in two cc continuous control pedals and a jack labeled breath controller like the nine programmable sliders you can assign these controllers on each of the 16 zones or you can assign any combination of these controllers to the same zone

Keeping current 1 2 overview of the pc3a 1 2 vast synthesis 1 3 kb3 tone wheel emulation 1 3 va 1 programs 1 3 how to use this manual 1 4 do i have everything 1 4 boot loader 1 4 battery 1 4 options 1 5 5

Kurzweil international contacts iv 5

Make connections 2 1 make music 2 1 startup the details 2 2 5

Pc3a programs 2 7 5

Setups 2 9 quick access 2 9 the other modes 2 10 software upgrades 2 10 5

Table of contents 5

Chapter 3 user interface basics 6

Chapter 4 the operating modes 6

Chapter 5 editing conventions 6

Data entry 3 9 6

Introduction to editing 5 1 6

Intuitive data entry 3 11 6

Mode selection 3 1 mode buttons 3 2 bank buttons 3 2 sliders 3 3 program and category buttons 3 4 6

Object type and id 5 2 saving and naming 5 3 6

Pitch wheel and mod wheel 3 5 navigation 3 6 6

Search 3 12 quick song recording and playback 3 12 6

Using the modes 4 2 6

What the modes are 4 1 selecting modes 4 1 6

Chapter 6 program mode 7

Control setup 6 9 7

Deleting objects 5 6 7

Editing vast programs 6 12 7

Saving and loading files storage mode 5 6 special button functions 5 7 7

The keymap page 6 14 7

The layer page 6 17 7

The program mode page 6 1 7

Vast and kb3 programs 6 4 vast program structure 6 4 kb3 program structure 6 6 7

The asr page 6 40 8

The common page 6 35 8

The dsp control dspctl page 6 29 the dsp modulation dspmod page 6 30 the output page 6 31 8

The function fun page 6 41 the amplitude envelope ampenv page 6 42 8

The lfo page 6 38 8

The pitch page 6 21 the amp page 6 21 the algorithm alg page 6 22 8

Editing kb3 programs 6 59 kb3 editor the tone wheels tonewl page 6 59 9

Editing vast programs with kva oscillators 6 53 9

Kb3 editor the drawbars drawbr page 6 61 9

Kb3 editor the set drawbars setdbr soft button 6 62 kb3 editor the pitch page 6 62 kb3 editor the amp page 6 62 kb3 editor the perc1 page 6 63 9

The envelope 2 env2 and envelope 3 env3 pages 6 44 the envelope control envctl page 6 45 9

The layer fx lyr_fx page 6 49 the controllers ctls page 6 50 info 6 51 function soft buttons 6 51 9

The program fx progfx page 6 47 9

Chapter 7 setup mode 10

Kb3 editor the eq page 6 69 kb3 editor the output page 6 70 10

Kb3 editor the keyclk page 6 65 10

Kb3 editor the misc page 6 67 10

Kb3 editor the perc2 page 6 64 10

Kb3 editor the program fx progfx page 6 70 kb3 editor the lfo asr and fun pages 6 70 kb3 programming tips 6 71 10

The setup editor 7 3 the channel program ch prog page 7 4 10

Controllers 7 19 11

Riffs 7 55 11

The arpeggiator arpeggiator 2 arp1 arp2 pages 7 42 11

The bend page 7 18 11

The key velocity key vel page 7 9 11

The pan volume pan vol page 7 17 11

The wheel page 7 32 the slider and slid2 pages 7 33 the continuous control pedal cpedal page 7 34 the pressure press page 7 35 the footswitch pages ft sw1 ft sw2 ft sw3 7 36 the arpeggiator switch arp sw page 7 37 the switch page 7 38 the ribbon page 7 39 the ribbon configuration ribcfg page 7 40 11

Chapter 8 quick access mode 12

Chapter 9 effects and effect mode 12

Effect mode and the effects pages 9 4 12

Effects overview 9 1 12

Effects parameters 9 12 12

Recording a setup to song mode 7 69 12

The chain editor 9 9 12

The fx pages fx auxfx1 auxfx2 and mastfx 7 64 the programmable switch pages swprg1 to swprg8 7 64 the common page 7 65 12

The qa editor 8 2 12

Trigger keys keytrg 7 67 the utility soft buttons 7 68 12

Chapter 10 midi mode 13

Chapter 11 master mode 13

Main 11 1 13

Program change formats 10 15 13

The channels page 10 14 13

The receive page 10 5 13

The soft buttons in midi mode 10 18 13

The transmit page 10 1 13

Chapter 12 song mode and the song editor 14

Getting started with the sequencer 12 1 14

Maps 11 5 14

Output 11 10 14

Song mode the main page 12 1 14

Tempo 11 11 general midi mode gm on gm off 11 12 object 11 13 14

Utils utilities 11 16 clock 11 17 reset 11 17 loader 11 18 about 11 18 save 11 18 preview sample prview 11 18 14

Song mode the big page 12 10 15

Song mode the filter pages recflt and plyflt 12 15 15

Song mode the fx pages 12 12 song mode the mixer page 12 12 15

Song mode the metronome page 12 13 15

Song mode the misc page 12 17 15

Song mode the stats page 12 18 15

Chapter 13 storage mode 16

Export 13 15 16

Song editor the event page 12 31 16

Song editor the track page 12 21 16

Song editor track functions 12 24 16

Storage mode common features 13 4 16

Storage mode page 13 1 16

The load page 13 9 16

The song editor 12 19 song editor the common page 12 19 16

The store page 13 6 16

The utilities utils page 13 14 16

Appendix changing pc3a voltage 17

Appendix pc3a bootloader 17

Appendix pc3a objects v 2 17

Appendix specifications 17

Building a keymap 14 7 editing samples 14 9 17

Chapter 14 keymap and sample editing 17

Chapter 15 tutorial song mode 17

Format 13 15 17

Midi implementation chart a 1 specifications a 2 17

Programs d 1 setups d 17 effect chains d 20 effect presets with algorithms d 29 17

The keymap editor 14 1 17

Appendix pc3a legacy file conversion 18

Index i 18

Chapter 1 introduction 19

Introduction 19

Keeping current 20

Overview of the pc3a 20

Kb3 tone wheel emulation 21

Va 1 programs 21

Vast synthesis 21

Battery 22

Boot loader 22

Do i have everything 22

How to use this manual 22

Breath controller 23

Options 23

Pedals 23

Ribbon controller 23

Sound rom expansion card 23

Usb storage device 23

Chapter 2 startup 24

Make connections 24

Make music 24

Startup 24

Before you start 25

Connecting audio cables 25

Connecting the power cable line cord 25

Startup the details 25

Connecting midi 26

Breath 27

Pedals 27

Ribbon 28

Switching on the power 28

Usb computer port 29

Usb storage port 29

Easy audition 30

Pc3a programs 30

Selecting programs 30

Setting the clock 30

Program mode display 31

Vast programs 31

Kb3 programs 32

Quick access 32

Setups 32

Software upgrades 33

The other modes 33

Chapter 3 user interface basics 34

Mode selection 34

User interface basics 34

Bank buttons 35

Mode buttons 35

Sliders 36

Picking favorites 37

Program and category buttons 37

Pitch mod 38

Pitch wheel and mod wheel 38

Navigation 39

The bottom line 39

The display 39

The top line 39

The chan layer buttons 40

The cursor buttons 40

The soft buttons 40

The edit button 41

The exit button 41

Data entry 42

The alpha wheel 42

The alphanumeric pad 42

The plus minus buttons 42

Double button presses 43

In this mode or editor 43

Pressing these buttons simultaneously does this 43

Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode make sure to press them at exactly the same time 43

Changing the current layer in multi layer programs 44

Intuitive data entry 44

Quick song recording and playback 45

Search 45

Chapter 4 the operating modes 46

Selecting modes 46

The operating modes 46

What the modes are 46

Finding square one 47

If at any time you don t know where you are and the mode leds are all unlit press exit one or more times this will return you to the entry level of whatever mode you were in and if you press exit enough times you will always return to program mode the startup mode if you ve made any changes you ll be asked whether you want to save before leaving any editor press the no soft button or the exit button if you don t want to save if you want to save press the rename or yes soft button and you ll see the save dialog which is described in saving and naming on page 5 3 47

Program mode 47

Setup mode 47

Setup mode lets you select play and edit setups setups consist of up to 16 separate zones split or overlapping each having its own program midi channel and control parameters setups are great for performance situations whether you re playing multiple pc3a programs or controlling additional synths connected to the pc3a s midi out port chapter 7 describes setup mode 47

The following table lists the procedures for moving between modes and editors note that the exit button won t always take you where the table says it will it often depends on how you got where you are the table assumes that you ve entered a given editor via its corresponding mode you ll always return to program mode eventually if you press exit repeatedly 47

The pc3a starts up in program mode where you can select play and edit programs the program mode entry level page shows the currently selected program as well as a small segment of the program list 47

The program editor takes you to the core of the pc3a s sound editing parameters 47

Using the modes 47

You can play your pc3a regardless of the mode you re in the pc3a s midi response is almost always active even so there are three modes that are more performance oriented than the others these are program setup and quick access modes we ll describe each of the eight modes briefly in this section 47

Effects mode 48

Master mode 48

Midi mode 48

Quick access mode 48

Song mode 48

Storage mode 48

Chapter 5 editing conventions 49

Editing conventions 49

Introduction to editing 49

What s an object 49

Object type and id 50

Saving and naming 51

Memory objects 52

Rom objects 52

Editing conventions 53

Keyboard naming 53

On requires you to move the cursor to enter each letter just as you have to do when using the normal data entry methods for naming adv automatically moves the cursor one space to the right each time you strike a key just like a typewriter or computer keyboard this is the most convenient setting 53

Saving and naming saving and naming 53

The keyboard naming feature makes naming objects convenient by letting you use the keyboard or your midi controller to enter the name of the object you re modifying 53

When set to on or adv the keys midi note numbers actually correspond to all the characters shown on page 5 3 there are also equivalents to the cursor movement insertion deletion and ok enter buttons 53

When you re in a rename dialog use either of the chan layer buttons to change between the keyboard naming states off disabled on and adv advance 53

Deleting objects 54

Dependent objects 54

Saving and loading files storage mode 54

Button special function 55

Editing conventions 55

Saving and loading files storage mode saving and loading files storage mode 55

Special button functions 55

The mode buttons and the chan layer buttons have additional functions depending on the mode or editor you re in the table below describes some of these special button functions 55

Chapter 6 program mode 56

Program mode 56

Selecting programs 56

The program mode page 56

Controllers assignments for factory rom programs 57

The info box 57

The soft buttons in program mode 57

Midi channels 58

Saving controller settings in program mode 58

The arpeggiator in program mode 58

Vast and kb3 programs 59

Vast program structure 59

Figure 6 1 vast program structure 60

Kb3 effects and real time controls 61

Kb3 mode 61

Kb3 program structure 61

Controller numbers table 6 3 lists the midi controller numbers that control kb3 features send the listed controller number and appropriate controller value to control each kb3 feature via midi the pc3a also sends these controller numbers to its midi out port when using each of these kb3 features 63

Kb3 program feature midi controller number values 63

Kb3 program structure 63

Midi control of kb3 programs 63

On page 6 6 63

Program mode 63

Table 6 3 kb3 midi controller assignments 63

Control setup 64

Control setup overview 64

Control setup advanced features 65

Selecting and editing the control setup 65

Editing vast programs 67

The soft buttons in the program editor 67

Assigning program parameters to control sources 68

The mode buttons in the program editor 68

Assign a keymap from rom to the current layer keymaps are collections of samples assigned to note and velocity ranges with the keymap parameter selected press the edit button to enter the keymap editor see the keymap editor on page 14 1 for details 69

Key tracking keytrk 69

Keymap 69

Press the keymap soft button to call up the keymap page the parameters on this page affect sample root selection i e which samples are played on which keys 69

The keymap page 69

This is one of the six common dsp control parameters on the keymap page key tracking affects the interval between notes the default value of 100 cents a cent is a hundredth of a semitone gives you the normal semitone interval between each note higher values increase the interval lower values decrease it negative values will cause the pitch to decrease as you play higher notes 69

Transpose the current keymap up as much as 127 semitones ten octaves and a perfect fifth or down as much as 128 semitones ten octaves and a minor sixth 69

Transpose xpose 69

When you make changes to this parameter you ll need to keep in mind that keytrk on the keymap page works in conjunction with keytrk on the pitch page therefore you ll need to check the keytrk value on both pages to see how key tracking works within a program unless you re looking for nonstandard note intervals the values of the keytrk parameters on the pitch and keymap pages should add up to 100 cents 69

Method altmethod 70

Stereo 70

Velocity tracking veltrk 70

Alternative controller altcontrol 71

Alternative switch altcontrol and altmethod 71

Playback mode 71

Timbre shift 71

Emulating legato play if you place the alt point after the initial attack transients of the sample then you can use the alt switch to emulate legato playing in an acoustic instrument as an example set keymap to 14 flute now set the altcontrol parameter to chan st channel state now if you play notes separately the initial breathy chiff will be heard but if you play the notes legato connecting them smoothly the alt point is used and you do not hear the chiff this is because the chan st is turned on as long as any note is being held most of the pc3a s rom samples have their alt points set for purposes of legato play in most cases the difference in attacks is subtle but for some sounds like drums the difference can be more noticeable 72

Press the layer soft button to call up the layer page here you ll set a number of parameters that affect the current layer s keyboard range attack and release characteristics and response to various controls 72

Program mode 72

The layer page 72

The layer page the layer page 72

Delay control dlyctl 73

High key hikey 73

High velocity hivel 73

Low key lokey 73

Low velocity lovel 73

Minimum delay mindly maximum delay maxdly 73

Pitch bend mode bend 73

Trigger trig 73

Enable 74

Enable sense s 74

Freeze pedal frzpdl 75

Hold through attack thratt 75

Ignore release ignrel 75

Opaque 75

Sostenuto pedal sospdl 75

Sustain pedal suspdl 75

Hold until decay tildec 76

The amp page 76

The pitch page 76

The algorithm alg page 77

Algorithm basics 78

Common dsp control parameters 79

Alt input for algorithms cascade mode 82

Dynamic vast 83

Before reading further be sure to read algorithm basics on page 6 23 and common dsp control parameters on page 6 24 84

Button to move the cursor into the subpage 84

Press the dspctl soft button to call up the dsp control dspctl page which is displayed below 84

Program mode 84

The dsp control dspctl page 84

The dsp control dspctl page the dsp control dspctl page 84

Before reading further be sure to read algorithm basics on page 6 23 and common dsp control parameters on page 6 24 85

Each field in the left hand column of the page is a function parameter of the current layer s algorithm you can coarsely adjust the function parameter in these left hand fields as noted in common dsp control parameters any adjustments made to the function parameters on the dspmod page are reflected in the corresponding function parameters on the dspctl page the 85

Press the dspmod soft button to call up the dsp modulation dspmod page which is displayed below 85

Program mode 85

The dsp modulation dspmod page 85

The label of a function parameter depends on its corresponding function block in the current layer s algorithm the above dspctl page corresponds to the following algorithm 85

The output page 86

Pan mode 87

Crossfade and crossfade sense xfadesense 88

Drum remap 88

Output pan gain and mode 88

Pan table 88

Exclusive zone map 89

Monophonic 90

Notice that when the monophonic parameter is set to its default value of off the five monophonic parameters do not appear on the page 90

Pitch bend range up and down 90

The common page 90

The common page is reached by pressing the common soft button in the program editor here s where you find 12 frequently used parameters that affect the entire current program not just the current layer 90

Use these parameters to define how much the pitch will change when you move your pitch wheel for both pitch bend range parameters positive values will cause the pitch to bend up while negative values will cause the pitch to bend down large positive values can cause samples to bend to their maximum upward pitch shift before the pitch wheel is fully up or down this will not happen when bending pitch down 90

When off the program is polyphonic it can play up to 128 notes at a time notice that when the monophonic parameter is off the legatoplay parameter and the three portamento parameters do not appear on the common page this is because only monophonic programs can use portamento 90

Attack portamento 91

Legato play 91

Portamento 91

Portamento rate 91

Demo song 92

Globals 92

Mono sample xfade 92

Output gain pan and pan mode 92

Because of its periodic nature the lfo is perfect for creating effects like vibrato cyclic variation in pitch and tremolo cyclic variation in amplitude when you re editing lfos or any control source remember that it must be assigned to control some parameter before you ll hear the effects of your edits 93

Lfo1 is always local meaning that it s triggered with each note on event and runs independently for each note in the layer lfo2 is local by default but can be made global this is done on the common page by setting the globals parameter to on which causes lfo2 asr2 fun2 and fun4 all to become global global controls uniformly affect every note in each layer 93

Lfos are low frequency oscillators lfos are used to automate the modulation of a parameter based on the shape and frequency of an audio waveform you ll use the lfo page to define the behavior of the two lfos available to each layer lfos are periodic repeating control sources the basic elements are the rate which defines how frequently the lfo repeats and shape which defines the waveform of the modulation signal it generates 93

Program mode 93

The lfo page 93

The output page 93

With the pc3a you can set upper and lower limits on each lfo s rate and assign a control source to change the lfo s rate in realtime if you wish 93

Lfo phase 94

Lfo shape 94

Maximum rate 94

Minimum rate 94

Rate control 94

The asr page 95

Trigger 95

Attack 96

Release 96

The function fun page 96

The amplitude envelope ampenv page 97

Attack segment levels 98

Attack segment times 98

Decay segment 98

Release segments 98

Loop type 99

Number of loops 99

The envelope 2 env2 and envelope 3 env3 pages 99

The envelope control envctl page 100

Adjust 101

Key tracking 101

Source depth 101

Velocity tracking 101

If you exceed the maximum number of dsp units the pc3a will notify you that you have done so and no effects will be applied to the program 102

Impact 102

Impact can boost or cut note volume by up to 24 db during the first 20 milliseconds of the attack of an envelope this feature is an easy way to get more thump from your bass and drum sounds 102

Note for each note triggered you can only set the controller value that will scale the depth parameter of an envelope section before that section of the envelope is triggered for controllers assigned for attack the controller value used will be the last received before the note is triggered for controllers assigned for decay thecontrollervalueusedwillbethelastreceivedbeforethefinalsectionoftheattackenvelope reaches its maximum amplitude for controllers assigned for release the controller value used will be the last received before the note is released to put it another way for each envelope section you cannot change the rate of a note s envelope once that section of the envelope has been triggered 102

On the pc3a a program can have up to 11 insert effects and 2 aux effects using up to 16 dsp units an insert is essentially just an effect that you apply to a program or layer while aux effects receive signal from all active programs aux sends note the 0 0 units in the middle of the top line of the page this figure indicates how many of the total units are being used by the highlighted insert the left hand number is the size of the insert and the right hand number is the total number of units being used by the program 102

Press the progfx soft button to call up the program fx progfx page this is the page that you will use to apply effects to a program and to configure the routing of the various pre and post fx audio signals effects chosen on this page affect every layer of the current program the section the layer fx lyr_fx page on page 6 49 contains information on using layer specific effects the progfx page looks like this 102

The program fx progfx page 102

Aux 1 aux 2 103

Auxiliary send parameters 103

Insert 103

Output 103

Aux1 mod aux2 mod 104

The layer fx lyr_fx page 104

The controllers ctls page 105

Function soft buttons 106

Delete layer dellyr 107

Duplicate layer duplyr 107

Import layer implyr 107

Name save delete 107

New layer newlyr 107

Set controllers setctl 107

Basic use of kva oscillators 108

Editing vast programs with kva oscillators 108

Setting kva oscillator type 109

Advanced use of kva oscillators 110

Editing kb3 programs 114

Kb3 editor the tone wheels tonewl page 114

Upper tone wheel keymap 114

Globals 115

Lower transpose upper transpose 115

Number of tone wheels 115

Organ map 115

Upper volume adjust 115

Wheel volume map 115

Kb3 editor the drawbars drawbr page 116

Volume 116

Kb3 editor the amp page 117

Kb3 editor the pitch page 117

Kb3 editor the set drawbars setdbr soft button 117

Kb3 editor the perc1 page 118

Percussion 118

Volume 118

Harmonic 119

Highharm 119

Kb3 editor the perc2 page 119

Lowharm 119

Perclevel decaytime orglevel 119

Stealbar 119

Veltrack 119

Kb3 editor the keyclk page 120

Keyclick 120

Veltrk 120

Volume 120

Note attack 121

Note release 121

Random 121

Retrigthresh 121

Controls the level of the simulated crosstalk and signal bleed of adjacent tone wheels in the model this is provided to help dirty up the sound to make it a bit more realistic a setting of 96 db gives the purest tones other values add more simulated leakage this level is scaled by the drawbar levels as well as the expression pedal level the leakage level can also be controlled by midi cc 90 value 0 96 db value 127 0 db values between 0 and 127 scale between 96 db and 0 db when using cc 90 the value displayed for the leakage parameter will not change 122

Kb3 editor the misc page 122

Leakage 122

Preampresp 122

Set this parameter on or off to enable or disable the preamp expression pedal part of the kb3 model turning this on the default makes kb3 programs function like stock organs the expression pedal in this case is more than a volume pedal it actually functions like a loudness control varying the frequency response to compensate for the ear s sensitivity at different volumes in addition the preamp provides a de emphasis curve to compensate for the built in tone wheel volume pre emphasis turning preamp response off emulates organs that have been modified to have a direct out before the preamp and expression pedal 122

The misc page contains an assortment of control parameters including leslie speed control and vibrato chorus selection 122

Bendrngup bendrngdn 123

Leakmode 123

Lesliepedal 123

Sostenuto 123

Speedctl 123

Sustain 123

Vibchorctl 123

Vibchorsel 123

Voladjust 123

Each eq section has gain g frequency f and width w controls frequency controls the center frequency of the band width controls the bandwidth gain controls the amount of boost or cut 124

Kb3 editor the eq page 124

Kb3 editor the eq page kb3 editor the eq page 124

Program mode 124

The four column headers on this page represent two shelving bands of equalization and two parametric bands the kb3 eq offered here though is not implemented as a true eq section instead it adjusts the volume of the tone wheels based on frequency if the tone wheels are based on sine waves then this acts similarly to a real eq 124

Exp pedal 125

Kb3 editor the lfo asr and fun pages 125

Kb3 editor the output page 125

Kb3 editor the program fx progfx page 125

Kb3 programming tips 126

Chapter 7 setup mode 127

Setup mode 127

Zone status leds in setup mode 128

Soloing a zone 129

The setup editor 129

Program 130

The channel program ch prog page 130

Channel 131

Destination 131

Midibank 131

Input channel 132

Midi program midiprog 132

Status 132

Midi bank mode bankmode 133

Arpeggiator 134

Entry program change entryprogchg 134

Note midivelocityofnotesplayedonthepc3akeyboardarefirstaffectedbyanyvelocityscale offset andcurvesettingsmadeoneachzone skey velpage theresultingvelocityisthenaffectedbyanyvel map settings made on the master mode maps page see page 11 1 also midi velocities sent to the usbormidioutportarefirstaffectedasexplainedabove andthenaffectedbysettingsonthemidimode transmit page see page 10 1 oneachofthepagesmentionedabove lookatthemidisignalflowchartto seewhichvelocitymapscanaffectyourvelocitiesdependingonwhichmidisources mididestinations and operating mode that you are using 135

On page 7 1 135

Setup mode 135

The key velocity key vel page 135

The key velocity key vel page the key velocity key vel page 135

The key velocity page allows you to set key range velocity range transposition and note maps for each zone 135

Low key lokey high key hikey 136

Note map 136

Transpose 136

Velocity scale velscale 137

Velocity offset 138

Velocity curve velcurve 140

Low velocity lovel highvelocity hivel 142

Entry pan exit pan 143

Entry volume exit volume 143

The pan volume pan vol page 143

Bend range semitones and bend range cents up and down 144

The bend page 144

Aux bend 1 up and aux bend 1 down 145

Aux bend 2 range 145

Controllers 145

Continuous controllers 146

Controller number 147

Corresponding destination name description 147

Physical controller setup editor page parameter values 147

See switch controller parameters on page 7 30 for information on each parameter 147

Switch controllers 147

Table 7 3 switch controllers 147

Table 7 4 controller destination list 147

The controller destination list 147

The table below contains the available values for the destination parameter for each controller in scrolling order note that the pc3a has destinations with controller numbers greater than 127 there are 128 midi controllers as dictated by the midi spec any data sent to destinations with a controller number outside of the midi range i e more than 127 are sent as a pc3a specific protocol and are thus not sent as midi data and not sent through midi out 147

Controller number 148

Corresponding destination name description 148

On page 6 2 148

On page 7 1 148

On page 7 3 148

Table 7 4 controller destination list 148

Controller number 149

Corresponding destination name description 149

Table 7 4 controller destination list 149

Controller number 150

Corresponding destination name description 150

On page 7 4 150

Table 7 4 controller destination list 150

Controller number 151

Corresponding destination name description 151

On page 11 1 151

On page 7 4 151

On page 7 5 151

Table 7 4 controller destination list 151

Shift key number shift key shkeynum shiftkey 152

Another way to choose a key is to set shift key to last note played mode in which the last note played in the zone will set the key for example you could set the zone being used for shift key number to have a key range that covers only a few of the keyboard s lowest octaves this would allow you to play root note bass lines that change the key that shift key number plays in leaving the upper octaves of the keyboard open for use by other zones 153

If shift key is set to last note played and no note is played the default key is c each zone can have a different shift key so you can have zones preprogrammed with the keys you want to use or have them all in the same key or just change the key in real time while you are playing 153

Shift key settings 153

Shift key shiftkey controller destination 177 allows the user to select the key root note of the shift pattern triggered by shift key number a shift pattern is a relative pattern based on a root note all notes triggered by a shift pattern are shifted from the root note by the value of each pattern step in half steps 153

Value key root note 153

When using a shift pattern with shift key number you can select the key with one or more controllers set to the shift key destination you can use a continuous controller such as a slider to cycle through keys or switches set to predetermined keys for example if you are playing a song that moves between 2 or 3 keys a couple of switches could be programmed in order to send the appropriate shift key message for each key change that way all the notes you are triggering with a shift key number controller will be in the appropriate scale you could also create a setup for a song with multiple zones each with its own pre set key and appropriate shift pattern that way for each chord change you could move a different controller that would create the correct harmony 153

Continuous controller parameters 155

Switch controller parameters 156

Setup mode 158

The two wheels are typical of what is found on many keyboards the left one is normally used for pitch bend and springs back to center while the right wheel is normally used as a standard mod wheel on the wheel page in the setup editor the pitch wheel has two parameters one for pushing the pitch wheel up and one for pushing it down whereas the mod wheel has one 158

The wheel page 158

The wheel page parameters are described in continuous controller parameters on page 7 29 158

Setup mode 159

The slider and slid2 pages 159

The slider and slid2 pages the slider and slid2 pages 159

The slider soft button gives you access to sliders a e press the slid2 soft button to program sliders f i the slider page parameters are described in continuous controller parameters on page 7 29 159

You can assign each of the pc3a s nine programmable sliders to a destination on each of the 16 zones or you can assign any combination of sliders to the same zone allowing you tremendous flexibility for example you can assign sliders a and b to modulate pitch and volume on zone 1 then assign slider c to control panning on zones 2 3 and 10 159

If you look at the back of the instrument you will see that there are two jacks for plugging in two cc continuous control pedals and a jack labeled breath controller like the nine programmable sliders you can assign these controllers on each of the 16 zones or you can assign any combination of these controllers to the same zone 160

Setup mode 160

The continuous control pedal cpedal page 160

The cpedal page parameters are described in continuous controller parameters on page 7 29 160

The pressure press page 161

On the back of the instrument there are three jacks for footswitch pedals 162

Setup mode 162

The footswitch pages ft sw1 ft sw2 ft sw3 162

The ft sw page parameters are described in switch controller parameters on page 7 30 162

There are three footswitch pages one for each footswitch the range of values for their respective destination parameters is the control destination list 162

See the arpeggiator page on page 7 42 for information on how to configure the pc3a s arpeggiator 163

Setup mode 163

The arp sw page parameters are described in switch controller parameters on page 7 30 163

The arpeggiator switch arp sw page 163

The arpeggiator switch arp sw page the arpeggiator switch arp sw page 163

The pc3a keyboard offers two panel switches located above the pitch and mod wheels the left switch is the arp short for arpeggiator button by default the arp switch functions as the arpeggiator switch and toggles on and off the pc3a arpeggiator but you can assign this switch to any controller 163

Setup mode 164

The right panel switch is the sw button located above the modwheel by default this switch is assigned to midi29 but you can assign this switch to any midi controller 164

The switch page 164

The switch page parameters are described in switch controller parameters on page 7 30 164

The ribbon page 165

Ribbon configuration 166

The ribbon configuration ribcfg page 166

Center 167

Position mode posmode 167

Spring 167

The arpeggiator arpeggiator 2 arp1 arp2 pages 168

The arpeggiator page 168

And the shift limit g4 one semitone it adds that difference to the original starting note c4 and plays that note next 173

Bipolar starts out the same way as unipolar but during downward note shifting it continues past the original pitch until it hits the shift limit in the opposite direction where it reverses again 173

But that s above the shift limit so the pc3a calculates the difference between that 173

Float res adds a bit of apparent randomness to the process float means that when the arpeggiator reaches the shift limit it resets but not to its original pitch as with plain reset like unipolar and bipolar it looks at the first note that would exceed the shift limit and calculates the interval between that note and the shift limit it then restarts the cycle of latched notes transposing the entire cycle by the interval it just calculated then shifting each subsequent cycle by the value of shift amount until it reaches the shift limit again 173

Float uni uses the same concept and applies it to unipolar mode when the arpeggiator reaches the shift limit it calculates the difference between the next note and the limit and transposes the next cycle of notes down by that interval then shifts each subsequent cycle down until it reaches the original pitch float bip is similar to float uni but the downward shift limit isn t the original pitch it s the negative of the shift limit value 173

Here s a very simple example suppose that the only note in the arpeggiator cycle is c4 shift amount is 4 a third and shift limit is 7 so notes won t get shifted above g4 the arpeggiator plays c4 then e4 the next note should be 173

Setup mode 173

The next note f4 is within the shift limit but the next note a4 isn t so it gets translated into d4 and so on 173

The ribbon configuration ribcfg page the ribbon configuration ribcfg page 173

Unipolar means that after playing up to the shift limit the arpeggiator begins shifting notes in the opposite direction until it reaches the original pitch where it reverses again to determine the next note when it reaches the shift limit the arpeggiator calculates the interval between the shift limit and what the next note would be if the shift limit weren t there it then plays the note that is the calculated interval lower than the last note before the shift limit the same thing happens in reverse when the arpeggiated notes get back down to the original pitch the following table makes this easier to visualize by showing the result of arpeggiating one note c4 in unipolar mode with shift amount set to 3 st and various values for shift limit 173

Press delete to delete the pattern from memory press rename to rename the pattern and save pressing save gives you the option to save the pattern or rename and save to create a new shiftpatt edit an existing pattern and choose rename when saving press exit to return to the arpeggiator page when exiting the editor it will automatically give you the option to save the pattern if changes have been made for more detailed instructions on these functions see saving and naming on page 5 3 175

Setup mode 175

The arpeggiator 2 page 175

The ribbon configuration ribcfg page the ribbon configuration ribcfg page 175

Controller number 179

Corresponding arpeggiator parameter operation 179

Num beats this affects the syncing of other arpeggiator or riff zones to the current zone only if those other zones have a synctype setting of downbeat or downbeatwait for zones being synced to the current zone s arpeggiator this determines how many notes must be played by the current zone s arpeggiator before a downbeat occurs by decreasing or increasing the value of the num beats parameter you can make zones with a synctype setting of downbeat or downbeatwait behave as if downbeats are occurring less or more frequently 179

Real time control of arpeggiator parameters 179

With synctype set to stopwait if there is already something playing to sync to the current arpeggiator will wait for what is playing to stop before starting this way you can trigger the arpeggiator to start ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that you are syncing to the difference from stop is that if there is nothing playing to sync to the arpeggiator will not start this can be useful if you want to get your arpeggiator ready to sync before you start whatever you are syncing it to if the riff or song that you are syncing to is already running stopwait behaves just like stop 179

You can have real time control over several arpeggiator parameters by assigning physical controllers to special arpeggiator controller destinations any input or entry value from a physical controller assigned to an arpeggiator controller destination overrides the programmed values for the parameters of the arpeggiator on that controller s zone the override remains in effect until you select a different setup or a different program in program mode remember each of the following controller destinations affects only the arpeggiator for the zone which your controller is assigned to 179

Controller number 180

Corresponding arpeggiator parameter operation 180

Note by default setting a zone to trigger a riff will disable the ability to play notes of that zone s program from the keyboard to re enable this ability see local on page 7 59 181

Riffs are full songs or individual tracks of a song created in the pc3a s song mode that you can trigger in setup mode standard midi files may also be imported to song mode and then used as riffs in setups every zone in a setup can have it s own riff a completely independent sequence you can use a setup with many riffs to trigger and stop looped sequences of different instrument parts alternatively a single riff can play multiple instrument parts each riff could be used as a different song section of a backing track 181

The first riff page appears as shown below and has the following parameters 181

The riff1 page 181

To use a riff first go to song mode and note the id of the song section of song and track that you will use for your riff next go to setup mode and create a setup on the ch prg page of the setup editor choose the program that you want to use for the riff on the current zone program changes that are recorded in song mode will be ignored when using the song as a riff in a setup you can also set up the playback event filter in song mode to ignore other types of events as well once you have selected your program press the more soft button until you get to the riff1 and riff2 pages the following sections describe the contents of these pages 181

Beat subdivision beat subdivision moment tick value 182

Riff setting the riff parameter to on will enable the riff feature for the current zone in setup mode setting this parameter to off will disable the riff for this zone 182

Song select the song you wish to use in the song parameter by using the alpha wheel buttons or the alphanumeric pad 182

Start use the start parameter to specify the riff start point the time format is bar beat tick bar can be set to any bar in the sequence and beat can be set to any beat in that bar beat range is dependent on time signature tick can be set from 0 to 959 since there are 960 possible start points within a beat you can specify your riff to start on any common beat subdivision moments and a few uncommon ones the following tick values correspond to the following beat subdivision moments 182

Table 7 5 subdivision values 182

Setup mode 184

The ribbon configuration ribcfg page 184

The riff2 page 184

The second riff page appears as shown below and has the following parameters 184

To set the key range to trigger your riff use the cursor buttons to select the left value in the trigger field this will be the low end of the trigger key range now you can select the key number by scrolling the alpha wheel or you can use intuitive entry by pressing and holding the enter button on the alphanumeric pad and pressing the desired key on your keyboard you will see this value change as you press a key 184

Trigger there are a few ways to trigger riffs in setup mode on the riff2 page you can use the trigger field to set a keyboard key to trigger the riff also any physical controller can be assigned to controller destination 163 riffon 184

Controller number corresponding riff parameter operation 189

Real time control of riff parameters 189

You can have real time control over several riff parameters by assigning physical controllers to special riff controller destinations any input or entry value from a physical controller assigned to a riff controller destination overrides the programmed values for the parameters of the riff on that controller s zone the override remains in effect until you select a different setup remember each of the following controller destinations affects only the riff for the zone which your controller is assigned to 189

Setup mode 190

The four setup mode fx pages fx aux1 aux2 and master effects work the same way as the effect mode pages effectsenable aux 1 override aux 2 override and master effects see effectmodeandtheeffectspages on page 9 4 for information on editing these pages you can use the effect fx bypass mode button to bypass effects while editing 190

The fx pages fx auxfx1 auxfx2 and mastfx 190

The pc3a s eight programmable switches are the eight program select buttons located above the program category buttons each button has its own swprg page but each page is essentially identical 190

The programmable switch pages swprg1 to swprg8 190

The swprg page parameters are described in switch controller parameters on page 7 30 190

Aux fx channel 191

Clock source 191

The common page 191

Arpeggiator global arpglobal 192

Kb3 channel 192

Trigger keys keytrg 193

Delete 194

Delete zone delzn 194

Duplicate zone dupzn 194

Import zone impzn 194

New zone newzn 194

The utility soft buttons 194

Recording a setup to song mode 195

Chapter 8 quick access mode 197

Quick access mode 197

Soft buttons in quick access mode 198

The qa editor 198

Aux effects 200

Chapter 9 effects and effect mode 200

Effects and effect mode 200

Effects overview 200

Insert effects 200

Chains 201

Insert 201

Master effects 201

Signal flow 201

Aux override 202

Dsp units manage and distribute processor power for effects 202

Effect mode and the effects pages 203

The effectsenable page 203

The aux 1 override and aux 2 override pages 204

The master effects page 207

The chain editor 208

The main page 208

The mod pages 209

Fxlfo fxasr and fxfun pages 210

Effects parameters 211

General parameters 211

Reverbs 212

Delays 213

Equalizers eq 214

Compressors expanders and gates 215

Chorus 217

Flanger 218

Laserverb 218

Quantize 218

Filters 219

Distortion 220

Rotating speakers 221

Vibrato chorus 222

Tremolo and autopan 223

Pitcher 224

Ring modulation 224

Stereo simulation 224

Chapter 10 midi mode 226

Midi mode 226

The transmit page 226

Channel 227

Control setup 227

Destination 227

Transpose 227

Velocity map transmit 228

Pressure map transmit 229

Change setups chgsetups 230

Program change progchang 230

The receive page 230

All notes off 231

Basic channel 231

Midi receive mode midi mode 231

Program change mode prgchgmode 231

Velocity map receive 232

Pressure map receive 233

Bank select 234

System exclusive id sysexid 234

Local keyboard channel localkbdch 235

External midi cc remapping for local keyboard channel and input channel 238

If an inputchannel is set but you are sending ccs to a different channel these ccs will be received normally by the program in the setup zone for that channel 238

Note in setup mode when an external midi controller is sending a cc on the channel set for input channel any cc sent that is not in the external midi cc remapping for local keyboard channel and input channel table see below also gets sent to the program on that channel 238

Pc3a physical controller default midi cc which controls the destination assigned to each pc3a physical controller in the setup editor 238

Enable 239

Program 239

The channels page 239

Program change formats 240

Program lock pan lock volume lock 240

Volume 240

Extended program changes 241

First a brief review of quick access bank structure each quick access bank can store ten entries each of which can be a program or a setup each of the pc3a s 10 memory banks can store 20 quick access banks except the zeros bank which can store 75 therefore when you re in quick access mode you have access to 200 or 750 in the zeros bank programs or setups without leaving the currently selected memory bank the qa ext program change format lets you select any one of those programs or setups via midi if you select another memory bank you have a 241

If you re controlling your pc3a from a midi device that can handle the midi controller 0 or 32 program change format you ll have the greatest flexibility if you set the progchgtype parameter to a value of extended 241

If your pc3a is already in the memory bank you want to use you can send it single pchs from 0 to 127 to select programs within that memory bank the pc3a s response depends on the setting for the bank select parameter on the midi mode recv page if you want to change the memory bank the pc3a must receive either an mc 0 or 32 message with value 0 127 the next pch in the range 0 127 will select the correspondingly numbered program in the newly selected bank the following table of examples should help make it clear 241

Midi mode 241

Program change formats 241

Qaccess 241

Using this setting is similar to using the extended program change format but it goes one step further incoming program change commands are interpreted just as they are in the normal extended format but the resulting program change number instead of selecting a program selects a quick access bank entry you must be in quick access mode for this to work there are two advantages to using this format first it allows you to select both programs and setups using program change commands without having to switch between program and setup modes second you can remap incoming program change commands to select programs or setups with different ids this is handy if the sending unit can t send program change commands higher than 127 241

When you re using the extended program change format then depending on the value of the bankselect parameter on the receive page in midi mode the pc3a will respond to either midi controller 0 or 32 program change commands for bank selection and standard program change commands for program changes within the current bank different values have different results as shown in the following table 241

Depending on the qa bank entry you want to select you ll send the pc3a either a pch value 0 to 127 or a midi controller 0 or 32 message value 0 to 127 followed by a pch sending a single command will let you select from a range of 10 qa banks and select an entry within that bank see the table below to select a different range of qa banks send an mc 0 or 32 message followed by a pch 242

Different set of 200 programs and setups at your disposal when you re using this format the pc3a will respond to mc 0 or 32 messages for selecting qa banks and to pchs for selecting entries within the current bank pchs select entries according to their chronological listing within the qa bank not according to their ids 242

Midi mode 242

Program change formats program change formats 242

Qaccess and midi transmission if you re in quick access mode and you re using the qaccess format for the program change type selecting qa banks or bank entries from the pc3a with the alphanumeric buttonpad the cursor buttons the alpha wheel the plus minus buttons or the chan layer buttons also sends corresponding program change commands to the pc3a s usb and midi out port the pc3a sends either an mc 0 or 32 message followed by a pch the following tables give specific examples 242

Table 10 1 qaccess program change examples 242

The mc 0 or 32 messages selects the range of qa banks 0s through 70s while the pch selects the bank within that range as well as the entry within that bank neither the mc 0 or 32 nor the pch selects a different memory bank in fact you can t change the memory bank via midi when using this format all program and setup selections are made within the currently selected memory bank you ll know which memory bank is selected by looking at the id of the currently selected quick access bank in the top line of the quick access mode page 242

Program change prgchg 243

Reset channels rsetch 243

The soft buttons in midi mode 243

Chapter 11 master mode 244

Master mode 244

On the master mode main page you ll find parameters for setting the overall tuning and transposition of the pc3a overall fx settings drum program remapping clock source options id entry options demo song options as well as options for saving master mode settings and remote triggering of pc3a functions 244

Press the master mode button to enter master mode which contains parameters affecting the pc3a s overall performance and system setup you can set the system clock so that the pc3a will time stamp your files correctly you can use the object tool to rename or delete selections of objects you can also enter the boot loader to access a number of system and file utilities or use reset to delete all user objects and restore the pc3a s memory to its original factory settings 244

When you exit master mode or midi mode the pc3a saves a master table unless mastertablelock is on more on this below the master table remembers the settings of the master pages as well as the state of the pc3a such as which programs are assigned to each channel settings for midi mode transmit and receive pages and master fx settings explicit saving of the master table is also possible 244

Drum remap 245

Fx mode 245

Id entry 245

Setup controllers setupctls 245

Transpose 245

Buttons mode buttons 246

Demo button 246

Display 246

Master table lock master lock 246

Destinations 248

Pc3a song mode 248

Sources 248

Velocity map master 248

Destinations 250

Pc3a song mode 250

Pressure map master 250

Pressuremap settings on midi mode receive page 250

Sources 250

Intonation 251

Like many instruments before the adaptation of equal temperament most of these intonation maps were designed to sound best in one specific key though some may have historically been in a different key all of the pc3as factory intonation maps are set to root note c by default you can change the root key of the current intonation map by using the int key parameter see the intonation key int key section below 251

List and description of intonation maps 251

Most modern western music uses what is known as equal temperament this means that the interval between each semitone of the 12 tone octave is precisely the same as every other semitone however many different intonation intervals have evolved over the centuries and across cultures and instruments so equal temperament will not sound appropriate for certain styles of music the pc3a supplies you with 17 different factory intonation maps which are useful for a range of different styles by changing the value for this parameter you select from among the intonation maps stored in the pc3a s memory you can further customize each map or create your own by editing a map see editing intonation maps below each of these maps defines different intervals between each of the semitones in a single octave used for all octaves by setting pitch offsets for each note in cents 251

Scroll through the list of intonation maps and listen for the differences between semitones some of the intervals between semitones may be quite different from equal temperament but you ll notice that all notes are precisely tuned with notes that are an octave apart this is because the intonation maps set the intervals within a single octave and apply those intervals to each octave 251

Intonation key int key 252

Key action map 252

Aux out pair mode 253

Default sequence 253

Digital output dig out 253

Digital output volume dig out volume 253

Output 253

Output clock 253

Clock source 254

General midi mode gm on gm off 255

Object 256

Delete 257

Rename 257

Utils utilities 259

Loader 261

Preview sample prview 261

Chapter 12 song mode and the song editor 262

Getting started with the sequencer 262

Song mode and the song editor 262

Song mode the main page 262

What is a sequencer 262

Current song cursong 263

Program prog 264

Recording track rectrk 264

Track number trk 264

Volume vol 265

Activity indicators 267

Location locat 267

Mode indicators and x 267

Track status indicators 267

Soft buttons on the main page 268

Track channels 268

The save changes dialog 269

On the big page the pc3a displays in a large font the page s name the current time location of the playhead of the sequencer in a bar beat tick format like the riff time location display also displayed is the current status of the sequencer and the big page s six parameters 271

Song mode the big page 271

The time in parameter determines the start time for loop or punch in recording more on this below 271

The time out parameter determines the stop time for loop or punch in recording 271

Time in 271

Time out 271

Metron 272

Recmode 272

Song end 272

Changing the settings for a track s program volume or panning while the sequencer is recording will record these changes viewable in the corresponding track s event page upon playback these automated mixer parameters will display their changing values in real time on the mixer page below is an example mixer page 273

Song mode the fx pages 273

Song mode the mixer page 273

The four song mode fx pages fx aux1 aux2 and master effects work the same way as the effects mode pages effectsenable aux 1 override aux 2 override and master effects see the effectmodeandtheeffectspages on page 9 4 for information on editing these pages 273

The mixer page shows the current settings for the program number panning and volume of each track in groups of 8 the selected track number as well as the range of tracks displayed on the page are displayed in the upper right hand corner of the screen use the chan layer buttons or the cursor buttons to change the currently selected track to get to other pages of tracks continue scrolling past the first or last track on the page the bottom part of the screen displays current settings for the selected track including program number and name panning and volume 273

Uneditable these values are an expanded view of the mixer values for the currently selected track which canbeeditedinthefirstthreerowsofthemixerpage 273

Use the out parameter to set the rear panel audio outputs used for each track of the current song this parameter determines the output settings for the main program signal and insert effects of each track for aux effects output settings use the output parameter on the song mode aux1 or aux2 pages 273

Song mode the metronome page 274

The done soft button 274

The keep soft button 274

The rec play and stop soft buttons 274

Channel 275

Countoff 275

Metronome 275

Program 275

Soft note 275

Soft vel 275

Strong note 275

Strong vel 275

The done soft button 275

The rec play and stop soft buttons 275

Below is the recflt page 276

Lokey determines the lowest key that is recorded played back when notes is set to on 276

On the recflt and plyflt pages you can specify what event are ignored during respectively recording and playback both pages have the same parameters with the same ranges of values but you would use the recflt page to configure recording event filtering and the plyflt page to configure playback event filtering 276

Song mode the filter pages recflt and plyflt 276

The hi to the right of lokey determines the highest key that is recorded played back when notes is set to on 276

With notes set to off all notes are ignored during recording playback with notes set to on only the notes within the specified note range with velocities within specified velocity range are recorded played 276

Controller 277

Controllers 277

Monopress 277

Pitchbend 277

Polypress 277

Progchange 277

The done soft button 277

The rec play and stop soft buttons 277

Control chase 278

Song mode the misc page 278

Key wait 279

Release 279

Song mode the stats page 279

Song editor the common page 280

The song editor 280

Timesig 280

Drumtrack 281

Fx track 281

Mididst 281

Soft buttons on the common page 282

Song editor the track page 282

Common parameters for edit song track functions 283

Region criteria box parameters 283

Soft buttons on the track page 284

Song editor track functions 285

Bounce 286

Delete 287

Insert 287

Quantize 288

Transpose 289

Change 291

Initial program volume pan 292

Location bar beat tick event type and value 292

Song editor the event page 292

Bar beat and tick 293

Event type and value 293

Initial program volume pan 293

Location 293

Copy makes a duplicate of the currently selected event and temporarily stores it in a memory buffer so that you can immediately paste it into a new location 294

Cut removes the currently selected event from the event list and temporarily stores it in a memory buffer so that you can immediately paste it into a new location 294

Done on the view page returns to the event page on the event page returns to the common page 294

Event type values 294

New inserts a new event by duplicating the current event 294

Paste inserts the most recent cut or copied event into the event list at the currently selected bar beat tick location the pasted event will share the same location with the event that already existed at that location in the event list but it will appear before the pre existing event 294

Soft buttons on the event page 294

Table 12 1 midi event value ranges 294

Tempo track 294

To access the tempo track use the channel up down buttons to navigate to track 1 then press channel down the tempo track functions the same as the other tracks except the only event type available is tempo change 294

Chapter 13 storage mode 295

Storage mode 295

Storage mode page 295

Using usb devices 296

Common dialogues 298

Directories 298

Storage mode common features 298

Storing overview 300

The store page 300

Select object range to store 301

Select object type to store 301

The store advanced page 301

The load page 303

Loading individual objects from a p3a or compatible file type 304

Loading methods 305

Example starting with the following objects already stored in the pc3a internal ram 307

Storage mode 307

Storage mode common features storage mode common features 307

Suppose you were to load a file containing the following objects into the base2 129 56 bank 307

The following example shows how each different loading methods affect how four programs load into a bank that already contains programs 307

The following table shows the ids that each program end up with when you load the programs from the classic keys bank 255 84 into the base2 bank 307

Soft buttons on the utilities page 308

The utilities utils page 308

Export 309

Format 309

Chapter 14 keymap and sample editing 310

Keymap and sample editing 310

The keymap editor 310

Keymap editor parameters 312

The soft buttons in the keymap editor 314

Special double button presses in the keymap editor 315

Building a keymap 316

Editing samples 318

The miscellaneous misc page 318

The trim page 321

Chapter 15 tutorial song mode 323

Tutorial song mode 323

Part 1 assign instruments to tracks 324

Part 2 set the tempo 325

Part 3 record your first track save the song 326

Part 4 record additional tracks 329

Part 5 fixing mistakes 330

Part 6 adjusting the volume of each instrument 332

Part 7 learning more about song mode 337

Appendix a specifications 339

Midi implementation chart 339

Model pc3a 339

Specifications 339

Specifications 340

Appendix b pc3a bootloader 341

Pc3a bootloader 341

Using the bootloader menu 341

Run diags pc3a diagnostics utility 342

System reset 342

System update pc3a software objects etc 342

System utilities 343

Appendix c changing pc3a voltage 344

Changing pc3a voltage 344

Removing the fuse holder 344

The clip just pulls off 346

The clip removed from the fuse holder 346

Appendix d pc3a objects v 2 348

Pc3a objects v 2 348

Programs 348

Setups 364

Chain chain chain 367

Effect chains 367

Chain chain chain 368

Chain chain chain 369

Chain chain chain 370

Chain chain chain 371

Chain chain chain 372

Chain chain chain 373

Chain chain chain 374

Chain chain chain 375

Effect presets with algorithms 376

How to use these tables 376

Reverbs 376

Delays 380

Chorus 382

Flange 382

Phaser 383

Rotary 384

Trem panner spatial 384

Distortion 385

Dynamics 386

Eq filters 386

Chorus combi 388

Flange combi 389

Keymaps 391

Samples 401

Arpeggiator shift patterns 410

Arpeggiator velocity patterns 412

Appendix e pc3a legacy file conversion 414

Keymap objects 414

Object types and conversion details 414

Pc3a legacy file conversion 414

Program objects 414

Setup objects 414

Index i 415

Numerics 415

Index ii 416

Index iii 417

Index iv 418

Index v 419

Index vi 420

Index vii 421

Index viii 422

Index ix 423

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