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Kurzweil PC3A7 [6/423] Introduction to editing 5 1
![Kurzweil PC3A7 [6/423] Introduction to editing 5 1](/views2/2008894/page6/bg6.png)
ii
Chapter 3 User Interface Basics
Mode Selection 3-1
Mode Buttons 3-2
Bank Buttons 3-2
Sliders 3-3
Program and Category Buttons 3-4
Picking favorites 3-4
Pitch Wheel and Mod Wheel 3-5
Navigation 3-6
The Display 3-6
Pages 3-6
The Top Line 3-6
The Bottom Line 3-6
The Soft Buttons 3-7
The Cursor Buttons 3-7
The Chan/Layer Buttons 3-7
The Edit Button 3-8
The Exit Button 3-8
Data Entry 3-9
The Alpha Wheel 3-9
The Plus/Minus Buttons 3-9
The Alphanumeric Pad 3-9
Double Button Presses 3-10
Intuitive Data Entry 3-11
Changing the Current Layer in Multi-Layer Programs 3-11
Search 3-12
Quick Song Recording and Playback 3-12
Chapter 4 The Operating Modes
What the Modes Are 4-1
Selecting Modes 4-1
Finding Square One 4-2
Using the Modes 4-2
Program Mode 4-2
Setup Mode 4-2
Quick Access Mode 4-3
Eects Mode 4-3
MIDI Mode 4-3
Master Mode 4-3
Song Mode 4-3
Storage Mode 4-3
Chapter 5 Editing Conventions
Introduction to Editing 5-1
What’s an Object? 5-1
Object Type and ID 5-2
Saving and Naming 5-3
ROM Objects 5-4
Memory Objects 5-4
Keyboard Naming 5-5
Содержание
- Important safety installation instructions p.2
- Save these instructions p.2
- Radio and television interference p.2
- Instructions pertaining to the risk of fire electric shock or injury to persons p.2
- Safety instructions p.3
- Kurzweil international contacts p.4
- Table of contents p.5
- Setups 2 9 quick access 2 9 the other modes 2 10 software upgrades 2 10 p.5
- Pc3a programs 2 7 p.5
- Make connections 2 1 make music 2 1 startup the details 2 2 p.5
- Kurzweil international contacts iv p.5
- 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 p.5
- Chapter 2 startup p.5
- Chapter 1 introduction p.5
- Mode selection 3 1 mode buttons 3 2 bank buttons 3 2 sliders 3 3 program and category buttons 3 4 p.6
- Intuitive data entry 3 11 p.6
- Introduction to editing 5 1 p.6
- Data entry 3 9 p.6
- Chapter 5 editing conventions p.6
- Chapter 4 the operating modes p.6
- Chapter 3 user interface basics p.6
- What the modes are 4 1 selecting modes 4 1 p.6
- Using the modes 4 2 p.6
- Search 3 12 quick song recording and playback 3 12 p.6
- Pitch wheel and mod wheel 3 5 navigation 3 6 p.6
- Object type and id 5 2 saving and naming 5 3 p.6
- Vast and kb3 programs 6 4 vast program structure 6 4 kb3 program structure 6 6 p.7
- The program mode page 6 1 p.7
- The layer page 6 17 p.7
- The keymap page 6 14 p.7
- Saving and loading files storage mode 5 6 special button functions 5 7 p.7
- Editing vast programs 6 12 p.7
- Deleting objects 5 6 p.7
- Control setup 6 9 p.7
- Chapter 6 program mode p.7
- The common page 6 35 p.8
- The asr page 6 40 p.8
- The pitch page 6 21 the amp page 6 21 the algorithm alg page 6 22 p.8
- The lfo page 6 38 p.8
- The function fun page 6 41 the amplitude envelope ampenv page 6 42 p.8
- The dsp control dspctl page 6 29 the dsp modulation dspmod page 6 30 the output page 6 31 p.8
- The program fx progfx page 6 47 p.9
- The layer fx lyr_fx page 6 49 the controllers ctls page 6 50 info 6 51 function soft buttons 6 51 p.9
- The envelope 2 env2 and envelope 3 env3 pages 6 44 the envelope control envctl page 6 45 p.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 p.9
- Kb3 editor the drawbars drawbr page 6 61 p.9
- Editing vast programs with kva oscillators 6 53 p.9
- Editing kb3 programs 6 59 kb3 editor the tone wheels tonewl page 6 59 p.9
- Kb3 editor the perc2 page 6 64 p.10
- Kb3 editor the misc page 6 67 p.10
- Kb3 editor the keyclk page 6 65 p.10
- Kb3 editor the eq page 6 69 kb3 editor the output page 6 70 p.10
- Chapter 7 setup mode p.10
- The setup editor 7 3 the channel program ch prog page 7 4 p.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 p.10
- 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 p.11
- The pan volume pan vol page 7 17 p.11
- The key velocity key vel page 7 9 p.11
- The bend page 7 18 p.11
- The arpeggiator arpeggiator 2 arp1 arp2 pages 7 42 p.11
- Riffs 7 55 p.11
- Controllers 7 19 p.11
- The chain editor 9 9 p.12
- Recording a setup to song mode 7 69 p.12
- Effects parameters 9 12 p.12
- Effects overview 9 1 p.12
- Effect mode and the effects pages 9 4 p.12
- Chapter 9 effects and effect mode p.12
- Chapter 8 quick access mode p.12
- Trigger keys keytrg 7 67 the utility soft buttons 7 68 p.12
- The qa editor 8 2 p.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 p.12
- The transmit page 10 1 p.13
- The soft buttons in midi mode 10 18 p.13
- The receive page 10 5 p.13
- The channels page 10 14 p.13
- Program change formats 10 15 p.13
- Main 11 1 p.13
- Chapter 11 master mode p.13
- Chapter 10 midi mode p.13
- Song mode the main page 12 1 p.14
- Output 11 10 p.14
- Maps 11 5 p.14
- Getting started with the sequencer 12 1 p.14
- Chapter 12 song mode and the song editor p.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 p.14
- Tempo 11 11 general midi mode gm on gm off 11 12 object 11 13 p.14
- Song mode the stats page 12 18 p.15
- Song mode the misc page 12 17 p.15
- Song mode the metronome page 12 13 p.15
- Song mode the fx pages 12 12 song mode the mixer page 12 12 p.15
- Song mode the filter pages recflt and plyflt 12 15 p.15
- Song mode the big page 12 10 p.15
- The load page 13 9 p.16
- Storage mode page 13 1 p.16
- Storage mode common features 13 4 p.16
- Song editor track functions 12 24 p.16
- Song editor the track page 12 21 p.16
- Song editor the event page 12 31 p.16
- Export 13 15 p.16
- Chapter 13 storage mode p.16
- The utilities utils page 13 14 p.16
- The store page 13 6 p.16
- The song editor 12 19 song editor the common page 12 19 p.16
- The keymap editor 14 1 p.17
- Programs d 1 setups d 17 effect chains d 20 effect presets with algorithms d 29 p.17
- Midi implementation chart a 1 specifications a 2 p.17
- Format 13 15 p.17
- Chapter 15 tutorial song mode p.17
- Chapter 14 keymap and sample editing p.17
- Building a keymap 14 7 editing samples 14 9 p.17
- Appendix specifications p.17
- Appendix pc3a objects v 2 p.17
- Appendix pc3a bootloader p.17
- Appendix changing pc3a voltage p.17
- Index i p.18
- Appendix pc3a legacy file conversion p.18
- Introduction p.19
- Chapter 1 introduction p.19
- Overview of the pc3a p.20
- Keeping current p.20
- Vast synthesis p.21
- Va 1 programs p.21
- Kb3 tone wheel emulation p.21
- How to use this manual p.22
- Do i have everything p.22
- Boot loader p.22
- Battery p.22
- Sound rom expansion card p.23
- Ribbon controller p.23
- Pedals p.23
- Options p.23
- Breath controller p.23
- Usb storage device p.23
- Startup p.24
- Make music p.24
- Make connections p.24
- Chapter 2 startup p.24
- Startup the details p.25
- Connecting the power cable line cord p.25
- Connecting audio cables p.25
- Before you start p.25
- Connecting midi p.26
- Pedals p.27
- Breath p.27
- Switching on the power p.28
- Ribbon p.28
- Usb storage port p.29
- Usb computer port p.29
- Setting the clock p.30
- Selecting programs p.30
- Pc3a programs p.30
- Easy audition p.30
- Vast programs p.31
- Program mode display p.31
- Setups p.32
- Quick access p.32
- Kb3 programs p.32
- The other modes p.33
- Software upgrades p.33
- User interface basics p.34
- Mode selection p.34
- Chapter 3 user interface basics p.34
- Mode buttons p.35
- Bank buttons p.35
- Sliders p.36
- Program and category buttons p.37
- Picking favorites p.37
- Pitch wheel and mod wheel p.38
- Pitch mod p.38
- The top line p.39
- The display p.39
- The bottom line p.39
- Navigation p.39
- The soft buttons p.40
- The cursor buttons p.40
- The chan layer buttons p.40
- The exit button p.41
- The edit button p.41
- The alpha wheel p.42
- Data entry p.42
- The plus minus buttons p.42
- The alphanumeric pad p.42
- 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 p.43
- Pressing these buttons simultaneously does this p.43
- In this mode or editor p.43
- Double button presses p.43
- Intuitive data entry p.44
- Changing the current layer in multi layer programs p.44
- Search p.45
- Quick song recording and playback p.45
- What the modes are p.46
- The operating modes p.46
- Selecting modes p.46
- Chapter 4 the operating modes p.46
- 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 p.47
- Finding square one p.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 p.47
- Using the modes p.47
- The program editor takes you to the core of the pc3a s sound editing parameters p.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 p.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 p.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 p.47
- Setup mode p.47
- Program mode p.47
- Storage mode p.48
- Song mode p.48
- Quick access mode p.48
- Midi mode p.48
- Master mode p.48
- Effects mode p.48
- Editing conventions p.49
- Chapter 5 editing conventions p.49
- What s an object p.49
- Introduction to editing p.49
- Object type and id p.50
- Saving and naming p.51
- Rom objects p.52
- Memory objects p.52
- 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 p.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 p.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 p.53
- Saving and naming saving and naming p.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 p.53
- Keyboard naming p.53
- Editing conventions p.53
- Saving and loading files storage mode p.54
- Dependent objects p.54
- Deleting objects p.54
- 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 p.55
- Special button functions p.55
- Saving and loading files storage mode saving and loading files storage mode p.55
- Editing conventions p.55
- Button special function p.55
- The program mode page p.56
- Selecting programs p.56
- Program mode p.56
- Chapter 6 program mode p.56
- The soft buttons in program mode p.57
- The info box p.57
- Controllers assignments for factory rom programs p.57
- The arpeggiator in program mode p.58
- Saving controller settings in program mode p.58
- Midi channels p.58
- Vast and kb3 programs p.59
- Vast program structure p.59
- Figure 6 1 vast program structure p.60
- Kb3 program structure p.61
- Kb3 mode p.61
- Kb3 effects and real time controls p.61
- Table 6 3 kb3 midi controller assignments p.63
- Program mode p.63
- On page 6 6 p.63
- Midi control of kb3 programs p.63
- Kb3 program structure p.63
- Kb3 program feature midi controller number values p.63
- 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 p.63
- Control setup overview p.64
- Control setup p.64
- Selecting and editing the control setup p.65
- Control setup advanced features p.65
- The soft buttons in the program editor p.67
- Editing vast programs p.67
- The mode buttons in the program editor p.68
- Assigning program parameters to control sources p.68
- 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 p.69
- Transpose xpose p.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 p.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 p.69
- The keymap page p.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 p.69
- Keymap p.69
- Key tracking keytrk p.69
- 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 p.69
- Velocity tracking veltrk p.70
- Stereo p.70
- Method altmethod p.70
- Timbre shift p.71
- Playback mode p.71
- Alternative switch altcontrol and altmethod p.71
- Alternative controller altcontrol p.71
- The layer page the layer page p.72
- The layer page p.72
- Program mode p.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 p.72
- 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 p.72
- Pitch bend mode bend p.73
- Minimum delay mindly maximum delay maxdly p.73
- Low velocity lovel p.73
- Low key lokey p.73
- High velocity hivel p.73
- High key hikey p.73
- Delay control dlyctl p.73
- Trigger trig p.73
- Enable sense s p.74
- Enable p.74
- Sustain pedal suspdl p.75
- Sostenuto pedal sospdl p.75
- Opaque p.75
- Ignore release ignrel p.75
- Hold through attack thratt p.75
- Freeze pedal frzpdl p.75
- The pitch page p.76
- The amp page p.76
- Hold until decay tildec p.76
- The algorithm alg page p.77
- Algorithm basics p.78
- Common dsp control parameters p.79
- Alt input for algorithms cascade mode p.82
- Dynamic vast p.83
- The dsp control dspctl page the dsp control dspctl page p.84
- The dsp control dspctl page p.84
- Program mode p.84
- Press the dspctl soft button to call up the dsp control dspctl page which is displayed below p.84
- Button to move the cursor into the subpage p.84
- Before reading further be sure to read algorithm basics on page 6 23 and common dsp control parameters on page 6 24 p.84
- 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 p.85
- The dsp modulation dspmod page p.85
- Program mode p.85
- Press the dspmod soft button to call up the dsp modulation dspmod page which is displayed below p.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 p.85
- Before reading further be sure to read algorithm basics on page 6 23 and common dsp control parameters on page 6 24 p.85
- The output page p.86
- Pan mode p.87
- Crossfade and crossfade sense xfadesense p.88
- Pan table p.88
- Output pan gain and mode p.88
- Drum remap p.88
- Exclusive zone map p.89
- 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 p.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 p.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 p.90
- The common page p.90
- Pitch bend range up and down p.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 p.90
- Monophonic p.90
- Portamento rate p.91
- Portamento p.91
- Legato play p.91
- Attack portamento p.91
- Demo song p.92
- Output gain pan and pan mode p.92
- Mono sample xfade p.92
- Globals p.92
- 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 p.93
- The output page p.93
- The lfo page p.93
- Program mode p.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 p.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 p.93
- 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 p.93
- Rate control p.94
- Minimum rate p.94
- Maximum rate p.94
- Lfo shape p.94
- Lfo phase p.94
- The asr page p.95
- Trigger p.95
- The function fun page p.96
- Release p.96
- Attack p.96
- The amplitude envelope ampenv page p.97
- Release segments p.98
- Decay segment p.98
- Attack segment times p.98
- Attack segment levels p.98
- The envelope 2 env2 and envelope 3 env3 pages p.99
- Number of loops p.99
- Loop type p.99
- The envelope control envctl page p.100
- Source depth p.101
- Key tracking p.101
- Adjust p.101
- Velocity tracking p.101
- The program fx progfx page p.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 p.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 p.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 p.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 p.102
- Impact p.102
- 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 p.102
- Output p.103
- Insert p.103
- Auxiliary send parameters p.103
- Aux 1 aux 2 p.103
- The layer fx lyr_fx page p.104
- Aux1 mod aux2 mod p.104
- The controllers ctls page p.105
- Function soft buttons p.106
- Set controllers setctl p.107
- New layer newlyr p.107
- Name save delete p.107
- Import layer implyr p.107
- Duplicate layer duplyr p.107
- Delete layer dellyr p.107
- Editing vast programs with kva oscillators p.108
- Basic use of kva oscillators p.108
- Setting kva oscillator type p.109
- Advanced use of kva oscillators p.110
- Upper tone wheel keymap p.114
- Kb3 editor the tone wheels tonewl page p.114
- Editing kb3 programs p.114
- Number of tone wheels p.115
- Lower transpose upper transpose p.115
- Globals p.115
- Wheel volume map p.115
- Upper volume adjust p.115
- Organ map p.115
- Volume p.116
- Kb3 editor the drawbars drawbr page p.116
- Kb3 editor the set drawbars setdbr soft button p.117
- Kb3 editor the pitch page p.117
- Kb3 editor the amp page p.117
- Volume p.118
- Percussion p.118
- Kb3 editor the perc1 page p.118
- Perclevel decaytime orglevel p.119
- Lowharm p.119
- Kb3 editor the perc2 page p.119
- Highharm p.119
- Harmonic p.119
- Veltrack p.119
- Stealbar p.119
- Volume p.120
- Veltrk p.120
- Keyclick p.120
- Kb3 editor the keyclk page p.120
- Retrigthresh p.121
- Random p.121
- Note release p.121
- Note attack p.121
- The misc page contains an assortment of control parameters including leslie speed control and vibrato chorus selection p.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 p.122
- Preampresp p.122
- Leakage p.122
- Kb3 editor the misc page p.122
- 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 p.122
- Voladjust p.123
- Vibchorsel p.123
- Vibchorctl p.123
- Sustain p.123
- Speedctl p.123
- Sostenuto p.123
- Lesliepedal p.123
- Leakmode p.123
- Bendrngup bendrngdn p.123
- 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 p.124
- Program mode p.124
- Kb3 editor the eq page kb3 editor the eq page p.124
- Kb3 editor the eq page p.124
- 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 p.124
- Kb3 editor the lfo asr and fun pages p.125
- Exp pedal p.125
- Kb3 editor the program fx progfx page p.125
- Kb3 editor the output page p.125
- Kb3 programming tips p.126
- Setup mode p.127
- Chapter 7 setup mode p.127
- Zone status leds in setup mode p.128
- The setup editor p.129
- Soloing a zone p.129
- The channel program ch prog page p.130
- Program p.130
- Midibank p.131
- Destination p.131
- Channel p.131
- Status p.132
- Midi program midiprog p.132
- Input channel p.132
- Midi bank mode bankmode p.133
- Entry program change entryprogchg p.134
- Arpeggiator p.134
- The key velocity page allows you to set key range velocity range transposition and note maps for each zone p.135
- The key velocity key vel page the key velocity key vel page p.135
- The key velocity key vel page p.135
- Setup mode p.135
- On page 7 1 p.135
- 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 p.135
- Transpose p.136
- Note map p.136
- Low key lokey high key hikey p.136
- Velocity scale velscale p.137
- Velocity offset p.138
- Velocity curve velcurve p.140
- Low velocity lovel highvelocity hivel p.142
- The pan volume pan vol page p.143
- Entry volume exit volume p.143
- Entry pan exit pan p.143
- The bend page p.144
- Bend range semitones and bend range cents up and down p.144
- Controllers p.145
- Aux bend 2 range p.145
- Aux bend 1 up and aux bend 1 down p.145
- Continuous controllers p.146
- Table 7 4 controller destination list p.147
- Table 7 3 switch controllers p.147
- Switch controllers p.147
- See switch controller parameters on page 7 30 for information on each parameter p.147
- Physical controller setup editor page parameter values p.147
- Corresponding destination name description p.147
- Controller number p.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 p.147
- The controller destination list p.147
- Table 7 4 controller destination list p.148
- On page 7 3 p.148
- On page 7 1 p.148
- On page 6 2 p.148
- Corresponding destination name description p.148
- Controller number p.148
- Table 7 4 controller destination list p.149
- Corresponding destination name description p.149
- Controller number p.149
- Table 7 4 controller destination list p.150
- On page 7 4 p.150
- Corresponding destination name description p.150
- Controller number p.150
- Controller number p.151
- Table 7 4 controller destination list p.151
- On page 7 5 p.151
- On page 7 4 p.151
- On page 11 1 p.151
- Corresponding destination name description p.151
- Shift key number shift key shkeynum shiftkey p.152
- 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 p.153
- Value key root note p.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 p.153
- Shift key settings p.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 p.153
- 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 p.153
- Continuous controller parameters p.155
- Switch controller parameters p.156
- 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 p.158
- Setup mode p.158
- The wheel page parameters are described in continuous controller parameters on page 7 29 p.158
- The wheel page p.158
- 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 p.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 p.159
- The slider and slid2 pages the slider and slid2 pages p.159
- The slider and slid2 pages p.159
- Setup mode p.159
- The cpedal page parameters are described in continuous controller parameters on page 7 29 p.160
- The continuous control pedal cpedal page p.160
- Setup mode p.160
- 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 p.160
- The pressure press page p.161
- The ft sw page parameters are described in switch controller parameters on page 7 30 p.162
- The footswitch pages ft sw1 ft sw2 ft sw3 p.162
- Setup mode p.162
- On the back of the instrument there are three jacks for footswitch pedals p.162
- There are three footswitch pages one for each footswitch the range of values for their respective destination parameters is the control destination list p.162
- 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 p.163
- The arpeggiator switch arp sw page the arpeggiator switch arp sw page p.163
- The arpeggiator switch arp sw page p.163
- The arp sw page parameters are described in switch controller parameters on page 7 30 p.163
- Setup mode p.163
- See the arpeggiator page on page 7 42 for information on how to configure the pc3a s arpeggiator p.163
- The switch page parameters are described in switch controller parameters on page 7 30 p.164
- The switch page p.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 p.164
- Setup mode p.164
- The ribbon page p.165
- The ribbon configuration ribcfg page p.166
- Ribbon configuration p.166
- Position mode posmode p.167
- Center p.167
- Spring p.167
- The arpeggiator page p.168
- The arpeggiator arpeggiator 2 arp1 arp2 pages p.168
- 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 p.173
- The ribbon configuration ribcfg page the ribbon configuration ribcfg page p.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 p.173
- Setup mode p.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 p.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 p.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 p.173
- But that s above the shift limit so the pc3a calculates the difference between that p.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 p.173
- And the shift limit g4 one semitone it adds that difference to the original starting note c4 and plays that note next p.173
- The arpeggiator 2 page p.175
- Setup mode p.175
- 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 p.175
- The ribbon configuration ribcfg page the ribbon configuration ribcfg page p.175
- 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 p.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 p.179
- Real time control of arpeggiator parameters p.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 p.179
- Corresponding arpeggiator parameter operation p.179
- Controller number p.179
- Corresponding arpeggiator parameter operation p.180
- Controller number p.180
- 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 p.181
- The riff1 page p.181
- The first riff page appears as shown below and has the following parameters p.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 p.181
- 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 p.181
- 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 p.182
- Beat subdivision beat subdivision moment tick value p.182
- Table 7 5 subdivision values p.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 p.182
- Song select the song you wish to use in the song parameter by using the alpha wheel buttons or the alphanumeric pad p.182
- 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 p.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 p.184
- The second riff page appears as shown below and has the following parameters p.184
- The riff2 page p.184
- The ribbon configuration ribcfg page p.184
- Setup mode p.184
- 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 p.189
- Real time control of riff parameters p.189
- Controller number corresponding riff parameter operation p.189
- 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 p.190
- The fx pages fx auxfx1 auxfx2 and mastfx p.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 p.190
- Setup mode p.190
- The swprg page parameters are described in switch controller parameters on page 7 30 p.190
- The programmable switch pages swprg1 to swprg8 p.190
- The common page p.191
- Clock source p.191
- Aux fx channel p.191
- Kb3 channel p.192
- Arpeggiator global arpglobal p.192
- Trigger keys keytrg p.193
- The utility soft buttons p.194
- New zone newzn p.194
- Import zone impzn p.194
- Duplicate zone dupzn p.194
- Delete zone delzn p.194
- Delete p.194
- Recording a setup to song mode p.195
- Chapter 8 quick access mode p.197
- Quick access mode p.197
- The qa editor p.198
- Soft buttons in quick access mode p.198
- Insert effects p.200
- Effects overview p.200
- Effects and effect mode p.200
- Chapter 9 effects and effect mode p.200
- Aux effects p.200
- Signal flow p.201
- Master effects p.201
- Insert p.201
- Chains p.201
- Dsp units manage and distribute processor power for effects p.202
- Aux override p.202
- The effectsenable page p.203
- Effect mode and the effects pages p.203
- The aux 1 override and aux 2 override pages p.204
- The master effects page p.207
- The main page p.208
- The chain editor p.208
- The mod pages p.209
- Fxlfo fxasr and fxfun pages p.210
- General parameters p.211
- Effects parameters p.211
- Reverbs p.212
- Delays p.213
- Equalizers eq p.214
- Compressors expanders and gates p.215
- Chorus p.217
- Quantize p.218
- Laserverb p.218
- Flanger p.218
- Filters p.219
- Distortion p.220
- Rotating speakers p.221
- Vibrato chorus p.222
- Tremolo and autopan p.223
- Stereo simulation p.224
- Ring modulation p.224
- Pitcher p.224
- The transmit page p.226
- Midi mode p.226
- Chapter 10 midi mode p.226
- Transpose p.227
- Destination p.227
- Control setup p.227
- Channel p.227
- Velocity map transmit p.228
- Pressure map transmit p.229
- The receive page p.230
- Program change progchang p.230
- Change setups chgsetups p.230
- Program change mode prgchgmode p.231
- Midi receive mode midi mode p.231
- Basic channel p.231
- All notes off p.231
- Velocity map receive p.232
- Pressure map receive p.233
- System exclusive id sysexid p.234
- Bank select p.234
- Local keyboard channel localkbdch p.235
- 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 p.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 p.238
- External midi cc remapping for local keyboard channel and input channel p.238
- Pc3a physical controller default midi cc which controls the destination assigned to each pc3a physical controller in the setup editor p.238
- The channels page p.239
- Program p.239
- Enable p.239
- Volume p.240
- Program lock pan lock volume lock p.240
- Program change formats p.240
- 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 p.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 p.241
- Qaccess p.241
- Program change formats p.241
- Midi mode p.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 p.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 p.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 p.241
- Extended program changes p.241
- 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 p.242
- Table 10 1 qaccess program change examples p.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 p.242
- Program change formats program change formats p.242
- Midi mode p.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 p.242
- 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 p.242
- The soft buttons in midi mode p.243
- Reset channels rsetch p.243
- Program change prgchg p.243
- 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 p.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 p.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 p.244
- Master mode p.244
- Chapter 11 master mode p.244
- Drum remap p.245
- Transpose p.245
- Setup controllers setupctls p.245
- Id entry p.245
- Fx mode p.245
- Master table lock master lock p.246
- Display p.246
- Demo button p.246
- Buttons mode buttons p.246
- Velocity map master p.248
- Sources p.248
- Pc3a song mode p.248
- Destinations p.248
- Pressuremap settings on midi mode receive page p.250
- Pressure map master p.250
- Pc3a song mode p.250
- Destinations p.250
- Sources p.250
- 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 p.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 p.251
- List and description of intonation maps p.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 p.251
- Intonation p.251
- Key action map p.252
- Intonation key int key p.252
- Output clock p.253
- Output p.253
- Digital output volume dig out volume p.253
- Digital output dig out p.253
- Default sequence p.253
- Aux out pair mode p.253
- Clock source p.254
- General midi mode gm on gm off p.255
- Object p.256
- Rename p.257
- Delete p.257
- Utils utilities p.259
- Preview sample prview p.261
- Loader p.261
- What is a sequencer p.262
- Song mode the main page p.262
- Song mode and the song editor p.262
- Getting started with the sequencer p.262
- Chapter 12 song mode and the song editor p.262
- Current song cursong p.263
- Track number trk p.264
- Recording track rectrk p.264
- Program prog p.264
- Volume vol p.265
- Track status indicators p.267
- Mode indicators and x p.267
- Location locat p.267
- Activity indicators p.267
- Track channels p.268
- Soft buttons on the main page p.268
- The save changes dialog p.269
- Time out p.271
- Time in p.271
- The time out parameter determines the stop time for loop or punch in recording p.271
- The time in parameter determines the start time for loop or punch in recording more on this below p.271
- Song mode the big page p.271
- 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 p.271
- Song end p.272
- Recmode p.272
- Metron p.272
- 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 p.273
- Uneditable these values are an expanded view of the mixer values for the currently selected track which canbeeditedinthefirstthreerowsofthemixerpage p.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 p.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 p.273
- Song mode the mixer page p.273
- Song mode the fx pages p.273
- 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 p.273
- The rec play and stop soft buttons p.274
- The keep soft button p.274
- The done soft button p.274
- Song mode the metronome page p.274
- Soft note p.275
- Program p.275
- Metronome p.275
- Countoff p.275
- Channel p.275
- The rec play and stop soft buttons p.275
- The done soft button p.275
- Strong vel p.275
- Strong note p.275
- Soft vel p.275
- 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 p.276
- The hi to the right of lokey determines the highest key that is recorded played back when notes is set to on p.276
- Song mode the filter pages recflt and plyflt p.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 p.276
- Lokey determines the lowest key that is recorded played back when notes is set to on p.276
- Below is the recflt page p.276
- Polypress p.277
- Pitchbend p.277
- Monopress p.277
- Controllers p.277
- Controller p.277
- The rec play and stop soft buttons p.277
- The done soft button p.277
- Progchange p.277
- Song mode the misc page p.278
- Control chase p.278
- Song mode the stats page p.279
- Release p.279
- Key wait p.279
- Timesig p.280
- The song editor p.280
- Song editor the common page p.280
- Mididst p.281
- Fx track p.281
- Drumtrack p.281
- Song editor the track page p.282
- Soft buttons on the common page p.282
- Region criteria box parameters p.283
- Common parameters for edit song track functions p.283
- Soft buttons on the track page p.284
- Song editor track functions p.285
- Bounce p.286
- Insert p.287
- Delete p.287
- Quantize p.288
- Transpose p.289
- Change p.291
- Song editor the event page p.292
- Location bar beat tick event type and value p.292
- Initial program volume pan p.292
- Initial program volume pan p.293
- Event type and value p.293
- Bar beat and tick p.293
- Location p.293
- 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 p.294
- Tempo track p.294
- Table 12 1 midi event value ranges p.294
- Soft buttons on the event page p.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 p.294
- New inserts a new event by duplicating the current event p.294
- Event type values p.294
- Done on the view page returns to the event page on the event page returns to the common page p.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 p.294
- 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 p.294
- Storage mode page p.295
- Storage mode p.295
- Chapter 13 storage mode p.295
- Using usb devices p.296
- Common dialogues p.298
- Storage mode common features p.298
- Directories p.298
- The store page p.300
- Storing overview p.300
- The store advanced page p.301
- Select object type to store p.301
- Select object range to store p.301
- The load page p.303
- Loading individual objects from a p3a or compatible file type p.304
- Loading methods p.305
- 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 p.307
- The following example shows how each different loading methods affect how four programs load into a bank that already contains programs p.307
- Suppose you were to load a file containing the following objects into the base2 129 56 bank p.307
- Storage mode common features storage mode common features p.307
- Storage mode p.307
- Example starting with the following objects already stored in the pc3a internal ram p.307
- The utilities utils page p.308
- Soft buttons on the utilities page p.308
- Format p.309
- Export p.309
- The keymap editor p.310
- Keymap and sample editing p.310
- Chapter 14 keymap and sample editing p.310
- Keymap editor parameters p.312
- The soft buttons in the keymap editor p.314
- Special double button presses in the keymap editor p.315
- Building a keymap p.316
- The miscellaneous misc page p.318
- Editing samples p.318
- The trim page p.321
- Tutorial song mode p.323
- Chapter 15 tutorial song mode p.323
- Part 1 assign instruments to tracks p.324
- Part 2 set the tempo p.325
- Part 3 record your first track save the song p.326
- Part 4 record additional tracks p.329
- Part 5 fixing mistakes p.330
- Part 6 adjusting the volume of each instrument p.332
- Part 7 learning more about song mode p.337
- Specifications p.339
- Model pc3a p.339
- Midi implementation chart p.339
- Appendix a specifications p.339
- Specifications p.340
- Using the bootloader menu p.341
- Pc3a bootloader p.341
- Appendix b pc3a bootloader p.341
- Run diags pc3a diagnostics utility p.342
- System update pc3a software objects etc p.342
- System reset p.342
- System utilities p.343
- Removing the fuse holder p.344
- Changing pc3a voltage p.344
- Appendix c changing pc3a voltage p.344
- The clip removed from the fuse holder p.346
- The clip just pulls off p.346
- Programs p.348
- Pc3a objects v 2 p.348
- Appendix d pc3a objects v 2 p.348
- Setups p.364
- Effect chains p.367
- Chain chain chain p.367
- Chain chain chain p.368
- Chain chain chain p.369
- Chain chain chain p.370
- Chain chain chain p.371
- Chain chain chain p.372
- Chain chain chain p.373
- Chain chain chain p.374
- Chain chain chain p.375
- Reverbs p.376
- How to use these tables p.376
- Effect presets with algorithms p.376
- Delays p.380
- Flange p.382
- Chorus p.382
- Phaser p.383
- Trem panner spatial p.384
- Rotary p.384
- Distortion p.385
- Eq filters p.386
- Dynamics p.386
- Chorus combi p.388
- Flange combi p.389
- Keymaps p.391
- Samples p.401
- Arpeggiator shift patterns p.410
- Arpeggiator velocity patterns p.412
- Setup objects p.414
- Program objects p.414
- Pc3a legacy file conversion p.414
- Object types and conversion details p.414
- Keymap objects p.414
- Appendix e pc3a legacy file conversion p.414
- Numerics p.415
- Index i p.415
- Index ii p.416
- Index iii p.417
- Index iv p.418
- Index v p.419
- Index vi p.420
- Index vii p.421
- Index viii p.422
- Index ix p.423
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