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Kurzweil PC3A6 Руководство по эксплуатации онлайн [177/423] 777181
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Setup Mode
The Ribbon Conguration (RIBCFG) Page
7-51
trigger the pattern. You can use the Panic soft button to stop arpeggiation at any time.
1NoteAutoLow and 1NoteAutoHi are also designed for use with Shift Patterns. They work
similarly to 1NoteAuto, except 1NoteAutoLow always latches the lowest note when holding
multiple notes, and 1NoteAutoHi always latches the highest note when holding multiple notes.
You can also use these latch types without a Shift Pattern if desired.
Low Key (LoKey) and High Key (HiKey)
The Arpeggiator processes notes within the range of these parameters. Notes outside the
specied range play normally, and do not become part of the arpeggiation sequence. Set the
LoKey and HiKey parameters using the data entry wheel or buttons.
Glissando
When the Glissando parameter is On, the Arpeggiator chromatically lls between latched notes.
When Glissando is on, the Arpeggiator ignores the Shift Amount, Shift Limit, and Limit Option
parameters.
You must latch at least two notes to get a result. When Glissando is on, all notes played in the
arpeggiation range get latched, although you won’t necessarily get meaningful results from all
latched notes. In general, try to get each subsequent note you latch to be a change in direction.
For example, try latching the following sequence of notes: C4, C5, G4, G5, C5, C6, G4, G5. The
“glissando” changes direction around each change in direction of the latched notes.
SyncTo
The SyncTo parameter determines what an arpeggiator will sync to. An arpeggiator can sync to
another arpeggiator, a ri, or a song playing from Song mode. You can choose a specic
arpeggiator or ri to sync to by setting SyncTo to Arp 1–16 or Ri 1-16, and the current
arpeggiator will always sync to that arpeggiator or ri. For example, if you have an arpeggiator
on a bass sound in zone 1 and an arpeggiator on a lead sound in zone 2, you may always want the
lead arpeggiation in zone 2 to sync to the bass arpeggiation in zone 1. In this case you would set
the SyncTo parameter in zone 2 to Arp 1.
You may want to have a little more freedom and not be tied to the bass arpeggiation in zone 1 as
the main “timekeeper.” Maybe you want to start with the lead arpeggiation in zone 2 and have
the bass arpeggiation in zone 1 start later. In this case you would set the SyncTo parameter for
zone 2 to FirstArp.Av. With this setting, the arpeggiator will look for the rst available
arpeggiator to sync to. So if both the bass arpeggiation and the lead arpeggiation have this
parameter set to FirstArp.Av., the arpeggiation that is started rst will be the main “timekeeper.”
If the lead arpeggiator starts rst, the bass arpeggiator will see that as the rst available
arpeggiator to sync to and will do so. If the bass arpeggiator is started rst, the lead arpeggiator
will see that as the rst available arpeggiator to sync to and will do so. This can be very handy if
you are using multiple arpeggiators and want to do some live improvisation; you can start and
stop dierent arpeggiators and as long is there is one arpeggiator playing, any arpeggiator with
SyncTo set to FirstArp.Av. will sync back up when triggered again.
You can also choose FirstRi.Av., which behaves the same way as FirstArp.Av., but makes your
arpeggiator look for the rst available ri to sync to. A setting of Main Seq. will sync the
arpeggiator to the song currently loaded in Song mode. You can select a song in Song mode, then
play it from setup mode with the front panel Play/Pause button. (Doing this temporarily replaces
the programs in your setup’s zones with the program used for each channel in the song, so it’s best to make
asetupthatusesthesameprogramsasyoursongonthesameMIDIchannels.Ifyouplanonsyncingris
with a song, it may be easier to start by creating a setup, then recording the setup into a song. See
Recording A Setup To Song Mode on page 7-69 for details.) A setting of First Avail. will sync the
arpeggiator to the rst available arpeggiator, ri, or song from Song mode.
Note:IfyouhavemultiplearpeggiatorsorrisalreadyplayingwhenusingFirstArp.Av., FirstRi.Av.,
or First Avail.forthecurrentarpeggiator,thecurrentarpeggiatorwillsynctothearpeggiatororriofthe
lowestnumberedzonethathasanarpeggiatororriplaying.
Содержание
- Important safety installation instructions 2
- Instructions pertaining to the risk of fire electric shock or injury to persons 2
- Radio and television interference 2
- Save these instructions 2
- Safety instructions 3
- Kurzweil international contacts 4
- Chapter 1 introduction 5
- Chapter 2 startup 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 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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