Korg Electronic Keyboard KORG Pa50 User Manual

USER'S

MANUAL

ENGLISH

Ver. 1.0

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and the contents of the instruction manual - the speciﬁca-

tions being subject to change without prior notice

DATA HANDLING

Data in memory may sometimes be lost due to incorrect user

action. Be sure to save important data to ﬂoppy disk. KORG

will not be responsible for damages caused by data loss.

LIABILITY

KORG products are manufactured under strict speciﬁca-

tions and voltages required by each country. These prod-

ucts are warranted by the KORG distributor only in each

country. Any KORG product not sold with a warranty

card or carrying a serial number disqualiﬁes the product

sold from the manufacturer's/distributor's warranty and

liability. This requirement is for your own protection and

safety.

LCD DISPLAY

Some pages of the manuals show LCD screens along with

an explanation of functions and operations. All sound

names, parameter names, and values are merely examples

and may not always match the actual display you are

working on.

TRADEMARKS

SERVICE AND USER’S ASSISTANCE

Macintosh is a registered trademark of Apple Computer,

Inc. MS-DOS and Windows are registered trademarks of

Microsoft Corporation. All trademarks or registered

trademarks are the property of their respective holders.

For service, please contact your nearest Authorized KORG

Service Center. For more information on KORG products,

and to ﬁnd software and accessories for your keyboard,

please contact your local Authorized KORG distributor.

DISCLAIMER

PA50 ON THE WEB

For up-to-date information, please, point your web

browser to http://ww w .korgpa.com.

The information contained in this manual have been care-

fully revised and checked through. Due to our constant

efforts to improve our products, the speciﬁcations might

differ to those in the manual. KORG is not responsible for

any eventual differences found between the speciﬁcations

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THE BALANCE SLIDER

When turning the instrument on, please be assured the BALANCE slider is set to

the center. This sets both Sequencer 1 (SEQ1) and Sequencer 2 (SEQ2) to their

maximum level. This will avoid you start a Song without hearing anything.

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HOW TO…

Ke y b o a rd

So n g Pla y m o d e

…select a Sound Program

…select a Performance

…pl a y a S ong (St a n dard M I DI Fil e )

…see the Lyrics

…play a Sound Program across the

whole keyboard, as with a piano

…split the keyboard in two

…add sounds to the right hand

…mute/ unmute sounds

…see the Song tracks

…start bo t h S e quencers at t he s a m e time

18, 79

Ba ck in g Se q u e n ce m o d e

…record a new B a c king Sequence (Song)

Sty le Pla y m o d e

…select a Style

So n g m o d e

…record a new Song

…edit a St a n dard M I DI File

…start/ stop the Style

…select a Fill or a Break

…select a Style Variation

…see the Style tracks

…create a new Style

In g e n e ra l

…turn the spe a k e rs o f f

…ch a n ge t he D a m per po l a r ity

…select the Arabic Scale

125

126

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TABLE OF CONTENTS

The Chord 1 and Chord 2 channels . . . . . . . . . . . . . . . . . . .36

The Control channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Connecting Pa50 to a Master keyboard . . . . . . . . . . . . . . . .36

Connecting the Pa50 to a MIDI accordion . . . . . . . . . . . . .37

Connecting the Pa50 to an external sequencer . . . . . . . . . .37

Playing another instrument with the Pa50 . . . . . . . . . . . . . .38

Introduction

Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Live Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Useful links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Making a backup copy of system files . . . . . . . . . . . . . . . . . . 8

Loading the operating system . . . . . . . . . . . . . . . . . . . . . . . . . 9

Reloading the Factory Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

R e feren c e G u i d e

Start up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Connecting the A C p ower adapter . . . . . . . . . . . . . . . . . . . . 10

Turning the instrument on and off . . . . . . . . . . . . . . . . . . . 10

Controlling the Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The BALANCE slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Audio Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Damper Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

The music stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

S t yle Play operating mode . . . . . . . . . . . . . . . . . . . 40

What ’s a S t yle? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

S t yles and Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Changing and resetting the Tempo . . . . . . . . . . . . . . . . . . . .40

The DIRECT FD bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

S t yle tracks page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

How to select Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Page 3 - Mixer: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Page 4 - Tuning: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Page 5 - Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Page 6 - Tuning: PitchBend Sensitivity . . . . . . . . . . . . . . . . .44

Page 7 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Page 8 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Page 9 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Page 10 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Page 11 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Page 12 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Page 13 - Track: Easy edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Page 14 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Page 15 - Track: Internal/External . . . . . . . . . . . . . . . . . . . .46

Page 16 - R.T. controls: Damper . . . . . . . . . . . . . . . . . . . . . .47

Page 17 - R.T. controls: Joystick . . . . . . . . . . . . . . . . . . . . . .47

Page 18 - R.T. controls: Dynamic range . . . . . . . . . . . . . . . .47

Page 19 - R.T. controls: Ensemble . . . . . . . . . . . . . . . . . . . . .47

Page 20 - Style controls: Drum/Fill . . . . . . . . . . . . . . . . . . . .48

Page 21 - Style controls: Wrap Around / Keyboard

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Dis p l a y and U ser I n terfa c e . . . . . . . . . . . . . . . . . . . 19

Display controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Interface structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Message windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Symbols and Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Grayed-out non-available parameters . . . . . . . . . . . . . . . . . 21

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Basic Guide

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Playing on the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Selecting, muting/unmuting and soloing a track . . . . . . . . 24

Selecting a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selecting a Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Selecting a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Selecting a Single Touch Setting (STS) . . . . . . . . . . . . . . . . . 27

Changing all keyboard tracks at once . . . . . . . . . . . . . . . . . . 27

Playing a Song from Floppy disk . . . . . . . . . . . . . . . . . . . . . 27

Shortcut to see the original bank for a Style,

Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Page 22 - Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Page 23 - Preferences: Lock . . . . . . . . . . . . . . . . . . . . . . . . . .49

Page 24 - Preferences: controls . . . . . . . . . . . . . . . . . . . . . . .50

Performance or Program . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

1 - Playing in realtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

2 - Playing a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

3 - Playing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4 - Recording a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

5 - Editing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

6 - The Arabic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

S t yle R e c o rd mode . . . . . . . . . . . . . . . . . . . . . . . . . 52

The S t yle’s structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

S t yle Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

E n tering the Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Listening to the Style while in Record/Edit mode . . . . . . . .53

Exit and Save/Abort Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

List of recorded events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Fast Delete using the control panel buttons . . . . . . . . . . . . .54

Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

S t yle Tracks page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Midifiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

The General MIDI standard . . . . . . . . . . . . . . . . . . . . . . . . . 35

The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

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Step Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Style Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Page 1 - Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Page 2 - Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Page 3 - Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Page 4 - Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Page 5 - Event Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Event Edit procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 6 - Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Page 7 - Edit: Delete All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Page 8 - Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Page 9 - Style Element Controls: Programs . . . . . . . . . . . . . 67

Page 10 - Style Element Controls: Expression . . . . . . . . . . . 68

Page 11 - Style Element Controls: Keyboard Range . . . . . . 68

Page 12 - Style Element Controls: Chord Variation

L o ad Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Save Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Realtime Recording page . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Chord/A cc S t ep Recording page . . . . . . . . . . . . . . . . . . . . . .85

How to delete a whole Song . . . . . . . . . . . . . . . . . . . . . . . . . .87

S o ng operat i n g mode . . . . . . . . . . . . . . . . . . . . . . 88

Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Master Volume and Sequencer Volume . . . . . . . . . . . . . . . .88

The S o ngs and the S t andard MIDI File format . . . . . . . . . .88

Fast track deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

How to delete a whole Song . . . . . . . . . . . . . . . . . . . . . . . . . .88

Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Tracks 1-8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Tracks 9-16 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

S o ng S elect page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Save Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Realtime Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . .91

Step Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

S o ng Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

S t ep Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Page 3 - Mixer: FX Block . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

Page 4 - Mixer: FX Send A/B (or C/D) . . . . . . . . . . . . . . . . .96

Page 5 - Tuning: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

Page 6 - Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Page 7 - Tuning: PitchBend/Scale . . . . . . . . . . . . . . . . . . . . .97

Page 8 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Page 9 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Page 10 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Page 11 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Page 12 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Page 13 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Page 14 - Track: Easy edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Page 15 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Page 16 - Track: Internal/External . . . . . . . . . . . . . . . . . . . .99

Page 17 - Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Page 18 - Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Page 19 - Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Page 20 - Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Page 21 - Edit: Cut Measures . . . . . . . . . . . . . . . . . . . . . . . .101

Page 22 - Edit: Insert Measures . . . . . . . . . . . . . . . . . . . . . .101

Page 23 - Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Page 24 - Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Page 25 - Event Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Event Edit procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Page 13 - Style Controls: Mode/Tension . . . . . . . . . . . . . . . 68

S o ng P l a y operat i n g mode . . . . . . . . . . . . . . . . . . 70

The S o ngs and the S t andard MIDI File format . . . . . . . . . . 70

Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Switching between sequencers during editing . . . . . . . . . . . 70

Selecting a Song composing its progressive number . . . . . 70

Realtime and sequencer tracks . . . . . . . . . . . . . . . . . . . . . . . 70

Master Volume, Sequencer Volume, BALANCE . . . . . . . . 71

Effects in Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Groove Quantize window . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Tracks 1-8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Tracks 9-16 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Song Select page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

The Lyrics page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Playing a Jukebox file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Page 3 - Mixer: FX send A/B . . . . . . . . . . . . . . . . . . . . . . . . . 76

Page 3 - Mixer: FX send C/D . . . . . . . . . . . . . . . . . . . . . . . . . 76

Page 4 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Page 4 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Page 5 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Page 6 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Page 5 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Page 6 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Page 7 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Page 8 - Track: Internal/External . . . . . . . . . . . . . . . . . . . . . 78

Page 9 - Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Page 10 - Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Saving a list of Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Program operating mode . . . . . . . . . . . . . . . . . . . 105

Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

S o und Programs and Drum Programs . . . . . . . . . . . . . . . .105

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

The Compare function . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

How to select oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Erase Program/Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . .106

The ‘Write’ window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Page 1 - Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Page 2 - Sample (Sound Programs) . . . . . . . . . . . . . . . . . .107

Page 2 - DK Samples (Drum Programs) . . . . . . . . . . . . . . .108

B a c ki n g S e quen c e o perat i n g mode . . . . . . . . . . . . 82

Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

The B acking Sequence, Song and Song Play modes . . . . . . 82

How to playback a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Realtime Recording mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Chord/Acc Step recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main Page (Backing Sequence Play) . . . . . . . . . . . . . . . . . . . 83

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Page 3 - Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Page 4 - Pitch LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Page 5 - Pitch LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Page 6 - Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Page 7 - Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Page 8 - Filter Modulation . . . . . . . . . . . . . . . . . . . . . . . . . 113

Page 9 - Filter LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Page 10 - Filter LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Page 11 - Filter EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Page 12 - Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Page 13 - Amp Modulation . . . . . . . . . . . . . . . . . . . . . . . . . 117

Page 14 - Amp LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Page 15 - Amp LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Page 16 - Amp EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Page 17 - LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Page 18 - LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Page 19 - Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Page 20 - FX1 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Page 21 - FX2 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

AMS (Alternate Modulation Source) list . . . . . . . . . . . . . . 123

Page 4 - Erase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Page 5 - Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Page 6 - New Dir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Page 7 - Rename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Page 8 - Utilities 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Page 9 - Utilities 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

A p pend i x

F a c t ory D a ta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

S t yles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

S t yle Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Si n gle Touch Settings (STS) . . . . . . . . . . . . . . . . . . . . . . . . .146

Programs (bank order) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Programs (Program Change order) . . . . . . . . . . . . . . . . . .154

Drum K its . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160

Drum K it instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173

MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

Dynamic Modulation sources . . . . . . . . . . . . . . . . . . . . . . .175

Filter/Dynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

Pitch/Phase Mod. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Mod./P.Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

ER /Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

Mono – Mono Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

Global edit environment . . . . . . . . . . . . . . . . . . . 125

The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Page 1 - General controls . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Page 2 - Master Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Page 3 - Assignable Pedal/Footswitch, Assignable

Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Page 4 - MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Page 5 - MIDI Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Page 6 - MIDI IN Channels . . . . . . . . . . . . . . . . . . . . . . . . . 127

Page 7 - MIDI IN Controls (1) . . . . . . . . . . . . . . . . . . . . . . 128

Page 8 - MIDI IN Controls (2) . . . . . . . . . . . . . . . . . . . . . . 128

Page 9 - MIDI IN Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Page 10 - MIDI OUT Channels . . . . . . . . . . . . . . . . . . . . . 129

Page 11 - MIDI OUT Filters . . . . . . . . . . . . . . . . . . . . . . . . 129

Assignable parameters . . . . . . . . . . . . . . . . . . . . . 225

List of functions assignable to the Footswitch . . . . . . . . . .225

List of functions assignable to the Pedal or

Assignable Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226

List of sounds assignable to the Pads . . . . . . . . . . . . . . . . .226

List of functions assignable to the Pads . . . . . . . . . . . . . . .227

Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Disk edit environment . . . . . . . . . . . . . . . . . . . . . 130

The WRITE/DISK IN USE LED . . . . . . . . . . . . . . . . . . . . . 130

Floppy disk handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

L o ading data created with the Pa80 . . . . . . . . . . . . . . . . . . 131

Loading older i-Series data . . . . . . . . . . . . . . . . . . . . . . . . . 131

Disk structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

File types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

File and folder size display . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Navigation tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Page 1 - Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Page 2 - Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Page 3 - Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

M I DI C o ntro l l e rs . . . . . . . . . . . . . . . . . . . . . . . . . . 228

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . .229

P a rameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

R e c o gn i zed chords . . . . . . . . . . . . . . . . . . . . . . . . 233

E r ror messages & T r oub l e shoot i n g . . . . . . . . . . . 235

Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

T e c h n i c a l spe c ific a t i o ns . . . . . . . . . . . . . . . . . . . . 239

Al p habet i c a l I n dex . . . . . . . . . . . . . . . . . . . . . . . . 240

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INTRODUCTION

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W e lco m e !

Live Performing

1. WELCOME!

Welcome to the world of KORG Pa50 Professional Arranger!

Pa50 is one of the most powerful arranger available today,

both for professional and home entertainment use.

Telephone: 01908 857100

UK Technical Support Tel: 01908 857122, Fax:

01908 857199

Here are some of the features of your new instrument:

E-mail: info@korg.co.uk

•

Powerful HI (Hyper Integrated) KORG sound genera-

tion system, as seen in our best professional synthesiz-

ers.

OPOS (Objective Portable Operating System) multi-

tasking operating system, to let you load data while

playing your instrument.

Many KORG distributors also have their own web page on

the internet, where you can ﬁnd infos and software. Useful

web pages in English are the following:

www.korg.com

•

www.korg.co.uk

www.jam-industries.com

•

Operating System updates, to load new features from

disk. Don’t let your instrument get old!

Solid State Disk (SSD), for any system update–a smart

way to replace the usual ROM memory.

Direct Style access from ﬂoppy disk.

General MIDI Level 2 Sounds-compatible.

More than 660 Sound Programs.

4 multieffect processor, each with 89 effect types.

160 Performances and 1,216 Single Touch Settings

(STS), for fast setting of keyboard sounds and effects.

304 Styles.

XDS Double Sequencer with Crossfader.

Style Record and Edit

Full-featured sequencer (Song Record and Edit)

Integrated speakers, for the most true sound reproduc-

tion.

A place to ﬁnd operating system updates and various system

ﬁles (for example, a full backup of the factory data) is at the

following link:

www.korgpa.com

•

Other useful information can be found worldwide by access-

ing to other KORG web sites, like the following:

•

ABOUT THIS MANUAL

This manual is divided in three sections:

•

A Basic Guide, containing an overview of the instru-

ment, as well as a series of practical guides (named

“Tutorials”).

•

Wide Custom Display.

•

A Reference Guide, with each page and parameter

described in detail.

An Appendix, with a list of data and useful information

for the advanced user.

LIVE PERFORMING

Pa50 has been carefully designed to be used live. The “real-

time” word has its full meaning in this instrument. Perfor-

mances allow the instant selection of all the tracks on the

keyboard and a suitable Style; STSs allow an instant selection

of the keyboard tracks; and Styles are the realtime backing

companions for your realtime playing.

Within the manual, you will ﬁnd the following abbreviations:

The parameter can be saved onto a Perfor-

mance by pressing the WRITE button.

The parameter can be saved onto the current

Style Performance by pressing the WRITE but-

ton.

USEFUL LINKS

The parameter can be saved onto a Single

Touch Setting by pressing the WRITE button.

Your preferred KORG dealer not only carries this keyboard,

but also a whole bunch of hardware and software accessories.

You should ask him for more Programs, Styles, and other

useful music materials.

Each KORG distributor can supply you with useful informa-

tion. Just give him a call for additional services. In the

English-speaking world, here are the relevant addresses:

The parameter can be saved onto the Global,

by going to the Global environment (see “Glo-

bal edit environment” on page 125) and press-

ing the WRITE button.

MAKING A BACKUP COPY OF SYSTEM FILES

USA

KORG USA, 316 South Service Road, Melville,

New York, 11747, USA

Before starting playing with your new Pa50, we suggest you

make a back-up copy of all system data, including Pro-

grams, Performances and Styles, in case the internal data is

changed.

To backup the Operating System, please see “Save OS” on

page 141.

Tel:1-516-333-9100, Fax:1-516-333-9108

Jam Industries, 620 McCaffrey, St-Laurent,

QC, Canada, H4T 1N1

Tel. (514) 738-3000, Fax (514) 737-5069

KORG UK Ltd, 9 Newmarket Court, Kingston,

Milton Keynes, Buckinghamshire, MK10, 0AU

Canada

To backup the Factory Data (Styles, Programs…), see

“Backup Data” on page 141.

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W e lco m e !

Loading the operating system

2. Turn the instrument off, and insert the operating system

disk into the disk drive.

LOADING THE OPERATING SYSTEM

Your Pa50 can be constantly updated as new versions of the

operating system are released by KORG. You can download

the operating system from www.korgpa.com. Please, read the

Readme ﬁle included with the operating system itself.

You can see which version of the operating systems is

installed in your Pa50 by keeping the SHIFT button pressed,

and pressing the ENTER and EXIT buttons together. The

operating system version number will appear in the display.

Press EXIT to close the message window.

To load a new system, follow these instructions:

1. Copy the three operating system’s ﬁles in an empty, MS-

DOS® formatted, HD-type ﬂoppy disk. These are the

needed ﬁles:

3. Turn the instrument on. A message appears in the dis-

play, asking if you want to load the operating system.

4. Press ENTER to load, or EXIT to cancel the loading pro-

cedure. If you press ENTER, wait until the loading is ﬁn-

ished.

When the operating system is ﬁnished loading, a mes-

sage appears, asking you to remove the ﬂoppy disk and

press any button.

5. Remove the ﬂoppy disk, and press any button.

RELOADING THE FACTORY DATA

Should the internal memory content get damaged, you can

reload the original Factory Data from the backup disks. See

“Restore Data” on page 142.

• OSPa50.LZX

• BPa50.SYS

• NBPa50.SYS

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Sta rt u p

Connecting the AC power adapter

1 0

2. START UP

•

Move it fully right to set Sequencer 1 to zero and

Sequencer 2 to the maximum level.

Move it to the center to set both Sequencer at the same

level.

CONNECTING THE AC POWER ADAPTER

Connect the supplied AC

power adapter to the dedi-

cated socket on the rear of the

instrument. Then, plug it into

a wall socket.

Note: When turning the instrument on, move this slider to the

center, to avoid starting a Song at the minimum level.

Warning: Use only the sup-

plied adapter, or an adapter

suggested by Korg. Other

adapters may look similar,

but they may damage your

instrument!

HEADPHONES

Connect a pair of headphones to the PHONES output, on the

rear of the insturment. You can use headphones with an

impedance of 16-200Ω (50Ω suggested). Use a headphone

distributor to connect more than one pair of headphones.

TURNING THE INSTRUMENT ON AND OFF

AUDIO OUTPUTS

You can send the sound to an external ampliﬁcation system,

instead of the internal speakers. This is useful when record-

ing, or when playing live.

•

Press the POWER switch on the rear panel to turn the

instrument on. The display will light up, showing a wel-

come message.

•

Press again the POWER switch on the rear panel to turn

the instrument off.

Stereo. Connect two mono cables to the L/MONO &

RIGHT OUTPUTS. Connect the other end of the cables to a

stereo channel of your mixer, two mono channels, two pow-

ered monitors, or the TAPE/AUX input of your audio system.

Don’t use the PHONO inputs of your audio system!

Warning: When turning the instrument off, all data con-

tained in RAM (a volatile memory, used for Song editing)

will be lost. On the contrary, data contained in the SSD

disk (a non-volatile memory, used for Factory and User

data) will be preserved (see “Memory Mode” on page 51).

Mono. Connect a mono cable to the L/MONO OUTPUT.

Connect the other end of the cable to a mono channel of your

mixer, a powered monitor, or a channel of your TAPE/AUX

input of a hi-ﬁ system (you will hear that channel only, unless

you can set the ampliﬁer to Mono mode).

CONTROLLING THE VOLUME

•

Use the MASTER VOL-

UME slider to control the

overall volume of the

instrument. This slider

AUDIO INPUTS

Connect any other electronic musical instrument, a mixer’s

output (non-powered), or a CD/tape player, to the INPUTS

on the back of the instrument. These inputs expect a line-

level signal. To connect a microphone, you need a dedicated

microphone preampliﬁer or a mixer.

controls the volume of the

sound going to the internal

speakers, the L/MONO &

RIGHT OUTPUTS, and

the HEADPHONES con-

Use the connected device’s volume control to adjust the input

level. Be careful not to make it distort (or “clip”). Here is how

to set the volume of the connected device:

nector.

Note: Start at a moderate level, then raise the MASTER

VOLUME up. Don’t keep the volume at an uncomfortable

level for too long.

Use the ACC/SEQ VOLUME slider to control the Style

tracks (drums, percussion, bass…) volume. This slider

also controls both Sequencers tracks, excluding the

Realtime (Keyboard) tracks.

•

if the sound heard on Pa50’s outputs is too low, you

should increase the output level of the connected device.

if it sounds ﬁne, it’s ok.

•

if it distorts, you should lower the level a little, until the

sounds is ﬁne again.

By default, you can use the ASSIGN.SLIDER to control

the keyboard tracks volume. This slider is user-assign-

able, but is set to the Keyboard Expression parameter by

default.

MIDI CONNECTIONS

You can play the internal sounds of your Pa50 with an exter-

nal controller, i.e. a master keyboard, a MIDI guitar, a wind

controller, a MIDI accordion, or a digital piano.

1. Connect a standard MIDI cable from the MIDI OUT of

your controller to the MIDI IN connector on the Pa50.

2. Select a transmission MIDI channel on your controller.

Some controllers, like the MIDI accordions, usually

transmit on more than one channel (see more informa-

tion in the MIDI chapter).

THE BALANCE SLIDER

The BALANCE slider sets the relative volume of the two

onboard sequencers (Sequencer1 and Sequencer 2).

•

Move it fully left to set Sequencer 1 to the maximum

level and Sequencer 2 to zero.

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Sta rt u p

Damper Pedal

1 1

3. On the Pa50, select the MIDI Setup that best ﬁt your

controllers type (see “Page 4 - MIDI Setup” on

page 126).

1. Press the STYLE PLAY and SONG PLAY buttons

together. Their LEDs start blinking.

At this point, if you don’t press any other button, all the

Demo Songs will be played back.

2. Choose a page using the PAGE buttons. There are two

different pages in the Demo mode.

3. Select a Demo Song by pressing the corresponding

VOLUME/VALUE button around the display. The

Demo will automatically start.

4. Stop the Demo by pressing START/STOP.

5. Exit the Demo mode by pressing one of the MODE but-

tons.

DAMPER PEDAL

Connect a Damper (Sustain) pedal to the DAMPER connec-

tor on the back panel. Use a KORG PS1, PS2 or DS1H foot-

switch pedal, or a compatible one. To switch the Damper

polarity, see “Damper Pol. (Damper Polarity)” on page 126

DEMO

Listen to the built-in Demo Songs to appreciate the power of

the Pa50. There are 16 Demo Songs to choose from.

THE MUSIC STAND

A music stand comes standard with your Pa50. Fit it into the

two dedicated holes in the back panel.

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Fro n t p a n e l

1 2

3. FRONT PANEL

2 3

7 8 9 0 A B C

]

[

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B.SEQ

SONG

Backing Sequence mode, where you can record

a new Song based on the Realtime and Style

tracks, and save it as a new Standard MIDI File.

Song mode, where you can play, record, or edit

a Song.

1 MASTER VOLUME

This slider controls the overall volume of the instrument,

both of the internal speakers, the L/MONO and RIGHT out-

puts, and the HEADPHONES output.

Warning: At the maximum level, with rich-sounding Songs,

Styles or Programs, the internal speakers could distort during

signal peaks. Should this happen, lower the Master Volume a

little.

PROGRAM Program mode, to play single Sound Programs

on the keyboard, or edit them.

DEMO

Press the STYLE PLAY and SONG PLAY but-

tons together to select the Demo mode. This

mode lets you listen to some Demo Songs, to

let you hear the sonic power of the Pa50.

2 ACC/SEQ VOLUME

This slider controls the accompaniment tracks volume (Style

Play mode) or the Song tracks volume, excluding the Real-

time tracks (Song and Song Play modes). This is a relative

control, whose effective maximum value is determined by the

MASTER VOLUME slider position.

5 GLOBAL

This button recalls the Global edit environment, where you

can execute various global settings. This edit environment

overlaps any operating mode, that still remains active in the

background. Press EXIT to go back to the underlying operat-

ing mode.

3 ASSIGN.SLIDER

This is a freely programmable slider (see “Sld (Slider)” on

page 126). By default, it acts as the K e yboard Expression con-

trol, to let you balance the relative volume of the Realtime

(Keyboard) tracks.

6 DISK

This button recalls the Disk edit environment, where you can

execute various operations on ﬁles and disks (Load, Save,

Format, etc…). This edit environment overlaps any operat-

ing mode, that still remains active in the background. Press

EXIT to go back to the underlying operating mode.

4 MODE section

Each of these buttons recalls one of the operating modes of

the instrument. Each mode excludes the others.

STYLE PLAY

7 MEMORY (TIE)

Style Play mode, where you can play Styles

(automatic accompaniments) and/or play up

to four Realtime tracks on the keyboard.

In the main page, Realtime (Keyboard) tracks

are shown on the right half of the display. You

can reach the main page by pressing EXIT

from any of the Style Play edit pages. If you are

in a different operating mode, press STYLE

PLAY to recall the Style Play mode. If the

TRACK SELECT LED is on, press TRACK

SELECT to turn it off and see the Realtime

tracks.

This button turns the Lower and Chord Memory functions

on or off. Go to the “Page 24 - Preferences: controls” edit

page (Style Play mode, see page 50) to decide if this button

should be a Chord Memory only, or a Lower/Chord Memory

button. When it works as a Lower/Chord Memory:

The sound on the left of the split point, and the

chord for the automatic accompaniment, are

kept in memory even when you raise your

hand from the keyboard.

OFF

The sound and chords are released as soon as

you raise your hand from the keyboard.

This button doubles as a TIE function for the Song mode

(see chapter 13).

This operating mode is automatically selected

when turning the instrument on.

SONG PLAY

8 BASS INVERSION (REST)

Song Play mode, where you can playback 16-

track Songs in Standard Midi File (SMF) for-

mat directly from disk. You can play “.MID”

and “.KAR” ﬁles directly from the ﬂoppy disk.

Since the Pa50 is equipped with two sequenc-

ers, you can even play two Songs at the same

time, and mix them with the BALANCE slider.

In addition to the Song tracks, you can play

one to four Realtime (Keyboard) tracks, along

with the Song(s). In the main page, Realtime

(Keyboard) tracks are shown on the right half

of the display. You can reach the main page by

pressing EXIT from any of the Song Play edit

pages. If you are in a different operating mode,

press SONG PLAY to recall the Song Play

mode. If the TRACK SELECT LED is on or

ﬂashing, press TRK SELECT one or two times

to turn it off and see the Realtime tracks.

This button turns the Bass Inversion function on or off.

The lowest note of a chord played in inverted

form will always be detected as the root note of

the chord. Thus, you can specify to the

arranger composite chords such as Am7/G or

“F/C”.

OFF

The lowest note is scanned together with the

other chord notes, and is not always consid-

ered as the root note.

This button doubles as a REST function for the Song mode

(see chapter 13).

9 MANUAL BASS

This button turns the Manual Bass function on or off.

Note: When you press the MANUAL BASS button, the Bass

track volume is automatically set to the maximum value. The

volume is automatically set back to the original value when the

MANUAL BASS button is deactivated.

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1 4

The automatic accompaniment stops playing

A word about Style banks and names. Styles from “8/16

BEAT” to “WORLD 3”, and from “LATIN1” to “TRADI-

TIONAL” are standard Styles, the user can’t normally over-

write with a Load operation (unless you remove the

protection; see “Factory Style Protect” on page 142).

“DIRECT FD” Styles are Styles directly accessed from ﬂoppy

disk (no need to load from disk). See “The DIRECT FD

bank” on page 40.

(apart for the Drum and Percussion tracks),

and you can manually play the Bass track on

the Lower part of the keyboard. You can start

the automatic accompaniment again by press-

ing one of the CHORD SCANNING buttons.

The bass track is automatically played by the

Style.

OFF

Styles from “USER1” to “USER3” are location where you can

load new Styles from disk.

0 SPLIT POINT (<)

Keep this button pressed to open the Split Point window.

While this window is open, you can set the split point, simply

by playing the split point note on the keyboard. Then, release

the SPLIT POINT button.

To memorize the selected split point note, press the GLOBAL

button, then press WRITE to save the Global in memory (see

“The Write window” on page 125).

Each button (Style bank) contains 2 pages, each with up to 8

Styles. Browse through the Styles using the PAGE buttons.

Shortcut to see the original bank for a Style. You can see the

original bank where a Style is contained. Just keep the SHIFT

button pressed, and press the lefmost button of the STYLE

section. A message window will appear, showing the name of

the original bank. Release the SHIFT button to exit the win-

dow.

This button doubles as a PREVIOUS EVENT function for

the Backing Sequence and Song modes (see chapters 12 and

13).

Shortcut to see all pages of the selected bank. To cycle all

pages for a selected bank, repeatedly press the bank’s button.

These buttons double as a numeric keypad on certain

pages (see “Selecting a Song composing its progressive num-

ber” on page 70).

A G.QUANTIZE (>)

Press this button to open the Groove Quantize window,

where you can select a realtime groove quantization to be

applied to the Song (only Sequencer 1). See “Groove Quan-

tize window” on page 71.

E FADE IN /OUT

When the Style is in stop, press this button to start it with a

volume fade-in (the volume goes from zero to the maxi-

mum).

This button doubles as a NEXT EVENT function for the

Backing Sequence and Song modes (see chapters 12 and 13).

When the Style is in play, press this button to stop it with a

volume fade-out (the volume gradually decreases).

You don’t need to press START/STOP to start or stop the

Style.

B TEMPO

(= LOCK)

This button turns the Tempo Lock function on or off.

When you select a different Style or Perfor-

mance, the tempo doesn’t change. You can still

change it using the DIAL or the TEMPO but-

tons.

F VARIATION 1-4 (NOTE LENGTH) buttons

OFF

When you select a different Style or Perfor-

mance, the memorized tempo value is auto-

matically selected.

Each of these buttons select one of the four variations of the

current Style. Each variation can vary in patterns and sounds.

These buttons double as a NOTE LENGTH function for the

Song mode (see chapter 13).

C SINGLE TOUCH

This button turns the Single Touch function on or off.

G FILL 1-2 (NOTE LENGTH) buttons

When a different Style (or the same again) is

selected, a Single Touch Setting (STS1) is auto-

matically selected, meaning that the Realtime

tracks and effects will change, together with

the Style tracks and effects.

These two buttons trigger a ﬁll-in. Press them twice (LED

blinking) to let them play in loop, and select any other Style

element (Fill, Intro, Variation…) to exit the loop.

They also double as a NOTE LENGTH function for the

Song mode (see chapter 13).

OFF

When you select a different Style (or the same

again), the Style tracks and effects are changed,

while the Realtime tracks are not changed.

H COUNT IN / BREAK

While the Style is not running, press this button, then press

START/STOP. This combination triggers a one-bar initial

count, then the Style starts playing.

While the Style is already in play, this button triggers a break

(an empty measure beginning with a kick + crash shot). Press

it twice to let it play in loop, and select any other Style ele-

ment (Fill, Intro, Variation…) to exit the loop.

D STYLE section (NUMERIC KEYPAD)

Use these buttons to open the Style Select window and select

a Style. See “Selecting a Style” on page 26.

The leftmost button lets you select the upper or lower row of

Style banks. Press it repeatedly to select one of the rows.

(After both LEDs have turned on, press the button again to

turn them off).

I ENDING 1-2 (DOT, TRIPLET) buttons

UPPER LED ON

Upper-row Styles selected.

LOWER LED ON

While the Style is running, these two buttons trigger an End-

ing, and stop the Style. Press one of them, and the Style will

stop running with an Ending. If pressed while the Style is

stopped, they act as an additional couple of Intros.

Lower-row Styles selected.

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Press them twice (LED blinking) to let them play in loop, and

select any other Style element (Fill, Intro, Variation…) to exit

the loop.

Tap Tempo: When the Style is not playing, you can “beat” the

tempo on this button. At the end, the accompaniment starts

playing, using the “tapped in” tempo.

Reset: When you press this button while the Style is in play,

the Style pattern goes back to the previous strong beat.

ENDING1 also doubles as a DOT function, and ENDING2

doubles as a TRIPLET function, to be used in Song mode

(see chapter 13).

Note: Ending 1 plays a short sequence with different chords,

while Ending 2 plays on the last recognized chord.

This button doubles as a INSERT function for the Backing

Sequence and Song modes (see chapters 12 and 13).

It is also used to insert a character at the cursor position, dur-

ing text editing.

J INTRO 1-2 buttons

N WRITE/DISK IN USE

These two buttons set the arranger in Intro mode. After

pressing one of these buttons, start the Style, and it will begin

with the selected intro. The INTRO LED automatically goes

off at the end of the intro.

Press them twice (LED blinking) to let them play in loop, and

select any other Style element (Fill, Intro, Variation…) to exit

the loop.

In Style Play mode, this button opens the Write window, that

lets you save all the tracks onto a Performance, the Realtime

(Keyboard) tracks in a Single Touch Setting (STS), or the

accompaniment tracks onto a Style Performance. (See “The

Write window” on page 42).

In the Global edit environment, press it to save Global

parameters in memory. (See “The Write window” on

page 125).

Note: Intro 1 plays a short sequence with different chords, while

Intro 2 plays on the last recognized chord.

This button’s LED doubles as a DISK IN USE indicator,

ﬂashing when the ﬂoppy disk drive is in use.

K START/STOP

Starts or stops the Style running.

O ENSEMBLE

You can reset all ‘frozen’ notes and controllers on the

Pa50 and any instrument connected to its MIDI OUT, by

using the “Panic” key combination. Just press SHIFT +

START/STOP to stop all notes and reset all controllers.

This button turns the Ensemble function on or off. When on,

the right-hand melody is harmonized with the left-hand

chords.

Note: The Ensemble function works only when the keyboard is

in SPLIT mode, and the LOWER Chord Scanning mode

selected.

L SYNCHRO START / STOP (DELETE)

This button turns the Synchro Start and Synchro Stop func-

tions on or off. Press it repeatedly to turn the functions on or

off. The LEDs cycle in this order: START ➛ START+STOP ➛

OFF.

P RECORD

This button sets the instrument in Record mode (depending

on the current operating mode).

START LED ON

When this LED is lit, just play a chord in the

chord recognition area (usually under the split

point, see “CHORD SCANNING section” on

page 17) to automatically start the Style run-

ning. If you like, you can turn one of the

INTROs on before starting the Style.

Q MENU

This button opens the Menu page for the current operating

mode or edit environment. After opening a menu, you can

jump to one of the edit pages by pressing the corresponding

VOLUME/VALUE buttons; or browse them using the PAGE

buttons. Otherwise, go back to the main page of the current

operating mode, or close the edit environment, by pressing

the EXIT button.

START+STOP LEDs ON

When both LEDs are lit, raising your hand

from the keyboard momentarily stops the Style

running. If you play a chord again, the Style

starts again.

See the relevant chapter devoted to each operating mode or

edit environment, to see their “maps” in detail.

OFF

All Synchro functions are turned off.

R PAGE -/+

After pressing MENU to open a menu, use these buttons to

browse the edit pages of an operating mode or editing envi-

ronment. Press EXIT to go back from an edit page to the

main page of the current operating mode, or to close the Glo-

bal or Disk edit environment.

This button doubles as a DELETE function for the Backing

Sequence and Song modes (see chapters 12 and 13).

It is also used to delete the selected character, during text

editing.

M TAP TEMPO/RESET (INSERT)

This is a double-function button, acting in a different way

depending on the Style status (stop/play).

In addition, you can use these buttons to select a different

page in a Style Select or Program Select window.

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S VOLUME/VALUE (MUTE) A-H buttons

SOLO

While in the Style Play, Song Play and

Song modes, you can solo one of the tracks.

Just keep the SHIFT button pressed, and press

both V O L U ME/VALUE buttons corresponding

to the track you wish to solo.

Within this user’s manual, each button pair is marked with

an alphabetic letter (A-H). See “Display and User Interface”

on page 19 for more details.

To exit the solo mode, keep the SHIFT button

pressed again, and press both VOLUME/

VALUE buttons corresponding to the soloed

track.

VALUE

Use each button pair to change the corre-

sponding parameter’s value. The left button

decreases the value, the right button increases

it.

BossaNova |STS1

Drum/Perc

Bass01

Piano01

Guitar01

StrngEns2

VoxPad1

Acc.1-5

T TRACK SELECT

Depending on the operating mode, this button switches

between the various tracks view.

STYLE PLAY MODE

Switches between the Realtime tracks and the

Style tracks.

SONG PLAY MODE

A corresponding track name is printed over each button pair.

These names show the corresponding track the button pair

affects in the main page of the Style Play mode.

•

The left half is for the main page, where you can see the

Realtime tracks, and the Style tracks grouped together:

Switches between the main page (showing the

Realtime/Keyboard tracks), Song tracks 1-8,

and Song tracks 9-16.

SONG MODE

Switches between the main page, Song tracks

1-8 and Song tracks 9-16.

The TRACK SELECT LED shows the current page view:

Off

Flashing

Main page (Realtime tracks, or Song controls)

2nd page (Style tracks, or Song tracks 1-8)

3rd page (Song tracks 9-16)

•

The right half is for the Style tracks page, where you can

see each of the accompaniment tracks:

U SINGLE TOUCH SETTING (F1-F4 FUNCTION KEYS)

buttons

While in the main page of the Style Play or Backing Sequence

mode, these buttons select a Single Touch Setting each. Each

of the Styles includes a maximum of four Single Touch Set-

tings (STS), to automatically conﬁgure the Realtime tracks

and effects at the touch of a ﬁnger. When the SINGLE

TOUCH LED is lit, an STS is automatically selected when

selecting a Style.

In Edit mode, these buttons double as function keys, to

select the corresponding items in the display.

See “Symbols and Icons” on page 21.

Use these buttons to execute various operations on the com-

mands and functions appearing in the display.

SELECTING

V SHIFT

With this button held down, pressing certain other buttons

accesses to a second function.

W TEMPO/VALUE section

Use each button pair to select the correspond-

ing item in the display (i.e. a track, a parameter

or a command). Use either the left or right

button in a pair.

The DIAL and the DOWN/- and UP/+ buttons can be used

to control the Tempo, assign a different value to the selected

parameter in the display or scroll a list of ﬁles in the Song

Select and Disk pages. The VALUE LED shows the status of

this section.

VOLUME

MUTE

While you are in the main pages of any operat-

ing mode, select a track and use these buttons

to change the track’s volume. Use the left but-

ton to decrease it, or the right button to

increase it.

Press both buttons in a pair to mute the corre-

sponding track. Press both buttons again to

unmute the track.

DIAL

Turn the dial clockwise to increase the value or

tempo. Turn it counter-clockwise to decrease

the value or tempo.

When used while pressing the SHIFT

button, this control always acts as a Tempo

control.

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DOWN/- and UP/+

DOWN/- decreases the value or tempo; UP/+

increases the value or tempo.

Keep the SHIFT button pressed down,

OFF

No chords detected. After pressing START/

STOP, only the Drum and Percussion accom-

paniment tracks can play.

] KEYBOARD MODE section

These buttons deﬁne how the four Keyboard (or Realtime)

tracks are positioned on the keyboard.

and press either the DOWN/- or

UP/+ button to reset the Tempo to the value

memorized onto the selected Style.

SPLIT

The Lower track plays below the split point,

while the Upper 1, Upper 2 and Upper 3 tracks

play above it. By default, selecting this key-

board mode automatically selects the Lower

chord scanning mode (see “Chord Recognition

Mode” on page 50).

X VALUE LED

This LED shows the status of the DIAL and DOWN/- and

UP/+ buttons.

The DIAL and DOWN/- and UP/+ buttons act

as Value controls, to change the value of the

selected parameter in the display.

FULL UPPER

The Upper 1, Upper 2 and/or Upper 3 tracks

play on the whole keyboard range. The Lower

track does not play. By default, selecting this

keyboard mode automatically selects the Full

chord scanning mode (see “Chord Recognition

Mode” on page 50).

OFF

The DIAL and DOWN/- and UP/+ buttons

control the Tempo.

Y EXIT/NO

Use this button to perform various actions, leaving from the

current status:

•

exit a dialog box

answer “No” to any question that appears in the display

exit the Menu window

go back to the main page of the current operating mode

exit the Global or Disk edit environment, and go back to

the main page of the current operating mode

exit from a Style, Performance or Program Select win-

dow

` STYLE CHANGE

This button turns the Style Change function on or off.

When you select a Performance, the Style

could change, according to which Style num-

ber is memorized onto the Performance.

When you select a Performance, the Style and

Style track settings remain unchanged. Only

Realtime (Keyboard) tracks settings are

changed.

OFF

•

Z ENTER/YES

Use this button to perform various actions, agreeing the cur-

rent selected status:

a PERFORM.

Press this button to use the PROGRAM/PERFORMANCE

section to select a Performance.

•

answer “Yes” to any question that appears in the display

conﬁrm a command

b PROGRAM

Press this button to use the PROGRAM/PERFORMANCE

section to select a Program, and assign it to the selected track.

[ DISPLAY HOLD

This button turns the Display Hold function on or off.

When you open a temporary windows (like the

Program Select window), it remains in the dis-

play until you press EXIT/NO or an operating

mode button.

c PROGRAM/PERFORMANCE section

Use these buttons to open the Program Select or Performance

Select window, and select a Program or a Performance. See

“Selecting a Program” on page 26, or “Selecting a Perfor-

mance” on page 25. For a list of available Programs, see “Pro-

grams (Program Change order)” on page 154.

The leftmost button selects the upper or lower row of Pro-

gram or Performance banks. Press it repeatedly to select one

of the rows. (After both LEDs have consecutively turned on,

press the button again to turn them off).

OFF

Any temporary window closes after a certain

time, or after selecting an item in the window.

\ CHORD SCANNING section

In Style Play and Backing Sequence mode, use these buttons

to deﬁne the way chords are recognized by the arranger.

LOWER

Chords are detected below the split point. The

number of notes you should play to form a

chord is deﬁned by the Chord Scanning Mode

parameter (see “Chord Recognition Mode” on

page 50).

UPPER LED ON

Upper row of Programs or Performances

selected.

UPPER

Chords are detected above the split point. You

must always play three or more notes to let the

arranger recognize a chord.

LOWER LED ON

Lower row of Programs or Performances

selected.

FULL (both LEDs on)

Chords are detected on the full keyboard

On the front panel, Program banks are identiﬁed by the

instrument names, while Performance banks are identiﬁed

by numbers (1-10; 0=bank 10).

A note about Program banks and names. Programs from

“PIANO” to “SFX” are standard Programs, the user can’t

directly modify.

range. You must always play three or more

notes to let the arranger recognize a chord.

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Fro n t p a n e l

1 8

Programs “USER1” and “USER2” are locations where you

can load new Programs from disk.

Press both buttons together, to reset the Octave Transpose to

zero.

“USER DK” is where you can load new drum kits.

Each Program bank contains various pages, each with up to 8

Programs. You can browse them using the PAGE buttons.

Shortcut to see the original bank for a Performance or Pro-

gram. You can see the original bank where a Performance or

Program is contained. Just keep the SHIFT button pressed,

and press the lefmost button of the PROGRAM/PERFOR-

MANCE section. A message window will appear, showing the

name of the original bank. Release the SHIFT button to exit

the window.

Note: The Octave Transpose has no effect on tracks set to Drum

mode (and, even if set in a different status, on the Drum and

Percussion tracks).

–

Lowers the selected track an octave.

Raises the selected track an octave.

g BALANCE slider

In Song Play mode, this slider balances the volume of the two

on-board sequencers. When fully on the left, only the

Sequencer 1 can be heard. When fully on the right, only the

Sequencer 2 can be heard. When in the middle, both

sequencers play at full volume.

Shortcut to see all pages of the selected bank. To cycle all

pages for a selected bank, repeatedly press the bank’s button.

d PADS (1-4, STOP)

h SEQUENCER TRANSPORT CONTROLS - SEQ1 and

SEQ2

The instrument is equipped with two sequencers (Sequencer

1 and S equencer 2), each with its own set of transport con-

trols.

These programmable pads can be used to trigger a sound

effect. Use the STOP button to stop a cyclic sound. (See “List

of sounds assignable to the Pads” on page 226).

Each Pad corresponds to a dedicated Pad track.

<< and >> Rewind and Fast Forward commands. If you

use them while the Song is in play, they make it

scroll back or forward.

e TRANSPOSE

These buttons transpose the whole instrument in semitone

steps (Master Transpose). The transposition value is shown

(as a note name) on the top right of the display.

When pressed once, these buttons move the

Song to the previous or following measure.

When kept pressed, they make the Song scroll-

ing continuously, until you release them.

In Jukebox mode (Sequencer 1), keep

the SHIFT button pressed, and press these but-

tons to scroll to the previous or next Song in

the Jukebox list (see “Page 9 - Jukebox” on

page 79).

Pauses the Song at the current position. Press

PA U SE or PL AY/STOP to start the Song play-

ing again.

Press both buttons together, to reset the Master Transpose to

zero.

Note: The Master Transpose has no effect on tracks set to Drum

mode (and, even if set in a different status, on the Drum and

Percussion tracks). See “Page 14 - Track: Mode” on page 46, and

“Page 7 - Track: Mode” on page 78.

PAUSE

PLAY/STOP Starts or stops the current Song. When you

stop the Song, the Song Position goes back to

measure 1.

ꢀ

Lowers the Master Transpose a semitone.

Raises the Master Transpose a semitone.

ꢁ

f OCTAVE

In Song Play mode, pressed while

keeping SHIFT pressed, starts both sequencers

at the same time.

These buttons transpose the selected track in steps of a whole

octave (12 semitones; max ±2 octaves). The transposition

value is shown (in octaves) on the top right area of the dis-

play.

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Disp la y a n d Use r In te rfa ce

1 9

Display controls

4. DISPLAY AND USER INTERFACE

The display shows the current status of the Pa50 and its per-

formance and editing parameters. You can select each param-

eter by using the VOLUME/VALUE (A-H) buttons on the

side of the display, or each page command appearing along

the last line using the F1-F4 buttons. You can vary many of

the parameter’s values by pressing the left (-) or right (+)

button of any VOLUME/VALUE pair.

Status icons area

BossaNova |STS1

Drum/Perc Piano01

Bass01

Guitar01

StrngEns2

VoxPad1

Acc.1-5

Realtime (Keyboard) tracks

Style (accompaniment/backing) tracks

In the Disk edit environment, the F1-F4 buttons can be used

also to select one of the page commands appearing in the last

line of the display.

DISPLAY CONTROLS

VOLUME/VALUE (A-H) buttons and display parame-

ters. These buttons are used to select the corresponding

parameter or command in the display, to change the parame-

ter’s value, or to change the volume of the corresponding

track.

While you are in the main page, these buttons can select a

track, change the track’s volume, or mute/unmute a track.

See “VOLUME/VALUE (MUTE) A -H buttons” on page 16

for more information.

Disk:Load

NEWNAME.SET

LIVE.SET

ETHNICA.SET

LOAD OPEN CLOSE

F1-F4 buttons. When in an Edit page, these buttons may be

used when there are four parameters in a row, as in the fol-

lowing example:

See “SINGLE TOUCH SETTING (F1-F4 FUNCTION KE Y S)

buttons” on page 16 for more information.

PAGE. The PAGE buttons select the previous or following

edit page. When selecting a Style or a Program, they select a

different page of Styles or Programs. See “PAGE -/+” on

page 15 for more information.

Mixer:FX Send

- - - - - - C:100 D:050

A:127 B:020 C:100 D:050

- - - - - - C:100 D:050

C:100 D:050

MENU. The MENU button opens the current operating

mode or edit environment’s Menu. When in a Menu, you can

use the VOLUME/VALUE buttons to select an edit section to

jump to.

TRACK SELECT. Each of the operating modes have a differ-

ent number of tracks:

First, select the line using a VOLUME/VALUE (A-H) button.

Then, select a column using the F1-F4 function key.

Style Play

Song Play

4 Realtime tracks, 8 Style tracks, 4 Pads.

4 Realtime tracks, 2 x 16 Song Tracks, 4 Pads.

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Disp la y a n d Use r In te rfa ce

Interface structure

2 0

Backing Sequence

4 Realtime tracks, 8 Style tracks, 4 Pads.

16 Song tracks.

When opening an edit environment or a selecting page, the

current operating mode is still working in the background.

Song

You can only see up to 8 tracks in the display. So, use the

TRACK SELECT button to switch to the other (hidden)

tracks. For example, when in Style Play, you can use this but-

ton to switch from the Realtime tracks and the Style tracks.

INTERFACE STRUCTURE

Thanks to its multitasking operating system, the Pa50 user

interface is structured in “overlapping”, active layers. From

the lower level:

•

operating modes (Style Play, Backing Sequence, Song

Play, Song, Program)

•

edit environments (Global, Disk)

selecting windows (Style Select, Song Select, Program

Select, Performance Select).

Operating modes. (See diagram at the bottom of this

page). At the lowest level, an operating mode is always active.

The current operating mode is indicated by the lit LED on

the STYLE PLAY, B.SEQ, SONG PLAY, SONG or PROGRAM

button in the MODE section. The relevant icon lights up in

the display.

An operating mode is divided into a main page (the page

where you usually play a Style, a Song or a Program), a menu,

and a series of edit pages.

Press MENU to access the Menu. Use the MENU and PAGE

buttons to browse across the various edit pages. Press EXIT to

go back to the main page.

Operating modes

BossaNova |STS1

Style Play Menu

Mixer:Volume

Drum/Perc

Bass01

Piano01

Guitar01

StrngEns2

VoxPad1

Mixer

RT Ctrls

Sty Ctrls

Input/Pad

|||||| 127 ||||| 090

Tuning

Effects

||||| 100

|||| 092

Acc.1-5

|||||| 127 |||| 086

|||||| 112

Track Edit Preferences

Main page

Edit pages

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Disp la y a n d Use r In te rfa ce

2 1

Message windows

Edit environment. (See diagram at the bottom of this

page). When you press GLOBAL or DISK, an edit environ-

ment overlaps the current operating mode. Press EXIT to go

back to the current operating mode.

An edit environment is made up of a menu and a series of

edit pages. Use the MENU and PAGE buttons to browse

across the various edit pages.

Realtime/Keyboard track (Upper 1-3, Lower).

Drum track (Style track view).

Percussion track (Style track view).

Grouped Drum and Percussion tracks.

Bass track (Style track view).

Selecting w indow s. When you press one of the STYLE or

PROGRAM/PERFORMANCE buttons, you open a selecting

window. This window closes after selecting one of the items

in it, or after pressing EXIT.

If the DISPLAY HOLD LED is light up, the window doesn’t

close after selecting an item. Press EXIT to close the window,

and go back to the underlying page.

Grouped accompaniment tracks. This symbol

indicates the ﬁve grouped accompaniment

tracks (Acc1-5).

Accompaniment tracks (Style track view).

Sequencer tracks.

Selected track or parameter. When this symbol

MESSAGE WINDOWS

appears, you can execute any available opera-

tion on the selected item.

Sometimes, a message appears in the display, warning about

an error or a wrong operation:

(no icon)

The track is in mute, and can’t play on the key-

board.

Not a Standard

MIDI File

GRAYED-OUT NON-AVAILABLE PARAMETERS

Currently non-available parameters are now shown in “gray”

in the display, i.e. with a “ghost” texture. Here is an example

of a grayed-out parameter, compared to a normal parameter:

Press ENTER or EXIT to exit one of these windows.

Other messages ask for an answer, as in the “Are you sure”

window below:

Text in solid black

Text in gray

Press ENTER/YES for Yes, or EXIT/NO for No.

SYMBOLS AND ICONS

Many icons and symbols, on the custom display, show the

status of a parameter or the display content.

Edit environment

Disk Menu

Disk:Load

Load

Save

Copy

Erase

Format

NEWNAME.SET

LIVE.SET

New Dir

Rename

ETHNICA.SET

Utilities

LOAD OPEN CLOSE

Edit pages

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Re a r p a n e l

2 2

5. REAR PANEL

1 2

4 5

1 AC POWER ADAPTER CONNECTOR

5 DAMPER

Plug the supplied power adapter into this connector.

Use this to connect a Damper pedal, like the KORG PS1, PS

or DS1H. To change its polarity, see “Damper Pol. (Damper

Polarity)” on page 126.

2 POWER sw itch

Use this switch to turn the instrument on or off.

6 OUTPUTS

3 MIDI INTERFACE

Use these unbalanced connectors to send the audio signal

(sound) to a mixer, a PA system, a set of powered monitors,

or your hi-ﬁ system. Set the output level with the MASTER

VOLUME slider.

The MIDI interface allows your Pa50 to be connected to an

external controller (master keyboard, MIDI guitar, wind con-

troller, MIDI accordion…), to an expander, or to a computer

running a sequencer or an editor. For more information on

how to use the MIDI interface, see the MIDI chapter.

7 INPUT 1 and 2

Use these unbalanced connectors to input another keyboard/

synthesizer, a (non-powered) mixer’s output, or a CD/tape

player (line impedance). The signal is automatically routed to

the speakers, the Audio Outputs and the Phones.

This connector receives MIDI data from a

computer or a controller. Connect it to an

external controller’s or computer’s MIDI OUT.

This connector sends MIDI data generated by

Pa50’s keyboard, controllers, and/or the inter-

nal sequencer. Connect it to an expander’s or

computer’s MIDI IN.

This connector sends an exact copy of the data

received on the IN connector. Use it to cascade

the Pa50 with other MIDI instruments.

OUT

8 PHONES

Use this connector to connect a pair of headphones. You can

use headphones with an impedance of 16-200Ω (50Ω sug-

gested). Use a headphone distributor to connect more than

one pair of headphones.

THRU

4 ASSIGNABLE PEDAL/FOOTSWITCH

Use this to connect a continuous or footswitch pedal, like the

KORG EXP2 or XVP10. To program it, see “P/S (Pedal/

Switch)” on page 126.

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BASIC GUIDE

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Ba sic o p e ra tio n s

Playing on the keyboard

2 4

6. BASIC OPERATIONS

PLAYING ON THE KEYBOARD

SELECTING,

MUTING/UNMUTING

AND

Just play on the keyboard. You will hear the Realtime tracks

playing. There are four Realtime tracks: Upper 1-3 and

Lower. They may play all at the same time, or just one or a

few of them, depending on their Mute status. If you cannot

hear a track, check the mute status of that part.

SOLOING A TRACK

Selecting. Use the VOLUME/VALUE (A-H) buttons to

select a track.

Tracks can be set in different ways: use the KEYBOARD

MODE section to select the way they are conﬁgured on the

keyboard.

BossaNova |STS1

•

Press FULL UPPER to play the Upper 1-3 tracks on the

full range of the keyboard, just as you would on a piano.

Drum/Perc

Bass01

Piano01

Guitar01

StrngEns2

VoxPad1

Acc.1-5

Upper 1

Upper 2

Upper 3

The selected track is shown with a solid square surrounding

its status icons.

•

Press SPLIT to let the Upper 1-3 tracks play on the right

of the Split Point, and the Lower track on the left.

Selected track

Upper 1

If you can’t see the track you are looking for, use the TRACK

SELECT button to scroll up or down the tracks, and ﬁnd the

hidden ones.

Lower

Upper 2

Upper 3

Split Point

•

Keep the SPLIT POINT button pressed, and play a note

to change the point where the keyboard is divided in an

Upper and a Lower part.

Mute/unmute. Press both VOLUME/VALUE (A-H) but-

tons to mute or unmute a track. For example, if you are in the

main page that appears after turning the instrument on, and

you want to mute the Upper 1 track, press the E (UPPER1/

ACC2) buttons together.

Lower

Upper

The mute/play status is shown by the relevant icon in the dis-

play:

Play status; the track plays on the keyboard.

To memorize the selected split point note, press the GLOBAL

button, then press WRITE to save the Global in memory (see

“The Write window” on page 125).

(no icon)

Mute status; the track doesn’t play on the key-

board.

Solo. While in the Style Play, Song Play and Song modes,

you can solo one of the tracks. Just keep the SHIFT button

pressed, and press both VOLUME/VALUE buttons corre-

sponding to the track you wish to solo.

To exit the solo mode, keep the SHIFT button pressed again,

and press both VOLUME/VALUE buttons corresponding to

the soloed track.

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Selecting a Performance

2 5

10, upper LED turned on), or the second row of ten

banks (11-20, lower LED turned on).

3. Press one of the 1-0 buttons to select the PROGRAM/

PERFORMANCE bank containing the Performance you

are looking for.

SELECTING A PERFORMANCE

A Performance is a set of Programs and settings for the Key-

board and Style tracks, that makes selecting complex combi-

nations live fast and easy. When the STYLE CHANGE LED is

on, a Performance can also select a different Style.

It is always advisable to use Performances, rather than single

Programs, when playing even a solo sound, since a Perfor-

mance lets you select the right effects, transposition, plus

many other parameters, together with the Programs.

The Performance Select window appears. There are 8

Performances for each bank.

Data type

Parameters

Last selected Performance

Realtime

Tracks

Upper 1, Upper 2,

Upper 3, Lower

Master Transpose, Pro-

gram, Volume, Pan,

Octave, Scale, Detune,

Pitch Bend, Poly/Mono/

Drum, Int/Ext, Damper,

Dynamic Range, Joystick

C&D Effect Send level,

Type, Parameters

StereoGrand

StereoGrand Blue

ClupPiano

Legend

Program parameters

Pads

ForrestStr MrJazz

ResonPads

OxydBrass

Style

Drum, Percussion,

Program, Volume, Pan,

Tracks

Bass, Acc1, Acc2, Acc3, Octave, Detune, Pitch

Acc4, Acc5,

Bend, Poly/Mono/Drum,

Int/Ext, Wrap Around,

Keyboard Range

A&B Effect Send level,

Type, Parameters

4. Select a Performance using the VOLUME/VALUE (A-H)

buttons.

5. If the DISPLAY HOLD LED is on, press EXIT to exit this

window.

Program parameters

Drum Mapping,

Kick&Snare Assignation

The STYLE CHANGE button

When you select a Performance, the Style may or may not

change, depending on the status of the STYLE CHANGE

button. (When you save a Performance, the current Style

number is always memorized).

Other “performance” parameters are saved in the Global.

Global

Chord Recognition Mode, Memory Mode, Velocity

Trigger, Lock

•

If the STYLE CHANGE LED is on, the Style memorized

in the Performance will be selected.

If the STYLE CHANGE LED is off, the Style doesn’t

change.

•

1. Press the PERFORM button. This changes the PRO-

GRAM/PERFORMANCE section into a Performance

selector.

2. Use the leftmost button of the PROGRAM/PERFOR-

MANCE section to select the ﬁrst row of ten banks (1-

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Ba sic o p e ra tio n s

Selecting a Program

2 6

5. Browse all the Programs in the selected bank using the

PAGE buttons. There can be various pages for each

bank, containing up to 8 Programs each.

6. As you ﬁnd the Program you are looking for, select it

using the VOLUME/VALUE (A-H) buttons.

7. If the DISPLAY HOLD LED is on, press EXIT to exit this

window.

SELECTING A PROGRAM

You can select a different Program (i.e., sound) to be played

by a track. Before selecting a Program, you must select the

track you want to assign the Program to.

Note: To assign different Programs to the Style tracks, press

TRACK SELECT to see the Style tracks. If you select a Program

while grouped tracks (Drum/Percussion or ACC) are selected,

the Program will be assigned to the last selected track.

Each Style Element (Variations, Fills…) can have different

Programs, so your selection might be automatically reset

when selecting a different Element. To avoid this reset, see

“Prog (Program)” on page 49.

SELECTING A STYLE

A Style is a set of rhythm and accompaniment patterns. You

can select a Style from the internal memory, or from a ﬂoppy

disk (see “The DIRECT FD bank” on page 40).

1. Use the leftmost STYLE button to select a row of Style

banks (upper, lower).

1. Use the VOLUME/VALUE (E-H) buttons on the right

side of the display, to select the Realtime (Keyboard)

track you wish to assign a different Program to.

2. Select the STYLE bank containing the Style you are

looking for.

BossaNova |STS1

Drum/Perc

Bass01

Piano01

Guitar01

StrngEns2

VoxPad1

Acc.1-5

The Style Select window appears.

2. Press the PROGRAM button. This changes the PRO-

GRAM/PERFORMANCE section into a Program selec-

tor.

Jazz Waltz 1

Mod.Swing1 Slow Blues

Mod.Swing2 Cay Blues

JazzWaltz1 St.LouisB

JazzWaltz2 Big Band1

3. Use the leftmost PROGRAM/PERFORMANCE button

3. There are 2 pages for each bank, each containing 8

Styles. Select a page using the PAGE buttons.

4. As you ﬁnd the Style you are looking for, select it using

the VOLUME/VALUE (A-H) buttons.

to select a row of Program banks (upper, lower).

Note: The new Style will enter at the next strong beat.

5. If the DISPLAY HOLD LED is on, press EXIT to exit this

window.

4. Select the PROGRAM/PERFORMANCE bank contain-

ing the Program you are looking for (Program banks are

identiﬁed by instrument names).

The SINGLE TOUCH button

When you select a Style, the Realtime (Keyboard) tracks can

be changed or not.

•

If the SINGLE TOUCH LED is on, the Single Touch Set-

ting (STS) #1 is automatically selected, and the Realtime

tracks are changed. Programs, and the Keyboard Mode,

may change.

If the SINGLE TOUCH LED is off, Realtime tracks don’t

change.

The Program Select window appears. See “Programs

(Program Change order)” on page 154 for a list of Fac-

tory Programs.

Selected track

Last selected Program

•

Piano

T:U1

Piano1

Piano2

Piano3

E.Piano1

E.Piano2

E.Piano3

Harpsi

Clavinet

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Ba sic o p e ra tio n s

Selecting a Single Touch Setting (STS)

2 7

4. Press the F1 button to select the ﬂoppy disk drive (FD).

The disk content appears.

5. Use the TEMPO/VALUE controls, or the VOLUME/

VALUE (E-H) buttons to scroll the list. The E-F buttons

are the Scroll Up ( ), while the G-H buttons are the

Scroll Down ( ).

SELECTING A SINGLE TOUCH SETTING (STS)

A Single Touch Setting (STS) contains Realtime (Keyboard)

tracks’ settings. Four STS are included in each Style, and can

be recalled by pressing the SINGLE TOUCH SETTING (F1-

F4) buttons under the display.

Note: You can select a STS only when you are in the main page

of the Style Play or Backing Sequence operating mode.

Move the ﬁle you are looking for to the ﬁrst line of the

display.

6. If the ﬁle you are

CHANGING ALL KEYBOARD TRACKS AT ONCE

Select a Performance or a Single Touch Setting (F1-F4 but-

tons, when you are in the Style Play main page) to change

keyboard Programs and effects at the touch of a button.

looking for is in a

folder (a ﬁle whose

0001 MYSONG.MID

name begins with “

”), move the folder to the ﬁrst

line in the display, then select the F3 (OPEN) command.

Select the F4 (CLOSE) command to close a folder and

go back to the upper level.

PLAYING A SONG FROM FLOPPY DISK

7. When the ﬁle you are looking for is in the ﬁrst line of the

display, press the F2 (SELECT) button.

1. Insert the ﬂoppy disk containing the Song into the

ﬂoppy disk drive.

8. When the Song appears in

2. Press the SONG PLAY button to access the Song Play

S1:MySong

the S1 line on the main page

of the Song Play mode, press

mode.

the left (SEQ 1) PLAY/STOP button to start the play-

back.

Note: If the BALANCE slider is all the way to the right,

Sequencer 1 is at the minimum volume and can’t be

heard.

No song

S1:

Piano01

S2:

Guitar01

StrngEns2

VoxPad1

Lyrics

9. If you wish to play a different Song on the Sequencer 2

at the same time, press the B (S2:) VOLUME/VALUE

button (press it twice if a Song is already selected for

Sequencer 2), and repeat the above procedure to select a

Song for Sequencer 2. Use the right (SEQ 2) PLAY/

STOP button to start/stop the second Song. Use the

BALANCE cursor to mix between Sequencer 1 and

Sequencer 2.

3. Press the A (S1:) VOLUME/VALUE button to open the

Song Select window.

10. Stop the Song(s) using the PLAY/STOP button for the

corresponding Sequencer.

Song Selection

CLUB

BALLADS

0001 MYSONG.MID

SHORTCUT TO SEE THE ORIGINAL BANK FOR A

STYLE, PERFORMANCE OR PROGRAM

FD SELECT OPEN CLOSE

You can see the original bank where your Style, Performance

or Program came from. Just keep the SHIFT button pressed,

and press the lefmost button of the STYLE or PROGRAM/

PERFORMANCE section. A message window will appear,

showing the name of the original bank.

Page commands

Note: You can access the Song Select window also by press-

ing the PAGE+ button from the main page. You can exit

this window either by pressing EXIT or PAGE-.

Release the SHIFT button to exit the window.

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Tu to ria l

1 - Playing in realtime

2 8

7. TUTORIAL

This chapter is fully devoted to step-by-step instructions, that

we hope may be useful to learn the basics—on-ﬁeld.

the pointing arrow. You will hear the Dark Pad Program play

together with the Grand Piano.

1 - PLAYING IN REALTIME

As soon as you turn your Pa50 on, it is in Style Play mode,

and you can play it in realtime. Please follow me…

SoftBeat |STS1

Drum/Perc

Bass01

GrandPiano

DarkPad

1 Pla y o n th e k e y b o a rd .

Acc.1-5

StrngEns2

AnalogStr

When you turn the Pa50 on, Performance 1-1 (“Ste-

reoGrand”) is automatically selected. This sets the Realtime

(Keyboard) tracks for you. In this case (unless someone mod-

iﬁed this Performance earlier) you get the Upper 1 track play-

ing on the full keyboard range, with the Grand Piano

Program selected.

Press the F VOLUME/VALUE buttons

5 Press SPLIT on the KEYBOARD MODE section,

and play.

Now, the keyboard is split in two parts: the Lower part on the

left, and the Upper part on the right. The AnalogStr Program

is playing on the Lower part, while the Grand Piano and the

Dark Pad are playing on the Upper part.

You may know there are four available Realtime tracks:

Upper 1-3 and Lower. Upper Realtime tracks may play on the

full range of the keyboard (the selected KEYBOARD MODE

shall be FULL UPPER). Otherwise, the Lower track plays on

the left of the Split Point, and the Upper tracks on the right

(KEYBOARD MODE shall be SPLIT).

If you are not satisﬁed with this setting at startup, just select

another Performance. Or change the track’s settings—as you

will see in this tutorial—and save them into Performance 1-1.

You’ll soon see how to do it.

6 Set the split point.

Not happy with the current split point? Keep the SPLIT

POINT button held down, and play the new split point on

the keyboard. You can even save this setting in memory (see

“The Write window” on page 125).

2 Select a different Performance.

Is the PERFORM. LED switched on?

7 Mute/unmute various tracks.

Press both H VOLUME/VALUE buttons. You will mute the

Lower track.

If so, press one of the PROGRAM/PERFORMANCE buttons,

and select a Performance with the VOLUME/VALUE buttons

(on the side of the display).

SoftBeat |STS1

Drum/Perc

Bass01

GrandPiano

DarkPad

Acc.1-5

StrngEns2

AnalogStr

StereoGrand

StereoGrand Blue

ClupPiano

Legend

ForrestStr MrJazz

Press the H VOLUME/VALUE buttons

ResonPads

OxydBrass

Press them again to unmute the Lower track.

Try also with the Upper tracks, using the E, F and G VOL-

UME/VALUE buttons. You will notice the sound becomes

more or less fuller-sounding, depending on the number of

tracks muted or unmuted.

Select a Performance with the VOLUME/VALUE buttons

Go on trying with the different Performances. We provided

160 of them for you.

3 Select Performance 1-1 (“Grand Piano”) again.

As above: press Performance bank 1, and use the A VOL-

UME/VALUE buttons to select Performance 1-1.

SoftBeat |STS1

Drum/Perc

Bass01

GrandPiano

DarkPad

4 Unmute the Upper 2 track.

Press both F VOLUME/VALUE buttons.

The Upper 2 track will be selected and

Acc.1-5

StrngEns2

AnalogStr

unmuted. The Play icon will appear, sur-

rounded by the “selected track” frame and accompanied by

Press the E-G VOLUME/VALUE buttons

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Tu to ria l

2 - Playing a Style

2 9

8 Set the relative volume of the Realtime tracks.

2 - PLAYING A STYLE

Use each E-H VOLUME/VALUE button pair to set the vol-

ume of the Realtime tracks. Press one of the VOLUME/

VALUE button to select a track. Then press the right one to

increase the volume, the left one to lower it.

A Style will be your virtual band in your best solos. Select one

of the 304 Styles we ﬁtted in this machine…

1 O K, se le ct y o u r fa vo rite m u sica l Sty le .

There are plenty of Styles to choose from. We will go with a

Jazz Style—the “Jazz Brush”. Let’s come on.

Press the left one to lower…

Select the second row of Styles. Press the leftmost STYLE but-

ton to switch the lower LED on.

…and the right one to raise.

9 Press FULL UPPER on the KEYBOARD MODE sec-

tion, and play.

Again, the Upper tracks can play across the full keyboard

range.

Now, you are free to press button number 4, called “JAZZ 1”.

The Style Select window appears.

0 Save your track conﬁguration in a Performance.

That’s all! When you ﬁnd the right sound, you can press the

WRITE button to save the track conﬁguration into a Perfor-

mance, a Single Touch Setting (STS), or a Style Performance.

The Performance is a handy idea for saving Realtime tracks.

See “The Write window” on page 42 for more information.

SoftBeat

JazzBrush

Med.Swing

SlowSwing

JazzWaltz1

JazzWaltz2

5/4 Swing

SwingBallad Mood Swing

Press one of the A VOLUME/VALUE buttons to select “Jazz

Brush”.

2 Call an Intro.

You can engage an Intro, to be played before the Style. Press

INTRO1 or INTRO2. The former plays more freely, without

letting you decide of the chords. The latter lets you play a

chord progression during its playing.

3 Start the Style!

Play a chord, and press the START/STOP button. Then begin

playing. Usually (when the SPLIT LED is on) chords are rec-

ognized under the split point, i.e. on the Lower part of the

keyboard. With the UPPER or FULL Chord Scanning mode,

you must play three or more notes to have a chord recog-

nized.

4 Play your chords and your melody.

Go on playing. As you may notice, Pa50 features a very

sophisticate chord recognition engine. Recognized chords are

shown in the display.

5 Make a break—or should w e say “a ﬁll”?

During your playing, you are free to call a one-bar break. Try

it:

PRESS BREAK

Do you see? Music stopped for one bar. Then, it is back again.

After a while, let’s go for something different…

PRESS FILL1 OR FILL2

No silence, this time. Pa50 plays a complex passage to let you

take a breath. FILL1 is the simpler one, where the FILL2 is the

more sophisticate. Usually, you will touch FILL1 when play-

ing with Variations 1 and 2 (the most easy), FILL2 when in

business with Variations 3 and 4 (more complex ones).

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Tu to ria l

3 - Playing a Song

3 0

6 Select other Variations.

There are four VARIATION buttons. These are four different

versions of the same Style. Try them all!

3 - PLAYING A SONG

Nothing easier than playing a Song on the Pa50. You don’t

have even to load it from disk.

You can go to a Variation after a Fill. Just press a FILL button,

then, immediately after, a VARIATION button.

1 Mo ve th e BALAN CE slid e r to th e ce n te r.

This sets both onboard sequencers at the same level.

7 Stop it!

2 Insert the ﬂoppy disk containing the Song into

the disk drive.

Make sure your disk is DOS formatted. This is the typical

Window format, and you can make a disk of this type also on

the Mac, by selecting the “DOS” option when initializing a

disk.

OK, you could say: “O, that’s easy, I know how to do it, I can

just press that big red START/STOP button again”.

Yes, you are perfectly right. But that’s only the easy way. Let

us suggest a different way:

PRESS ENDING1 OR ENDING2

An ending is instantaneously called, and will begin playing,

to led the Style to a colorful end. As usual, ENDING1 is pre-

programmed, while ENDING2 asks for your chord progres-

sion.

3 Press the SONG PLAY button to access the Song

Play mode.

This is the display:

In Sync

A guy from the end of the classroom stands up asking:

“Huh, Sir, and what if I want to avoid all that START/STOP

thing? I mean, I prefer to have my hands free for music!”

Good point. The SYNCHRO button is there right for this.

No song

S1:

Piano01

S2:

Guitar01

StrngEns2

VoxPad1

Lyrics

1 W h ile th e Sty le is sto p p e d , p re ss th e SYN -

CHRO b u tto n .

The SYNCHRO-START LED begins ﬂashing on. The Syn-

chro Start function is enabled.

4 Select a Song.

Another easy task. Press the A (S1:) VOLUME/VALUE button

to open the Song Select window.

2 Play a chord on the keyboard.

You must play a chord for the chord recognition engine. Usu-

ally, it will be on the left of the split point, but it depends on

the CHORD SCANNING section.

The Style starts.

Song Selection

CLUB

3 Stop the Style as you better prefer.

BALLADS

You know how to do, isn’t it?

0001 MYSONG.MID

FD SELECT OPEN CLOSE

Need more information?

Press the F1 button to select the ﬂoppy disk drive. The list of

ﬁles on disk appears. Songs are ﬁles with the “.MID” or

“.KAR” extension. Pa50 ﬁlters all other ﬁle types out for you.

Use the TEMPO/VALUE controls, or the VOLUME/VALUE

(E-H) buttons to scroll the list. The E-F buttons are the Scroll

Up ( ), while the G-H buttons are the Scroll Down ( ).

Move the Song to play to the ﬁrst line of the display. Then

press the F2 (SELECT) button.

Go to “Style Play operating mode” on page 40. The Reference

Guide includes all the information you need.

5 Press PLAY/STOP (SEQ1).

The playback begins.

6 If you like, select a Song for the Sequencer 2.

Press the B (S2:) VOLUME/VALUE button, and repeat the

above procedure to select the Song for Sequencer 2. Use the

right (SEQ 2) PLAY/STOP button to start/stop the second

Song. Use the BALANCE cursor to mix between Sequencer 1

and Sequencer 2.

7 Take a pause.

Press PAUSE to stop the playback without going back to mea-

sure 1. The PAUSE LED begins ﬂashing.

Press PAUSE again to resume the playback.

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Tu to ria l

4 - Recording a Song

3 1

1. Select one of the Style rows in the STYLE section, using

the leftmost button.

2. Select one of the Style Banks, by pressing one of the but-

tons of the STYLE section.

8 Stop it.

Sure, the Song automatically stops when reaching the end.

But you can stop it before the end, just by pressing PLAY/

STOP again.

3. Select one of the pages, using the PAGE buttons.

4. Select a Style, using the VOLUME/VALUE (A-H) but-

tons.

As you may guess, the Style Bank and number appear after

the “Style” parameter in the display.

4 - RECORDING A SONG

The Backing Sequence mode is a fast and effective way of

recording a new Song, making full use of the features of the

Style Play mode. So, arm your recorder, and play live with the

Styles—a song will be ready in seconds!

5 And w hat about changing the Performance or

Single Touch Setting?

As above, you should know the story (see “Selecting a Perfor-

mance” on page 25, or “Selecting a Single T o uc h Setting

(STS)” on page 27). But, here is a short recap for the Perfor-

mances:

1 First, e n te r Ba ck in g Se q u e n ce m o d e

Press B.SEQ to access the Backing Sequence mode. The Real-

time tracks, on the keyboard, will remain the same you

selected in the Style Play mode.

1. Press the PERFORM button to set the PROGRAM/PER-

FORMANCE section act as a Performance selector.

2. Select one of the Performance Banks, by pressing one of

the buttons of the PROGRAM/PERFORMANCE sec-

tion.

BS:New Song

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

3. Select a Performance, using the VOLUME/VALUE (A-

H) buttons.

…and for the Single Touch Settings (STS):

•

Press one of the SINGLE TOUCH SETTING buttons.

Don’t worry about this display: it’s something you don’t need

to learn at this point. You may ﬁnd more information on it,

going to the Reference Guide (see “Backing Sequence operat-

ing mode” on page 82).

Sufﬁce you to know this is the Backing Sequence Play page,

where you can load, play or save a Song.

6 Ok, now w e can go.

As y o u see, both the RT track and the Ch/Acc track are in

RECord mode. This means you can start recording all you

play in a realtime performance with the Styles. So,

PRESS START/STOP

WAIT FOR THE PRECOUNT TO REACH BAR 1

AND BEGIN PLAYING!

2 Now, press RECORD.

You are prompted to select either the Realtime recording

mode, or the Chord/Acc Step recording mode.

7 Play as if you w ere playing live.

You can do exactly what you do when playing with the Styles:

select a different Style, Performance, STS, different Variation,

a Fill, and Ending…

You can even start your recording with an Intro: just press

one of the INTRO buttons before pressing START/STOP to

start recording.

Record

Realtime Recording

Chord/Acc Step Mode

8 Stop the Song.

To stop the Song, press either START/STOP or one of the

ENDING buttons. The Song will stop, but the Recording will

still be on. So, you can start with another Song to be recorded

in the same session (go back to step 6, if you like).

3 Select the Realtime recording mode.

Simply press one of the A VOLUME/VALUE buttons. The

Record page appears.

Otherwise, ﬁnish the Recording, going to the next step.

9 Finish the recording.

All done, boys/girls? Yes? Fine! Then you may

PRESS PLAY/STOP (SEQ1)

Rec:NewSong

Style:NewBossa

Perf:01-01 Metro:On1

Resol:HI RT/Pad:REC

99%

and the Recording status will be gone. Both Backing

Sequence tracks (RT and Ch/Acc) will be set to the PLAY sta-

tus.

Sel.Tempo Ch/Acc:REC

0 Listen to the Song.

When back in the Backing Sequence Play page, press PLAY/

STOP (SEQ1) to listen to the new Song. How smart were

you?

4 If you think the selected Style is not w hat you

like for your backing tracks, select a different one.

Well, you should already know how to do it (see “Selecting a

Style” on page 26). But here is a fast reminder:

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5 - Editing a Song

3 2

If the Song is ﬁne, you can switch to the Song mode and do

some editing. Or you can save it (as seen below), and play it

in Song Play mode.

5 - EDITING A SONG

You can edit a Song, either a Standard MIDI File bought at

the shop, or one of your Songs made in Backing Sequence

mode.

What about changing those boring General MIDI sounds

with those gorgeous original KORG sounds? You can do it—

in Song mode.

0 And… if I w ant to delete and record again one

of the tracks, or the w hole Song?

That’s easy!

1. Press RECORD again to enter Record mode.

1 Pre ss SO N G to g o to th e So n g m o d e .

This is the Song garage, where you may ﬁnd tools to reshape

your Song.

Rec:NewSong

Style:NewBossa

Perf:01-01 Metro:On1

Resol:HI RT/Pad:REC

99%

Sel.Tempo Ch/Acc:REC

New Song

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

2. Set the track to delete and record again to the REC sta-

tus.

3. Set the track you want to listen to during recording to

the PLAY status. If you don’t want to delete it, but you

don’t want to listen to it, set the track to the MUTE sta-

tus.

2 Insert in the disk drive the ﬂoppy disk contain-

ing the midiﬁle you w ish to edit.

4. Start recording again. Anyway, if you are recording the

RT track, you can’t use the Style controls.

5. Press PLAY/STOP (SEQ1) to ﬁnish the Song and exit

Recording mode.

Midiﬁles are ﬁles generated by a computer sequencer or a

musical instrument, usually after a conversion. For example,

if working with a computer, you should ﬁnd a command

whose name could sound a little like “Convert to .MID”. A

midiﬁle has a “.MID” or “.KAR” extension.

0 Time to save your Song, isn’t it?

3 Load the Song.

If you don’t save your Song, it is lost when you turn the

instrument off, or switch to the Song Play mode. So, save it

on a disk. See “Save Song page” on page 84.

Press one of the B VOLUME/VALUE buttons (corresponding

to the L o ad Song command). As expected, the Load page will

appear.

Need more information?

Go to “Backing Sequence operating mode” on page 82. The

Reference Guide includes all the information you need.

Load Song

BALLADS

MYSONGS

MYSONG.MID

FD LOAD

OPEN CLOSE

If it is not yet selected, press F1 to select the FD (Floppy Disk)

device.

Move the midiﬁle to load to the ﬁrst line of the display. Use

the DIAL or the UP and DOWN buttons to scroll the list; or

use the E-F (Scroll Up) or G-H (Scroll down) VOLUME/

VALUE buttons.

When the midiﬁle is on the ﬁrst line of the display, press F2

(Load) to load it. The “Are you sure?” message will appear.

Press ENTER to conﬁrm.

Note: When loading a Standard MIDI File, the ﬁrst MIDI

events are converted to the Song Performance events. You will

see them as the Programs, Volume, Pan, Effect settings assigned

to the tracks.

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5 - Editing a Song

3 3

2. Select the track you wish to assign a different Program

using the VOLUME/VALUE buttons. Press one of the

buttons corresponding to the track to select. For exam-

ple, one of the A buttons to select track 1:

4 Listen to the Song.

After loading you are back to the main page of the Song

mode.

MySong

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

Piano1

DkStrings

Legato

Guitar01

StrngEns2

BrassyHorn VoxPad1

Press PLAY/STOP (SEQ1) to listen to the Song. The LED on

the button turns on.

Does it sound good? If it is a General MIDI-compatible mid-

iﬁle, there is a good chance it does. But we can further

improve on it.

3. Select a Program. You should know how to do. If not,

what about going back for a little to the “Basic opera-

tions” chapter, “Selecting a Program” section, page 26?

It will be of a great help in the future…

Which Programs to choose? With >660 Programs, you

will for sure ﬁnd your preferred sound. Just browse any

Program bank, and listen to them. Turn on the DIS-

PLAY HOLD LED, to stay in the Selecting Window until

you have found the right Program. (Then, press EXIT or

DISPLAY HOLD to exit the window.)

5 Stop the Song.

This one is easy: press PLAY/STOP (SEQ1). The LED on the

PLAY/STOP button turns off.

Please, always remember: make any changes to the Song

when the sequencer is not playing. Otherwise, a Stop com-

mand will reset all your changes.

4. Execute as many changes as you like to the other tracks.

(Not funny, huh?)

7 Change the volume.

Yes, this is another obvious change. Press MENU to open the

edit menu.

6 Select different Programs.

You can replace General MIDI Programs with KORG Pro-

grams. It will sound more rich, more lively.

1. Press TRACK SELECT to see tracks 1-8. The LED turns

on.

Song Edit MENU

Mixer/Tun. Transp/Vel

Effects

Del/Cut-Ins

Track Edit Copy

MySong

Quantize

Event Edit

Piano1

DkStrings

Legato

Guitar01

StrngEns2

Press one of the A VOLUME/VALUE buttons, to select the

Mixer/Tuning item. Suddenly, a Volume edit page appears…

BrassyHorn VoxPad1

You are watching at tracks 1-8. You can switch to tracks

9-16 by pressing the TRACK SELECT button again.

Mixer:Volume

|||| 090

|||| 092

|||| 086

||||| 112

MySong

Strings1

DkStrings

Legato

VocaEns

Bassi

StrngEns2

Select a track, and use the DIAL or the UP and DOWN but-

tons, or the VOLUME/VALUE buttons, to change the track’s

volume.

BrassyHorn Strings2

If you press TRACK SELECT again, you are back to the

main page. Press TRACK SELECT AGAIN to go to

tracks 1-8…

Modify all tracks you think need to be modiﬁed.

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6 - The Arabic Scale

3 4

8 Save the Song.

6 - THE ARABIC SCALE

You can program an Arabic scale in real time, by assigning a

footswitch or a pad the “Quarter Tone” function.

Another way of changing the scale is assigning it to a Perfor-

mance or Single Touch Setting (STS), but this is the most

convenient way to change the pitch in real time.

Your changes will be lost when you load a new Song, switch

to the Song Play mode, or turn the instrument off. So, press

EXIT to go back to the main page of the Song mode.

1 Pro g ra m a fo o tsw itch to b e th e Q u a rte r

to n e sw itch .

MySong

Simply go to the Global environment, and reach “Page 3 -

Assignable Pedal/Footswitch, Assignable Slider”. There, you

will ﬁnd the “P/S (Pedal/Switch)” parameter, to which you

can assign the Quarter tone function.

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

Press WRITE to save the Global status in memory (see “The

Write window” on page 125).

Press one of the C VOLUME/VALUE buttons, to select the

Save Song command. Save your Song with a new name. How

to accomplish this simple operation is described in great

details on page 90 (“Save Song page”).

Note: When saving a Song the Song Performance events (initial

Program, Volume, Pan, Effect Send settings) are saved at the

beginning of the Standard MIDI File. Effect settings are saved as

Pa50 SysEx events, ignored by other musical instruments.

2 Low er some note pitches.

Keep the Quarter tone pedal pressed. The keyboard will not

play at this time. Press the notes you want to lower a quarter

of tone. Release the pedal.

3 Play w ith your new scale.

The notes you pressed are now lowered of a quarter of tone.

Other editings

4 Reset the original scale.

The Volume is not the only parameter you can edit. You can

edit a lot more things, like the Pan, the Effects, the Tuning…

you can even use up to 4 effects (A-D Internal FX Proces-

sors), but this will be useful only when reading the Song back

on the Pa50 only, since other General MIDI-compliant

instruments use only 2 effects.

Press the Quarter tone pedal again. All pitches will be reset,

and the scale selected by the Performance, STS or Style Per-

formance will be recalled.

Need more information?

As stated, you can assign an alternative scale to a Perfor-

mance or STS. Go to “Page 5 - Tuning: Scale” on page 44, and

give also a look to the “Scale Mode” parameter (see page 51).

Need more information?

Go to “Song operating mode” on page 88. The Reference

Guide includes all the information you need.

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MIDI

What is MIDI?

3 5

8. MIDI

•

CC64, or Damper Pedal. Use this controller to simulate

the Damper pedal.

WHAT IS MIDI?

Here is a brief overview of MIDI, as related to the Pa50. If

interested, you may ﬁnd more information on the general use

of MIDI in the various specialized magazines and books.

Tempo

Tempo is a global MIDI message, that is not tied to a particu-

lar channel. Each Song includes Tempo data.

In general

MIDI stands for Musical Instruments Digital Interface. This

interface lets you connect two musical instruments, or a

computer and various musical instruments.

Physically, MIDI is composed of three different connectors.

The MIDI IN receives data from another device; the MIDI

OUT sends data to another device; the MIDI THRU sends to

another device exactly what was received on the MIDI IN

(this is useful to daisy-chain more instruments).

Lyrics

Lyrics are non-standard MIDI events, made to display text

together with the music. Pa50 can read many of the available

Lyrics format on the market.

MIDIFILES

Midiﬁles, or Standard MIDI Files (SMF), are a practical way

of exchanging songs between different instruments and com-

puters. Pa50 has the SMF format as its default song format,

so reading a song from a computer, or saving a song that a

computer software can read, is not a problem at all.

Pa50 sequencers are compatible with the SMF in format 0 (all

data in one track; it is the most common format) and 1 (mul-

titrack). It can read the SMF in Song Play mode and modify/

save them in Song mode. It can save a Song in SMF 0 format

in the Backing Sequence or Song mode.

When in Song Play mode, the Pa50 can also display SMF lyr-

ics in Solton, M-Live (Midisoft), Tune1000 and compatible

(Edirol, GMX, HitBit, XF) formats, and the chord abbrevia-

tions of SMF in Solton, M-live (Midisoft), GMX, and XF for-

mat.

Channels and messages

Basically, a MIDI cable transmits 16 channels of data. Think

to each MIDI channel as a TV channel: the receiver must be

set on the same channel of the transmitter. The same happens

with MIDI messages: when you send a Note On message on

channel 1, it will be received on channel 1 only. This allows

for multitimbricity: you can have more than one sound play-

ing on the same MIDI instrument.

There are various messages, but here are the most commonly

used:

Note On – This message instructs an instrument to play a

note on a speciﬁc channel. Notes have both a name (C4

standing for the center C) and a number (60 being the equiv-

alent for C4). A Note Off message is often used to say the note

has been released. In some case, a Note On with value “0” is

used instead.

THE GENERAL MIDI STANDARD

Some years ago, the musical instruments world felt a need for

some further standardization. Then, the General MIDI Stan-

dard (GM) was born. This extension of the basic MIDI sets

new rules for compatibility between instruments:

Together with the Note On message, a Velocity value is always

sent. This value tells the instrument how loud the note must

play.

Pitch Bend (PB) – You can generate this message acting on

the joystick (X movement). The pitch is translated up or

down.

Program Change (PC)– When you select a Program, a Pro-

gram Change message is generated on the channel. Use this

message, together with Control Change 00 and 32, to

remotely select Pa50 data from a sequencer or a master key-

board.

Control Change (CC) – This is a wide array of messages,

controlling most of the instrument parameters. Some exam-

ples:

•

A minimum of 16 MIDI channels was required.

A basic set of 128 Programs, correctly ordered, was

mandatory.

•

The Drum Kit had a standard order.

Channel 10 had to be devoted to the Drum Kit.

A most recent extension is the GM2, that further expands the

Programs database. The Pa50 is soundwise-compatible with

the GM2 standard.

THE GLOBAL CHANNEL

•

CC00, or Bank Select MSB, and CC32, or Bank Select

LSB. This message pair is used, together with the Pro-

gram Change message, to select a Program.

CC01, or Modulation. This is the equivalent of pressing

up the joystick. A vibrato effect is usually triggered on.

CC07, or Master Volume. Use this controller to set the

channel’s volume.

Any channels with the Global option assigned (see “Page 6 -

MIDI IN Channels” on page 127) can simulate the Pa50 inte-

grated keyboard. When the Pa50 is connected to a master

keyboard, transmission should take place over the Global

channel of the Pa50.

The MIDI messages received over a Global channel and not

over a standard channel are affected by the buttons of the

KEYBOARD MODE section, as well from the split point.

Therefore, if the SPLIT button LED is lit up, the notes that

arrive to the Pa50 over this channel will be divided by the

•

CC10, or Pan. This one sets the channel’s position on

the stereo front.

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MIDI

3 6

The Chord 1 and Chord 2 channels

split point into the Upper (above the split point) and Lower

(below the split point) parts.

CONNECTING PA50 TO A MASTER KEYBOARD

You can control the Pa50 with a master keyboard or any other

MIDI keyboard. You only need to connect the MIDI OUT

connector of the master keyboard to the MIDI IN connector

of the Pa50. The master keyboard will become the integrated

keyboard of the Pa50 if it transmits over the same channel

programmed as Global in the Pa50.

The notes that arrive to a Global channel are used for the

chord recognition of the automatic accompaniment. If the

KEYBOARD MODE is SPLIT, only the notes below the split

point will be used. These notes will be combined with the

ones of the special Chord 1 and Chord 2 channels.

THE CHORD 1 AND CHORD 2 CHANNELS

You can set two special Chord channels (see page 128) to

send to the Pa50 notes for the chord recognition. The notes

will be combined with the notes that go through the channel

set as Global (Global notes are recognized only under the

split point, if the SPLIT LED is lit up).

MIDI IN

The Chord channels are not affected by the split point and

the KEYBOARD MODE section of the control panel. All the

notes – both above and below the split point – will be sent to

the chord recognition.

MIDI OUT

The buttons of the CHORD SCANNING section have a par-

ticular effect on the Chord channels:

•

if you have selected LOWER, the chord recognition

mode will be set by the “Chord Recognition Mode”

parameter in the Style Play mode (see page 50);

if you have selected UPPER or FULL, the chord recogni-

tion mode will always be Fingered 2 (you need to play at

least three notes in order for the chord to be detected).

If the master keyboard transmits over the Global channel of

the Pa50, the split point and the status of the KEYBOARD

MODE section in the control panel will affect the notes

received from the master keyboard.

•

Connections and settings

These two channels are especially useful for accordion players

to assign a different Chord channel to the chords and the bass

played with the left hand. In this way, chords and bass will

participate to the creation of chords for the chord recogni-

tion of the automatic accompaniment.

To connect the master keyboard to the Pa50 follow this pro-

cedure:

1. Connect the MIDI OUT connector of the master key-

board to the MIDI IN connector of the Pa50.

2. Program the master keyboard to transmit over the Glo-

bal channel of the Pa50 (see “Page 6 - MIDI IN Chan-

nels” on page 127).

THE CONTROL CHANNEL

You can set a MIDI IN channel as the Control channel (see

page 127), to select Styles and Performance from an external

device. See the Appendix for a list of messages corresponding

to Pa50 internal data.

For information on the master keyboard programming,

see the user’s manual of the master keyboard.

3. Press GLOBAL to enter the Global mode, then go to

“Page 4 - MIDI Setup” (see page 126).

4. Select the Master Keyboard Setup.

MIDI SETUP

Note: The settings can change when new data is loaded

from disk. To protect the settings from loading, use the

Global Protect function (see “Global Protect” on

page 142).

You can play Pa50 with an external controller, and use it sim-

ply as a gorgeous sound generator. To help you conﬁgure the

MIDI channels, we have provided a set of MIDI Setups. Go to

Global mode to select the one that ﬁts your MIDI needs. (See

“Page 4 - MIDI Setup” on page 126 for more information).

We recommend you to consider each MIDI Setup as a start-

ing point you can freely tweak. Once you have selected the

most appropriate MIDI Setup for the connection to be made,

you can modify the parameters as necessary and save the Glo-

bal in the memory with the Write function (see “The Write

window” on page 125).

5. Press WRITE, select Global, and press ENTER to save

the Global. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

6. Press one of the buttons in the MODE section to go to

the desired operative mode.

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MIDI

3 7

Connecting the Pa50 to a MIDI accordion

3. Go to “Page 4 - MIDI Setup” (see page 126). Select the

Ext.Seq Setup.

CONNECTING THE PA50 TO

ACCORDION

There are different types of MIDI accordion and each type

requires a different conﬁguration of the Pa50. Select one of

the MIDI “Accordion” Setups to conﬁgure the module prop-

erly (see page 126).

MIDI

Note: The settings can change when new data is loaded

from disk. To protect the settings from loading, use the

Global Protect function (see “Global Protect” on

page 142).

4. Press WRITE, select Global, and press ENTER to save

the Global. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

Connection and settings

5. Set the Upper 1 track in play, and press FULL UPPER in

the KEYBOARD MODE section. This way, you can

transmit to the external sequencer on the full keyboard

range.

6. At this point, the notes played on the Upper 1 track go

from the MIDI OUT of the Pa50 to the MIDI IN of the

computer/MIDI interface.

To connect the accordion to the Pa50 follow this procedure:

1. Connect the MIDI OUT connector of the accordion to

the MIDI IN connector of the Pa50.

2. Press GLOBAL to enter the Global mode, then go to

“Page 4 - MIDI Setup” (see page 126).

3. Select one of the Accordion Setups.

Note: The settings can change when new data is loaded

from disk. To protect the settings from loading, use the

Global Protect function (see “Global Protect” on

page 142).

The notes generated by the computer (i.e. a Song played

by its sequencer) are sent thru the MIDI OUT of the

MIDI interface to the MIDI IN connector of the Pa50.

4. Press WRITE, select Global, and press ENTER to save

the Global. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

5. Press one of the buttons in the MODE section to go to

the desired operative mode.

The Local Off

When the Pa50 is connected to an external sequencer, we rec-

ommend you to set the Pa50 in Local Off mode (see “Local”

on page 127) to avoid that the notes are simultaneously

played by the keyboard and by the MIDI events sent by the

external sequencer.

When the Pa50 is in Local Off, the Pa50 keyboard transmits

data to the external sequencer, but not to the internal sound

generation. The sequencer will receive the notes played on

the Pa50 keyboard (Upper 1) and send them to the selected

track of the song. The track will transmit the data to the

internal sound generation of the Pa50.

Note: In order to send data to the Pa50 sound generation, the

“MIDI Thru” function must be activated in the external

sequencer (normally active; the name may be different accord-

ing to the type of sequencer). For more information refer to the

instructions manual of the sequencer.

CONNECTING THE PA50 TO AN EXTERNAL

SEQUENCER

You can program a new Song on an external sequencer, using

Pa50 as a multi-timbral expander.

Connections and settings

In order to connect the Pa50 to a computer, you need to have

a computer with the MIDI interface.

1. Connect the Pa50 and the computer as in the following

diagram.

The programs

MIDI OUT

MIDI IN

The Song that is played back by the computer sequencer can

select the Pa50 Programs through the MIDI messages Bank

Select MSB and Bank Select LSB (bank selection, two mes-

sages) and Program Change (program selection). For a list of

Programs and MIDI values, see “Programs (Program Change

order)” on page 154.

MIDI IN

A suggestion for those who program songs on computer:

Even though it is not essential, you usually set the bass on

channel 2, melody on channel 4, drum kit on channel 10,

control for an external voice harmonizer on channel 5.

MIDI THRU

MIDI IN

MIDI OUT

2. Press GLOBAL, and go to “Page 5 - MIDI Controls”. Set

the Local parameter to Off (see page 127).

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MIDI

3 8

Playing another instrument with the Pa50

Tracks to the External status (see “Page 15 - Track: Internal/

External” on page 46).

PLAYING ANOTHER INSTRUMENT WITH THE

PA50

You can use the Pa50 as the master controller for your MIDI

setup.

1. Connect Pa50’s MIDI OUT to the other instrument’s

MIDI IN.

2. Set-up the other instrument’s tracks to the same chan-

nels you want to play from Pa50. For example, if you

wish to play the Upper 1 and Upper 2 tracks with the

other instrument’s sound, set the other instrument to

receive on the same channels of the Upper 1 and Upper

2 tracks (by default, channels 1 and 2).

The Sequencer

Any Sequencer’s track can drive a channel on an external

instrument. To set each track’s MIDI output channel, see

“Page 10 - MIDI OUT Channels” on page 129.

To hear only the expander’s sounds, you can lower the MAS-

TER VOLUME control on the Pa50, or set the Song tracks to

the External status (see “Page 8 - Track: Internal/External” on

page 78).

Select the Sequencer 1 or Sequencer 2 MIDI Setup (depend-

ing on the Sequencer you are using on the Pa50) to set the

channels as follows.

3. Set the general volume of the other instrument with its

own volume controls.

4. Mute/unmute any track right from the Pa50 front panel.

Set each track’s volume using Pa50 own VOLUME/

VALUE controls.

Track

Out Channel

Song 1…16

1…16

5. Play on Pa50’s keyboard.

The Arranger

The Keyboard

One of the most interesting aspect of MIDI, is that you can

use your Pa50 to play an external instrument with its

onboard arranger. Yes, it’s hard to beat the audio quality of

Pa50, but you could wish to use that old faithful synth you

are still accustomed to…

Pa50’s physical keyboard can drive up to 4 tracks via the

MIDI OUT (Upper 1-3 and Lower). MIDI output channels

are set in Global mode (see “Page 10 - MIDI OUT Channels”

on page 129).

As a default situation (Default Setup), each of Pa50 Realtime

Tracks transmit on these channels:

To assign some of Pa50 Style tracks to an external instru-

ment, set them to the External status (see “Page 15 - Track:

Internal/External” on page 46).

Select the Default MIDI Setup to set the channels as follows

(this is the default status of Pa50).

Track

Out Channel

Upper1

Upper2

Upper3

Lower

Track

Out Channel

Bass

Drums

Percussion

Acc1…5

When a track is in mute, it can’t transmit any MIDI data to

an external expander or sequencer connected Pa50’s MIDI

OUT.

12…16

To hear only the expander’s sounds, you can lower the MAS-

TER VOLUME control on the Pa50, or set the Realtime

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REFERENCE GUIDE

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Sty le Pla y o p e ra tin g m o d e

What’s a Style?

4 0

9. STYLE PLAY OPERATING MODE

The Style Play mode is the boot-up operating mode. When in

Folder

DIRECT FD pages

this mode, you can play Styles (i.e. automatic accompani-

ments), or just play with one to four Realtime tracks on the

keyboard (Upper 1…3 and Lower).

*.SET > STYLE > USER02

*.SET > STYLE > USER03

3, 4

5, 6

Note: Reading from ﬂoppy disk is a little slower than reading

from the internal memory. So, there is a chance that you will

have to wait some beats, before the selected DIRECT FD Style is

ready to play. The Style will enter at the next beginning of mea-

sure.

WHAT’S A STYLE?

A Style is a rhythm/accompaniment structure, that simulates

a band backing your solos.

In a vertical direction, it is composed of 8 different tracks

(Drums, Percussion, Bass, and 5 different harmonic or

melodic instruments). You can play on the keyboard with 4

more Realtime tracks (Upper 1-3 and Lower).

In a horizontal direction, it is a series of Style Elements (i.e.,

the various sets of patterns for each chord and each of the

Intros, Variations, Fills, Breaks and Endings).

How to make the DIRECT FD bank

To conﬁgure the DIRECT FD bank, save your Styles into the

ﬁrst folder in the ﬂoppy disk. Folders are read in alphabetical

order.

Note: The following procedures requires you overwrite the User

Style banks. Save these banks before proceeding, to avoid loosing

important data.

STYLES AND PERFORMANCES

1. Insert the ﬂoppy disk into the disk drive.

2. Press DISK and go to the Load page.

Styles and Performances are linked in many ways.

•

When the SINGLE TOUCH LED is on, selecting a Style

also changes the Realtime (Keyboard) tracks (a Single

Touch Setting is selected). The Performance settings are

overridden.

•

When the STYLE CHANGE LED is on, selecting a Per-

formance also selects a Style (the one whose number is

memorized with the Performance).

When pressing the WRITE button, you can save the

track’s settings either in a Performance, a Style Perfor-

mance, or a Single Touch Setting (STS).

Disk:Load

NEWNAME.SET

LIVE.SET

ETHNICA.SET

LOAD OPEN CLOSE

3. Use the F1 (Disk device) button to select the FD (Floppy

Disk) device.

4. Load three banks of Styles, to be transformed into the

DIRECT FD bank.

CHANGING AND RESETTING THE TEMPO

While in the main page of the Style Play mode, you can

change the Tempo using the DIAL or the DOWN/- and UP/+

buttons.

5. Go to the Save page.

In any other page, keep the SHIFT button pressed, and use

the DIAL to change the Tempo.

To recall the Tempo stored in the current Style, keep the

SHIFT button pressed, and press one of the DOWN/- or UP/

+ buttons.

Disk:Save

ALL

SAVE

OPEN CLOSE

THE DIRECT FD BANK

In addition to the internal memory Styles, you can have

DIRECT FD Styles, directly accessed by the ﬂoppy disk.

Just insert a disk, and press the DIRECT FD Style bank. The

disk drive will read the ﬁrst (in alphabetical order) “.SET”

folder in the ﬂoppy disk, and will give you direct access to the

Styles it contains (no loading required).

Note: Reading from ﬂoppy disk may take some seconds, before

the Styles are shown.

Browse through the DIRECT FD Styles using the PAGE but-

tons. You can have up to 6 pages, and up to 48 DIRECT FD

Styles in a disk.

6. While the “ALL” item is selected, press F3 (Open) to

open it.

7. Use the E-F (Scroll Up) and G-H (Scroll Down) VOL-

UME/VALUE buttons (or the TEMPO/VALUE section

controls) to move the “STYLE” item to the ﬁrst line of

the display, and press F2 (Save).

8. Select the ﬂoppy disk (FD) as the target, using the F1

button.

9. The ﬂoppy disk directory appears. Use the E-F (Scroll

Up) and G-H (Scroll Down) VOLUME/VALUE buttons

(or the TEMPO/VALUE section controls), to scroll the

disk content. Move the ﬁrst folder of the directory to the

ﬁrst line of the display.

Folder

DIRECT FD pages

*.SET > STYLE > USER01

1, 2

10. Press ENTER twice to save the banks.

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4 1

Main page

VALUE buttons. To unmute, press both buttons again. To

change the volume, select the track, then keep one of the but-

tons pressed.

MAIN PAGE

This is the page you see after you turn the instrument on.

To access this page from another operating mode, press the

STYLE PLAY button.

Note: When switching from Song Play to Style Play, a Perfor-

mance is automatically selected, and various track parameters

may change.

To return to this page from one of the Style Play edit pages,

press the EXIT/NO button.

C (Acc.1-5 grouped tracks)

Use these buttons to select, mute/unmute or change the vol-

ume of the instrumental accompaniment tracks (tracks 1-5,

other than Bass, Drum and Percussion). To mute these

tracks, press both VOLUME/VALUE buttons. To unmute

them, press both buttons again. To change the volume, keep

one of the buttons pressed.

To switch between the Realtime (Keyboard) tracks and the

Style tracks, use the TRACK SELECT button.

E (Upper 1 Program), F (Upper 2 Program), G (Upper 3 Pro-

gram), H (Low er Program)

Selected STS or

Performance

Name of the Programs assigned to the Realtime (Keyboard)

tracks. Use these buttons to select, mute/unmute or change

the volume of the corresponding tracks.

Style Play icon

Selected Style

STYLE TRACKS PAGE

To see and edit the Style tracks, press TRACK SELECT from

the main page. The TRACK SELECT LED turns on.

SoftBeat |STS1

Drum/Perc

Bass01

GrandPiano

DarkPad

Acc.1-5

StrngEns2

AnalogStr

SoftBeat |STS1

Brush 2

Piano01

Accompaniment (backing) tracks (grouped)

Realtime (Keyboard) tracks

Perc Kit

*AcouBass

Guitar01

StrngEns2

AcouPiano2 VoxPad1

Style Play icon

Press the TRACK SELECT button once again to go back to

the main page.

When on, this icon indicates that the instrument is in Style

Play mode.

A-H (Style Track Programs)

Selected Style

Name of the Programs assigned to the Style tracks. Use these

buttons to select, mute/unmute or change the volume of the

corresponding tracks.

Currently selected Style.

Selected STS or Performance

The last selected Single Touch Setting (STS) or Performance.

A (Drum/Perc grouped tracks)

HOW TO SELECT PROGRAMS

You can assign a different Program to each of the Realtime

(Keyboard) and Style tracks. See “Selecting a Program” on

page 26 for more information.

After selecting a new Program, save your changes into a Per-

formance, Style or STS (see below “The Write window” sec-

tion).

Use these buttons to select, mute/unmute or change the vol-

ume of both Drum and Percussion tracks (grouped together)

at the same time. To mute these tracks, press both VOLUME/

VALUE buttons. To unmute, press both buttons again. To

change the volume, select the track, then keep one of the but-

tons pressed.

B (Bass track Program name)

Name of the Program assigned to the Bass backing track. Use

these buttons to select, mute/unmute or change the volume

of the Bass track. To mute this track, press both VOLUME/

Note: If you select a Program while grouped tracks (Drum/Per-

cussion or ACC) are selected, the Program will be assigned to

the last selected track.

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The Write window

4 2

THE WRITE WINDOW

Open this window by pressing the WRITE button. Here, you

can save all track settings into a Performance, the Realtime

(Keyboard) track settings into a Single Touch Setting, or the

Style track settings into the current Style Performance.

From any page, press MENU to open the Style Play edit

menu. This menu gives access to the various Style Play edit

sections.

When in the menu, select an edit section using the VOLUME/

VALUE (A-H) buttons, select an edit page using PAGE +, or

press EXIT to exit the menu.

When in an edit page, press EXIT to go back to the main page

of the Style Play operating mode.

Write to

Perf.Name:

Perf.No.:

STS No.:

Current Style

Style Play Menu

Mixer

RT Ctrls

Sty Ctrls

Input/Pad

1. Select the kind of object you want to save your tracks

into.

Tuning

Effects

Track Edit Preferences

• Select the “Perf No.” line to save all tracks (and the cur-

rent selected Style settings) into a Performance. Use the

corresponding VOLUME/VALUE buttons, or the

TEMPO/VALUE section controls, to select a Perfor-

mance location in memory. The name of the Perfor-

mance already at the target destination will be shown.

• Select the “STS No.” line to save the Realtime (Key-

board) tracks into a Single Touch Setting (STS). Use the

corresponding VOLUME/VALUE buttons or the

TEMPO/VALUE section controls, to select a Single

Touch Setting number.

Each item in this menu corresponds to an edit section. Each

edit section groups various edit pages.

EDIT PAGE STRUCTURE

Select an edit section from the Menu, and/or use the PAGE

buttons to reach the desired page.

Press EXIT to go back to the main page of the Style Play

mode.

All edit pages share the same structure.

• Select the Current Style line, to save the Style tracks

into the current Style Performance.

Style Play icon

Page header

Page number

If you select…

…you save…

…to this location…

Performance

All track settings,

selected Style

number, Master

Transpose

Selected Performance

Mixer:Volume

|||||| 127 ||||| 090

STS

Realtime (Key-

board) track set-

tings

Selected Single Touch

Setting (a part of the

current Style)

||||| 100

|||| 092

|||||| 127 |||| 086

|||||| 112

Current Style

Style track set-

tings, Master

Transpose

Current Style Perfor-

mance

Style Play icon

When on, this icon indicates that the instrument is in Style

Play mode.

2. If you are saving a Performance, you can change its

name. Select the “Perf name” line.

Page header

Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

The header shows the name of the current edit page. As a

general rule, the header is divided into a ﬁrst word, identify-

ing the section name (e.g., “Mixer:FX Send” is a “Mixer” sec-

tion page), and a second word, referring to the page name

(e.g. “FX Send”).

3. Press ENTER to save the settings in memory. The “Are

you sure?” message appears. Press ENTER to conﬁrm,

or EXIT to abort.

Section name

Page name

Mixer:FX Send

Page number

This area shows the current page number.

A-H

Each pair of VOLUME/VALUE (A-H) buttons selects a differ-

ent parameter of command, depending on the edit page.

After selecting a parameter, you can change its value by press-

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4 3

Page 1 - Mixer: Volume

ing one of the two buttons in a pair, or using the TEMPO/

VALUE controls.

R+63

Off

Hard Right.

The direct (uneffected) signal does not go to

the outputs; only the FX signal is heard for this

track.

PAGE 1 - MIXER: VOLUME

This page lets you set the volume for each of the Realtime

(Keyboard) or Style tracks.

PAGE 3 - MIXER: FX SEND

Use the TRACK SELECT button to switch from the Realtime

(Keyboard) tracks to the Style tracks, and vice versa.

This page lets you set the level of the track’s direct (unef-

fected) signal going to the Internal FX processors. The effect

processors included in Pa50 are connected in parallel, so you

can decide which percentage of the direct signal should be

effected:

Mixer:Volume

Track

Output

|||||| 127 ||||| 090

||||| 100

|||| 092

|||||| 127 |||| 086

|||||| 112

FX Processor

There are four Internal FX processors in Style Play mode. You

can assign them any kind of available effects, but we found it

convenient to arrange them in the following way, for all the

Styles included with the Pa50:

Reverb processor for the Style tracks.

Modulating FX processor for the Style tracks.

Reverb processor for the Realtime (Keyboard) tracks.

Modulating FX processor for the Realtime (Keyboard)

tracks.

Mixer:Volume

|||||| 110 ||||| 090

||||| 100

|||| 092

|||||| 110 |||| 086

|||||| 110 |||||| 112

Use the TRACK SELECT button to switch from the Realtime

(Keyboard) tracks to the Style tracks, and vice-versa.

Volume

Track’s volume.

0…127

MIDI value of the track’s volume.

Mixer:FX Send

PAGE 2 - MIXER: PAN

This page lets you set the pan (position in the stereo front)

for each track.

- - - - - - C:100 D:050

A:127 B:020 C:100 D:050

- - - - - - C:100 D:050

C:100 D:050

Use the TRACK SELECT button to switch from the Realtime

(Keyboard) tracks to the Style tracks, and vice-versa.

Mixer:FX Send

Mixer:Pan

A:100 B:050 A:100 B:050

A:127 B:020 A:100 B:050

A:110 B:050 A:100 B:050

A:100 B:050 A:100 B:050

- - - - -

R+20 ||

C+00

- - - - -

C+10 |

C+00

To select a parameter and edit its value:

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

2. Use the F1-F4 buttons to select one of the effect proces-

sors.

3. Use the TEMPO/VALUE controls to change the value.

Mixer:Pan

|||L-64

R+10 ||

C+00

|L-10

C+00

Send level

C+00

000

No effect. Only the direct (uneffected) signal

goes to the outputs.

Pan

127

100% effect. The direct (uneffected) and

effected signals go to the outputs with the same

level.

L-64

C+00

Hard Left.

Center.

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Page 4 - Tuning: Detune

4 4

PAGE 4 - TUNING: DETUNE

PAGE 6 - TUNING: PITCHBEND SENSITIVITY

This page is the place where you can set the ﬁne tuning for

each track.

This page lets you program the Pitch Bend range for the Real-

time (Keyboard) tracks.

Use the TRACK SELECT button to switch from the Realtime

(Keyboard) tracks to the Style tracks, and vice-versa.

Tuning:PB sens.

- - - - -

Tuning:Detune

- - - - - +00

+00

- - - - - +00

+00

Parameters

These parameters show the Pitch Bend range for each track,

in semitones.

01…12

Maximum up/down pitchbend range (in semi-

tones). 12 = ±1 octave.

Tuning:Detune

Off

No pitchbend allowed.

- - - - - +00

PAGE 7 - FX: A/B SELECT

+00

This page enables you to select the A and B effects. Usually,

the A effect is the reverb, and the B effect is the modulating

effect for the Style tracks.

Detune

This is the ﬁne tuning value.

-64

+63

Lowest pitch.

Standard tuning.

Highest pitch.

FX:A/B Select

A:02

B:89

Compressor Rev-Gate

PAGE 5 - TUNING: SCALE

ModTrk:Up1 B>Asend:127

This page lets you program the alternative scale for the

selected tracks (see “Scale Mode” on page 51). The remaining

tracks use the Scale set in the Global mode (see “Scale” on

page 125).

A, B

Effects assigned to the A and B effect processors. Usually, A is

the reverb, while B is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

Tuning:Scale

ModTrk (Modulating Track)

Scale:User

Key:C

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

Note:C#

Detune:+63

B>Asend (B>A Send)

Amount of the B effect going back to the input of the A effect.

Scale

Selected scale. See “Scales” on page 227 for a list of the avail-

able scales.

PAGE 8 - FX: C/D SELECT

This page lets you select the C and D effects. Usually, the C

effect is the reverb, and the D effect is the modulating effect

for the Realtime (Keyboard) tracks.

Key

Parameter required for some Scales, when you should select a

preferred key.

Note

Note in edit, to be detuned. This parameter can be accessed

when a User Scale is selected.

FX:C/D Select

Detune

C:02

D:89

Note detune, relative to the standard Equal tuning. This

parameter can be accessed when a User Scale is selected.

Compressor Rev-Gate

ModTrk:Up1 D>Csend:127

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Sty le Pla y o p e ra tin g m o d e

4 5

Page 9 - FX: A editing

You can also change the volume for each class of Drums and

Percussion, if the selected track is set in Drum mode (see

below “Page 14 - Track: Mode”).

C, D

Effects assigned to the C and D effect processors. Usually, C is

the reverb, while D is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

ModTrk (Modulating Track)

Track:Easy Edit

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

- - - - -

Attack:0

- - - - -

Attack:0

D>Csend (D>C Send)

Amount of the D effect going back to the input of the C

effect.

PAGE 9 - FX: A EDITING

This page contains the editing parameters for the A effect

(usually, reverb for the Style tracks).

Track:Easy Edit

Kick V:127 Attack:0

Perc1V:127 Attack:0

Attack:0

FX:A Edit (Sty)

Here is the edit procedure:

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

Mix mod. source:JS-Y |

Mix mod. amt.: +127

Reverb Time: 3.07 sec

HF Damping: 30 %

2. Use the F1-F4 buttons to select a Program parameter, or

its value. (For the Drum and Percussion tracks, see

below the “Drum tracks” section).

3. Use the TEMPO/VALUE controls to change the Pro-

gram parameter or its value.

Use the E and H VOLUME/VALUE buttons to scroll the

parameter list.

Parameters

See “Effects” on page 175 for a list of available parameters for

each effect type.

Attack

Attack time. This is the time during which the

sound goes from zero (at the moment when

you strike a key) to it’s maximum level.

Decay time. Time to go from the ﬁnal Attack

level to the beginning of the Release.

PAGE 10 - FX: B EDITING

This page contains the editing parameters for the B effect

(usually modulating effect for the Style tracks). For more

details, see “Page 9 - FX: A editing” above.

Decay

Release

Release time. This is the time during which the

sound goes from the sustaining (or Decay)

phase, to zero. The Release is triggered by

releasing a key.

Parameters

Cutoff

Filter cutoff. This sets the sound brightness.

PAGE 11 - FX: C EDITING

This page contains the editing parameters for the C effect

(usually reverb for the Realtime tracks). For more details, see

“Page 9 - FX: A editing” above.

Resonance Use the Filter Resonance to deﬁne the width of

the frequency range affected by the Filter.

Vibrato Rate Speed of the Vibrato.

Vibrato Depth

Parameters

Intensity of the Vibrato.

Vibrato Delay

PAGE 12 - FX: D EDITING

This page contains the editing parameters for the D effect

(usually modulating effect for the Realtime tracks). For more

details, see “Page 9 - FX: A editing” above.

Delay time before the Vibrato begins, after the

sound starts.

Drum tracks

When a track is set in Drum Mode (like the Drum and Per-

cussion tracks), you can adjust the volume for each of the

Drum and Percussion categories.

Parameters

PAGE 13 - TRACK: EASY EDIT

In this page you can edit the main parameters of the Pro-

grams assigned to each track.

Note: All values are relative to the value of the original Pro-

gram.

Kick V

Snare V

Tom V

Kick drums volume.

Snare drums volume.

Toms volume.

HiHat V

CymbalV

Hi-Hat volume.

Ride, Crash and other cymbals volume.

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Page 14 - Track: Mode

4 6

Percus1V

Percus2V

SFX V

“Classic” percussion set volume.

“Ethnic” percussion set volume.

Special effects volume.

Mono Right A Mono track, but with priority assigned to

the rightmost (highest) note.

PAGE 15 - TRACK: INTERNAL/EXTERNAL

Reset

This page lets you set the Internal or External status for each

track. It is very useful to let a Style track drive an external

expander, or play a digital piano with one of Pa50’s Realtime

tracks.

You can reset the parameters’ value by keeping the SHIFT

button pressed, while pressing one of the selected track VOL-

UME/VALUE buttons. After you press the above button com-

bination, the Reset window appears:

RESET

NO=Cancel

YES=Trk SHFT+YES=All

Track:Int/Ext

Both

Press ENTER/YES to reset the currently selected track. Keep

SHIFT pressed, and press ENTER/YES, to reset all tracks.

Press EXIT/NO to abort and keep all parameters unchanged.

Both

External

Both

PAGE 14 - TRACK: MODE

This page lets you set the polyphony mode for each track.

Track:Int/Ext

External

Both

Track:Mode

Both

- - - - -

Poly

Mono Right

Poly

- - - - -

Poly

Parameters

Internal

The track plays the sounds generated by the

internal sound engine. It does not play an

external instrument connected to the MIDI

OUT.

External

The track plays an external instrument con-

nected to the MIDI OUT. It does not play the

internal sounds, therefore saving polyphony.

When a track is set to “External”, a strings of

transmitted Control Change and Program

Change data is shown instead of the Program

name assigned to the track. In the following

example, CC#0 is the Control Change 0 (Bank

Select MSB), CC#32 is the Control Change 32

(Bank Select LSB), PC is the Program Change.

Track:Mode

Drum

Poly

Mono Right

Poly

Parameters

Drum

This is a Drum/Percussion track. No Master or

Octave Transpose applies to this track. You can

set a different volume for each class of percus-

sive instruments (see “Page 13 - Track: Easy

edit” on page 45).

121- 3- 0

Poly

Tracks of this kind are polyphonic, i.e. they can

play more than one note at the same time.

Tracks of this kind are monophonic, i.e. each

new note stops the previous note.

CC#32

CC#0

Mono

Both

The track plays both the internal sounds and

an external instrument connected to the MIDI

OUT.

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4 7

Page 16 - R.T. controls: Damper

PAGE 16 - R.T. CONTROLS: DAMPER

This enables/disables the front/rear movement of the Joystick

(Y+: Modulation, and sometimes the sound parameter’s con-

trol; Y-: Various controls, or non-active).

This page lets you enable/disable the Damper pedal for each

of the Realtime (Keyboard) tracks.

PAGE 18 - R.T. CONTROLS: DYNAMIC RANGE

RT Ctl:Dmpr&Expr

This page lets you program a dynamic range for each of the

Realtime (Keyboard) tracks. This is useful to create a sound

made of up to three dynamic layers, assigning each of the

Upper tracks to a different dynamic range.

- - - - - D:On E:On

D:On E:On

As an example, you may assign the El.Piano 1 Program to the

Upper 1, and the El.Piano 2 Program to the Upper 2 track.

Then, set Upper 1 to [L=0, H=80], and Upper 2 to [L=81,

H=127]. The El.Piano 1 will play when playing softer, the

El.Piano 2 when playing louder.

D (Damper)

When you press the Damper pedal and release

the keys, the track’s sound is kept sustained.

The Damper pedal is not active on any track

set to this status.

Off

E (Expression)

RT Ctl:DynRange

This parameters allows you to switch the Expression control

on/off on each individual Realtime track. The Expression

control is a relative level control, always subtracted from the

Volume value of the track.

- - - - - L:0

L:0

H:127

As an example, imagine you have a Piano sound assigned to

Upper 1, and a Strings sound assigned to Upper 2. If you turn

the Expression switch on on Upper 2, and off on Upper 1,

you can use a pedal to control only the Strings’ volume, while

the Piano remains unchanged.

To program a pedal or the Assignable Slider to act as an

Expression control, see “Page 3 - Assignable Pedal/Foot-

switch, Assignable Slider” on page 126. Y o u can only assign

this function to a volume-type pedal, not to a switch-type

one. Assign the “KB Expression” option to the pedal or

Assignable Slider, then press WRITE to save the setting into

the Global.

Here is the edit procedure:

1. Use the VOLUME/VALUE (E-H) buttons to select a

track.

2. Use the F3-F4 buttons to select the L or H parameter for

that track.

3. Use the TEMPO/VALUE controls to change the parame-

ter’s value.

L/H

This parameter pair sets the Lower and Higher dynamic

range for the track.

127

Lowest velocity value.

Highest velocity value.

PAGE 17 - R.T. CONTROLS: JOYSTICK

This page lets you enable/disable the Joystick for each of the

Realtime (Keyboard) tracks.

PAGE 19 - R.T. CONTROLS: ENSEMBLE

This page lets you program the Ensemble function. This

function harmonizes the right-hand played melody with the

left-hand recognized chords.

RT Ctl:Joystick

- - - - - X:On Y:On

X:On Y:On

RT Ctl:Ensemble

E:Dual

Up1:Normal

Up2:Off

Dyn :- 2

Note:+ 0

Up3:Off

Here is the edit procedure:

1. Use the VOLUME/VALUE (E-H) buttons to select a

track.

2. Use the F3-F4 buttons to select the X or Y parameter for

that track.

3. Use the TEMPO/VALUE controls to change the status.

Up1…Up3

Right-hand (Upper) tracks.

Off

Normal

Mute

There is no harmonization on this track.

This track is included in the harmonization.

This track only plays the Ensemble notes, but

not the original note.

This enables/disables the left/right movement of the Joystick

(Pitch Bend, and sometimes the sound parameter’s control).

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Sty le Pla y o p e ra tin g m o d e

Page 20 - Style controls: Drum/ Fill

4 8

E(nsemble)

PAGE 20 - STYLE CONTROLS: DRUM/FILL

In this page you can select various general parameters for the

Style.

Harmonization type.

Duet

Open 1

Open 2

Block

Adds a single note to the melody.

Adds a closed-position chord to the melody.

Adds an open-position chord to the melody.

As the above, but with a different algorhythm.

Block harmonization – very typical of jazz

music.

StyCtl:Drums

V1 DR.map:5 KickDes:Off

V2 DR.map:5 SnarDes:Off

V3 DrMap:5 Fill1:->1

V4 DrMap:5 Fill2:->3

Power Ensemble

Adds a ﬁfth and an octave to the melody, as

heard in hard rock.

Fourths LO Typical of jazz, this option adds a perfect

fourth and a minor seventh under the melody.

Fourths UP As the above, but with notes added over the

melody.

V1-V4 Drum Map

The Drum Mapping lets you select an alternative arrange-

ment of percussive instruments for the selected Drum Kit,

without any additional programming. Just select a Drum

Map, and some percussive instruments will be replaced with

different instruments.

Fifths

This adds a series of Fifths below the original

note.

Octave

Dual

Adds one or more octaves to the melody.

This option adds to the melody line a second

note, at a ﬁxed interval set with the “Note”

parameter. When selecting this option, a trans-

position value appears (-24…+24 semitones to

the original note).

0…7

Drum Map number. Number 0 is the standard

mapping.

Kick D(esignation)

The Kick Designation replaces the original Kick (Bass Drum)

sound with a different Kick of the same Drum Kit.

Brass

Reed

Trill

Typical Brass section harmonization.

Typical Reed section harmonization.

This option trills the melody note. You can set

the trill speed by using the Tempo parameter

(see below).

Off, 1…3

Kick replacing the original one. Off corre-

sponds to the original Kick.

Snare D(esignation)

The Snare Designation replaces the original Snare Drum

sound with a different Snare of the same Drum Kit.

Note: You must play at least two notes with this

option!

Off, 1…3

Snare replacing the original one. Off corre-

sponds to the original Snare.

Repeat

Echo

The played note is repeated in sync with the

Tempo parameter (see below). When playing a

chord, only the ﬁrst note is repeated.

As the Repeat option, but with the repeated

notes fading away after the time set with the

Feedback parameter (see below).

Fill1/2

These parameters set a Variation to be automatically selected

at the end of the Fill.

Off

The same Variation, playing before selecting a

Fill, will be selected again.

1&2…3&4 The speciﬁed Variations will be alternatively

selected. For example, with the “1&2” option,

Variation 1 and Variation 2 will be alternatively

selected after the end of the Fill.

Dyn(amics)

This parameter sets the velocity difference between the right-

hand melody and the added harmonization notes.

-10…0

Subtracted velocity value.

Up/Down

The next higher/lower numbered Variation is

selected, in cycle. After Variation 4, an Up

command will select Variation 1. After Varia-

tion 1, a Down command will select Variation

Tempo

Note: This parameter only appears when the Trill, Repeat or

Echo options are selected.

Note value for the Trill, Repeat or Echo Ensemble options.

This is in sync with the Metronome Tempo.

Inc/Dec

The next higher/lower numbered Variation is

selected. When Variation 4 is reached, an Inc

command will select Variation 4 again. When

Variation 1 is reached, a Dec command will

select Variation 1 again.

Feedback

Note: This parameter only appears when the Echo option is

selected.

This parameter sets how many times the original note/chord

is repeated by the Echo option.

->1…->4

“Fill to Variation” (->1, ->2, ->3, ->4) auto-

matically selects one of the four available Style

Variations at the end of the ﬁll.

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Sty le Pla y o p e ra tin g m o d e

Page 21 - Style controls: Wrap Around / Keyboard Range

4 9

PAGE 21 - STYLE CONTROLS: WRAP AROUND /

KEYBOARD RANGE

In this page you can program the Wrap Around function and

the Keyboard Range for the Style tracks.

PAGE 22 - PADS

This page lets you select a different sound or function for

each of the four PAD buttons.

Pads

1:Crash

2:Ride

Volume:127

Pan:+00

StyCtl:Wrap/Rng

Prog:Orig

W:7

KR:Or

3:China

C Send:100

W:12 KR:Or

4:*StyleUp D Send:100

W:12 KR:Or W:12 KR:Or

1-4

Each of the four PAD buttons. See “List of sounds assignable

to the Pads” on page 226 and “List of functions assignable t o

the Pads” on page 227.

Here is the edit procedure:

1. Use the VOLUME/VALUE (A-H) buttons to select a

parameter.

2. Use the F1-F4 buttons to move the cursor between the

parameter and its status or value.

Note: Function names are preceded by an asterisk (*)

Volume

3. Use the TEMPO/VALUE controls to change the parame-

ter’s status or value.

Volume for each of the four Pad tracks.

Pan

Prog (Program)

Pan for each of the four Pad tracks.

This parameter lets you select a different Program, other than

the one recorded into the Style Element (Variations, Fills,

Intros, Endings).

Note: This parameter is automatically set to On each time you

assign a Program to any of the Style tracks, either from the front

panel or via MIDI.

-64

+63

Fully Left.

Centered.

Fully Right.

C Send

Send level to the C Internal FX processor (usually reverb) for

each of the four Pad tracks.

Original

Style tracks always use the original Programs.

If you assign a different Program to a Style

track, it may be reset to the original one when

selecting a different Style Element.

D Send

Send level to the D Internal FX processor (usually modulat-

ing effect) for each of the four Pad tracks.

You can assign different Programs to each Style

track, and save them in a Performance or Style

Performance. This becomes the only track’s

Program for all Style Elements.

PAGE 23 - PREFERENCES: LOCK

You can “lock” various functions, to avoid they can be

changed when selecting a different Performance, Style or Sin-

gle Touch Setting.

W (Wrap Around)

The wrap-around point is the highest register limit for the

backing track. The accompaniment patterns will be trans-

posed according to the detected chord. If the chord is too

high, the Style tracks might play in a register that is too high,

and therefore unnatural. If, however, it reaches the wrap-

around point, it will be automatically transposed an octave

lower.

The wrap-around point can be set for each track in semitone

steps up to a maximum of 12 semitones, relative to the chord

root. This value will be the interval between the key speciﬁed

by the Style Element and the wrap-around point.

Pref:Lock (Gbl)

M.Trnsp:On

Pads

:Off

Scale :On

AutoOct:On

Hint: When turning the instrument on, Performance 1 is auto-

matically selected. Therefore, if you wish your parameters to

stay unchanged, save your preferred default settings into Perfor-

mance 1 (see “The Write window” on page 42), and turn these

locks on.

1…12

Maximum transposition (in semitones) of the

track, referred to the original key of the pat-

tern.

KR (Keyboard Range)

Note: These settings are stored in the Global ﬁle. After changing

these settings, press WRITE to save them into the Global. The

Write Global window will appear (see “The Write window” on

page 125).

This parameter is an on/off switch for the Key Range param-

eter memorized into the Style.

Or(iginal)

The Keyboard Range is used. When a track

goes over the lower or higher limit set by this

(hidden) parameter, it is transposed, to play

into the programmed range.

Pads

Sounds or functions assigned to the Pads.

Off

No Keyboard Range used.

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Sty le Pla y o p e ra tin g m o d e

Page 24 - Preferences: controls

5 0

Note: These settings are stored in the Global ﬁle. After changing

these settings, press WRITE to save them into the Global. The

Write Global window will appear (see “The Write window” on

page 125).

Scale

When this lock function is On, the Scale parameter does not

change when selecting a different Performance, Style or Sin-

gle Touch Setting.

Chord Recognition Mode

Auto Octave

This parameter sets how chords are recognized by the auto-

accompaniment engine. Please note that when in Full or

Upper Chord Scanning mode, the Fingered 3 mode is always

selected, and you must always play at least three notes, to let a

chord be recognized.

Fingered 1 Play one or more notes, according to the

selected Chord Scanning Mode. A full Major

chord will be recognized even if only a single

note is played.

This lock lets the instrument automatically transpose the

Upper tracks when switching between the FULL UPPER and

the SPLIT Keyboard modes.

When switching to the FULL UPPER or SPLIT

Keyboard Mode, the Upper tracks transposi-

tion is left unchanged.

Off

When switching to the FULL UPPER Key-

board Mode, the Upper tracks Octave Trans-

pose is automatically set to “0”.

Fingered 2 You must always play three or more notes for a

full chord to be recognized. If you play just one

note, a unison will be played. If you play a sus-

pended 5th, a suspended chord will be played.

The full chord will be recognized when you

play three or more notes.

Fingered 3 You must always play three or more notes for a

chord to be recognized.

One Finger You can also compose a chord using a simpli-

ﬁed chord playing technique:

When switching to the SPLIT Keyboard Mode,

the Upper tracks Octave Transpose is automat-

ically set to “-1”.

M.Trnsp (Master Transpose)

The Master Transpose value is memorized into the Perfor-

mance or Style Performance. To prevent the Master Trans-

pose to be automatically changed when selecting a Style or

Performance, this lock should be set to On.

(Default) The lock is engaged. When selecting

a Style or Performance, the Master Transpose

will not change.

The lock is turned off. When selecting a Style

or Performance, the Master Transpose value

may change, according to the data memorized

into the Performance or Style Performance.

• If you play only one note, a Major chord is

recognized.

• Play the root note, plus a white key on the

left, for a 7th. Ex.: C3 + B2.

• Play the root note, plus a black key on the left,

for a Minor chord. Ex.: C3 + Bb2.

Off

• Play the root note, plus a white and a black

key on the left, for a Minor 7th. Ex.: C3 + B2 +

Bb2.

PAGE 24 - PREFERENCES: CONTROLS

In this page you can set various general parameters for the

Style.

Pref:Ctl (Gbl)

ChrdRecMode:One Finger

Scale Mode:RT Tracks

Memory Mode:Chord

Velocity Ctl:Start/Stop

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Sty le Pla y o p e ra tin g m o d e

5 1

Page 24 - Preferences: controls

chord is reset when raising the hand from the

keyboard, and the Lower track is not sustained.

When its LED is on, the MEMORY button

keeps the Lower track held until the next note

or chord is played. When off, the Lower track is

not sustained when raising the hand from the

keyboard. The chord is always kept in memory.

Scale Mode

This parameter determines which tracks will use the selected

alternative scale (see “Scale” on page 44).

Realtime tracks

Lower

The scale will only affect the Realtime (Key-

board) tracks.

Upper tracks

Velocity Control

The scale will only affect the Upper 1-3 Real-

time (Keyboard) tracks.

Set this parameter to trigger a Fill or a Break simply by play-

ing louder with your left hand. When playing on the Lower

track with a velocity higher than 95, the selected Style Ele-

ment will start. For this function to work, the SPLIT Key-

board Mode and LOWER Chord Scanning Mode must be

selected.

All Tracks

The scale will affect all tracks (Realtime, Style,

Pads).

Memory Mode

This parameter sets the way the MEMORY button works.

Chord

When its LED is on, the MEMORY button

keeps the recognized chord in memory. When

its LED is off, the chord is reset when raising

the hand from the keyboard.

Off

Break, Fill 1, Fill 2

When playing with a velocity higher than 95

The function is turned off.

on the Lower track, the selected element is

automatically triggered.

Chord + Lower

When its LED is on, the MEMORY button

Start/Stop

You can start or stop the Style by playing

harder on the keyboard.

keeps the recognized chord in memory, and

keeps the Lower track held until the next note

or chord is played. When its LED is off, the

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Sty le Re co rd m o d e

The Style’s structure

5 2

10. STYLE RECORD MODE

By entering the Style Record mode, you can create your own

Styles, or edit an existing Style.

Each Style Element is made up of smaller units, called Chord

Variations (CV), but not all of them have the same number

of CVs. Variations 1-4 have up to 6 CVs each, while the other

Style Elements have only up to 2 CVs.

THE STYLE’S STRUCTURE

When you play on the chord recognition area (Lower, Upper

or Full, depending on the Chord Scanning section on the

control panel), the arranger scans the keyboard and deter-

mines which chord you are playing. Then, depending on the

selected Style Element, it determines which Chord Variation

(CV) should be played for the scanned chord. Which Chord

Variation corresponds to each scanned chord is a setting of

the Style: the Chord Variation Table. Each Style Element

contains a Chord Variation Table, whose prototype is the fol-

lowing:

The term “Style” relates with music sequences automatically

played by the arranger of the Pa50. A Style consists of a pre-

deﬁned number of Style Elements (E) (Pa50 features ten dif-

ferent Style Elements: Variation 1-4, Intro 1-2, Fill 1-2,

Ending 1-2). When playing, these Style Elements can be

selected directly from the control panel, using the corre-

sponding buttons.

To explain the Style structure, we can use a tree-structure, as

shown in the following diagram:

Pop Ballad

Chord

Chord Variations (CVs)

Variation 1

CV1

Variation 1-4

Intro 1-2, Fill 1-2, Ending 1-2

Maj

Drum

Perc

M7b5

Sus4

Bass

Acc1

Acc2

Acc3

Acc4

Acc5

Sus2

M7sus4

min

CV2

CV3

CV4

CV5

CV6

m7b5

mM7

CV1 – CV6

CV1 – CV2

7b5

7sus4

dim

Variation 2

Variation 3

Variation 4

dimM7

aug

aug7

augM7

no 3rd

no 3rd, no 5th

Intro1

CV1

CV2

After deciding what CV to play, the arranger triggers the right

sequence for each track. Since each sequence is written in a

particular key (for example, CMajor, GMajor or Emin), the

arranger transposes it according to the scanned chord. Notes

in the sequence are carefully transposed according to the

Note Transposition Tables (NTT), to make them work ﬁne

with all recognized chords. The NTT allows you to record

just some Chord Variations, and have all the notes play in the

right place, avoiding dissonances and transposing the pattern

notes to the notes of the recognized chord.

Intro 2

Fill 1

Fill 2

Ending 1

Ending 2

Going deeper into the Style structure, we can see that each

Chord Variation is made up of Track Sequences, and the

Pa50 supports 8 different tracks. DRUM and PERC are used

for drum and percussion sequences, BASS for bass and

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Sty le Re co rd m o d e

5 3

Style Import/ Export

ACC1-5 are for accompaniment sequences (string, guitar,

piano or other accompaniment instruments).

After editing the Style, please save it (see “Exit and Save/

Abort Style” below). Then, edit the S t y le Performance to

adjust the track’s settings (Tempo, Volume, Pan, FX

Send… see page 43 and following in the “S t y le Play

operating mode” chapter) and save it by pressing the

WRITE button.

Select New Style to start from a new, empty Style. A

default Style Performance will be recalled. When ﬁn-

ished recording, you will save the new Style onto a User

Style location.

After recording the Style, please save it (see “Exit and

Save/Abort Style” below). Then, edit the Style Perfor-

mance to adjust the track’s settings (Tempo, Volume,

Pan, FX Send… see page 43 and following in the “S t y le

Play operating mode” chapter) and save it by pressing

the WRITE button.

Just to summarize, when you play a chord on the chord rec-

ognition area, the arranger determines which Style Element

is used, then determines which Chord Variation should be

used for the played chord, then Style sequences for every

track of that Chord Variation are transposed from the origi-

nal chord to the recognized chord using the NTT, and so on

every time you play a chord.

Note: The Break and the Count In are not Style Elements, and

cannot be programmed by the user. While in record/edit, the

BREAK/COUNT IN button does not work.

•

What to record

Recording a Style is a matter of recording tracks, inside a

series of Chord Variations, inside a series of Style Elements,

inside the Style itself.

You don’t need to record all Chord Variations for all Style

Elements. It is often only necessary to record just a Chord

Variation for each Style Element. Exceptions are the Intro 1

and Ending 1, where we suggest to record both a Major and

minor Chord Variations.

Note: After a record or edit operation, the Style is rewritten

in memory. When you press START/STOP there is a delay

before you can actually listen to the Style. This delay is

higher with a Style containing more MIDI events.

Note: While in Record mode, all footswitches are disabled.

LISTENING TO THE STYLE WHILE IN RECORD/

EDIT MODE

STYLE IMPORT/EXPORT

While you are in Record/Edit mode, you can listen to the

selected Chord Variation or to the whole Style, depending

on the page you are in.

To select a Chord Variation, go to the Main page of the

Record/Edit mode (see “E (Style Element)” and “CV

(Chord Variation)” on page 55).

You can use Korg’s Style To Midi application to exchange

Styles between your computer and the Pa50, through the

Standard MIDI File (SMF) format. The application is freely

downloadable from www.korgpa.com. Please read the

included instructions.

•

When you are in the Quantize, Transpose, Velocity, or

Delete pages, you can listen to the selected Chord Vari-

ation. Press START/STOP to check how it works. Press

START/STOP again to stop the playback.

ENTERING THE RECORD MODE

While in the Style Play operating mode, press RECORD. The

following page will appear in the display:

•

When you are in the Delete All, Copy, Style Element

Controls or Style Control pages, you can listen to the

whole Style. Press START/STOP and play some chords

to do your tests. Select any Style Element using the

control panel buttons (VARIATION 1-4, INTRO 1-2,

FILL 1-2, ENDING 1-2). Press START/STOP again to

stop the playback.

Record

Current Style

New Style

Note: When doing the above tests, the Fingered 3 Chord

Scanning mode is automatically selected.

•

Select Current Style to edit the current Style. If it is a

Factory Style, you will not be able to save it on the origi-

nal location; you will select a User Style instead.

EXIT AND SAVE/ABORT STYLE

When ﬁnished editing, you can save your Style in memory, or

abort any change. Press WRITE or RECORD to go to the

Write page (see “The Write window” on page 54).

Note: When saving the Style in memory, Pa50 automatically

compresses it to reduce its size and save memory.

Hint: Save often while recording, to avoid accidentally losing

your Style.

When editing an existing Style, the original Style Perfor-

mance is recalled, but the following parameters are reset

to their default values: Drum Mapping (0), Snare & Kick

Designation (Off), Program (Original), Keyboard

Range (Original). This means that you can hear some

differences between the Style in play and the same Style

being edited; for example, resetting the Drum Mapping

may lead to some instrument’s replacement.

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Sty le Re co rd m o d e

The Write window

5 4

THE WRITE WINDOW

Control function

CC# (Control Change Number)

This page appears when you press the WRITE or RECORD

button while in Record mode. Here you can save the recorded

or edited Style in memory.

Note Off*

Pitch Bend

Modulation 1

Modulation 2

Pan

Expression

CC#12

Write to

Style name: NewBossa

To: U1-01 Bossa

CC#13

Damper

Abort

Filter Resonance

Low Pass Filter Cutoff

CC#80

•

To save the Style to the internal memory, press the A or

B VOLUME/VALUE buttons, then press ENTER. The

“Are you sure?” message will appear. Press ENTER to

conﬁrm, or EXIT to abort.

CC#81

CC#82

•

To return to the previous Style Record page, leaving all

untouched and the Style unsaved, press EXIT.

To delete all changes to the Style, press one of the D

VOLUME/VALUE buttons to select the Abort com-

mand. The “Are you sure message?” will appear. Press

ENTER to conﬁrm deletion, or EXIT to return to the

Write page.

Not allow ed

After Touch

Volume

All other Control Change messages

(*) A Note Off will always be inserted at the end of the

Chord Variation.

Style name

Note: Some Control Change messages cannot be recorded

directly using Pa50 integrated controls.

Use this parameter to change the Style’s name. Press the right

A VOLUME/VALUE button to enter editing, and modify the

name using the UP/DOWN buttons to move the cursor, and

the DIAL to select a character. Press INSERT to insert a char-

acter at the cursor position, or DELETE to delete it

FAST DELETE USING THE CONTROL PANEL

BUTTONS

To (Style number)

While in the Main page or the Style Tracks page, you can use

the control panel buttons to delete various elements of the

Style:

Use the B VOLUME/VALUE buttons, or the TEMPO/VALUE

controls, to select a different User Style location in memory.

Note: Only User locations are available.

DELETE + note

Abort

When a track is selected, you can use this key sequence to

delete a single note or a single percussive instrument.

If the Style is playing, this shortcut deletes the instrument

only while the key is kept pressed, leaving all other notes

untouched within the track.

Select this command to delete any change to the Style.

LIST OF RECORDED EVENTS

The Style Record mode ﬁlters out some events that may dam-

age the right operation of the Style. Here are the recorded

events, and the most important ﬁltered-out events.

DELETE + Track

While in the Style Tracks page, you can delete a whole track

with a single shortcut. Keep the DELETE button pressed,

then press one of the VOLUME/VALUE buttons correspond-

ing to the track to be deleted. The “Are you sure?” message

appear. Press ENTER to conﬁrm, EXIT to abort.

Control function

CC# (Control Change Number)

Allow ed

Note On

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Sty le Re co rd m o d e

5 5

Main page

Note: When this parameter and the assigned value is in small

letters (cv:cv1), the Chord Variation is empty; when it is in cap-

itals (CV:CV1), it is already recorded

SE:V1…V4 You can select one of 6 Chord Variations to

edit.

MAIN PAGE

After pressing the RECORD button, and selected the Style to

record/edit, the Main page of the Style Record mode appears.

Chord

Style Play icon

Measure counter

SE:I1…E4

You can select one of 2 Chord Variations to

edit.

R (Recording Mode)

This parameters lets you select between the Realtime and the

Step recording modes. Use one of the E VOLUME/VALUE

buttons and the F3 function key to select this parameter.

Change its status using the E VOLUME/VALUE buttons, or

the TEMPO/VALUE controls.

NewBossa |T:DR

e:v1 cv:cv1 R:RT RL:2

CV Len:16

Resol:

Metro:On1

Meter:4/4

NTT:5th

maj7

Realtime. This methods allows you to record in

realtime each pattern of the Style.

Stp

Step Record. This method allows you to enter

the events one at a time. See “Style Record pro-

cedure” below for more information.

Style name

Track in record/edit

Style Play icon

When this icon appears in the display, you are in Style Play or

Style Record mode.

RL (Recording Length)

This parameter sets the recording length (in measures) of the

selected track. Its value is always equal to, or a divider of, the

Chord Variation Length (see next parameter).

Chord

While in the Main and Style Tracks page, this area shows the

Original Key/Chord (see “Original Key/Chord” on page 56)

for the selected track.

This is not the total length of the Chord Variation, but just of

the current track. For example, you may have a Chord Varia-

tion eight measures long, with a drum pattern repeating each

two measures. If so, set the CV Len parameter to “8”, and the

RecLen parameter to “2” before starting recording the Drum

track. When saving the Style, or executing any edit operation

on the Style, the 2-measures pattern will be extended to the

full 8-measures length of the Chord Variation.

Style name

This is the name of the Style in record/edit.

Measure counter

This counter shows the measure in record. The measure

range is speciﬁed by the “RecLen” parameter (see “RL

(Recording Length)” on page 55).

Warning: If you assign CVLen a value lower than RecLen,

the value of RecLen is not immediately updated in the dis-

play. Therefore, you are still free of changing the value of

CVLen, before the measures exceeding its value are deleted

(see warning in “CVLen (Chord Variation Len g t h)” below).

However, if you press START/STOP to begin recording, the

real RecLen value is changed to the new one, even if the dis-

play still shows the old value.

For example, you may have CVLen = 4 and RecLen = 4. If

you set CVLen to 2, and press START/STOP to begin record-

ing, RecLen is still shown as 4, but it is in reality set to 2, and

recording will cycle for just 2 measures. After you press

START/STOP to stop recording, RecLen is updated to 2, and

all measures after the second measure are deleted.

Track in record/edit

Most editing in this edit mode are executed on a single track.

While in the main page, the currently selected track is shown

on the upper right area of the display. The abbreviations are:

DR (Drums), PC (Percussion), BS (Bass), A1…A5 (Accom-

paniment 1…5).

To select the track to edit, press TRACK SELECT to jump to

the Style Tacks page (see “Style Tracks page” on page 56) and

use the VOLUME/VALUE buttons to select it.

E (Style Element)

Use the A VOLUME/VALUE buttons to select the line, and

the F1 button to select this parameter.

This parameter lets you select the Style Element to put in

edit. Each Style Element corresponds to one of the buttons

on the control panel carrying the same name.

Note: When this parameter and the assigned value is in small

letters (e:v1), the Style Element is empty; when it is in capitals

(E:V1), it is already recorded

CVLen (Chord Variation Length)

This parameter sets the total length (in measures) for the

selected Chord Variation. When playing a Style, this will be

the length of the accompaniment pattern to be cycled, when

the chord corresponding to the Chord Variation is recognized

on the keyboard.

Warning: If you reduce the Chord Variation Length after

recording, any measure after the selected length will be

deleted. Be very careful when setting the CVLen to a lower

value after recording!

V1…V4

I1…I2

Variation 1 to Variation 4

Intro 1 to Intro 2

F1…F2

E1…E2

Fill 1 to Fill 2

Ending 1 to Ending 2

CV (Chord Variation)

Use the A VOLUME/VALUE buttons to select the line, and

the F2 button to select this parameter. This parameter lets

you select the Chord Variation to edit, after selecting the Style

Element this Chord Variation pertains to.

Metro (Metronome)

This is the metronome heard during recording.

Off

No metronome click will be heard during

recording. A one-bar precount will be played

before starting recording.

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Sty le Re co rd m o d e

Style Tracks page

5 6

NTT

On1

On2

Metronome on, with a one-bar precount

before starting recording.

Metronome on, with a two-bar precount

before starting recording.

The Note Transposition Table (NTT) determines how the

arranger will transpose pattern notes, when playing a chord

that does not exactly match to the original chord of a Chord

Variation. For example, if you only recorded a Chord Varia-

tion for the CMaj chord, when a CMaj7 is recognized on the

keyboard the arranger must transpose some notes to create

the missing 7th.

Resol (Resolution)

This parameter sets the quantization during recording.

ꢂ (1/32)…ꢃ (1/8)

Grid resolution, in musical values. For exam-

ple, when you select 1/16, all notes are moved

to the nearest 1/16 division. When you select 1/

8, all notes are moved to the nearest 1/8 divi-

sion.

Note: To conform to Korg speciﬁcations, it is advisable to set the

NTT to “No Transpose” on the Intro 1 and Ending 1.

Root

The root note (in CMaj = C) is transposed to

the missing notes.

5th

The 5th note (in CMaj = G) is transposed to

the missing notes.

No quanti-

zation

i-Series

All original patterns must be programmed on

the “Maj7” or “min7” chords. When loading

old Korg i-Series instruments, this option is

automatically selected.

1/16

1/8

No Transp No transposition applied. The pattern will

always play as recorded. This is the standard

setting of Intro 1 and Ending 1 in Korg’s origi-

nal Styles.

Meter

As recorded with

This is the meter (time signature) of the Style. You can edit

this parameter only when the Style is empty, i.e. before you

begin recording anything.

NTT = Root or 5th

When you play a CM7

with NTT = Root

When you play a CM7

with NTT = 5th

(Key/Chord = CMaj)

Original Key/Chord

This is the track’s original key and chord. Use the D VOL-

UME/VALUE buttons to select the line, and the F1 and F2

buttons to switch from the key/chord name and the key/

chord type (Maj, min…).

As recorded with

NTT = i-Series

(Key/Chord = CM7)

When you play a CMaj When you play a CM7

with NTT = i-Series with NTT = i-Series

When in Style Play mode, this chord will be played back

exactly as it was recorded, without any NTT processing (see

below). To record just one Chord Variation for a Style Ele-

ment, the suggested original key/chord is “maj7”. Be very

careful to play the 7th+ note (i.e., with a “Cmaj7th” key/

chord, the B), to avoid the lack of notes, or a bad NTT con-

version when playing different chords.

Note: To conform to Korg speciﬁcations, it is advisable to record

both the “Major” and “minor” Chord Variations for the Intro 1

and Ending 1 Style Elements.

STYLE TRACKS PAGE

While in the main Style Record page, press TRACK SELECT

to jump to this page. Here you can see and select any Style

track.

Style Element-Chord Variation

in record/edit

Style in record/edit

When you select a track, the original key/chord assigned to

the selected track will be activated. All recorded tracks will

play back on that key/chord. For example, if the original key/

chord for the Acc1 track is A7th, when selecting the Acc1

tracks all the remaining tracks will play according to the A7th

key/chord.

In the above example, you will record the Acc1 track in the

AMajor key, with notes that will comply with the A7th chord.

This is the pattern that will be recalled exactly as it was

recorded, when playing an A7th chord.

NewBossa |V1-CV1

Brush 2

Piano01

Perc Kit

*AcouBass

Guitar01

StrngEns2

AcouPiano2 VoxPad1

Style tracks

Copying the Key/Chord value to all other tracks of the same

Chord Variation. While in this page, you can keep the SHIFT

button pressed, while pressing one of the [D] VOLUME/

VALUE buttons, to copy the Key of the currently selected

track to all other tracks of the same Chord Variation. This

function is useful to speed-up pattern programming, and to

avoid having different tracks in different keys within the same

Chord Variation.

Program name

Select a track using the VOLUME/VALUE buttons. Select a

Program using the PROGRAM/PERFORMANCE section.

While in this page, you can set the track’s volume using the

VOLUME/VALUE buttons. Since the track’s volume is mem-

orized in the Style Performance and not in the pattern, this

setting will not be recorded and saved. However, this will

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Sty le Re co rd m o d e

5 7

Step Record page

allow you to play back louder any reference track, or the track

you are recording.

mode, before actually starting recording (see step 6 on

page 58 for more information).

Track status

key?

When in the Style Tracks page, each track can be in one of

three status.

This is a prompt, asking for a note or chord to be played on

the keyboard, to enter an event on the current step.

Play

(Visible status icon). This status is available

only for non-selected tracks. When in play, a

track can play back the recorded pattern.

(Hidden status icon). When in this status, you

can play the track on the keyboard, but you

can’t record on it. This is useful to do some

preliminary test, before actually start record-

ing.

To set a track in mute, ﬁrst select it, then press

both corresponding VOLUME/VALUE buttons

to hide the status icon. To set the track in

record again, press again the corresponding

VOLUME/VALUE buttons.

Step value

Length of the event to be inserted. Use the NOTE VALUE

buttons, on the lower left area of the control panel, to change

this value.

Mute

ꢄ … ꢂ

Note value.

Dot (.)

Augments the selected note by one half of its

value.

Makes the selected note a triplet note.

Triplet (3)

V (Velocity)

Set this parameter before entering a note or chord. This will

be the playing strength (i.e., velocity value) of the event to be

inserted.

Record

(Flashing status icon). When in this status, the

track is ready to record. Just select a track to set

it in record status.

KBD

Keyboard. You can select this parameter, by

turning all counter-clockwise the dial. When

this option is selected, the playing strength of

the played note is recognized and recorded.

Velocity value. The event will be inserted with

this velocity value, and the actual playing

strength of the note played on the keyboard

will be ignored.

STEP RECORD PAGE

Access this page from the Main page of the Style Record

mode, by selecting the “Stp” recording mode (“R” parame-

ter), and pressing START/STOP.

1…127

Previous event

Event to be inserted

D (Duration)

Relative duration of the inserted note. The percentage is

always referred to the step value.

Step V1-CV1 T:DR

50%

85%

100%

Staccato.

Ordinary articulation.

Legato.

(a)

(b)

M001.01.000

M001.01.192 Meter: 4/4

key? V:64 D:85%

V:64 D:85%

Buttons used in Step Record mode

Current position

Step value

TIE button

Waiting for a keystroke…

Ties the note to be inserted to the previous note.

(a) section

REST button

Previously inserted event. You may delete this event, and set it

in edit again, by pressing the < button.

Inserts a rest.

NOTE VALUE buttons

(b) section

Select the step value.

Event to be inserted. See the following parameters for infor-

mation on each element of this section.

START/STOP button

Exits the Step Record mode.

M (Measure)

< (Previous step)

This is the position of the event (note, rest or chord) to be

inserted.

Goes to the previous step, deleting the inserted step.

>> (Fast Forw ard)

Meter

Goes to the next measure, and ﬁll the remaining space with

rests.

Meter of the current measure. This parameter can’t be edited.

You can set the Meter in the Main page of the Style Record

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Sty le Re co rd m o d e

Style Record procedure

5 8

wise, if you prefer to do a Step Record, jump to “Step

Record procedure” on page 59.

STYLE RECORD PROCEDURE

There are two different methods for recording a Style: Real-

time and Step.

Realtime Record procedure

•

Realtime Recording allows you to record Style patterns

in realtime.

1. When still in the Main page of the Style Record mode,

press one of the E VOLUME/VALUE buttons, to select

the “R” parameter. Use these buttons, or the TEMPO/

VALUE controls, to select the “RT” (Realtime) recording

mode.

•

Step Recording allows you to create a new Style by enter-

ing the single notes or chords in each track. This is very

useful when transcribing an existing score, or needing a

higher grade of detail, and is particularly suitable to cre-

ate drum and percussion tracks.

R:RT

2. Press TRK SELECT to switch to the Style Tracks page.

Here you can assign the right Program to each Style

track. (For more details, see “Style Tracks page” on

page 56).

Preparing to record

1. If you like to edit an existing Style, select that Style.

2. Press RECORD to enter the Style Record mode. You are

prompted to select either the Current Style, or a New

Style.

NewBossa |V1-CV1

Brush 2

Piano01

Perc Kit

*AcouBass

Guitar01

StrngEns2

Record

Current Style

New Style

AcouPiano2 VoxPad1

3. If you like, you can set the tempo again from this page:

just use the TEMPO/VALUE controls.

Select “Current Style” if you want to edit the current

Style, or make a new Style starting from an existing one.

Select “New Style” if you want to start from scratch with

an empty Style.

4. Assign a Program to each track, by using the PRO-

GRAM/PERFORMANCE section.

5. If needed, set the Octave Transpose for each track. Note:

The Octave Transpose will affect only the notes coming

from the keyboard, and not from the arranger.

3. After you select your preferred option, the Main page of

the Style Record mode will appear.

6. Select the track to put in record. Its status icon will

begin ﬂashing.

Note: When entering the Record mode, the last selected

track is already in record. When you press START/

STOP after entering the Record mode, you can immedi-

ately start recording.

If you like, you can try your part before recording:

• Set the track in mute, by pressing both corresponding

VOLUME/VALUE buttons; the status icon disappears.

• Press START/STOP to play back the other tracks, if

already recorded, and practice on the keyboard.

• When you have ﬁnished practicing, press START/

STOP to stop the arranger, and unmute the track by

pressing both VOLUME/VALUE buttons; the track will

be in record again.

NewBossa |T:DR

e:v1 cv:cv1 R:RT RL:2

CV Len:16

Resol:

Metro:On1

Meter:4/4

NTT:5th

maj7

4. Use the A VOLUME/VALUE buttons, and the F1 and F2

function keys to select the E (Style Element) and CV

(Chord Variation) parameter.

Note: For more information on the Style Elements and

Chord Variations, and the Style structure in general, see

“The Style’s structure” on page 52.

7. While the status icon is ﬂashing, press START/STOP to

begin recording. Depending on the “Metro” (metro-

nome) option you selected, a 1- or 2-bars precount may

play before the recording actually begins. When it

begins, play freely. The pattern will last for some mea-

sures, according to the RecLen value, then restart.

Since the recording will happen in overdub, you can add

notes on any following passage. This is very useful to

record different percussive instruments at any cycle on a

Drum or Percussion track.

5. Use the RL (Recording Length) parameter to set the

length (in measures) of the pattern to step-record. Select

this parameter using the E VOLUME/VALUE buttons

and the F4 function key. Use the TEMPO/VALUE con-

trols to set the value.

6. Use the Meter parameter to set the Style’s meter. You can

edit this parameter only if you selected the New Style

option when entering the Record mode.

7. Set the tempo. Keep the SHIFT button pressed, and use

the TEMPO/VALUE controls to change the tempo.

8. At this point, if you want to do a Realtime Recording go

on reading “Realtime Record procedure” below. Other-

Note: While recording, the track’s Keyboard Range (see

page 68) is ignored, and the tra c k c a n play over the whole

keyboard range. The Local parameter (see “Local” on

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Sty le Re co rd m o d e

5 9

Style Record procedure

page 127) is also automatically set to On, to allow playing

on the keyboard.

3. Assign a Program to each track, by using the PRO-

GRAM/PERFORMANCE section.

8. When ﬁnished recording, press START/STOP to stop

the arranger. Select a different track, and go on record-

ing the whole Chord Variation.

4. Press START/STOP to turn on its LED and enter the

Step Record page. (See “Step Record page” on page 57

for more information on each parameter of this page).

Note: You can select a different track only when the

arranger is not running.

Previous event

Event to be inserted

9. When ﬁnished recording the Chord Variation, select a

different Chord Variation or Style Element to go on

recording the whole Style.

10. When ﬁnished recording the new Style, press WRITE or

RECORD to save it in memory. The Write page will

appear:

Step V1-CV1 T:DR

(a)

(b)

M---.--.--- Empty

M001.01.000 Meter: 4/4

key?

V:64 D:85%

Current position

Step value

Write to

Waiting for a keystroke…

Style name: NewBossa

To: U1-01 Bossa

The ﬁrst two lines (a) are the latest inserted event. The

last two lines (b) are the event currently in edit, ready to

be inserted.

Abort

The “Empty” event marks the beginning of the pattern,

when there are no events inserted. It is automatically

inserted when entering the Record mode. It will be

removed when an event is inserted.

• To change the Style’s name: press the right A VOL-

UME/VALUE button to enter editing, and modify the

name using the UP/DOWN buttons to move the cursor,

and the DIAL to select a character. Press INSERT to

insert a character at the cursor position, or DELETE to

delete it.

5. The “Maaa.bb.ccc” parameter in (b) is the current posi-

tion. This is the place where the note in edit will be

inserted.

• If you don’t want to insert a note at this position,

insert a rest instead, as shown in step 7.

• To jump to the next measure, ﬁlling the remaining

beats with rests, press the >> button.

• To select a different location in memory, press one of

the B VOLUME/VALUE buttons, then select a location

with these buttons or the TEMPO/VALUE controls.

Press ENTER to conﬁrm, or one of the D (Abort) VOL-

UME/VALUE buttons to abort the save. The “Are you

sure?” message will appear in the display. Press ENTER

to conﬁrm, EXIT to abort. After pressing ENTER, you

will exit from the Record mode.

6. To change the step value, use the NOTE VALUE buttons,

on the lower left area of the control panel.

If you press EXIT while in the Write page, you will go

back to the previous Style Record page, without any

change.

7. Insert a note, rest or chord at the current position.

• To insert a single note, just play it on the keyboard. The

inserted note length will match the step length. You may

change the velocity and relative duration of the note, by

editing the V (Velocity) and D (Duration) parameters.

See “V (Velocity)” and “D (Duration)” on page 57.

• To insert a rest, just press the REST button. Its length

will match the step value.

Step Record procedure

1. When still in the Main page of the Style Record mode,

press one of the E VOLUME/VALUE buttons, to select

the “R” parameter. Use these buttons, or the TEMPO/

VALUE controls, to select the “Stp” recording mode.

• To tie the note to be inserted to the previous one, press

the TIE button. A note will be inserted, tied to the previ-

ous one, with exactly the same name. You don’t need to

play it on the keyboard again.

• T o i nsert a chord or a second voice, see “Chords and

second voices in Step Record mode” belo w .

R:Stp

2. Press TRK SELECT to switch to the Style Tracks page.

Here you can assign the right Program to each Style

track. (For more details, see “Style Tracks page” on

page 56).

8. After inserting a new event, you may go back by pressing

the < button. This will delete the previously inserted

event, and set the step in edit again.

NewBossa |V1-CV1

9. When the end of the pattern is reached, the “End Loop”

(End of Loop) event is shown in the ﬁrst two lines of the

display (a), and the recording restarts from the

“M001.01.000” position. Any note exceeding the pattern

length, inserted at its end, will be reduced to ﬁt the total

length of the pattern.

Brush 2

Piano01

Perc Kit

*AcouBass

Guitar01

StrngEns2

AcouPiano2 VoxPad1

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Sty le Re co rd m o d e

Style Record procedure

6 0

At this point, you may go on, inserting new events in

overdub mode (the previously inserted events will not

be deleted). This is very useful when recording a drum

or percussion track, where you may want to record the

bass drum on a ﬁrst cycle, the snare drum on the second

cycle, and the hi-hat and cymbals during the following

cycles.

4. Press the third note, then release all notes.

Inserting a second voice. You can insert passages where one

note is kept pressed, and another voice moves freely.

Ex. 1:

ꢆ

ꢅ

ꢇ

ꢅ

10. When ﬁnished recording, press START/STOP to turn off

its LED. The Main page of the Style Record mode

appears.

Step Time =

ꢅ

Press E and C

Off

Release E (continue holding C)

NewBossa |T:DR

Step Time =

ꢅ

E:V1 CV:CV1 R:RT RL:2

CV Len:16

Resol:

Metro:On1

Meter:4/4

NTT:5th

maj7

Off

Press G

Release G and C

When exiting, the “RT” recording mode is automati-

cally selected. You may press START/STOP to listen to

the Style. Press START/STOP again to stop the playback.

To enter the Step Record mode again, select the “Stp”

recording mode, and press START/STOP.

Ex.2:

ꢆ

ꢅ

ꢇ

Step Time =

ꢅ

Step Time =

ꢅ

11. From the Main page of the Style Record mode, press

RECORD to exit the Record mode. You will be

prompted to assign a new name to the Style, and select a

memory location where to save it. See “The Write win-

dow” on page 54 for information on how to save a Style.

Tie

Off

Press C

Release G and C

Press G (continue holding C)

Ex.3:

Chords and second voices in Step Record

mode

ꢅ

ꢇ

With Pa50, you are not obliged to insert single notes in a

track. There are several ways to insert chords and double

voices. Lets look at some.

Inserting a chord. When the “key?” prompt appears in the

display, play a chord instead of a single note. The event’s

name will be the ﬁrst note of the chord you pressed, followed

by the “…” marking.

Step Time =

ꢈ

Step Time =

ꢈ

Step Time =

ꢈ

Off

Press G

(continue holding C)

Press F and C

Release F

(continue holding C)

C4 ,

V:64 D:85%

Step Time =

ꢈ

Step Time =

ꢈ

Step Time =

ꢈ

Inserting a chord with notes with different velocity values.

You can make the upper or lower note of a chord, for exam-

ple, louder than the remaining ones, to make the most

important note emerge from the chord. Here is how to insert

a three-note chord:

Off

Release G

Off

Press D

Release D

(continue holding C)

1. Edit the Velocity value of the ﬁrst note.

2. Press the ﬁrst note and keep it pressed.

3. Edit the Velocity value of the second note.

4. Press the second note and keep it pressed.

5. Edit the Velocity value of the third note.

Step Time =

ꢈ

Step Time =

ꢈ

Press E

(continue holding C)

Off

Release E and C

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Sty le Re co rd m o d e

6 1

All edit pages share the same structure.

Style Play icon

Page header

Page number

From any page of the Style Record mode, press MENU to

open the Style Record edit menu. This menu gives access

to the various Style Record edit sections.

Note: While the Style is in play, you cannot access the Edit sec-

tion pages from the Main page and the Style Tracks page (see

page 55 and page 56). Stop the playback be fore pressing MENU.

Edit:Quantize

E:V1 CV:CV1 Trk:All

Resol:

When in the menu, select an edit section using the VOL-

UME/VALUE (A-H) buttons, select an edit page using

PAGE +, or press EXIT to exit the menu.

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

When in an edit page, press EXIT to go back to the main

page (or the Style Tracks page) of the Style Record mode.

Style Play icon

When on, this icon indicates that the instrument is in Style

Play mode.

Page header

The header shows the name of the current edit page. As a

general rule, the header is divided in a ﬁrst word, identifying

the section name (e.g., “Edit:Quantize” is an “Edit” section

page), and a second word, referring to the page name (e.g.

“Quantize”).

Record MENU

Quantize

Copy

Transp/Vel. S.Elem.Ctl.

Event Edit Style Ctl.

Delete

Section name

Page name

Each item in this menu corresponds to an edit section.

Each edit section groups various edit pages.

Edit:Quantize

Page number

This area shows the current page number.

Note: When switching from the Edit section pages (Quantize,

Transpose, Velocity, Delete) to the other pages, or vice-versa, the

Style (if in play) is automatically stopped.

A-H

EDIT PAGE STRUCTURE

Select an edit section from the Menu, and/or use the PAGE

buttons to reach the desired page.

Each pair of VOLUME/VALUE (A-H) buttons selects a differ-

ent parameter of command, depending on the edit page.

After selecting a parameter, you can change its value by press-

ing one of the two buttons in a pair, or using the TEMPO/

VALUE controls.

Press EXIT to go back to the main page of the Style Record

mode.

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Sty le Re co rd m o d e

Page 1 - Edit: Quantize

6 2

Bottom and Top parameters, you can select a single percus-

sive instrument in a Drum or Percussion track.

Note: These parameters are available only when a Drum or

Percussion track is selected.

PAGE 1 - EDIT: QUANTIZE

The quantize function may be used to correct any rhythm

error after recording, or to give the pattern a “groovy” feeling.

PAGE 2 - EDIT: TRANSPOSE

Edit:Quantize

In this page you can transpose the selected track(s).

Note: After transposing, please don’t forget to readjust the

“Original Key/Chord” parameter in the Style Record page (see

page 56).

E:V1 CV:CV1 Trk:All

Resol:

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Edit:Transpose

E:V1 CV:CV1 Trk:DRUM

Value:+000

E/CV (Style Element/Chord Variation)

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

(Non editable) These read-only parameters show which Style

Element and Chord Variation are currently selected for edit-

ing. See the Main page “E (Style Element)” and “CV (Chord

Variation)” parameters on page 55 for information on select-

ing a different Style Element and Chord Variation.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Trk (Track)

Use this parameter to select a track.

E/CV (Style Element/Chord Variation)

All

All tracks selected.

(Non editable) These read-only parameters show which Style

Element and Chord Variation are currently selected for edit-

ing. See the Main page “E (Style Element)” and “CV (Chord

Variation)” parameters on page 55 for information on select-

ing a different Style Element and Chord Variation.

Drum…Acc5 Selected track.

Resol (Resolution)

This parameter sets the quantization after recording. For

example, when you select 1/8a, all notes are moved to the

nearest 1/8 division. When you select 1/4, all notes are moved

to the nearest 1/4 division.

Trk (Track)

Use this parameter to select a track.

All

All tracks selected, apart for tracks set in Drum

mode (like the Drum and Percussion tracks).

The whole selected Chord Variation will be

transposed.

No quanti-

zation

1/8

1/4

Drum…Acc5 Single selected track.

Value

Transpose value (±127 semitones).

S / E (Start/End)

Use these parameters to set the starting (S) and ending (E)

points of the range to be transposed.

If a Chord Variation is four measures long, and you want to

select it all, the Start will be positioned at 1.01.000, and the

End at 5.01.000.

ꢂ (1/32)…ꢅ (1/4)

Grid resolution, in musical values. An “a” after

the value means no swing. A “b…f” after the

value means swing-quantization.

S / E (Start/End)

Bottom / Top

Use these parameters to set the starting (S) and ending (E)

points of the range to quantize.

If a Chord Variation is four measures long, and you want to

select it all, the Start will be positioned at 1.01.000, and the

End at 5.01.000.

Use these parameters to set the bottom and top of the key-

board range to be transposed. If you select the same note as

the Bottom and Top parameters, you can select a single per-

cussive instrument in a Drum or Percussion track. Since in a

Drum Kit each instrument is assigned to a different note of

the scale, transposing a percussive instrument means assign-

ing the part to a different instrument.

Bottom / Top

Use these parameters to set the bottom and top of the key-

board range to quantize. If you select the same note as the

Note: These parameters are available only when a Drum or

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Sty le Re co rd m o d e

6 3

Page 3 - Edit: Velocity

Trk (Track)

PAGE 3 - EDIT: VELOCITY

Track in edit. To select a different track, press one of the A

VOLUME/VALUE buttons to open the Go To Track window.

In this page you can change the velocity (dynamics) value of

notes in the selected track.

Go to Track: DRUM

Enter=Ok Exit=Cancel

Edit:Velocity

Use the TEMPO/VALUE controls to select a track, and press

ENTER to conﬁrm, or EXIT to abort.

EV1 CV:CV1 Trk:DRUM

Value:+000

E/CV (Style Element/Chord Variation)

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

Selected Style Element and Chord Variation. This parameter

can’t be edited. To select a different Style Element and Chord

Variation, press EXIT to go back to the Main page of the Style

Record mode (see “Main page” on page 55).

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Position

Position of the event shown in the display, expressed in the

form ‘aaa.bb.ccc’:

E/CV (Style Element/Chord Variation)

(Non editable) These read-only parameters show which Style

Element and Chord Variation are currently selected for edit-

ing. See the Main page “E (Style Element)” and “CV (Chord

Variation)” parameters on page 55 for information on select-

ing a different Style Element and Chord Variation.

•

‘aaa’ is the measure

‘b b’ is the beat

‘ccc’ is the tick (each quarter beat = 384 ticks)

You can edit this parameter to move the event to a different

position.

Trk (Track)

Ev (Event)

Use this parameter to select a track.

Type and values of the event shown in the display. Depending

on the selected event, the value may change. This parameter

also shows the (non-editable) “End Loop” marking, when the

end of a track is reached.

All

All tracks selected. The velocity for all notes of

the whole selected Chord Variation will be

changed.

Drum…Acc5 Selected track.

Value

Event

First value

Second value

Velocity change value (±127).

Note

Ctrl

Note name

Velocity

S / E (Start/End)

Control Change number

Bending value

Control Change value

–

Use these parameters to set the starting (S) and ending (E)

points of the range to be modiﬁed.

Bend

If a Chord Variation is four measures long, and you want to

select it all, the Start will be positioned at 1.01.000, and the

End at 5.01.000.

To change the event type, use the C VOLUME/VALUE but-

tons to select the Event line, then use the same buttons or the

TEMPO/VALUE controls to select a different event type.

To select and edit the event’s value, use the F3 and F4 func-

tion keys, and use the G/VOLUME/VALUE buttons or the

TEMPO/VALUE controls.

Bottom / Top

Use these parameters to set the bottom and top of the key-

board range to be modiﬁed. If you select the same note as the

Bottom and Top parameters, you can select a single percus-

sive instrument in a Drum or Percussion track.

Note: These parameters are available only when a Drum or

Percussion track is selected.

Length

Length of the selected Note event. The value format is the

same as the Position value.

Note: If you change a length of “000.00.000” to a different

value, you can’t go back to the original value. This rather

uncommon zero-length value may be found in some drum or

percussion tracks.

PAGE 4 - EVENT EDIT

The Event Edit page allows you to edit each event in a single

track. See “Event Edit procedure” on page 64 for more infor-

mation on the event editing procedure.

Transport, navigation and editing controls

E/F and H VOLUME/VALUE buttons

These buttons are the “Scroll to previous event” (E/F) and

“Scroll to next event” (H) controls. They corresponds to the

scrolling arrows shown on the screen.

Event Edit

Trk: DRUM

Position: 001.01.000 |

Ev: Note F#2 72

Lenght:000.00.000

E:V1 CV:CV1

G VOLUME/VALUE buttons

Use these buttons to select the corresponding parameter

value area.

Event Type

First value

Second value

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Sty le Re co rd m o d e

Page 5 - Event Filter

6 4

F3 and F4 buttons

Control function

CC# (Control Change Number)

After selecting the parameter value area with the G VOL-

UME/VALUE buttons, use these buttons to select, respec-

tively, the ﬁrst and second value of the event in edit.

Damper

Filter Resonance

Low Pass Filter Cutoff

CC#80

START/STOP button

Press START/STOP and play some chords on the keyboard to

test the pattern in edit. Press START/STOP again to stop the

pattern running.

CC#81

CC#82

SHIFT + << or >>

(a) Expression events cannot be inserted at the starting Position

(001.01.000). An Expression value is already among the default

“header” parameters of the Style Element.

Keep the SHIFT button pressed and press the << or >> but-

ton to open the Go to Measure window.

Go to Measure: 1

Bend

Pitch Bend events.

Enter=Ok Exit=Cancel

EVENT EDIT PROCEDURE

Use the TEMPO/VALUE controls to select a measure, then

press ENTER to conﬁrm, or EXIT to abort.

The Event Edit is the page where you can edit each single

MIDI event of the selected Style Element. You can, for exam-

ple, replace a note with a different one, or change its playing

strength (i.e., velocity value). Here is the general event editing

procedure.

1. Select the Style to edit, and press RECORD. Select the

“Current Style” option to enter recording. The LED on

the RECORD button will turn on, and the Main page of

the Style Record mode will appear.

INSERT

Press the INSERT button to insert a new event at the current

shown Position. The default values are Type = Note, Pitch =

C4, Velocity = 100, Length = 192.

After inserting an event, use the C VOLUME/VALUE buttons

to select the Event line, and the same buttons or the TEMPO/

VALUE controls to select a different event type.

DELETE

Chord Variation

Style Element

Press the DELETE button to delete the event shown in the

display.

PAGE 5 - EVENT FILTER

This page is where you can select the event types to be shown

in the Event Edit page. You can access this page by pressing

the PAGE+ button, while you are in the Event Edit page.

NewBossa |T:DR

e:v1 cv:cv1 R:RT RL:2

CV Len:16

Resol:

Metro:On1

Meter:4/4

NTT:5th

maj7

2. Use the A VOLUME/VALUE buttons, and the F1 and F2

function keys to select the E (Style Element) and CV

(Chord Variation) parameters.

Edit: Ev. Filter

Note: Off

Prog: Off

Ctrl: Off

Aftt: Off

PAft: Off

Bend: Off

Note: For more information on the Style Elements and

Chord Variations, and the Style structure in general, see

“The Style’s structure” on page 52.

T/Meter: Off SysEx: Off

3. Press MENU, and use the VOLUME/VALUE (A-H) but-

tons to select the Event Edit section. The Event Edit page

appears (see “Page 4 - Event Edit” on page 63 for more

information).

Turn Off the ﬁlter for all event types you wish to see in the

Event Edit page.

Note: Some of the events are “ghosted”, and non editable, since

the corresponding events are not editable in a Style.

Note

Ctrl

Notes.

Control Change events. Only the following

Control Change numbers are allowed.

Event Edit

Trk: DRUM

Position: 001.01.000 |

Ev: Ctrl 11 110

E:V1 CV:CV1

Control function

CC# (Control Change Number)

Modulation 1

Modulation 2

Pan

4. Press START/STOP to listen to the selected Chord Varia-

tion. If you like, play some chords on the keyboard, to

test the pattern. Press START/STOP to stop it.

5. Press PAGE+ to go to the Event Filter page, and turn

“Off” the ﬁlters for the event types you wish to see in the

(a)

Expression

CC#12

CC#13

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Sty le Re co rd m o d e

6 5

Event Edit procedure

display (see “Page 5 - Event Filter” on page 64 for more

information).

buttons or the TEMPO/VALUE controls to modify the

selected value.

Ev: Note F#2 72

Event Type

First value

Second value

Edit: Ev. Filter

Note: Off

Prog: Off

Ctrl: Off

Aftt: Off

PAft: Off

Bend: Off

12. If a Note event is selected, use the D VOLUME/VALUE

buttons to select the Length line, and use the same but-

tons, or the TEMPO/VALUE controls, to change the

event’s length.

T/Meter: Off SysEx: Off

6. Press PAGE- to go back to the Event Edit page.

7. Press the A VOLUME/VALUE button (Trk), to select the

track to edit. The Go To Track window appears.

Lenght:000.00.000

Measure

Beat

Tick

• After having modiﬁed the shown event, you may scroll

to the next event with the H VOLUME/VALUE buttons

(Scroll to next), or to the previous event with the E/F

VOLUME/VALUE buttons (Scroll to previous).

• You may use the SHIFT + << or >> shortcut to go to a

different measure (see “SHIFT + << or >>” on page 64)

• As described in step 4, you may press START/STOP

and play some chords to listen how the pattern sounds

after your changes. Press START/STOP again to stop the

pattern running.

Go to Track: DRUM

Enter=Ok Exit=Cancel

Use the TEMPO/VALUE controls to select a track, and

press ENTER to conﬁrm (or EXIT to abort).

8. The list of events contained in the selected track (in the

Style Element and Chord Variation selected on step 2)

will appear in the display. The ﬁrst step, or Measure

Start, is currently shown. Since it contains an initializa-

tion event, it is not editable and appears “in grey” (i.e.,

written with a “ghost” character).

13. Use the INSERT button to insert an event at the Position

shown in the display (a Note event with default values

will be inserted). Use the DELETE button to delete the

event shown in the display.

Position: 001.01.000 |

Ev: Ctrl 11

110

9. Press one of the H VOLUME VALUE buttons (Scroll

Down arrow), to go to the next step. This is usually a

note, that you can edit.

14. When the editing is complete, you may select a different

track (go to step 7), or a different Style Element and

Chord Variation (press EXIT to go back to the Main

page of the Style Record mode, then go to step 2).

15. When ﬁnished editing the whole Style, press WRITE to

open the Write Style page.

Event Edit

Trk: DRUM

Position: 001.01.000 |

Ev: Note F#2 72

Lenght:000.00.000

E:V1 CV:CV1

WRITE to:

Style name: Groove Bld

To: U01-01 Foxtrot 3

For more information on the event types and their val-

ues, see “Page 4 - Event Edit” on page 63.

Abort

10. Use the B VOLUME/VALUE buttons to select the Posi-

tion line. Use these buttons or the TEMPO/VALUE con-

trols to change the event’s position.

• Use the A or E VOLUME/VALUE buttons to enter the

Text Editing mode. Use the UP and DOWN buttons to

move the cursor, and the dial to select a character.

• Use the B VOLUME/VALUE buttons to select a target

location. The name of the Style already existing at the

selected location is shown after the Style Bank-Location

number.

Warning: If you select an existing Style and conﬁrm writ-

ing, the older Style is deleted and replaced by the new one.

Save the Styles you don’t want to loose on disk, before over-

writing them.

Position: 001.01.001

Measure

Beat

Tick

11. Use the C VOLUME/VALUE buttons to select the Event

line. You may use the C VOLUME/VALUE buttons or

the TEMPO/VALUE controls to change the event type.

Use the G VOLUME/VALUE buttons, and the F3 and F4

function keys to respectively select the ﬁrst and second

value of the parameter. Use the G VOLUME/VALUE

16. Press ENTER to save the Style to the internal memory,

or one of the D VOLUME/VALUE buttons (Abort) to

delete any changes made in Style Record mode. When

the “Are you sure?” message appears, press ENTER to

conﬁrm, or EXIT to go back to the Write Style page.

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Sty le Re co rd m o d e

Page 6 - Edit: Delete

6 6

Note: Some CC data are automatically removed

during recording. See the table on page 54 for

more information on the allowed data.

PAGE 6 - EDIT: DELETE

This page is where you can delete single elements or MIDI

events out of the Style.

S / E (Start/End)

Use these parameters to set the starting (S) and ending (E)

points of the range to delete.

If a Chord Variation is four measures long, and you want to

select it all, the Start will be positioned at 1.01.000, and the

End at 5.01.000.

Edit:Delete

E:V1 CV:CV1 Trk:All

Ev:Note

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

Bottom / Top

Use these parameters to set the bottom and top of the key-

board range to delete. If you select the same note as the Bot-

tom and Top parameters, you can select a single percussive

instrument in a Drum or Percussion track.

Note: These parameters are available only when the All or Note

option is selected.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

E/CV (Style Element/Chord Variation)

(Non editable) These read-only parameters show which Style

Element and Chord Variation are currently selected for edit-

ing. See the Main page “E (Style Element)” and “CV (Chord

Variation)” parameters on page 55 for information on select-

ing a different Style Element and Chord Variation.

PAGE 7 - EDIT: DELETE ALL

This function lets y ou quickly delete a selected Style Element

or Chord Variation, or the whole Style, resetting it to the

default parameter’s values.

Trk (Track)

Use this parameter to select a track.

All

All tracks selected. After deletion, the selected

Chord Variation will remain empty.

Edit:Delete All

Drum…Acc5 Selected track.

Del:V1-CV1 Trk:All

Ev (Event)

Type of MIDI event to delete.

All

All events. The measures are not removed from

the Chord Variation.

All notes in the selected range.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

Note

Dup.Note

All duplicate notes. When two notes with the

same pitch are encountered on the same tick,

the one with the lowest velocity is deleted.

After Touch events.

Note: This kind of data is automatically removed

during recording.

A.Touch

Del (Delete)

Use this parameter to select the whole Style, a single Style

Element, or a single Chord Variation.

P.Bend

PrChange

Pitch Bend events.

Program Change events, excluding the bun-

dled Control Change #00 (Bank Select MSB)

and #32 (Bank Select LSB).

Note: This kind of data is automatically removed

during recording.

All

All Style Elements, i.e. the whole Style. When

Del=All and Trk=All, the whole Style is

deleted, and all parameters set to the default

status.

Var1…End2 Single Style Element.

V1-CV1…E2-CV2

C.Change

All Control Change events, for example Bank

Select, Modulation, Damper, Soft Pedal…

Single Chord Variation.

Trk (Track)

CC00/32…CC127

Single Control Change events. Double Control

Change numbers (like 00/32) are MSB/LSB

bundles.

All

All tracks of the selected Style, Style Element or

Chord Variation.

Drum-Acc5 Single track of the selected Style, Style Element

or Chord Variation.

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Sty le Re co rd m o d e

6 7

Page 8 - Edit: Copy

Copying on a Chord Variation with a different

length

PAGE 8 - EDIT: COPY

Here you can copy a track, Chord Variation or Style Element

inside the same Style, or from a different one. Furthermore,

you can copy a whole Style.

You can copy a Chord Element on a different Chord Element

with a different length. Just keep in mind the following:

Warning: The Copy operation deletes all data at the target

location (overwrite).

•

If the source length is a divider of the target length, the

source Chord Variation will be multiplied to ﬁt the tar-

get Chord Variation. For example, if the source is 4-

measures long, and the target 8-measures, the source

will be copied two times.

Edit:Copy

From:S01-01 8BeatMax

From:V1-CV1 To:V1-CV2

FromTrk:DR ToTrk:DR

•

If the source length is not a divider of the target length,

the source Chord Variation will be copied for as many

measures as can ﬁt the target Chord Variation. For

example, if the source is 6-measures long, and the target

8-measures, the source will be copied once, then the ﬁst

2 measures will be copied to ﬁt the remaining 2 mea-

sures.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Note: If you copy too many events on the same “tick”, the “Too

many events!” message appears, and the copy operation is

aborted.

Note: When you copy over an existing Chord Variation, Pro-

gram Change data is not copied, to leave the original Programs

unchanged for that Chord Variation.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

Note: Avoid copying on a Chord Variation with a different

meter, for example a 4/4 Chord Variation onto a 3/4 one.

From Style

Use the ﬁrst parameter to select the source Style to copy the

track, Chord Variation or Style Element from.

PAGE

PROGRAMS

In this page you can assign a different Program to each track

of the selected Style Element. Each Style Element can have

different Programs; after saving the new Style, please don’t

forget to set the “Prog” parameter to “Original” (see “Prog

(Program)” on page 49), to let the Style select the Program

bypassing the Style Performance settings.

STYLE ELEMENT CONTROLS:

From… to Style Element/Chord Variation

Use these parameters to select the source and target Style Ele-

ments or Chord Variations.

Note: You can’t copy from a Variation to a different Style Ele-

ment (or vice-versa), because of their different structure.

All

All Style Elements, i.e. the whole Style. You

can’t change the target, that is automatically set

to All.

Var1…End2 Single Style Element.

V1-CV1…E2-CV2

Single Chord Variation.

SECtl:Program V1

From… to Track

StandardDK Jazz GT

Use these parameters to select the source and target track to

copy.

PercKit 1

FingerBass Vibes

Ac.Piano VoxPad

Brass

All

All tracks of the selected Style, Style Element or

Chord Variation.

Drum-Acc5 Single track of the selected Style, Style Element

or Chord Variation.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

To copy the settings of this page to another Style Element,

keep the SHIFT button pressed, and press the button of the

target Style Element.

Program

Use the PROGRAM/PERFORMANCE section to assign a

Program to the selected track.

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Sty le Re co rd m o d e

Page 10 - Style Element Controls: Expression

6 8

Bottom/Top

PAGE 10

EXPRESSION

STYLE ELEMENT CONTROLS:

Use these parameters to set the bottom and top of the key-

board range for the corresponding track.

In this page you can modify the Expression (CC#11) value

for each of the Style tracks. This lets you reduce the relative

level of a track in a single Style Element, without reducing the

overall Volume of the Style.

PAGE 12 - STYLE ELEMENT CONTROLS: CHORD

VARIATION TABLE

This is a very useful control, when you have different Pro-

grams assigned to the same track in different Style Elements,

and the internal level of these Programs is different.

This is the page where you can assign a Chord Variation to

each recognized chord. When a chord is recognized, the

assigned Chord Variation will be automatically selected by

the arranger to play the accompaniment.

SECtl:Express.V1

Value: 100 Value: 100

SECtl:ChTable V1

Major:

CV1

CV2

CV1

CV2

Minor:

Seventh:

Maj7th:

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

To copy the settings of this page to another Style Element,

keep the SHIFT button pressed, and press the button of the

target Style Element.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

E-F (Scroll Up), G-H (Scroll Dow n)

Use these buttons to scroll the available parameters in the dis-

play.

Value

Use this parameter to set the Expression value for the corre-

sponding track.

Chords / Chord Variation

Use these parameters to assign a Chord Variation to each of

the enlisted chords.

PAGE 11

KEYBOARD RANGE

STYLE ELEMENT CONTROLS:

PAGE 13 - STYLE CONTROLS: MODE/TENSION

In this page you can set the Retrigger mode for the Style

tracks, and activate/deactivate the Tension for the Accompa-

niment tracks.

The Keyboard Range automatically transposes any pattern

note that would otherwise play too high or too low in pitch,

compared to the original acoustic instrument, when trans-

posed by the arranger. This will result in a more natural

sound for each accompaniment instrument.

For example, the lower limit for a guitar is E2. If you play a

chord under the E2, the transposed pattern could exceed this

limit, and sound unnatural. A Bottom limit set to E2 for the

guitar track will solve the problem.

StCtl:Mode/Tens

- - - - - - M:Off T:On

- - - - - - M:Rt T:On

M:Rp

M:Rp T:On

M:Rt T:On M:Rp T:Off

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

SECtl:KbdRng V1

- - - - - - C-1

G#9

C-1

G#9

C-1

M (Mode)

This setting harmonizes the notes of the Bass track or the

Acc1-5 tracks to the new chord when the chord is changed.

Off

Each time you play a new chord, the current

notes will be stopped. The track will remain

silent until a new note will be encountered in

the pattern.

(Retrigger) The sound will be stopped, and

new notes matching the recognized chord will

be played back.

Top

Bottom

Note: The Keyboard Range is ignored while recording. The

selected track can play on the full range of the keyboard.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …

ENDING2).

To copy the settings of this page to another Style Element,

keep the SHIFT button pressed, and press the button of the

target Style Element.

(Repitch) New notes matching the recognized

chord will be played back, by repitching notes

already playing. There will be no break in the

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Sty le Re co rd m o d e

Page 13 - Style Controls: Mode/ Tension

6 9

sound. This is very useful on Guitar and Bass

tracks.

whether or not the Tension included in the recognized chord

will be added to the Acc1-5 tracks.

Off

The Tension will be added.

No Tension will be added.

T (Tension)

Tension adds notes (a 9th, 11th and/or 13th) that have actu-

ally been played to the accompaniment, even if they haven't

been written in the Style pattern. This parameter speciﬁes

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So n g Pla y o p e ra tin g m o d e

The Songs and the Standard MIDI File format

7 0

11. SONG PLAY OPERATING MODE

The Song Play operating mode is where you can listen to

SELECTING

SONG COMPOSING ITS

Songs (played directly from disk), and play along with the

Song on the four Realtime (Keyboard) tracks (Upper 1-3,

Lower). Since the Pa50 is equipped with two onboard

sequencers, you can play two Songs at the same time. This is

very useful to mix between two Songs during a live perfor-

mance.

PROGRESSIVE NUMBER

Each Song on disk (up to 9,999) has a progressive number

assigned. You can see this number before the Song’s name in

the Song Select page.

0001 MYSONG.MID

While in the Main, Song Select, or Lyrics page, the STYLE

section doubles as a numeric keypad. You can use it for com-

posing the 4-digit number corresponding to the Song you

wish to select; the folder selected in the Song Select page will

become the current folder. This way, you can speed up the

Song retrieval.

THE SONGS AND THE STANDARD MIDI FILE

FORMAT

The native Song ﬁle format of the Pa50 is the Standard MIDI

File (SMF), an universal standard set by all manufacturers.

You can read these ﬁles with any musical instrument or com-

puter.

Selecting a Song in the Song Select page

A difference could be in the sound played by each track. If

you recorded a Song with the Pa50 (Song mode), using only

General MIDI programs, you can play the same Song on vir-

tually any other musical instrument or computer. If you used

KORG native programs, you cannot reproduce the same

sounds on instruments from other brands.

When you read SMFs in Song Play mode, there is no problem

reading ﬁles made using only General MIDI sounds. Sounds

could be different when playing a Song made on a different

instrument: despite the wide compatibility of Pa50 with

other, non-standard formats, differences may arise.

If so, go to the Song operating mode and load the SMF. Then,

manually reassign the non-matching Programs, replacing

them with similar Programs on the Pa50. Then, save the SMF

again, and you will be able to play it in Song Play mode with

the correct Programs.

1. Open the Song Select page.

2. Select the disk and open the folder containing the Song

to be selected. This folder will be used also in the Main

and Lyrics page.

3. Compose the 4-digit number corresponding to the Song

you wish to select (for example: if the Song is number

“1043”, dial 1, 0, 4, 3).

Song number:

000-

After the fourth digit has been inserted, the window

automatically disappears, and the Song is selected.

•

If the Song number is just 1, 2 or 3-digit long, dial the

number, then press ENTER to conﬁrm (for example: if

the Song is number “52”, dial 5, 2, ENTER).

Note: If no Song corresponds to the dialed number, the

“Song not available” message appears. Press any button to

make it disappear.

TRANSPORT CONTROLS

You can use the separate transport controls for each of the

two onboard sequencers. Use the SEQ1 controls for

Sequencer 1, and SEQ2 controls for Sequencer 2. See

“SEQUENCER TRANSPORT CONTROLS - SEQ1 and

SEQ2” on page 18 for more information).

Selecting a Song in the Main page

While the S1 or S2 ﬁeld is selected, compose the number

corresponding to the Song you wish to select. The current

folder is the one selected in the Song Select page.

MIDI CLOCK

In Song Play mode the MIDI Clock is always generated by the

internal sequencer, even if the Clock parameter is set to

External (see “Clock” on page 127). Pa50 transmits only the

MIDI Clock message generated by Sequencer 1.

Selecting a Song in the Lyrics page

Compose the number corresponding to the Song you wish

to select. The current folder is the one selected in the Song

Select page.

SWITCHING BETWEEN SEQUENCERS DURING

EDITING

When you enter Edit mode, you can edit the selected

sequencer’s parameters. Go to the main page of Song Play

mode, and select the S1 (A buttons) or S2 (B buttons) to

select the sequencer you wish to edit (see “Main page” on

page 72).

REALTIME AND SEQUENCER TRACKS

The Pa50 is equipped with a double sequencer. Each Song

can play a maximum of 16 tracks, for a total of 32 sequencer

tracks.

In addition, you can play on the keyboard with four addi-

tional Realtime tracks (Upper 1-3 and Lower). You can edit

the Volume, Mute status, and Program selection for these

tracks on the main page of the Song Play mode.

When you enter Song Play mode from the Style Play mode,

the Realtime tracks are the same as the Style Play mode. A

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Master Volume, Sequencer Volume, BALANCE

7 1

Enable

quick way to select Programs and Effects for the Realtime

tracks is choosing a different Performance.

Enables/disable the quantize. It is automatically set to Off

each time the instrument is turned on, or when selecting a

different Song.

MASTER VOLUME, SEQUENCER VOLUME,

BALANCE

While the MASTER VOLUME slider controls the general vol-

ume of the instrument, you can use the ACC/SEQ VOLUME

slider to control only the Sequencer’s tracks volume. This lets

you adjust the Sequencer’s volume alone, while the Realtime

(Keyboard) tracks are not affected by this slider.

NStart (Note Start)

Enables/disables the quantization of the Note On event (i.e.

beginning of the note).

NDurat (Note Duration)

Enables/disables the quantization of the Note Off event (i.e.

the length of the note).

Res (Resolution)

Use the BALANCE slider to mix between Sequencer 1 and

Sequencer 2. Move it to the center for the maximum volume

of both sequencers.

Coarse quantize grill resolution. This parameter is the main

quantization value, to be varied with the Acc, Swing and

Window values.

ꢂ (1/32)…ꢅ (1/4)

EFFECTS IN SONG PLAY MODE

Grid resolution, in musical values (a “3” after

the value means “triplet”). For example, when

you select 1/8, all notes are moved to the near-

est 1/8 division. When you select 1/4, all notes

are moved to the nearest 1/4 division.

The Pa50 is equipped with four effect processors, or DSPs

(Digital Signal Processors). In Song Play mode you can have

two or four effects at the same time, depending on the midi-

ﬁle you are reading.

No quanti-

zation

Note: When playing back a Song that makes use of all four

effects (A-D), you can’t edit any parameter devoted to the

effects. These parameters appear greyed out in the display.

•

A Song created on the Pa50 (in Song or Backing

Sequence mode) can use up to 4 effects (usually 2

reverbs + 2 modulating effects); each track may use the

A/B or C/D pair.

A Standard MIDI File will only use 2 effects (usually 1

reverb + 1 modulating effect). This lets you use the

remaining 2 effects for the Realtime tracks.

When using both sequencers at the same time, and the

“S2 FX Mode” is set to “A /B Mode” (see page 80), they

only use the A/B pair, while the C/D pair is reserved to

the Realtime (keyboard tracks).

When using both sequencers at the same time, and the

“S2 FX Mode” is set to “C/D Mode” (see page 80),

Sequencer 1 uses the A/B pair, while Sequencer 2 uses

the C/D pair, sharing it with the Realtime (keyboard

tracks).

1/8

1/4

•

Acc (Accuracy)

Accuracy percentage of quantize. For example, if Acc=50, and

the note is 20 tics away from the coarse grid, it is moved to

the grid of only 10 tics.

100

No accuracy. The quantize is not executed.

Maximum accuracy. The note is moved exactly

at the grid position.

•

Sw ing

Asymmetry of quantization. Grid axis are moved to the near-

est grid axis.

Even-numbered axis are totally moved over the

previous odd-numbered axis.

Axis are perfectly equidistant.

Even-numbered axis are totally moved over the

following odd-numbered axis.

GROOVE QUANTIZE WINDOW

100

You can apply a realtime “groove-quantization” to Sequencer

1. Groove-quantization is a way of changing the music

groove during the playback, moving notes to the nearest axis

of a rhythmic “grid”. Please feel free to experiment: this func-

tion is a great source of musical invention.

Swng=50

Swng=25

While in Song Play, press G.QUANTIZE. The following win-

dow will appear.

Swng=75

Groove Quantize

Enable:On

Window

NStart:On

NDurat:On

Res:

Acc(%):100

Swng(%):100

Wndw(%):100

Area of quantize intervention, bordering the grid axis.

The quantize window corresponds to the axis.

No quantization happens.

Press EXIT to exit this window.

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The Write window

7 2

100

The quantize window extends to the nearest

window; all events are quantized.

MAIN PAGE

Press SONG PLAY to access this page from another operating

mode.

Win=0

Note: When switching from Style Play to Song Play, the Song

Setup is automatically selected, and various track parameters

may change.

Win=50

Press EXIT/NO to access this page from the Menu or any of

the Song Play edit pages.

Win=100

To see the Song’s tracks, use the TRACK SELECT button to

switch from the main page (showing the Realtime tracks), to

the other tracks. Pressed a ﬁrst time, you will see tracks 1-8

(enlightened TRACK SELECT LED); a second press will

show tracks 9-16 (ﬂashing TRACK SELECT LED); pressed

again, you will go back to the Realtime tracks (TRACK

SELECT LED switched off).

THE WRITE WINDOW

You can save onto the internal memory a Seq1+Seq2 Setup.

There is a separate Setup for each of the two onboard

sequencers.

This Setup memorizes the Internal FX settings, the Internal/

External status of each track, and the Play/Mute status of

each track. When a new Song is selected, the saved Setup is

automatically recalled, and all parameters are reset.

Selected Sequencer

Song Play icon

Page header

Measure number

•

Globally setting the Internal FX parameters allows you,

for example, to assign to all Songs a Reverb suitable for

the venue where you are performing, without having to

modify any of the Songs. (This is true only for non-

Pa50/80 Songs).

No song

S1:

Piano01

S2:

Guitar01

StrngEns2

VoxPad1

Lyrics

•

Globally setting the Internal/External status allows you,

for example, to send the Piano track of all Songs to a

dedicated expander (just set globally the Piano track to

the External mode).

The Play/Mute status allows you to globally mute tracks

that you don’t want to play during a show, for example

the melody track. (This is ture only for non-Pa50/80

Songs).

Song select commands

Realtime (Keyboard) tracks

Song Play icon

When on, this icon shows that the instrument is in Song Play

mode.

For more information on the Internal FX settings for the

Song Play mode, see “Page 3 - Mixer: FX send A/B” or “Page

3 - Mixer: FX send C/D”, and following, on page 76.

Here is the procedure to save the Seq1+Seq2 Setup in mem-

ory.

P a ge header

This line shows the currently selected sequencer, and the

assigned Song (“S1:Song Name” or “S2:Song Name”).

When no Song is assigned to the current sequencer, this line

shows only the selected sequencer number (“S1:” or “S2:”,

depending on the selected sequencer).

1. Press WRITE. The Write page appears.

When no sequencer or Song is selected, only the “No Song”

text appears.

Press either A (S1:) or B (S1:) to switch between Sequencer 1

and Sequencer 2. When one of the sequencers is selected, the

sequencer number is also shown at the right of the metro-

nome Tempo.

WRITE:

Press 'Enter/Yes'

to memorize

the Seq 1/2 Setup

2. Press ENTER to conﬁrm, or EXIT to abort.

If you conﬁrm, the Setup is saved into the Global. You

may then save this Setup on disk together with the Glo-

bal data.

When a Jukebox ﬁle is in play, its name appears on the page

header.

Selected Sequencer

These indicators show if the currently selected sequencer is

Seq1 or Seq2. Use the A and B VOLUME/VALUE buttons to

select a sequencer.

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7 3

Tracks 1-8 page

Bar number

Press the TRACK SELECT button again, to go back to the

main page.

This counter shows the current bar number position of the

selected Song.

A (S1:SongName)

Pressed a ﬁrst time (with a Song already selected) this button

pair selects Sequencer 1. Pressed a second time (or with no

Song selected), it opens the Song Selection page (see “Song

Select page” on page 73), allowing for selection of a single

Song or a Jukebox ﬁle for Sequencer 1.

S1:MySong

Strings1

DkStrings

Legato

VocaEns

Bassi

StrngEns2

BrassyHorn Strings2

If you select another Song, while a Song is in play within the

same Sequencer, the new Song will start playing.

While this parameter is selected, you can select a Song by

composing its progressive number (see “Selecting a Song

composing its progressive number” on page 70).

A-H (Tracks 9-16 Programs)

Name of the Programs assigned to tracks 9-16. Use these but-

tons to select, mute/unmute or change the volume of the cor-

responding tracks.

B (S2:SongName)

Pressed a ﬁrst time (with a Song already selected) this button

pair selects Sequencer 2. Pressed a second time (or with no

Song selected), it opens the Song Selection page (see “Song

Select page” on page 73), allowing for selection of a single

Song for Sequencer 2.

If you select another Song, while a Song is in play within the

same Sequencer, the new Song will start playing.

While this parameter is selected, you can select a Song by

composing its progressive number (see “Selecting a Song

composing its progressive number” on page 70).

SONG SELECT PAGE

This page appears when you press either the A (S1:) or B (S2:)

button while you are in the main page. You can also access the

Song Select page by pressing PAGE +.

Press EXIT (or PAGE-) to go back to the main page of the

Song Play operating mode, without selecting a Song.

C (Lyrics)

Song Selection

Open the Lyrics page (see “The Lyrics page” on page 74). L y r -

ics will be shown only if included into the selected Song, and

compatible with a standard format that Pa50 can recognize.

CLUB

BALLADS

0001 MYSONG.MID

FD SELECT OPEN CLOSE

E (Upper 1 Program), F (Upper 2 Program), G (Upper 3 Pro-

gram), H (Low er)

Name of the Programs assigned to the Realtime (Keyboard)

tracks. Use these buttons to select, mute/unmute or change

the volume of the corresponding tracks.

While in this page, select a Song for the selected Sequencer, or

a Jukebox ﬁle for Sequencer 1.

Note: There is a separate working directory for each onboard

sequencer.

TRACKS 1-8 PAGE

A-C (File, folder)

Move the “.MID”, “.KAR” or “.JBX” ﬁle, or folder, to be

selected to the ﬁrst line of the display. To select a ﬁle, press the

F2 (Select) button. To open a folder, press the F3 (Open) but-

ton.

To see and edit tracks 1-8, press TRACK SELECT from the

main page. The TRACK SELECT LED turns on.

Press the TRACK SELECT button twice, to go back to the

main page.

The “

” symbol identiﬁes a folder.

E-F (Scroll Up)

Scroll the list up. Keep SHIFT pressed and press one of these

buttons to jump to the previous alphabetical section.

S1:MySong

Piano1

G-H (Scroll Dow n)

DkStrings

Legato

Guitar01

StrngEns2

Scroll the list down. Keep SHIFT pressed and press one of

these buttons to jump to the next alphabetical section.

BrassyHorn VoxPad1

F1 (FD)

Press this button after replacing a ﬂoppy disk in the ﬂoppy

disk drive. The new ﬂoppy disk will be read, and the ﬁle list

shown on the display will be updated.

A-H (Tracks 1-8 Programs)

Name of the Programs assigned to tracks 1-8. Use these but-

tons to select, mute/unmute or change the volume of the cor-

responding tracks.

F2 (Select)

Selects the item on the ﬁrst line in the display (Song or Juke-

box ﬁle). If a Song is already playing, it stops, and the new

Song starts playing. You are returned to the Main page.

TRACKS 9-16 PAGE

To see and edit tracks 9-16, press TRACK SELECT once from

the Tracks 1-8 page, or twice from the main page. The

TRACK SELECT LED begins ﬂashing.

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The Lyrics page

7 4

F3 (Open)

Lyrics display on an external monitor

Opens the selected folder (item whose name begins with

As soon as you enter the Song Play mode, lyrics included in

the Song assigned to the Sequencer 1 are shown in the dis-

play. To select a different sequencer, go to the Lyrics page, and

press one of the A VOLUME/VALUE buttons to select

Sequencer 1, or one of the B VOLUME/VALUE buttons to

select Sequencer 2.

“

”).

F4 (Close)

Closes the current folder, returning to the parent (“upper”)

folder.

THE LYRICS PAGE

This page shows the lyrics and chord abbreviations included

in the midiﬁle (if any).

S1:Michelle

To access this page, select the Lyrics command, or press

PAGE+ twice, from the main page of the Song Play mode (see

“Main page” on page 72).

Michelle, ma belle

Chords

Sequencer 1

Sequencer 2

Note: You can have Sequencer 2 selected in the Main page of the

Song Play mode, and Sequencer 1 selected in the Lyrics page, or

vice-versa. In this way, you can select a Song whose lyrics to dis-

play on the external monitor, while selecting a different

sequencer for editing operations.

S1:Michelle

Michelle, ma belle

PLAYING A JUKEBOX FILE

With Sequencer 1, you can select a Jukebox ﬁle (a ﬁle with the

“.JBX” extension) instead of a single Song. This lets you play a

list of Songs without multiple selections.

Exit from this display, and go back to the main page of the

Song Play mode, by pressing the EXIT button.

While the Song is playing, the text ﬂows in the display, and

the chord abbreviations (if any) will appear on the chords

area of the display. The lyrics at the current position are

underlined:

S1:MEDLEY1.JBX

Michelle, ma belle

S1:Sunday

Piano01

A (1)

S2:no song Guitar01

Lyrics

StrngEns2

VoxPad1

Press this button pair to show Lyrics and Chords of

Sequencer 1.

B (2)

Note: The Jukebox ﬁle can be assigned to the Sequencer 1

only.

Press this button pair to show Lyrics and Chords of

Sequencer 2.

Note: To create a Jukebox ﬁle, go to the Jukebox page (see

page 79).

Warning: Should you delete a Song included into the Jukebox

list currently in play, the sequencer will stop, and the “No Song”

message will appear. At this point, press SHIFT+>> (Seq1) to

go to the next Song, and press PLAY/STOP again.

Transport controls

When you select a Jukebox ﬁle, Sequencer 1 transport con-

trols are slightly different than with single Songs.

<< and >> Pressed alone, these buttons are the Rewind

and Fast Forward commands.

Keep the SHIFT button pressed, and

press these buttons to scroll to the previous or

next Song in the Jukebox list.

PAUSE

Pauses the Song at the current position. Press

PAUSE or PLAY/STOP to start the Song play-

ing again.

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7 5

Song Play icon

PLAY/STOP Starts or stops the current Song. When you

stop the Song, the sequencer goes back to mea-

sure 1 of the current Song.

When on, this icon indicates that the instrument is in Song

Play mode.

If the Jukebox page is open, you can start from

the Song at the ﬁrst line of the display. See

“Page 9 - Jukebox” on page 79.

Page header

The header shows the name of the current edit page. Usually,

the header is divided into a ﬁrst word, identifying the section

name (e.g., “Mixer:FX Send” is a “Mixer” section page), and a

second word, referring to the page name (e.g. “FX Send”).

Section name

Page name

From any page, press MENU to open the Song Play edit

menu. This menu gives access to the various Song Play edit

sections.

When in the menu, select a section using the VOLUME/

VALUE buttons, press PAGE+ to select a page, or press EXIT

to exit the menu.

Mixer:FX Send

Selected Sequencer

These indicators show if the currently selected sequencer is

Seq1 or Seq2. Go to the Main page and use the A and B VOL-

UME/VALUE buttons to select a sequencer.

When in an edit page, press EXIT to go back to the Song Play

mode main page.

Page

This area shows the current page number.

A-H

Song Play Menu

Each pair of VOLUME/VALUE buttons select a different

parameter of command, depending on the edit page.

Mixer

Preferences

Effects

Track ctrls

Jukebox

PAGE 1 - MIXER: VOLUME

Here you can adjust the volume for each of the 16 sequencer

tracks. Press both VOLUME/VALUE button to mute/unmute

the corresponding track.

Each item of this menu corresponds to an edit section. Each

edit section groups many edit pages.

A muted track remains muted even when selecting a different

Song.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

EDIT PAGE STRUCTURE

Select an edit section from the Menu, and/or use the PAGE

buttons to reach the desired page.

Press EXIT to go back to the main page of the Song Play

mode.

All edit pages share the same structure.

Mixer:Volume

Selected Sequencer

|||| 090

|||| 092

|||| 086

||||| 112

Song Play icon

Page header

Page number

Mixer:Volume

|||| 090

|||| 092

|||| 086

||||| 112

Mixer:Volume

|||| 090

|||| 092

|||| 086

||||| 112

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Page 2 - Mixer: Pan

7 6

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

Here is the edit procedure:

PAGE 2 - MIXER: PAN

Here you can adjust the pan for each Song track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

2. Use the F1-F4 buttons to select a parameter for that

track.

3. Use the TEMPO/VALUE controls to change the parame-

ter’s value.

Mixer:Pan

C+00

Parameters

000

No effect. Only the direct (uneffected) signal

goes to the outputs.

127

100% effect. The direct (uneffected) and

effected signals go to the outputs with the same

level.

Mixer:Pan

C+00

PAGE 3 - MIXER: FX SEND C/D

This page lets you set the level of the track’s direct (unef-

fected) signal going to the C and D Internal FX processors.

Note: You can access this page only while editing the Sequencer

2, and the “S2 FX Mode” parameter is set to “CD Mode” (see

page 80).

Pan

-64

+00

+63

Off

Hard Left.

Center.

Hard Right.

Use the TRACK SELECT button to switch from tracks 1-8 to

tracks 9-16.

The direct (uneffected) signal does not go to

the outputs; only the FX signal is heard for this

track.

Mixer:FXSend

PAGE 3 - MIXER: FX SEND A/B

This page lets you set the level of the track’s direct (unef-

fected) signal going to the A and B Internal FX processors

(usually assigned to Sequencer 1).

C:100 D:050 C:100 D:050

C:127 D:020 C:100 D:050

C:110 D:050 C:100 D:050

C:100 D:050 C:100 D:050

Use the TRACK SELECT button to switch from tracks 1-8 to

tracks 9-16.

Mixer:FXSend

C:100 D:050 C:100 D:050

C:127 D:020 C:100 D:050

C:110 D:050 C:100 D:050

C:100 D:050 C:100 D:050

Mixer:FXSend

A:100 B:050 A:100 B:050

A:127 B:020 A:100 B:050

A:110 B:050 A:100 B:050

A:100 B:050 A:100 B:050

Here is the edit procedure:

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

2. Use the F1-F4 buttons to select a parameter for that

track.

Mixer:FXSend

3. Use the TEMPO/VALUE controls to change the parame-

A:100 B:050 A:100 B:050

A:127 B:020 A:100 B:050

A:110 B:050 A:100 B:050

A:100 B:050 A:100 B:050

ter’s value.

Parameters

000

No effect. Only the direct (uneffected) signal

goes to the outputs.

127

100% effect. The direct (uneffected) and

effected signals go to the outputs with the same

level.

Note: When playing back a Song that makes use of all four

effects (A-D), you can’t edit any effect parameter. These param-

eters appear greyed out in the display.

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7 7

Page 4 - FX: A/ B Select

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

PAGE 4 - FX: A/B SELECT

This page lets you select the A and B effects. Usually, the A

effect is a reverb, while the B effect is a modulating effect.

Effects A and B are usually reserved to Sequencer 1. You can,

however, create Songs by using all four effects in Song mode.

Depending on the status of the “S2 FX Mode” parameter, this

effect pair could be reserved to Sequencer 2, too (see

page 80).

C, D

Effects assigned to the C and D effect processors. Usually, C is

the reverb, while D is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

ModTrk (Modulating Track)

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

D>Csend (D>C Send)

FX:A/B Select

Amount of the D effect going back to the input of the C

effect.

A:02

B:97

BigHall

MlwChrs

ModTrk:Up1 B>Asend:127

PAGE 5 - FX: A EDITING

This page contains the editing parameters for the A effect

(usually, reverb for Sequencer 1).

Note: When playing back a Song that makes use of all four

effects (A-D), you can’t edit any effect parameter. These param-

eters appear greyed out in the display.

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

FX:A Edit

Rev Time [sec]: 3.07 |

High Damp [%]:0

A, B

Pre Dly [ms]:0

Effects assigned to the A and B effect processors. Usually, A is

the reverb, while B is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

Pre Dly Thru [%]:0

Use the E-F and G-H V O LUME/VALUE button pairs to scroll

the parameter list.

Use the A-D VOLUMME/VALUE button pairs to select and

edit a parameter.

Use the TEMPO/VALUE controls to edit the selected param-

eter.

Note: When playing back a Song that makes use of all four

effects (A-D), you can’t edit any effect parameter. These param-

eters appear greyed out in the display.

ModTrk (Modulating Track)

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

B>Asend (B>A Send)

Amount of the B effect going back to the input of the A effect.

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

PAGE 4 - FX: C/D SELECT

This page lets you select the C and D effects. Usually, the C

effect is a reverb, while the D effect is a modulating effect.

Effects C and D are usually reserved to Sequencer 2 and the

Realtime tracks. You can, however, create Songs using all four

effects in Song mode. Depending on the status of the “S2 FX

Mode” parameter, Sequencer 2 might also use the A/B effect

pair (see page 80).

Parameters

See “Effects” on page 175 for a list of available parameters for

each effect type.

PAGE 6 - FX: B EDITING

This page contains the editing parameters for the B effect

(usually modulating effect for Sequencer 1). For more details,

see “Page 5 - FX: A editing” above.

FX:C/D Select

C:02

D:97

BigHall

MlwChrs

PAGE 5 - FX: C EDITING

ModTrk:Up1 D>Csend:127

This page contains the editing parameters for the C effect.

You can access this page only when the “S2 FX Mode” param-

eter is set to C/D (see “S2 FX Mode” on page 80). For more

details, see “Page 5 - FX: A editing” above.

Note: C and D effects are used also by the Realtime (Keyboard)

tracks.

Note: When playing back a Song that makes use of all four

effects (A-D), you can’t edit any effect parameter. These param-

eters appear greyed out in the display.

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

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Page 6 - FX: D editing

7 8

PAGE 6 - FX: D EDITING

PAGE 8 - TRACK: INTERNAL/EXTERNAL

This page contains the editing parameters for the D effect.

You can access this page only when the “S2 FX Mode” param-

eter is set to C/D (see “S2 FX Mode” on page 80). For more

details, see “Page 5 - FX: A editing” above.

Note: C and D effects are used also by the Realtime (Keyboard)

tracks.

This page lets you set the Internal or External status for each

track. It is very useful to let a Song track drive an external

expander.

Use the TRACK SELECT button to switch from tracks 1-8 to

tracks 9-16.

PAGE 7 - TRACK: MODE

This page lets you set the polyphony mode for each Song

track.

Use the TRACK SELECT button to switch from tracks 1-8 to

tracks 9-16.

Track:Int/Ext

Internal

External

Internal

Track:Mode

Poly

Track:Int/Ext

Internal

External

Internal

Parameters

Internal

The track plays the sounds generated by the

internal sound engine. It does not play an

external instrument connected to the MIDI

OUT.

Track:Mode

Poly

Drum

Poly

Mono Right

Poly

External

The track plays an external instrument con-

nected to the MIDI OUT. It does not play the

internal sounds, therefore saving polyphony.

When a track is set to “External”, a strings of

transmitted Control Change and Program

Change data is shown instead of the Program

name assigned to the track. In the following

example, CC#0 is the Control Change 0 (Bank

Select MSB), CC#32 is the Control Change 32

(Bank Select LSB), PC is the Program Change.

Parameters

Drum

This is a Drum/Percussion track. No Master or

Octave Transpose applies to this track.

Tracks of this kind are polyphonic, i.e. they can

play more than one note at the same time.

Tracks of this kind are monophonic, i.e. each

new note stops the previous note.

Poly

Mono

Mono Right A Mono track, but with priority assigned to

the rightmost (highest) note.

121- 3- 0

CC#32

CC#0

Both

The track plays both the internal sounds and

an external instrument connected to the MIDI

OUT.

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7 9

Page 9 - Jukebox

4. When you have ﬁnished writing a name, press F2 (Save)

to conﬁrm. The “Are you sure?” message appears. Press

ENTER to conﬁrm, EXIT to abort.

PAGE 9 - JUKEBOX

The Jukebox function lets you play a list of Songs (127 max),

at the simple touch of a button. You can play a Jukebox ﬁle by

selecting it in the Song Select page (see “Playing a Jukebox

ﬁle” on page 74), just as if it was a normal Song.

F2 (Add)

Adds a Song at the end of the current list. You can add up to

127 Songs in a list.

Note: A Jukebox list can include only Songs contained in the

same folder.

F3 (Ins)

JB List:NEW_NAME

Inserts a Song at the cursor position (i.e., the ﬁrst line of the

display). All subsequent Songs are moved to the next higher-

numbered slot. You can add up to 127 Songs in a list.

Note: A Jukebox list can include only Songs contained in the

same folder.

01 Sunday.mid

02 Likeavrg.mid

SAVE ADD

INS

DEL

In this page, you can create, edit and save a Jukebox ﬁle. If a

Jukebox ﬁle is already selected into a Sequencer, you will

enter this page with that ﬁle ready to be edited. Otherwise,

you will enter this page with an empty “NEW_NAME.JBX”

ﬁle.

To create a new ﬁle, even when a Jukebox ﬁle is already

selected, press SHIFT+ F4 (Del), and conﬁrm with ENTER

(see below the “F4 (Del)” paragraph).

F4 (Del)

This command let’s you delete the Song on the ﬁrst line of the

display.

Pressed while keeping SHIFT pressed, the whole

Jukebox list is deleted. (The instrument asks for a conﬁrma-

tion with the “Are you sure?” message; press ENTER to con-

ﬁrm, EXIT to abort).

The Jukebox ﬁle name changes to “NEW_NAME.JBX”.

When you press PLAY/STOP from this page, the Jukebox

playback begins from the currently selected Song (i.e., the

Song on the ﬁst line of the display).

PAGE 10 - PREFERENCES

In this page, you can set various general parameters.

F1 (Save)

Press this button to save the Jukebox ﬁle on disk. The Jukebox

Save page appears, allowing you to save your ﬁle on disk.

Preferences (Gbl)

Link Mode:Off

S2 FX Mode:CD

Perf. FX Mode:CD

JBX Save

NEW_NAME.JBX

MEDLEY1.JBX

SAVE

ABORT

Use the A-D VOLUME/VALUE button pairs to select a

parameter.

Note: These settings are stored in the Global ﬁle. After changing

these settings, press WRITE to save them into the Global. The

Write Global window will appear (see “The Write window” on

page 72).

Note: You can always start both sequencers simultaneously.

Start both sequencers simultaneously by keeping SHIFT held

down while pressing one of the PLAY/STOP controls.

Note: You can save your “.JBX” ﬁle only in the same folder as

the Songs in the list.

You can create a new ﬁle, or overwrite an existing one.

1. Move to the ﬁrst line of the display the “.JBX” ﬁle you

want to save your list into. Select an existing ﬁle if you

want to overwrite it. Select the “NEW_NAME.JBX”

item to create a new ﬁle.

Use the E-F (Scroll Up) and G-H (Scroll Down) VOL-

UME/VALUE buttons, or the TEMPO/VALUE controls

to scroll the list.

Link Mode

The two onboard Sequencers can work each with a different

Tempo (Off), or use the same Tempo (Link modes).

2. If you are making

new ﬁle, when the

Off

The sequencers Tempo are not linked. Each

sequencer uses its own Tempo.

“NEW_NAME.JBX” item is on the ﬁrst line of the dis-

play, press one of the A VOLUME/VALUE buttons. You

are prompted to assign a name to the selected item:

Link Measure

The two sequencers Tempo are linked together.

The Tempo data written into the Songs are

ignored. Adjust the Tempo using the TEMPO/

VALUE controls.

Start one of the sequencers, by pressing its own

PLAY/STOP control. Then, start the other

sequencer, by pressing the other PLAY/STOP

control; the second sequencer starts at the next

measure.

NEW_NAME

3. Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

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Saving a list of Songs

8 0

Link Beat

The two sequencers Tempo are linked together.

SAVING A LIST OF SONGS

The Tempo data written into the Songs are

ignored. Adjust the Tempo using the TEMPO/

VALUE controls.

Start one of the sequencers, by pressing its own

PLAY/STOP control. Then, start the other

sequencer, by pressing the other PLAY/STOP

control; the second sequencer starts at the next

beat (quarter or octave, depending on the

Song’s Time Signature).

How to save a list of Songs contained in a

folder

1. Press SONG PLAY to select the Song Play operative

mode.

2. Press one of the A (S1:) VOLUME/VALUE button to

select the Load Song page.

3. Use the F3 (Open) and F4 (Close) buttons to browse

through the folders inside the ﬂoppy disk.

S2 FX Mode

4. Move the folder you are looking for to the ﬁrst line of

the display. Use the TEMPO/VALUE controls, or the E-F

(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE

buttons.

5. Once the folder is selected, press SHIFT + F2.

6. A dialog box will appear, asking you to insert a new

ﬂoppy disk into the disk drive. Insert the disk, and press

ENTER to conﬁrm, or EXIT to abort.

Note: The text ﬁle will contain a list of “*.mid”, “*.kar” and

“*.jbx” ﬁles only (i.e., the ﬁles you can select using the numeric

keypad – s ee “Selecting a Song composing its pr ogressive num-

ber” on page 70). Folders and different kinds of ﬁles will not be

included.

This parameter selects the effects mode for Sequencer 2.

When a 4-effects Song is loaded, all four effects are used,

independently from this setting.

The A and B effect pair is used. Sequencer 2

shares its effects with Sequencer 1.

The C and D effect pair is used.

Note: When this parameter is set to CD,

Sequencer 2 shares its effects with the Realtime

(Keyboard) tracks, so these effects can be changed

either selecting a Song for Sequencer 2, or select-

ing a Performance (unless the “Performance FX

Mode” parameter is set to Off – see below).

Performance FX Mode

When saved, the text ﬁle will be named after the selected folder.

For example, a folder named “Dummy” will generate a

“Dummy.txt” ﬁle. If a ﬁle with the same name already exists on

the ﬂoppy disk, it will be overwritten without waiting for any

conﬁrmation. A ﬁle containing the list of all valid ﬁles contained

into the root of the disk will generate a “Root.txt” ﬁle.

The list will include the progressive number assigned to each

Song, ﬁle names in MS-DOS format (8.3), the total number of

ﬁles in the list.

This parameter selects the effects mode for the Performance.

Off

When selecting a Performance, no effect is

selected.

The Performance selects the C and D effect

pair.

Note: When both this parameter and the “S2 FX

Mode” parameter are set to CD, Sequencer 2

shares its effects with the Realtime (Keyboard)

tracks, so these effects can be changed either

selecting a Song for Sequencer 2, or selecting a

Performance.

For the correct display and printing of the list on a personal

computer, use a ﬁxed size (i.e., non-proportional) character in

your text editor.

Warning: While the list may contain more than 9999 ﬁles, you

can’t select Songs outside the 0001-9999 range when using the

numeric keypad.

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8 1

Saving a list of Songs

7. While you are in the Jukebox page, press SHIFT + F2 to

save the list.

8. A dialog box will appear, asking you to insert a new

ﬂoppy disk into the disk drive. Insert the disk, and press

ENTER to conﬁrm, or EXIT to abort.

Note: When saved, the text ﬁle will be named after the selected

Jukebox ﬁle. For example, a Jukebox ﬁle named “Dummy.jbx”

will generate a “Dummy.txt” ﬁle. A new, unnamed Jukebox ﬁle

will generate a “New_name.txt” ﬁle. If a ﬁle with the same

name already exists on the ﬂoppy disk, it will be overwritten

without waiting for any conﬁrmation.

How to save a list of Songs contained in a

Jukebox ﬁle

1. Press SONG PLAY to select the Song Play operative

mode.

2. To select an existing Jukebox ﬁle, press one of the A (S1:)

VOLUME/VALUE buttons to select the Load Song page.

If you are creating a new Jukebox ﬁle, press MENU

instead, select the Jukebox page, and jump to step 7.

3. Use the F3 (Open) and F4 (Close) buttons to browse

through the folders inside the ﬂoppy disk.

4. Move the folders and ﬁles to select to the ﬁrst line of the

display. Use the TEMPO/VALUE controls, or the E-F

(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE

buttons.

5. When the Jukebox ﬁle you are looking for is selected,

press F2 (Select) to select it.

The list will include the progressive number assigned to each

Song, ﬁle names in MS-DOS format (8.3), the total number of

ﬁles in the list.

For the correct display and printing of the list on a personal

computer, use a ﬁxed size (i.e., non-proportional) character in

your text editor.

6. Once the Jukebox ﬁle is selected, press MENU and select

the Jukebox page.

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Transport controls

8 2

12. BACKING SEQUENCE OPERATING MODE

The Backing Sequence mode lets you record a live perfor-

REALTIME RECORDING MODE

mance with the Styles. The front panel controls work mostly

as in Style Play mode, but here you are recording what you

are playing. After recording, the result is a new Song made of

the Realtime tracks and the Style tracks.

While in Backing Sequence mode, you can record a new Song

in realtime mode (i.e., recording exactly what you play).

Realtime (Keyboard) tracks will be Song tracks 1-4, Pads will

be Song tracks 5-8, while Style tracks will be Song tracks 9-

16.

TRANSPORT CONTROLS

1. Enter the Backing Sequence mode.

When in Backing Sequence mode, use SEQ1 transport con-

trols (PLAY/STOP, PAUSE…). See “SEQUENCER TRANS-

PORT CONTRO L S - SE Q 1 and S E Q 2” on page 18 for more

information).

2. Press RECORD. You will be prompted to select the Real-

time Recording mode, or the Chord/Acc Step Mode.

Record

THE BACKING SEQUENCE, SONG AND SONG

PLAY MODES

Realtime Recording

Chord/Acc Step Mode

The Backing Sequence and Song modes are linked together:

go to Backing Sequence mode to record a Song, and switch to

Song mode to edit it.

3. Press one of the A VOLUME/VALUE buttons to select

the Realtime Recording mode. The Realtime Recording

page appears (see “Realtime Recording page” on

page 85).

Since they use the same sequencer and memory area, record-

ing a new Song in Backing Sequence mode deletes the Song

loaded in Song mode.

Note: The Song is kept in RAM, so save it before turning the

instrument off, or it will be lost.

Warning: When switching to Song Play, the Song is deleted,

since Backing Sequence, Song and Song Play share the same

sequencer (Sequencer 1). The “Erase Song?” message appears.

Press ENTER to conﬁrm, EXIT to stay in Backing Sequence

mode, and avoid deleting the Song.

Rec:NewSong

Style:NewBossa

Perf:01-01 Metro:On1

Resol:HI RT/Pad:REC

99%

Sel.Tempo Ch/Acc:REC

HOW TO PLAYBACK A SONG

You can load a Standard MIDI File, and play it back while in

Backing Sequence mode.

Note: When in the Main page (Backing Sequence Play) the key-

board doesn’t play.

1. Enter the Backing Sequence mode. The Backing

Sequence Playback page appears (see page 83).

4. The last selected Style is currently selected. Should it not

be the right one, select a different Style to start recording

with. (See “Selecting a Style” on page 26).

5. The last selected Performance or STS is currently

selected. If you prefer, select a different Performance or

STS. (S ee “Selecting a Performance” on page 25, and

“Selecting a Single Touch Setting (STS)” on page 27).

6. Select the status of the Backing Sequence tracks, using

the G (RT) and H (Ch/Acc) button pairs. (RT stays for

Realtime/Keyboard; Ch/Acc stays for Chord/Accompa-

niment, i.e. the Style tracks). To record all you play on

the keyboard, plus the automatic accompaniment, leave

their status to REC (see “Realtime Recording page” on

page 85).

BS:New Song

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

Warning: Tracks set to REC are automatically deleted

when starting recording. Set a track to the PLAY status,

when you don’t want to delete it. For example, if you are

recording a Realtime (Keyboard) part on and existing

Style track, set the Ch/Acc parameter to PLAY, and the RT

track to REC.

2. Press one of the B (Load Song) VOLUME/VALUE but-

tons to load a Song (see “Load Song page” on page 84).

You can load any Standard Midi File (ﬁles with the

“.MID” or “.KAR” extension).

3. Press PLAY/STOP to start the playback.

4. Press PLAY/STOP again to stop the playback. The play-

back is automatically stopped at the end of the Song.

7. Start recording by pressing the left PLAY/STOP button

(or the START/STOP button). After a count-in (see

“Metro (Metronome)” on page 85), you can start

recording.

Play a solo intro, or start the auto-accompaniment with

the START/STOP button. To start with the Style playing

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8 3

Chord/ Acc Step recording

right from bar 1, keep the chord pressed during the pre-

count, and press START/STOP before the end of the

precount. Otherwise, the Style will start playing from

the next bar, following the one where you pressed

START/STOP.

Step mode page appears (see “Chord/Acc Step Record-

ing page” on page 85).

Since you can use any Style control, you could start with

the usual combinations (INTRO, ENDING, FILL… see

“2 - Playing a Style” on page 29 for more information).

Note: While in Backing Sequence mode, you can’t record

the SYNCHRO, FADE IN/OUT, TAP TEMPO/RESET,

ACCOMPANIMENT VOLUME controls.

Step Chord/Acc

M001.01.000 Tempo:120

Style:Umpl_Bossa

Perf :01-1 SE:Off

C Maj

4. Select the M(easure) parameter, and go to a different

position into the Song, using the TEMPO/VALUE con-

trols, or the A VOLUME/VALUE buttons. Alternatively,

you can move the locator using the < > and << >> but-

tons. See “Transport controls” on page 87.

8. Play your music. You can even stop the Style by pressing

START/STOP. If you stop the Style while recording, start

it again with the START/STOP button.

9. When ﬁnished recording your performance, press the

left PLAY/STOP button. The RECORD LED will turn

off, and you will go back to the Playback page (see “How

to playback a Song” before).

5. Select the parameter type to insert, edit or delete at the

current position. If an arrow ( ) appears next to a

parameter, the shown event has been inserted at the cur-

rent position.

The recorded Song will be automatically converted to

the Standard MIDI File format.

10. At this point, you can edit the Song in Song mode (see

“Song operating mode” on page 88), or save it on disk

(see “Save Song page” on page 84).

6. Use the TEMPO/VALUE controls to modify the selected

event. Delete it using the DELETE button. When editing

a parameter without the arrow ( ) next to it, a new

event is inserted.

7. Exit the Chord/Acc Step Mode by pressing the RECORD

button.

8. Press START/STOP to listen to the results of your edit-

ing. If they are ﬁne, save the Backing Sequence on a disk.

Warning: The recorded Song is in RAM (Random Access

Memory), and will be deleted when turning the instru-

ment off, or entering Record again (either in Backing

Sequence or Song mode). Save the Song on disk, if you

wish to preserve it.

CHORD/ACC STEP RECORDING

MAIN PAGE (BACKING SEQUENCE PLAY)

This is the main page of the Backing Sequence mode.

To access this page from another operating mode, press the

B.SEQ button.

While in the Backing Sequence operative mode, you can

enter the Chord/Acc Step Mode to create or edit the Style

(Chord/Acc) part of a Song. This mode lets you enter chords

even if you are not a keyboard player, or ﬁx any error made

playing chords or selecting Style controls, during the Real-

time Recording mode.

Note: When in this page, the keyboard doesn’t play.

Backing Sequence icon

Page header

You can edit only Songs created on the Pa50 or Pa80 (Backing

Sequence mode), provided that you have the same Styles in

the same locations. When saving a Song created in Backing

Sequence mode, all Chord/Acc data is preserved, and can be

loaded later, to be edited using the Chord/Acc Step Mode.

Here is how to enter the Chord/Acc Step Mode, and execute

your editing:

1. Press B.SEQ to enter the Backing Sequence mode.

2. Press RECORD. You will be prompted to select the Real-

time Recording mode or the Chord/Acc Step Mode.

BS:New Song

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

Backing Sequence icon

When on, this icon indicates that the instrument is in Back-

ing Sequence mode.

Record

Page header

Realtime Recording

Chord/Acc Step Mode

This header shows the name of the selected Song.

B (Load Song)

Use these buttons to select a Song (i.e., a Standard MIDI

File). The Song Select page opens, and you can select a Song

(see below “Load Song page”).

3. Press one of the B (Chord/Acc Step Mode) VOLUME/

C (Save Song)

VALUE buttons to enter the Step Mode. The Chord/Acc

This command saves the recorded Song as a Standard MIDI

File. The ﬁle is automatically added the “.MID” extension.

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Load Song page

8 4

After pressing this command, the Save Song page appears

(see “Save Song page” on page 84).

shown on the display will be updated.

F2 (Load)

D (Select Tempo)

Load the Song at the ﬁrst line of the display.

Select this parameter to use the TEMPO/VALUE section to

select the Tempo. When you select this parameter, the VALUE

LED turns off.

F3 (Open)

Opens the selected folder (ﬁle whose name begins with the

“

” symbol).

F (Metro)

F4 (Close)

Use these buttons to turn the metronome on/off during play-

back.

Closes the current folder, returning to the parent (“upper”)

folder.

G (Meter)

This non-editable parameter shows the starting meter (or

time signature) of the selected Song.

SAVE SONG PAGE

H (Tempo mode)

The recorded Song is contained in RAM, and is lost when

turning the instrument off. The Song is also lost when you

overwrite it in Record mode, or when switching to the Song

Play mode. You must save on disk any Song you wish to pre-

serve.

1. If you are in Record mode (RECORD LED on), stop the

sequencer and press RECORD to go back to the Backing

Sequence Playback page.

This sets the Tempo change mode.

Man(ual)

When the cursor is on the “D (Select Tempo)”

parameter, you can change the Tempo using

the TEMPO/VALUE section controls. The

Song will be played back using the manually

selected tempo.

Auto

The Tempo recorded into the Song will be used

instead.

2. Select the Save Song button. The Save Song page

appears.

LOAD SONG PAGE

This page appears when you press PAGE+ or either the B

(Load Song) buttons while you are in the main page.

Press EXIT to go back to the main page of the Backing

Sequence operating mode, without selecting a Song.

BS:Save Song

NEW_NAME.MID

MYSONGS

MYSONG.MID

SAVE OPEN CLOSE

Load Song

3. Move the folder where you wish to save your Song to the

ﬁrst line of the display, using the E-F (Scroll Up) and G-

H (Scroll Down) VOLUME/VALUE buttons, or the

TEMPO/VALUE controls. Press F3 (Open) to open it.

Close the current folder by pressing F4 (Close).

4. When in the selected folder, you can save the Song over

an existing ﬁle, or create a new ﬁle.

BALLADS

MYSONGS

MYSONG.MID

FD LOAD

OPEN CLOSE

A-C (File, folder)

Move the ﬁle or folder to be selected to the ﬁrst line of the

display. To select a ﬁle, press the F2 (Select) button. To open a

folder, press the F3 (Open) button.

• To overwrite an existing ﬁle, move it to the ﬁrst line of

the display.

• To create a new ﬁle, move the “NEW_NAME.MID”

item to the ﬁrst line of the display.

The “

” symbol identiﬁes a folder.

5. When the “NEW_NAME.MID” item is selected, press

one of the A VOLUME/VALUE buttons. You are

prompted to assign a name to the new folder:

E-F (Scroll Up)

Scroll the list up. Keep SHIFT pressed and press one of these

buttons to jump to the previous alphabetical section.

G-H (Scroll Dow n)

NEW_NAME.MID

Scroll the list down. Keep SHIFT pressed and press one of

these buttons to jump to the next alphabetical section.

Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

TEMPO/VALUE section

These controls scroll the list up or down.

F1 (FD)

Press this button after replacing a ﬂoppy disk in the ﬂoppy

disk drive. The new ﬂoppy disk will be read, and the ﬁle list

6. When you have ﬁnished writing a name for the new

midiﬁle, press F2 (Save) to conﬁrm. The “Are you sure?”

message will appear. Press ENTER to conﬁrm, or EXIT

to abort.

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8 5

Realtime Recording page

On1

On2

The metronome plays during recording.

Recording begins with a 1-bar precount. Start

recording after bar -1.

The metronome plays during recording.

Recording begins with a 2-bar precount. Start

recording after bar -1.

REALTIME RECORDING PAGE

While you are in Backing Sequence mode, press RECORD,

then one of the A VOLUME/VALUE buttons, to access the

Realtime Recording mode. The RECORD LED turns on.

RT/Pads

Ch/Acc

Rec:NewSong

These parameters let you decide the track status during

recording.

RT/Pads: This Backing Sequence track includes the four

Realtime (Keyboard) tracks, and the four Pads. They will be

Song tracks 1-8, as in the following table:

Style:NewBossa

Perf:01-01 Metro:On1

Resol:HI RT/Pad:REC

Sel.Tempo Ch/Acc:REC

99%

Style

RT/Pad track

Song track/Channel

This non-editable parameter shows the selected Style. If no

Style is selected, the name will be empty. You can select a dif-

ferent Style, using the STYLE section (see “Selecting a Style”

on page 26).

Upper 1

Upper 2

Upper 3

Lower

Pad 1

0…99%

This non-editable parameters shows the remaining recording

space in memory, as a percentage.

Pad 2

Perf or STS (Performance or STS)

Pad 3

This non-editable parameter shows the selected Performance

or STS (depending on the last item selected). If no Perfor-

mance or STS is selected, the name will be empty. You can

select a different Performance, using the PROGRAM/PER-

FORMANCE section (see “Selecting a Performance” on

page 25). To select one of the four S TS for the current Style,

use the F1-F4 buttons.

Pad 4

Ch/Acc: This Backing Sequence track includes all Style

tracks, including recognized chords. They will be Song tracks

9-16.

MUTE

PLAY

REC

The track is muted. If this tracks has already

been recorded, it will not be heard during

recording of the other Backing Sequence track.

The track is in play. If there are recorded data,

they will be heard during recording of the

other Backing Sequence track.

Resol (Resolution)

Use this parameter to set the quantization during recording.

Quantization is a way of correcting timing errors; notes

played too soon or too later are moved to the nearest axis of a

rhythmic “grid”, set with this parameter, thus playing per-

fectly in time.

The track is in record. All previously recorded

data will be deleted.

No quantization applied.

ꢂ (1/32)…ꢃ (1/8)

Grid resolution, in musical values. For exam-

CHORD/ACC STEP RECORDING PAGE

ple, when you select 1/8, all notes are moved to

the nearest 1/8 division. When you select 1/4,

all notes are moved to the nearest 1/4 division.

While you are in Backing Sequence mode, press RECORD,

then one of the B VOLUME/VALUE buttons, to access the

Chord/Acc Step Recording mode. The RECORD LED turns

on.

Hi (no

quantiza-

tion)

1/16

1/8

Step Chord/Acc

M001.01.000 Tempo:120

Style:Umpl_Bossa

Perf :01-1 SE:Off

C Maj

Sel.Tempo (Select Tempo)

Select this parameter to use the TEMPO/VALUE section to

select the Tempo. When you select this parameter, the VALUE

LED turns off.

Side arrow (

)

The small arrow next to a parameter means that its value is

effective at the current position. For example, if you are at the

“M003.01.000” position, and an arrow lights up next to the

Chord parameter, this means that a chord change happens at

the “M003.01.000” position.

Metro (Metronome)

This parameter sets the metronome mode during recording.

Off

The metronome can be heard only during the

precount.

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Ba ck in g Se q u e n ce o p e ra tin g m o d e

Chord/ Acc Step Recording page

8 6

M(easure)

the end of the Song. To delete all Tempo

Change events in the Song, go back to the

M001.01.000 position, and press SHIFT +

DELETE.

Note: All events on the very ﬁrst tick

(M001.01.000), like Perf, Style, Tempo, Chord,

Style Element selection, cannot be deleted.

This is the locator. It shows the current position of the Step

Editor. To go to a different position within the Song, select

this parameter, then use the TEMPO/VALUE controls, the A

VOLUME/VALUE buttons, or the < > buttons (while the <<

>> buttons let you move to the previous or following mea-

sure). When using one of these controls, the locator moves in

steps of 1/8 (192 ticks), or jumps to the next event.

Style

The locator’s format is as follows:

This is the last selected Style. To insert a Style change at the

current position, follow the standard selecting procedure

using the buttons of the STYLE section.

Note: Any Style Change inserted after the beginning of the mea-

sure (i.e., to a position other than Mxxx.01.000) will be effective

at the following measure. For example, if a Style Change event

has been inserted at M004.03.000, the selected Style will be

effectively selected at M005.01.000. (This works exactly as in

Style Play mode).

M001.01.000

Beat

Measure

Tick

Measure: Measure or bar number.

Beat: Divider in the Time Signature ratio (e.g., a quarter in a

3/4 time).

Tick: Minimal sequencer’s resolution. The Pa50 internal

sequencers feature a resolution of 384 ticks per quarter.

Note: When inserting a Style Change, you may also insert a

Tempo Change at the same position. A Style Change will not

automatically insert the Style’s Tempo.

INSERT

When the Measure parameter is selected, press

INSERT to insert a measure starting from the

current position. All Chord/Acc events con-

tained into the current measure will be moved

to the following measure. The event at the

Mxxx.xx.000 position (i.e., exactly at the

beginning of the measure, like a Time Signa-

ture or Style change) will not be moved.

DELETE

When the Style parameter is selected, and the

side arrow ( ) – showing that a Style Change

event has been selected at the current position

– appears next to it, press DELETE to delete

the Style Change at the current position.

Note: If the side arrow doesn’t appear, the event

was not selected at the current position, and will

not be deleted.

DELETE

When the Measure parameter is selected, press

DELETE to delete the current measure. All

Chord/Acc event contained into the following

measures are moved to the current measure.

SHIFT + DELETE

When the Style parameter is selected, press

SHIFT + DELETE to delete all Style Change

events, starting from the current position to

the end of the Song. To delete all Style Change

events in the Song, go back to the

M001.01.000 position, and press SHIFT +

DELETE.

Note: All events on the very ﬁrst tick

(M001.01.000), like Perf, Style, Tempo, Chord,

Style Element selection, cannot be deleted.

SHIFT + DELETE

When the Measure parameter is selected, press

SHIFT + DELETE to delete all events in the

Style tracks, starting from the current position

to the end of the Song. To delete all events in

the Style tracks, go back to the M001.01.000

position, and press SHIFT + DELETE.

Note: All events on the very ﬁrst tick

(M001.01.000), like Style, Tempo, Chord, Style

Element selection, cannot be deleted.

Perf

This is the last selected Performance. Select a Performance to

recall the Style it memorizes. To insert a Performance change

at the current position, follow the standard selecting proce-

dure using the buttons of the PROGRAM/PERFORMANCE

section.

Note: The STYLE CHANGE LED is automatically turned on

when entering the Chord/Acc Step Mode. This means that

selecting a Performance automatically selects the Style memo-

rized into the Performance.

Tempo

This is the Tempo Change parameter. To insert a Tempo

Change event at the current position, select this parameter

and use the TEMPO/VALUE controls to change its value.

DELETE

When the Tempo parameter is selected, and

the side arrow ( ) – showing that a Tempo

Change event has been selected at the current

position – appears next to it, press DELETE to

delete the Tempo Change at the current posi-

tion.

Note: If the side arrow doesn’t appear, the event

was not selected at the current position, and will

not be deleted.

The SINGLE TOUCH and STS buttons are automatically dis-

abled, meaning that you can’t change the Realtime (Keyboard)

tracks while in Chord/Acc Step Mode.

DELETE

When the Perf parameter is selected, and the

side arrow ( ) – showing that a Performance

Change event has been selected at the current

position – appears next to it, press DELETE to

delete the Performance Change at the current

position.

SHIFT + DELETE

When the Tempo parameter is selected, press

SHIFT + DELETE to delete all Tempo Change

events, starting from the current position to

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Ba ck in g Se q u e n ce o p e ra tin g m o d e

8 7

How to delete a whole Song

Note: If the side arrow doesn’t appear, the event

was not selected at the current position, and will

not be deleted.

cally recognized. While recognizing a chord, the status of the

BASS INVERSION button will be considered.

“No chord” means that the accompaniment will not play at

the current position (apart for the Drum and Percussion

tracks). To select the “No chord” option, press F1 to select the

Name part of the Chord, then use the TEMPO/VALUE sec-

tion to select the very last value (C…B, Off).

SHIFT + DELETE

When the Perf parameter is selected, press

SHIFT + DELETE to delete all Performance

Change events, starting from the current posi-

tion to the end of the Song. To delete all Per-

formance Change events in the Song, go back

to the M001.01.000 position, and press SHIFT

+ DELETE.

Note: All events on the very ﬁrst tick

(M001.01.000), like Perf, Style, Tempo, Chord,

Style Element selection, cannot be deleted.

Note: If you replace a chord with a different one, please remem-

ber that the Lower track will not be automatically changed.

Transport controls

While in Step Mode, you can use various control panel but-

tons to accomplish the editing procedure.

<< or >> (Rew ind or Fast Forw ard)

SE (Style Element)

Use these buttons to move to the previous or following mea-

sure. These commands are effective even if the M(easure)

parameter is not selected.

This is the Style Element (i.e., a Variation, Fill, Intro, or End-

ing). The length of the selected Style Element is always shown

on the measure counter, at the top of the display:

< or > (Previous or Next Step)

Use these button to go to the previous or next step (1/8, or

192 ticks). If an event is located before the previous or next

step, the locator stops on that event. For example, if you are

positioned on M001.01.000, and no event exists before

M001.01.192, the > button moves to the M001.01.192 loca-

tion. If an event exists on M001.01.010, the > button stops to

the M001.01.010 location.

This will let you know where to place the following Style Ele-

ment Change. For example, if you inserted an Intro event

lasting for 4 measures, you can insert 4 empty measure after

this event, and a Variation event at the end of the Intro,

beginning at the 4th empty measure.

These commands are effective even if the M(easure) parame-

ter is not selected.

“Off” means that the accompaniment will not play at the

selected position – only the Realtime tracks will play.

Hint: Insert a Style Element Off event exactly where the auto-

accompaniment must stop, at the end of the Song.

+ < or > (Previous or Next Event)

Keep the SHIFT button pressed while pressing the < or >

button, to move to the previous or next recorded event.

Chord

HOW TO DELETE A WHOLE SONG

You can delete a whole Song with the simple SHIFT +

DELETE key sequence.

Use the D VOLUME/VALUE buttons to select the Chord line.

Use the F1-F4 buttons to select the part of the chord you wish

to edit.

1. Enter the Backing Sequence mode. You must be in the

main page of the mode. If you are in Record mode, go

back to the Playback mode.

C Maj

Name

Type

Tension

Extension

2. Press SHIFT + DELETE.

3. The “Delete Song?” message appears. Press ENTER to

conﬁrm, EXIT to abort.

Use the TEMPO/VALUE controls to modify the selected

parameter. You can also play a chord, and it will be automati-

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So n g o p e ra tin g m o d e

Transport controls

8 8

13. SONG OPERATING MODE

The Song operating mode is the full-featured onboard

sequencer, where you can create from scratch or edit a Song.

You can also use this mode to edit the initial parameters of a

Standard MIDI File, either made with an external sequencer

or with Pa50 own Song and Backing Sequence modes.

You can save the edited Song as a Standard MIDI File

(“.MID” ﬁle), and playback it either in Song Play, Backing

Sequence or Song mode.

MAIN PAGE

Press SONG to access this page from another operating

mode.

Note: When switching from Style Play to Song, the Song Setup

is automatically selected, and various track parameters may

change.

Press EXIT/NO to access this page from the Menu or any of

the S o ng Play edit pages.

To see the Song’s tracks, use the TRK SELECT button to

switch from the Main page to the Tracks pages. Pressed a ﬁrst

time, you will see tracks 1-8 (enlightened TRK SELECT

LED); a second press will show tracks 9-16 (ﬂashing TRK

SELECT LED); pressed again, you will go back to the Main

page (TRK SELECT LED switched off).

For a practical example of Song editing, see “5 - Editing a

Song” on page 32.

TRANSPORT CONTROLS

While in Song mode, use the SEQ1 transport controls for the

Song playback. See “SEQUENCER TRANSPORT CON-

TROLS - SEQ1 and SEQ2” on page 18 for more informa-

tion).

Song icon

Page header

Bar number

MASTER VOLUME AND SEQUENCER VOLUME

You can use the MASTER VOLUME and ACC/SEQ VOL-

UME sliders to set the volume. See “Master Volume,

Sequencer Volume, BALANCE” on page 71.

Move the BALANCE slider to the center (or the left) for the

maximum volume of the sequencer (Song mode relies on

Sequencer 1).

New Song

Load Song

Save Song

Sel.Tempo

Metro:Off

Meter:4/4

Tempo:Auto

Song icon

THE SONGS AND THE STANDARD MIDI FILE

FORMAT

When on, this icon shows that the instrument is in Song

mode.

The native Song format for Pa50 is the Standard MIDI File.

See “The Songs and the Standard MIDI File format” on

page 70.

Page header

This line shows the selected Song name.

Bar number

When saving a Song as a SMF, an empty measure in automat-

ically inserted to the beginning of the Song. This measure

contains various Song initialization parameters.

When a SMF is loaded, the empty measure is automatically

removed.

This counter shows the current bar number position of the

selected Song.

B (Load Song)

Use these buttons to select a Song (i.e., a Standard MIDI

File). The Song Select page opens, and you can select a Song

(see below “Song Select page”).

FAST TRACK DELETION

C (Save Song)

When you are in the Main page of the Song Record mode,

and the Song tracks are shown in the display, keep the

DELETE button pressed, and press one of the VOLUME/

VALUE buttons corresponding to the track to delete. The

“Are you sure?” message will appear. Press ENTER to delete

the track, or EXIT to abort.

This command saves the edited Song as a Standard MIDI

File. After pressing this command, the Save Song page

appears (see “Save Song page” on page 90).

D (Select Tempo)

Select this parameter to use the TEMPO/VALUE section to

select the Tempo. When you select this parameter, the VALUE

LED turns off.

Note: The tempo is always record in overwrite mode (old data is

replaced by the new data).

HOW TO DELETE A WHOLE SONG

While in the Main page, you can delete a whole Song, with

the simple SHIFT + DELETE key sequence.

1. Enter the Song mode. You must be in the Main page of

the mode. If you are in Record mode, go back to the

Playback mode.

F (Metro)

Use these buttons to turn the metronome on/off during play-

back.

G (Meter)

This non-editable parameter shows the starting meter (or

time signature) of the selected Song.

2. Press SHIFT + DELETE.

3. The “Delete Song?” message appears. Press ENTER to

conﬁrm, EXIT to abort.

H (Tempo mode)

This sets the Tempo change mode.

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8 9

Tracks 1-8 page

A-H (T r acks 9-16 Programs)

Man(ual)

Auto

When the cursor is on the “D (Select Tempo)”

parameter, you can change the Tempo using

the TEMPO/VALUE section controls. The

Song will be played back using the manually

selected tempo.

Name of the Programs assigned to tracks 9-16. Use these but-

tons to select, mute/unmute or change the volume of the cor-

responding tracks.

The Tempo recorded to the Song will be used.

SONG SELECT PAGE

This page appears when you press PAGE+ or either the B

(Load Song) buttons while you are in the main page.

Press EXIT to go back to the Main page of the Song operating

mode, without selecting a Song.

TRACKS 1-8 PAGE

To see and edit tracks 1-8, press TRACK SELECT from the

main page. The TRACK SELECT LED turns on.

Press the TRACK SELECT button twice, to go back to the

main page.

Load Song

BALLADS

MYSONGS

MySong

MYSONG.MID

FD LOAD

Piano1

OPEN CLOSE

DkStrings

Legato

Guitar01

StrngEns2

BrassyHorn VoxPad1

A-C (File, folder)

Move the ﬁle or folder to be selected to the ﬁrst line of the

display. To select a ﬁle, press the F2 (Load) button. To open a

folder, press the F3 (Open) button.

A-H (Tracks 1-8 Programs)

Name of the Programs assigned to tracks 1-8. Use these but-

tons to select, mute/unmute or change the volume of the cor-

responding tracks.

The “

” symbol identiﬁes a folder.

E-F (Scroll Up)

Scroll the list up.

TRACKS 9-16 PAGE

G-H (Scroll Dow n)

To see and edit tracks 9-16, press TRACK SELECT once from

the Tracks 1-8 page, or twice from the main page. The

TRACK SELECT LED begins ﬂashing.

Press the TRACK SELECT button again, to go back to the

main page.

Scroll the list down.

TEMPO/VALUE section

These controls scroll the list up or down.

F1 (FD)

Press this button after replacing a ﬂoppy disk in the ﬂoppy

disk drive. The new ﬂoppy disk will be read, and the ﬁle list

shown on the display will be updated.

F2 (Load)

MySong

Load the Song at the ﬁrst line of the display.

Strings1

DkStrings

Legato

VocaEns

Bassi

F3 (Open)

StrngEns2

Opens the selected folder (ﬁle whose name begins with the

BrassyHorn Strings2

“

” symbol).

F4 (Close)

Closes the current folder, returning to the parent (“upper”)

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Save Song page

9 0

Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

SAVE SONG PAGE

The new or edited Song is contained in RAM, and is lost

when turning the instrument off. The Song is also lost when

you overwrite it in Backing Sequence Record mode, or when

switching to the Song Play mode. You must save on disk any

Song you wish to preserve. The Song is saved as a Standard

MIDI File (SMF).

Note: When saving a Song as a SMF, an empty measure in

automatically inserted to the beginning of the Song. This mea-

sure contains various Song initialization parameters.

1. If you are in an edit page, press EXIT to go back to the

Main page.

6. When you have ﬁnished writing a name for the new

midiﬁle, press F2 (Save) to conﬁrm. The “Are you sure?”

message will appear. Press ENTER to conﬁrm, or EXIT

to abort.

Play/Mute status saved with the Song

When saving a Song, the Play/Mute status is saved with the

Song. This status is preserved when playing back the same

Song in Song Play mode.

2. Select the Save Song button. The Save Song page

appears.

Master Transpose saved with the Song

When saving a Song, the Master Transpose value is saved

with the Song. Since this value is saved as System Exclusive

data, it is preserved when playing back the Song in Song Play

mode.

Save Song

NEW_NAME.MID

MYSONGS

MYSONG.MID

Hint: Since the Master Transpose is a global parameter, loading

a Song with a non-standard transposition may result in

unwanted transposing when loading other Songs that do not

contain their own transposition data. To transpose a Song it is

advisable to use the Edit-Transpose function; you can access this

function by pressing the MENU button and one of the E VOL-

UME/VALUE buttons (see “Page 18 - Edit: Transpose” on

page 100).

You may also lock the Master Transpose for various tracks, to

avoid unwanted transposition. See “Page 2 - Master Transpose”

on page 126 of the Global chapter.

As a general rule, you should use the Master Transpose

(TRANSPOSE buttons on the control panel) when you need to

transpose the Realtime tracks together with the Song. You

should use the Edit-Transpose function (Song Edit mode) when

only the Song has to be transposed.

FD SAVE OPEN CLOSE

3. Move the folder where you wish to save your Song to the

ﬁrst line of the display, using the E-F (Scroll Up) and G-

H (Scroll Down) VOLUME/VALUE buttons, or the

TEMPO/VALUE controls. Press F3 (Open) to open it.

Close the current folder by pressing F4 (Close).

4. When in the selected folder, you can save the Song over

an existing midiﬁle (a ﬁle with a “.MID” extension), or

create a new midiﬁle.

• To overwrite an existing midiﬁle, move it to the ﬁrst

line of the display.

• To

create

new

midiﬁle,

move

the

“NEW_NAME.MID” item to the ﬁrst line of the display.

5. When the “NEW_NAME.MID” item is selected, press

one of the A VOLUME/VALUE buttons. You are

prompted to assign a name to the new ﬁle:

Note: The Master Transpose value is always shown in the upper

right corner of the display:

NEW_NAME.MID

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9 1

Realtime Record procedure

9. While the status icon is ﬂashing, press PLAY/STOP to

begin recording. Depending on the Metro option you

selected, a 1- or 2-bars precount may play before the

recording actually begins. When it begins, play freely.

• If you selected the Auto Punch recording mode, the

recording will begin only when reaching the Start point.

• If you selected the Pedal Punch recording mode, press

the pedal when you want to begin recording. Press it

again to ﬁnish recording.

REALTIME RECORD PROCEDURE

Here is the general procedure to follow for the Realtime

Recording.

1. Press SONG to enter the Song mode.

2. Press RECORD to enter the Song Record mode.You are

now in the Main page of the Song Record mode, and

you can prepare your recording. (For more details, see

“Song Record page” on page 93).

Note: The Punch functions will not work on an empty

Song. At least one track must already be recorded.

10. When ﬁnished recording, press PLAY/STOP to stop the

sequencer. Select a different track, and go on recording

the whole Song.

11. When ﬁnished recording the new Song, press RECORD

to exit the Record mode. The Song will be saved in

memory.

Rec:NewSong

Rec:Overdub Trk:1 98%

Metro:On1

Meter:4/4

Tempo:Auto

Resol:

Sel.Tempo

Warning: Save the Song on a disk, to avoid it is lost when

turning the instrument off.

Note: When exiting the Record mode, the Octave Trans-

pose is automatically reset to “0”.

3. Be sure one of the Overdub or Overwrite recording

options is selected (see “Rec (Record mode)” on

page 93).

4. Set the tempo. There are two ways of changing tempo:

• Keep the SHIFT button pressed, and use the TEMPO/

VALUE controls to change the tempo.

12. Edit the new Song; press the MENU page, and select the

various edit pages.

• Move the cursor to the “Sel.Tempo” parameter, and use

the TEMPO/VALUE controls to change tempo.

5. Press TRK SELECT to switch to the Song Tracks 1-8

page.

STEP RECORD PROCEDURE

The Step Record allows you to create a new Song by entering

the single notes or chords in each track. This is very useful

when transcribing an existing score, or needing a higher

grade of detail, and is particularly suitable to create drum and

percussion tracks.

Rec:NewSong

1. While in the Main screen of the Song mode, press

RECORD to enter the Song Record mode. The Main

page of the Song Record mode will appear.

Piano1

DkStrings

Legato

Guitar01

StrngEns2

BrassyHorn VoxPad1

Press the button again to switch to the Song Tracks 9-16

page.

Rec:NewSong

Rec:Overdub Trk:1 98%

Metro:On1

Meter:4/4

Tempo:Auto

Resol:

Sel.Tempo

Rec:NewSong

2. Use the A VOLUME/VALUE buttons to select the “Rec”

(Recording Mode) parameter. Use these buttons, or the

TEMPO/VALUE controls, to select the “Step Dub” (Step

Overdub) or the “StepOwr” (Step Overwrite) recording

mode.

Strings1

DkStrings

Legato

VocaEns

Bassi

StrngEns2

BrassyHorn Strings2

6. If you like, you can set the tempo again from these

pages: just use the TEMPO/VALUE controls.

7. Assign the right Program to each track.

8. Select the track to put in record. Its status icon will auto-

matically begin ﬂashing.

• The Step Overdub mode lets you add events to the

existing events.

• The Step Overwrite mode will overwrite all existing

events.

3. Press SEQ1 PLAY/STOP to turn its LED on, and enter

the Step Record page. (See “Step Record page” on

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Step Record procedure

9 2

page 94 for more information on each parameter of this

page).

editing the V (Velocity) and D (Duration) parameters.

See “V (Velocity)” and “D (Duration)” on page 94.

• To insert a rest, just press the REST button. Its length

will match the step value.

Previous event

Event to be inserted

• To tie the note to be inserted to the previous one, press

the TIE button. A note will be inserted, tied to the previ-

ous one, with exactly the same name. You don’t need to

play it on the keyboard again.

Step Owr

(a)

M---.--.--- Empty

• To insert a chord or a second voice, see “Chords and

second voices” below.

(b)

M001.01.000 Meter: 4/4

key?

V:64 D:85%

7. After inserting a new event, you may go back by pressing

the < button. This will delete the previously inserted

event, and set the step in edit again.

Current position

Step value

8. When ﬁnished recording, press SEQ1 PLAY/STOP to

turn off its LED. The Main page of the Song Record

mode appears again.

Waiting for a keystroke…

The ﬁrst two lines (a) are the latest inserted event. The

second two lines (b) are the event currently in edit,

ready to be inserted.

The “Empty” event marks the beginning of the Song,

when there are no events inserted. It is automatically

inserted when entering the Record mode. It will be

removed when an event is inserted.

Rec:NewSong

Rec:Overdub Trk:1 98%

Metro:On1

Meter:4/4

Tempo:Auto

Resol:

4. The “Maaa.bb.ccc” parameter in (b) is the current posi-

tion. This is the place where the note in edit will be

inserted.

Sel.Tempo

• If you don’t want to insert a note at this position,

insert a rest instead, as shown in step 6.

• To jump to the next measure, ﬁlling the remaining

beats with rests, press the >> button.

9. From the Main page of the Song Record mode, press

RECORD to exit the Record mode. While in the Main

page of the Song mode, you may press SEQ1 PLAY/

STOP to listen to the Song, or select the Save Song com-

mand to save the Song on disk.

5. To change the step value, use the NOTE VALUE buttons,

on the lower left area of the control panel.

Chords and second voices

With Pa50, you are not obliged to insert single notes in a

track. There are several ways to insert chords and double

voices. For more information, see the “Chords and second

voices in Step Record mode” section on page 10-60 of the

“Style Record mode” chapter.

6. Insert a note, rest or chord at the current position.

• To insert a single note, just play it on the keyboard. The

inserted note length will match the step length. You may

change the velocity and relative duration of the note, by

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9 3

Song Record page

On1

On2

Metronome on, with a one-bar precount

before starting recording.

Metronome on, with a two-bar precount

before starting recording.

SONG RECORD PAGE

While in the Song mode, press RECORD to enter the Song

Record mode. The Song Record page appears.

Resol (Resolution)

Use this parameter to set the quantization during record-

ing. Quantization is a way of correcting timing errors;

notes played too soon or too later are moved to the nearest

axis of a rhythmic “grid”, set with this parameter, thus

playing perfectly in time.

Rec:NewSong

Rec:Overdub Trk:1 98%

Metro:On1

Meter:4/4

Tempo:Auto

Resol:

Sel.Tempo

No quantization applied.

ꢂ (1/32)…ꢃ (1/8)

Rec (Record mode)

Grid resolution, in musical values. For

Set this parameter to select a recording mode.

example, when you select 1/16, all notes are

moved to the nearest 1/16 division. When

you select 1/8, all notes are moved to the

nearest 1/8 division.

Overdub

The newly recorded events will be mixed to any

existing events.

Overwrite

The newly recorded events will replace any

existing events.

No quanti-

zation

Auto Punch Recording will automatically begin at the “S”

position, and stop at the “E” position (see the

following line).

1/16

1/8

Note: The Auto Punch function will not work on

an empty Song. At least one track must already

be recorded.

PedalPunch Recording will begin when pressing a pedal set

to the “Punch In/Out” function, and will ﬁnish

when pressing the same pedal again.

Meter

Note: The Pedal Punch function will not work

on an empty Song. At least one track must

already be recorded.

Step Overdub. This recording mode lets you

enter events one at a time, adding events to the

existing events.

Step Overwrite. This recording mode lets you

enter events one at a time, overwriting all exist-

ing events.

This is the meter (or time signature) of the Song. You can edit

this parameter only when the Song is empty, i.e. before you

begin recording anything. To insert a meter change in the

middle of the Song, use the “Insert Measure” function (see

page 13-101).

StepDub

StepOwr

Trk (Track)

Sel.Tempo (Select Tempo)

Select this parameter to use the TEMPO/VALUE controls to

set the tempo.

Note: You can always change the Tempo, when other parame-

ters are selected, by keeping the SHIFT button pressed, and

rotating the DIAL.

Track in record.

1…16 One of the 16 tracks selected. To select a track,

Note: The tempo is always record in overwrite mode (old data is

replaced by the new data).

go to the Track pages (see “Tracks 1-8 page” on

page 89 and “Tracks 9-16 page” on page 89).

T e mpo (T e mpo mode)

S/E (Start/End)

This parameter sets the way tempo events are read.

These parameters appear only when the “Auto Punch”

recording mode is selected. They set the starting and ending

points of the Punch recording.

Record

All Tempo changes made during recording will

be recorded to the Master Track.

Auto

The Sequencer plays back all recorded Tempo

events. No new Tempo events are recorded.

The latest manual Tempo setting (made using

the TEMPO/VALUE controls) is considered

the current Tempo value. No Tempo change

will be recorded. This is very useful to record

the Song much slower than its actual Tempo.

Metro (Metronome)

This is the metronome heard during recording.

Manual

Off

No metronome click will be heard during

recording. A one-bar precount will be played

before starting recording.

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Step Record page

9 4

ꢄ … ꢂ

Note value.

STEP RECORD PAGE

Access this page from the Main page of the Song Record

mode, by selecting the “StepDub” or “StepOwr” recording

mode (“Rec” parameter), and pressing SEQ1 PLAY/STOP.

Dot (.)

Augments the selected note by one half of its

value.

Makes the selected note a triplet note.

Triplet (3)

V (Velocity)

Previous event

Event to be inserted

Set this parameter before entering a note or chord. This will

be the playing strength (i.e., velocity value) of the event to be

inserted.

KBD

Keyboard. You can select this parameter, by

turning all counter-clockwise the dial. When

this option is selected, the playing strength of

the played note is recognized and recorded.

Velocity value. The event will be inserted with

this velocity value, and the actual playing

strength of the note played on the keyboard

will be ignored.

Step Owr

(a)

M---.--.--- Empty

(b)

M001.01.000 Meter: 4/4

1…127

key?

V:64 D:85%

Current position

Step value

Waiting for a keystroke…

D (Duration)

(a) section

Relative duration of the inserted note. The percentage is

always referred to the step value.

Previously inserted event. You may delete this event, and set it

in edit again, by pressing the < button.

50%

85%

100%

Staccato.

Ordinary articulation.

Legato.

(b) section

Event to be inserted. See the following parameters for infor-

mation on each element of this section.

M (Measure)

Buttons used in Step Record mode

This is the position of the event (note, rest or chord) to be

inserted.

TIE button

Ties the note to be inserted to the previous note.

Meter

REST button

Meter of the current measure. This parameter can’t be edited.

You can set a Meter change by using the Insert function of the

Edit menu, and inserting a new series of measures with a dif-

ferent Meter (see “Page 22 - Edit: Insert Measures” on

page 101).

Inserts a rest.

NOTE VALUE buttons

Select the step value.

SEQ1 PLAY/STOP button

Exits the Step Record mode.

key?

< (Previous step)

This is a prompt, asking for a note or chord to be played on

the keyboard, to enter an event on the current step.

Goes to the previous step, erasing the inserted event.

>> (Fast Forw ard)

Step value

Goes to the next measure, and ﬁll the remaining space with

rests.

Length of the event to be inserted. Use the NOTE VALUE

buttons, on the lower left area of the control panel, to change

this value.

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9 5

Track status icons

A series of icons near each track show the track’s status.

While in any page, press MENU to open the Song edit menu.

This menu gives access to the various Song edit sections.

When in the menu, select an edit section using the VOLUME/

VALUE (A-H) buttons, select an edit page using PAGE +, or

press EXIT to exit the menu.

Selected track or parameter. When this symbol

appears, you can execute any available opera-

tion on the selected item.

Track in play or already recorded.

When in an edit page, press EXIT to go back to the main page

of the Song operating mode.

(no icon)

The track is in mute, or does not contain data.

PAGE 1 - MIXER: VOLUME

Here you can adjust the volume for each of the 16 sequencer

tracks. Press both VOLUME/VALUE button to mute/unmute

the corresponding track.

Song Edit MENU

Mixer/Tun. Transp/Vel

Effects

Del/Cut-Ins

A muted track remains muted even when selecting a different

Song.

Track Edit Copy

Quantize

Event Edit

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

Each item in this menu corresponds to an edit section. Each

edit section groups various edit pages.

EDIT PAGE STRUCTURE

Mixer:Volume

Select an edit section from the Menu, and/or use the PAGE

buttons to reach the desired page.

Press EXIT to go back to the main page of the Song mode.

All edit pages share the same structure.

|||| 090

|||| 092

|||| 086

||||| 112

Song icon

Page header

Page number

Mixer:Volume

|||| 090

|||| 092

|||| 086

||||| 112

Mixer:Volume

|||| 090

|||| 092

|||| 086

||||| 112

PAGE 2 - MIXER: PAN

Track status icons

Here you can adjust the pan for each Song track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

Song icon

When on, this icon indicates that the instrument is in Song

mode.

Page header

The header shows the name of the current edit page. Usually

the header is divided in a ﬁrst word, identifying the section

name (e.g., “Mixer:FX Send” is a “Mixer” section page), and a

second word, referring to the page name (e.g. “FX Send”).

Mixer:Pan

C+00

Section name

Page name

Mixer:FX Send

Page

This area shows the current page number.

Mixer:Pan

A-H

C+00

Each pair of VOLUME/VALUE buttons select a different

track, parameter of command, depending on the edit page.

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Page 3 - Mixer: FX Block

9 6

Pan

Here is the edit procedure:

-64

+00

+63

Off

Hard Left.

Center.

Hard Right.

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

2. Use the F1-F4 buttons to select a parameter for that

track.

The direct (uneffected) signal does not go to

the outputs; only the FX signal is heard for this

track.

3. Use the TEMPO/VALUE controls to change the parame-

ter’s value.

Parameters

000

No effect. Only the direct (uneffected) signal

goes to the outputs.

100% effect. The direct (uneffected) and

effected signals go to the outputs with the same

level.

PAGE 3 - MIXER: FX BLOCK

This page lets you select a pair of effect processor (AB or CD)

for each of the Song track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

127

PAGE 5 - TUNING: DETUNE

This page is where you can set the ﬁne tuning for each track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

Mixer:FX Block

Tuning:Detune

+OO

Mixer:FX Block

Tuning:Detune

+OO

PAGE 4 - MIXER: FX SEND A/B (OR C/D)

This page lets you set the level of the track’s direct (unef-

fected) signal going to the A and B, or C and D Internal FX

pair. Go to the previous page (“Page 3 - Mixer: FX Block”) to

select an FX pair.

Use the TRACK SELECT button to switch from tracks 1-8 to

tracks 9-16.

Detune

This is the ﬁne tuning.

-64

+63

Lowest pitch.

Standard tuning.

Highest pitch.

Mixer:FXSend

A:100 B:050 A:100 B:050

A:127 B:020 A:100 B:050

A:110 B:050 A:100 B:050

A:100 B:050 A:100 B:050

Mixer:FXSend

A:100 B:050 A:100 B:050

A:127 B:020 A:100 B:050

A:110 B:050 A:100 B:050

A:100 B:050 A:100 B:050

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9 7

Page 6 - Tuning: Scale

Sc(ale)

PAGE 6 - TUNING: SCALE

This parameter lets you activate/deactivate the alternative

scale for each track. (See “Page 6 - Tuning: Scale” on page 97

for more information on selecting an alternative scale).

This page lets you program the alternative scale for the Song

tracks.

Yes

The track is tuned according to the alternative

scale.

The track is tuned according to the Global

scale (see “Scale” on page 125).

Tuning:Scale

Scale:User

Key:C

Note:C#

PAGE 8 - FX: A/B SELECT

Detune:+63

This page lets you select the A and B effects. Usually, the A

effect is a reverb, while the B effect is a modulating effect.

Standard MIDI Files usually require two effects only. You can,

however, assign all four effects to a Song (see “Page 3 - Mixer:

FX Block” on page 96).

Scale

Alternative scale for the Song tracks. See “Scales” on page 227

for a list of available scales. To enable/disable the alternative

scale for each Song track, see “Page 7 - Tuning: PitchBend/

Scale” on page 97.

Key

Parameter required for some Scales, when you should set a

preferred key.

FX:A/B Select

A:02

B:89

Compressor Rev-Gate

Note

Note in edit, to be detuned. This parameter can be accessed

when a User Scale is selected.

ModTrk:Up1 B>Asend:127

Detune

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Song, change the effects, then start the Song again. Save the

Song to permanently change the effects.

Note detune, compared to the standard Equal tuning. This

parameter can be accessed when a User Scale is selected.

PAGE 7 - TUNING: PITCHBEND/SCALE

A, B

This page lets you program the Pitch Bend range for the Song

tracks. Furthermore, it lets you activate/deactivate the alter-

native scale for each track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

Effects assigned to the A and B effect processors. Usually, A is

the reverb, while B is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

ModTrk (Modulating Track)

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

Tuning:PB/Scale

B>Asend (B>A Send)

PB:02 Sc:N PB:02 Sc:N

Amount of the B effect going back to the input of the A effect.

PAGE 9 - FX: C/D SELECT

This page lets you select the C and D effects. Usually, the C

effect is a reverb, while the D effect is a modulating effect.

Standard MIDI Files usually require two effects only. You can,

however, assign all four effects to a Song (see “Page 3 - Mixer:

FX Block” on page 96).

Tuning:PB/Scale

PB:02 Sc:N PB:02 Sc:N

FX:C/D Select

C:02

D:89

PB(end)

Compressor Rev-Gate

This parameters shows the Pitch Bend range for each track,

in semitones.

ModTrk:Up1 D>Csend:127

01…12

Maximum positive/negative pitchbend range

(in semitones). 12 = ±1 octave.

No pitchbend allowed.

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Off

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Page 10 - FX: A editing

9 8

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

PAGE 14 - TRACK: EASY EDIT

In this page you can edit the main parameters of the Pro-

grams assigned to each track.

C, D

Effects assigned to the C and D effect processors. Usually, C is

the reverb, while D is the modulating effect (chorus, ﬂanger,

delay…). For a list of the available effects, see “Effects” on

page 175.

Note: All values are relative to the value of the original Pro-

gram.

You can also change the volume for each class of Drums and

Percussions, if the selected track is set in Drum mode (see

below “Page 15 - Track: Mode”).

ModTrk (Modulating Track)

Source track for modulating MIDI messages. You can modu-

late an effect parameter with a MIDI message generated by a

physical controller.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

D>Csend (D>C Send)

Amount of the D effect going back to the input of the C

effect.

Track:Easy Edit

Attack:0

PAGE 10 - FX: A EDITING

This page contains the editing parameters for the A effect

(usually a reverb).

FX:A Edit (Sq1)

Track:Easy Edit

Rev Time [sec]: 3.07 |

High Damp [%]:0

Attack:0

Pre Dly [ms]:0

Pre Dly Thru [%]:0

Use the E-F and G-H VOLUME/VALUE button pairs to scroll

the parameter list.

Use the A-D VOLUME/VALUE button pairs to select and edit

a parameter.

Use the TEMPO/VALUE controls to edit the selected param-

eter.

Here is the edit procedure:

1. Use the VOLUME/VALUE (A-H) buttons to select a

track.

2. Use the F1-F4 buttons to select a sound parameter, or its

value. (For the Drum and Percussion tracks, see below

the “Drum tracks” section).

3. Use the TEMPO/VALUE controls to change the sound

parameter or its value.

Note: When you stop the Song, or select a different Song, the

default effects are selected again. You can, however, stop the

Song, change the effects, then start the Song again. Edit the Song

in Song mode to permanently change the effects.

Parameters

Attack

Attack time. This is the time during which the

sound goes from zero (at the moment when

you strike a key) to it’s maximum level.

Decay time. Time to go from the ﬁnal Attack

level to the beginning of the Release.

Parameters

See “Effects” on page 175 for a list of available parameters for

each effect type.

Decay

PAGE 11 - FX: B EDITING

This page contains the editing parameters for the B effect

(usually a modulating effect). For more details, see “Page 10 -

FX: A editing” above.

Release

Release time. This is the time during which the

sound goes from the sustaining (or Decay)

phase, to zero. The Release is triggered by

releasing a key.

Cutoff

Filter cutoff. This sets the sound brightness.

Resonance Use the Filter Resonance to deﬁne the width of

the frequency range affected by the Filter.

Vibrato Rate Speed of the Vibrato.

Vibrato Depth

PAGE 12 - FX: C EDITING

This page contains the editing parameters for the C effect.

For more details, see “Page 10 - FX: A editing” above.

Intensity of the Vibrato.

PAGE 13 - FX: D EDITING

Vibrato Delay

Delay time before the Vibrato begins, after the

sound starts.

This page contains the editing parameters for the D effect.

For more details, see “Page 10 - FX: A editing” above.

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9 9

Page 15 - Track: Mode

Poly

Tracks of this kind are polyphonic, i.e. they can

play more than one note at the same time.

Tracks of this kind are monophonic, i.e. each

new note stops the previous note.

Drum tracks

When a track is set in Drum Mode (like the Drum and Per-

cussion tracks), you can adjust the volume for each of the

Drum and Percussion categories.

Mono

Mono Right A Mono track, but with priority assigned to

the rightmost (highest) note.

Kick V

Kick drums volume.

Snare V

Tom V

Snare drums volume.

Toms volume.

PAGE 16 - TRACK: INTERNAL/EXTERNAL

This page lets you set the Internal or External status for each

track. It is very useful to let a Song track drive an external

expander.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

HiHat V

CymbalV

Percus1V

Percus2V

SFX V

Hi-Hat volume.

Ride, Crash and other cymbals volume.

“Classic” percussion set volume.

“Ethnic” percussion set volume.

Special effects volume.

Reset

You can reset the parameters’ value by keeping the SHIFT

button pressed, while pressing the selected track VOLUME/

VALUE button. When you press the above combination, the

Reset window appears:

Track:Int/Ext

Both

External

Both

RESET

NO=Cancel

YES=Trk SHFT+YES=All

Press ENTER/YES to reset the currently selected track. Keep

SHIFT pressed, and press ENTER/YES, to reset all tracks.

Press EXIT/NO to abort and leave all parameters unchanged.

Track:Int/Ext

Both

PAGE 15 - TRACK: MODE

This page lets you set the polyphony mode for each track.

Use the TRACK SELECT button to switch between Song

tracks 1-8, Song tracks 9-16, and back again.

Both

External

Both

Parameters

Internal

The track plays the sounds generated by the

internal sound engine. It does not play an

external instrument connected to the MIDI

OUT.

Track:Mode

Poly

External

The track plays an external instrument con-

nected to the MIDI OUT. It does not play the

internal sounds, thus saving polyphony.

When a track is set to “External”, a strings of

transmitted Control Change and Program

Change data is shown instead of the Program

name assigned to the track. In the following

example, CC#0 is the Control Change 0 (Bank

Select MSB), CC#32 is the Control Change 32

(Bank Select LSB), PC is the Program Change.

Track:Mode

Poly

Drum

Poly

121- 3- 0

Parameters

CC#32

CC#0

Drum

This is a Drum/Percussion track. No Master or

Octave Transpose applies to this track. You can

set a different volume for each class of percus-

sive instruments (“Page 14 - Track: Easy edit”

on page 98).

Both

The track plays both the internal sounds and

an external instrument connected to the MIDI

OU T .

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Page 17 - Edit: Quantize

1 0 0

PAGE 17 - EDIT: QUANTIZE

PAGE 18 - EDIT: TRANSPOSE

The quantize function corrects any rhythm error after

recording.

Here you can transpose the Song, a track or a part of a track.

Edit:Transpose

Edit:Quantize

Trk:1

Value: +0

Trk:1

Resol:

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

S001.01.000 E001.01.192

Bottom:C-1 Top: G9

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Trk (Track)

Use this parameter to select a track.

All

1…16

Value

All tracks selected (apart for Drum tracks).

Selected track.

All

All tracks selected.

Selected track.

1…16

Resol (Resolution)

Value of the transpose (in semitones).

This parameter sets the quantization after recording. For

example, when you select 1/8a, all notes are moved to the

nearest 1/8 division. When you select 1/4, all notes are moved

to the nearest 1/4 division.

S / E (Start/End)

Use these parameters to set the starting (S) and ending (E)

points of the range to transpose.

If you wish to select a four-measure sequence starting at the

beginning of the Song, the Start will be positioned at

1.01.000, and the End at 5.01.000.

No quanti-

zation

Bottom / Top

Use these parameters to set the bottom and top of the key-

board range to transpose. If you select the same note as the

Bottom and Top parameters, you can select a single percus-

sive instrument in a Drum track.

1/8

1/4

PAGE 19 - EDIT: VELOCITY

Here you can change the Velocity value for the notes.

ꢂ (1/32)…ꢅ (1/4)

Grid resolution, in musical values. An “a” after

the value means no swing. A “b…f” after the

value means swing-quantization.

S / E (Start/End)

Edit:Velocity

Use these parameters to set the starting (S) and ending (E)

points of the range to quantize.

Trk:1

Value: +0

If you wish to select a four-measure sequence starting at the

beginning of the Song, the Start will be positioned at

1.01.000, and the End at 5.01.000.

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

Bottom / Top

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Use these parameters to set the bottom and top of the key-

board range to quantize. If you select the same note as the

Bottom and Top parameters, you can select a single percus-

sive instrument in a Drum track.

Note: These parameters are available only when a Drum track

is selected.

Trk (Track)

Use this parameter to select a track.

All

1…16

Value

All tracks selected.

Selected track.

Velocity change value.

S / E (Start/End)

Use these parameters to set the starting (S) and ending (E)

points of the range to edit.

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1 0 1

Page 20 - Edit: Delete

Bottom / Top

If you wish to select a four-measure sequence starting at the

beginning of the Song, the Start will be positioned at

1.01.000, and the End at 5.01.000.

Use these parameters to set the bottom and top of the key-

board range to delete. If you select the same note as the Bot-

tom and Top parameters, you can select a single percussive

instrument in a Drum track.

Note: These parameters are available only when the All or Note

options are selected.

Bottom / Top

Use these parameters to set the bottom and top of the key-

board range to edit. If you select the same note as the Bottom

and Top parameters, you can select a single percussive instru-

ment in a Drum track.

PAGE 21 - EDIT: CUT MEASURES

In this page you can cut measures from the Song.

PAGE 20 - EDIT: DELETE

This page is where you can delete MIDI events from the

Song.

Edit:Cut Meas.

Edit:Delete

Start: 1

Length:1

Trk:1

Ev:All

S001-01-000 E001-01-192

Bottom:G-1 Top:C8

After selecting the Start and Length parameters, press ENTER

to execute. The “Are you sure?” message will appear. Press

ENTER to conﬁrm, EXIT to abort.

After the cut, the following measure are moved back, to ﬁll

the cut measures.

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Start

Trk (Track)

First measure where to begin cutting.

Use this parameter to select a track.

All

All tracks selected.

Length

1…16

Master

Selected track.

Master track. This is where the Tempo, Scale

and Effect events are recorded.

Number of measures to be cut.

PAGE 22 - EDIT: INSERT MEASURES

In this page you can insert measures in the Song. You can also

use this function to insert measures with a different meter

(time signature).

Ev (Event)

Type of MIDI event to delete.

All

All events. The measures will not be removed

from the Song.

Note

All notes in the selected range.

Dup.Note

All duplicate notes. When two notes with the

same pitch are encountered on the same tick,

the one with the lowest velocity is deleted.

After Touch events.

Edit:Ins.Meas.

A.Touch

P.Bend

Meter: 4/4

Start: 1

Length:1

Pitch Bend events.

PrChange

Program Change events, excluding the bun-

dled Control Change #00 (Bank Select MSB)

and #32 (Bank Select LSB).

After selecting the Meter, Start and Length parameters, press

ENTER to execute. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, EXIT to abort.

C.Change

All Control Change events, for example Bank

Select, Modulation, Damper, Soft Pedal…

CC00/32…CC127

Single Control Change events. Double Control

Note: You cannot append measures after the end of the Song. To

append measures use the Record or Copy function.

Change numbers (like 00/32) are MSB/LSB

bundles.

Note: You cannot use this function on an empty Song.

Meter

S / E (Start/End)

Meter of the measures to be inserted.

Use these parameters to set the starting (S) and ending (E)

points of the range to delete.

If you wish to select a four-measure sequence starting at the

beginning of the Song, the Start will be positioned at

1.01.000, and the End at 5.01.000.

Start

First of the inserted measures.

Length

Number of measures to be inserted.

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Page 23 - Edit: Copy

1 0 2

PAGE 23 - EDIT: COPY

PAGE 24 - EVENT EDIT

Here you can copy tracks or phrases.

Enter this page from the Menu of the Song mode. The Event

Edit page allows you to edit each event in a single track. See

“Event Edit procedure” on page 104 for more information on

the event editing procedure.

Edit:Copy

Mode:Merge

FromTrk:All ToTrk:All

S:1 E:1 S:1 T1

Event Edit

Trk: 1

Position: 001.01.000 |

Ev: Note G1

After setting the various parameters, press ENTER to execute.

The “Are you sure?” message will appear. Press ENTER to

conﬁrm, EXIT to abort.

Note: If you copy too many events on the same “tick”, the “Too

many events!” message appears, and the copy operation is

aborted.

Lenght:000.00.110

Event Type

First value

Second value

Trk (Track)

Track in edit. To select a different track, press one of the A

VOLUME/VALUE buttons to open the Go To Track window.

Mode

Use this parameter to select the Copy mode.

Merge

Copied data are merged with the data at the

target position.

Go to Track: 1

Enter=Ok Exit=Cancel

Overwrite

Copied data replace all data at the target posi-

tion.

Use the TEMPO/VALUE controls to select a track, and press

ENTER to conﬁrm, or EXIT to abort.

Warning: Deleted data cannot be recovered!

1…16

One of the ordinary tracks of the Song. These

tracks contains musical data, like notes and

controllers.

This is a special track, containing Tempo

changes, Meter changes, Scale and Transpose

data, and the effect parameters.

FromTrk (From Track)

ToTrk (To Track)

Use these parameters to select the source and target track to

copy.

Master

Position

All

1…16

S/E

All tracks. The target track cannot be selected.

Selected source and target tracks.

Position of the event shown in the display, expressed in the

form ‘aaa.bb.ccc’:

The left “S/E” parameters are the starting and ending mea-

sure to copy. For example, if S=1 and E=4, the ﬁrst four mea-

sures are copied.

•

‘aaa’ is the measure

‘bb’ is the beat

‘ccc’ is the tick (each quarter beat = 384 ticks)

The right “S” parameter is the ﬁrst of the target measures.

You can edit this parameter to move the event to a different

position.

Number of times the copy must be executed.

Ev (Event)

Type and values of the event shown in the display. Depending

on the selected event, the value may change. This parameter

also shows the (non-editable) “End Of Track” marking, when

the end of the track is reached.

Here are the events contained in ordinary tracks (1-16).

Event

First value

Second value

Note

Prog

Ctrl

Note name

Velocity

Program Change number

Control Change number

Bending value

–

Control Change value

Bend

Aftt

–

Mono (Channel) After-

touch value

PAft

Note to which the After-

touch is applied

Poly Aftertouch value

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1 0 3

Page 25 - Event Filter

SEQ1 PLAY/STOP button

And here are the events contained in the Master track.

Press PLAY/STOP to listen to the Song in edit. Press PLAY/

STOP again to stop it.

Event

First value

Second value

SHIFT + << or >>

Tempo

Volume

Meter

Tempo change

–

Keep the SHIFT button pressed and press the << or >> but-

ton to open the Go to Measure window.

Master Volume value

(a)

Meter change

Scale

One of the available pre- Root note for

Go to Measure: 1

set Scales

the selected

Scale

Enter=Ok Exit=Cancel

UScale (User

Scale)

One of the available

User Scales

Root note for

the selected

Scale

Use the TEMPO/VALUE controls to select a measure, and

press ENTER to conﬁrm, or EXIT to abort.

SHIFT + PAUSE

QT (Quarter

Tone)

Altered note

Note alter-

While the sequencer is running, keep the SHIFT button

pressed, and press the PAUSE button to display the event that

is currently playing. This is called the Catch Locator function.

(b)

ation

QT Clear (Quar-

ter Tone Clear-

ing)

Reset of all Scale

changes

–

INSERT

Press the INSERT button to insert a new event at the current

shown Position. The default values are Type = Note, Pitch =

C4, Velocity = 100, Length = 192.

Note: You can’t insert new events in an empty, non-recorded

Song. To insert an event, you must ﬁrst insert some empty mea-

sures. To use the Insert function, press MENU and one of the F

VOLUME/VALUE buttons, then press the PAGE+ button twice.

(c)

FXType

One of the four avail-

able FX processors

Effect number

FXSend

Feedback Send (B>A or

D>C)

Feedback send

level

(a) Meter changes can’t be edited or inserted. To insert a Meter

change, use the Insert function in the Edit section and insert a

series of measures with the new meter. Existing data can then be

copied or entered to these measures

(b) To edit the Quarter Tone settings, select the ﬁrst value, then

select the scale’s degree to edit. Edit the second value to change

the tuning of the selected note of the scale.

DELETE

Press the DELETE button to delete the event shown in the

display.

default settings will be assigned to this event.

PAGE 25 - EVENT FILTER

This page is where you can select the event types to be shown

in the Event Edit page. You can access this page by pressing

the PAGE+ button while in the Event Edit page.

To change the event type, use the C VOLUME/VALUE but-

tons to select the Event line, then use the same buttons or the

TEMPO/VALUE controls to select a different event type.

To select and edit the event’s value, use the F3 and F4 func-

tion keys, and use the G/VOLUME/VALUE buttons or the

TEMPO/VALUE controls.

Edit:Ev.Filter

Length

Note: Off

Prog: Off

Ctrl: Off

MTch: Off

PTch: Off

Bend: Off

Length of the selected Note event. The value format is the

same as the Position value.

Note: If you change a length of “000.00.000” to a different

value, you can’t go back to the original value. This rather

uncommon zero-length value may be found in the drum and

percussion tracks of Songs made in Backing Sequence mode.

T/Meter: Off PaCtl: Off

Turn On the ﬁlter for all event types you do not wish to see in

the Event Edit page.

Note

Prog

Ctrl

T/Meter

Notes.

Program Change values.

Control Change events.

Tempo and Meter changes (Master Track

only).

Mono (Channel) Aftertouch events.

Poly Aftertouch events.

Pitch Bend events.

Controls exclusive of the Pa50, like the FX and

Scale settings. These controls are recorded to

the Master Track, and saved as System Exclu-

sive data.

Transport, navigation and editing controls

E/F and H VOLUME/VALUE buttons

These buttons are the “Scroll to previous event” and “Scroll to

next event” controls. They corresponds to the scroll arrows

shown on the screen.

Aftt

PAft

Bend

PaCtl

G VOLUME/VALUE buttons

Use these buttons to select the corresponding parameter

value area.

F3 and F4 buttons

After selecting the parameter value area with the G VOL-

UME/VALUE buttons, use these buttons to select, respec-

tively, the ﬁrst and second value of the event in edit.

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Event Edit procedure

1 0 4

For more information on the event types and their val-

ues, see “Page 24 - Event Edit” below.

8. Use the B VOLUME/VALUE buttons to select the Posi-

tion line. Use these buttons or the TEMPO/VALUE con-

trols to change the event’s position.

EVENT EDIT PROCEDURE

The Event Edit is the page where you can edit each single

MIDI event of the selected track. You can, for example,

replace a note with a different one, or change its playing

strength. Here is the general event editing procedure.

1. While in the Main page of the Song mode, load the Song

to edit (see “Main page” on page 88). If a S o ng is already

loaded or just recorded, this step is not needed.

Position: 001.01.001

Measure

Beat

Tick

2. Press MENU, and use one of the H VOLUME/VALUE

buttons to select the Event Edit section. The Event Edit

page appears (see “Page 24 - Event Edit” on page 102 for

more information).

9. Use the C VOLUME/VALUE buttons to select the Event

line. You may use the C VOLUME/VALUE buttons or

the TEMPO/VALUE controls to change the event type.

Use the G VOLUME/VALUE buttons, and the F3 and F4

function keys to respectively select the ﬁrst and second

value of the parameter. Use the G VOLUME/VALUE

buttons or the TEMPO/VALUE controls to modify the

selected value.

Event Edit

Trk: 1

Position: 001.01.000 |

Ev: Note G1 94

Ev: Note G1

Lenght:000.00.110

Event Type

First value

Second value

10. In the case of a Note event, use the D VOLUME/VALUE

buttons to select the Length line, and use the same but-

tons, or the TEMPO/VALUE controls, to change the

event’s length.

3. Press SEQ1 PLAY/STOP to listen to the Song. Press

SEQ1 PLAY/STOP again to stop it.

4. Press PAGE+ to go to the Event Filter page, and turn

“Off” the ﬁlter for the event types you wish to see in the

display (see “Page 25 - Event Filter” on page 103 for

more information).

Lenght:000.00.000

Measure

Beat

Tick

• After having modiﬁed the shown event, you may scroll

to the next event with the H VOLUME/VALUE buttons

(Scroll to next), or to the previous event with the E/F

VOLUME/VALUE buttons (Scroll to previous).

• You may use the SHIFT + << or >> shortcut to go to a

different measure (see “SHIFT + << or >>” on

page 103)

• While the sequencer is running, you may use the

SHIFT + PAUSE shortcut to move the current event in

the display (see “SHIFT + PAUSE” on page 103).

• As described in step 3, you may press SEQ1 PLAY /

STOP to listen to the Song, and press SEQ1 PLAY/STOP

again to stop the sequencer.

Edit:Ev.Filter

Note: Off

Prog: Off

Ctrl: Off

MTch: Off

PTch: Off

Bend: Off

T/Meter: Off PaCtl: Off

5. Press PAGE- to go back to the Event Edit page.

6. Press the A VOLUME/VALUE button (Trk), to select the

track to edit. The Go To Track window appears.

Go to Track: 1

Enter=Ok Exit=Cancel

11. Use the INSERT button to insert an event at the Position

shown in the display (a Note event with default values

will be inserted). Use the DELETE button to delete the

event shown in the display.

12. When the editing is complete, you may select a different

track (go to step 6).

Use the TEMPO/VALUE controls to select a track, and

press ENTER to conﬁrm (or EXIT to abort).

7. The list of events contained in the selected track will

appear in the display.

13. When ﬁnished editing the whole Song, press EXIT to go

back to the Main page of the Song mode, and select the

Save Song command to save the Song on disk. See “Save

Song page” on page 90 for more information on saving a

Song.

Event Edit

Trk: 1

Position: 001.01.000 |

Ev: Note G1

Lenght:000.00.110

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1 0 5

Main page

14. PROGRAM OPERATING MODE

Note: Some manufacturers could use the 1-128 numbering sys-

tem; when connecting your Pa50 to an instrument of this kind,

increment the PC value by 1 unit.

The Program operating mode is where you can listen to

individual Programs, and edit them.

To select a Program, see the “Basic operations” chapter.

In this mode, the selected Program can always be played

across the full keyboard range.

Effects

In Program mode, the Program uses its own effects instead of

relying on A-D effects. Two effect processors (FX1 and FX2)

are available.

To automatically select the Program to be assigned to the

last selected track, keep the SHIFT button pressed, and

press the PROGRAM button.

Hint: This is useful to see the Bank Select/Program Change

numbers when programming a Song on an external sequencer.

Note: The Program uses the same Scale of the latest selected Per-

formance or STS.

The MIDI channel

In Program mode, Pa50 receives and transmits on the same

channel of the Upper 1 track. If the Global channel is

assigned, notes can be received also on this channel. See

“Page 6 - MIDI IN Channels” on page 127 and “Page 10 -

MIDI OUT Channels” on page 129 for more information.

MAIN PAGE

Here is the main page of the Program operating mode.

Tempo

SOUND PROGRAMS AND DRUM PROGRAMS

Pa50 features two different kinds of Programs:

Page header

Program icon

•

Sound Programs. These are normal instrument Pro-

grams, like pianos, strings, basses.

Drum Programs. These are drum and percussion kits,

where each note of the keyboard is a different percussive

instrument. You can ﬁnd Drum Programs in the DRUM

KIT and USER DK banks.

GrandPiano

Group:Piano

MIDI CC00:121

Before pressing MENU to enter the edit environment, you

should select a Program of the type you wish to edit or create.

Notes pointing to special Drum Program features are marked

CC32:3

PC: 0

by the

icon.

Program icon

When turned on, this icon shows that the instrument is in

Program mode.

Page header

While in any other page of the Program operative mode,

press MENU to open the Program edit menu. This menu

gives access to the various Program edit sections.

When in the menu, select an edit section using the VOLUME/

VALUE (A-G) buttons, select an edit page using PAGE +, or

press EXIT to exit the menu.

This line shows the selected Program name. Use the TEMPO/

VALUE controls, or the PROGRAM/PERFORMANCE sec-

tion to select a Program. (See “Selecting a Program” on

page 26 for more information).

Tempo

This is the tempo of Sequencer 1. The Tempo is one of the

AMSs (see “AMS (Alternate Modulation Source) list” on

page 123). Use the SHIFT + DIAL combination to change it.

When in an edit page, press EXIT to go back to the main page

of the Program operating mode.

A (Group)

This non-editable parameter shows which group the Pro-

gram is included into. A group is the equivalent of a PRO-

GRAM/PERFORMANCE button.

Prog Edit MENU

Basic

Amp

B (CC00)

Samples

Pitch

LFOs

Effects

This non-editable parameter shows the value of the Control

Change (CC) 00 message (or Bank Select MSB) for the

selected Program.

Filter

Each item in this menu corresponds to an edit section. Each

edit section groups various edit pages.

C (CC32)

This non-editable parameter shows the value of the Control

Change (CC) 32 message (a.k.a. Bank Select LSB) for the

selected Program.

EDIT PAGE STRUCTURE

Select an edit section from the Menu, and/or use the PAGE

buttons to reach the desired page.

D (PC)

This non-editable parameter shows the value of the Program

Change (PC) message for the selected Program. Values are in

the standard 0-127 MIDI numbering format.

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The Compare function

1 0 6

Press EXIT to go back to the main page of the Program

mode.

All edit pages share the same structure.

•

While in the Basic page, keep the SHIFT button pressed,

and press the DELETE button to initialize the whole

Program to a default status.

While in an edit page where the “Osc” abbreviation

appears in the upper right area of the display, keep the

SHIFT button pressed, and press the DELETE button to

initialize the currently selected oscillator to a default sta-

tus

Oscillator in edit

Program icon

Page header

Page number

After you press the shortcut, the “Init osc?” message appears.

Press ENTER to conﬁrm, EXIT to abort.

Samples |Osc1

Selected:

Osc1

ROM

MS Hi Bank/Num:

L>AcousticPiano

[H] Reverse:

THE ‘WRITE’ WINDOW

This page appears when you press the WRITE button. Here

you can save the Program into a User Program location in

memory.

Parameters

Parameters value

Program icon

When switched on, this icon shows that the instrument is in

Program mode.

WRITE to:

Name: GrandPiano

To: U1-01

<empty>

Page header

The header shows the name of the current edit page.

Oscillator in edit

When in an edit page where selecting an oscillator is

required, this area shows the selected oscillator. Use the F1-F4

buttons to select one of the four available oscillators.

1. Select a name and a location, then press ENTER to save

the Program.

2. The “Are you sure?” message appears. Press ENTER to

conﬁrm, or EXIT to abort.

Page number

This area shows the current page number.

Warning: If you write over an existing User Program, the

Program will be deleted and replaced by the one you are

saving (“overwrite”). Please save on disk any Program you

don’t want to lose.

Parameters

Select an edit parameter using the A-D VOLUME/VALUE

buttons. You can scroll the parameter list using the E-F

(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE but-

tons.

Name

Use this parameter to change the Program’s name. Press the

right A VOLUME/VALUE button to enter editing. Modify the

name using the UP/DOWN buttons to move the cursor, and

the DIAL to select a character. Press INSERT to insert a char-

acter at the cursor position, or DELETE to delete it

Parameter value

Use the A-D VOLUME/VALUE buttons, or the TEMPO/

VALUE controls, to change the parameter value.

THE COMPARE FUNCTION

While in edit, you can compare the current Program with its

original values. You cannot edit the Program while you are in

Compare mode.

To (Location number)

Use the B VOLUME/VALUE buttons to select a different User

Program location in memory. Otherwise, select this parame-

ter and use the VOLUME/VALUE controls to select the loca-

tion.

•

Keep the SHIFT button pressed, and press ENTER to

enter the Compare function. The PROGRAM LED

begins ﬂashing. Play on the keyboard to listen to the

original Program.

Note: You can’t save over a Factory Program location.

PAGE 1 - BASIC

Here you can make basic settings for the Program, such as

basic oscillator settings, the oscillator count, and the poly-

phonic mode.

•

Press SHITF + ENTER again to exit the Compare mode

and return to the edited Program.

HOW TO SELECT OSCILLATORS

While in an edit page requiring an oscillator to be selected for

editing, use the F1-F4 buttons to select one of the available

oscillators.

Basic

Oascillators:

Mode:

Poly

ERASE PROGRAM/OSCILLATOR

You can initialize any parameter value, by using one of the

following shortcuts:

Single Trigger:

Legato:

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1 0 7

Page 2 - Sample (Sound Programs)

Oscillators

PAGE 2 - SAMPLE (SOUND PROGRAMS)

Use this parameter to specify the basic Program type;

whether it will use one or more oscillators (up to four).

The multisample(s) (waveform) on which the Program will

be based can be selected here for each of the four oscillators.

Each oscillator can use 1 or 2 multisamples, each one

assigned to the High or Low layer.

Drum Programs use only one oscillator.

1…4

Number of oscillators the Program will use.

The total amount of polyphony varies depend-

ing on the number of oscillators used by the

Program (a maximum of 62 with only 1 oscil-

lator, or a maximum of 15 with 4 oscillators).

Samples |Osc1

Mode

Selected:

Osc1

ROM

MS Hi Bank/Num:

L>AcousticPiano

[H] Reverse:

This is the polyphonic mode of the Program.

Poly

The Program will play polyphonically, allow-

ing you play chords.

Mono

The Program will play monophonically, pro-

ducing only one note at a time.

The internal Flash-ROM contains 340 different multisamples

(preset multisamples).

Single Trigger

S e l e c t ed

This parameter is available when the “Mode” parameter is set

to Poly.

Yes

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

When the same note is played repeatedly, the

previous note will be silenced before the next

note is sounded, so that the notes do not over-

lap.

When the same note is played repeatedly, the

previous note will not be silenced before the

next note is sounded.

MS Hi/Lo Bank/Num

Use these parameters to select a different multisample for

each of the High and Low layers. You can use velocity to

switch between the two multisamples. Reverse, Offset and

Level can be adjusted independently for the High and Low

multisamples.

The ﬁrst line shows the bank (ROM), while the second line is

for selecting the multisample. The Program number appears

at the end of the second line.

Legato

This parameter is available when the “Mode” parameter is set

to Mono.

The multisample you select for the High layer will be trig-

gered by velocities higher than the value of the “Velocity

Switch” parameter (see page 14-108). If you do not wish to

use velocity switching, set the switch to a value of 001, and

select only the High multisample.

Yes

Legato is on. When multiple note-on’s occur,

the ﬁrst note-on will retrigger the sound, and

the second and subsequent note-on’s will not

retrigger.

When legato is on, multiple note-on’s will not

retrigger the voice. If one note is already on

and another note is turned on, the ﬁrst voice

will continue sounding. The oscillator sound,

envelope, and LFO will not be reset, and only

the pitch of the oscillator will be updated. This

setting is effective for wind instrument sounds

and analog synth-type sounds.

Note: Each multisample has an upper limit, and may not pro-

duce sound when played above that limit.

[H/L] Reverse

The multisample will be played in reverse. In the case of

Flash-ROM multisamples that were originally speciﬁed to

loop, the multisample will be played back in “one-shot”

reverse mode. If the multisample was originally set to reverse,

it will playback without change.

Legato is off. Notes will always be retriggered

when note-on occurs.

Yes

The multisample will playback in reverse.

The multisample will play back normally.

When legato is off, multiple note-on’s will

retrigger the voice at each note-on. The oscilla-

tor sound, envelope, and LFO will be reset

(and retriggered) according to the settings of

the Program.

[H/L] Use Offset

These parameters specify the point where the multisample(s)

will begin to play. For some multisamples this parameter will

not be available.

Note: If “Legato” is On, certain multisamples or keyboard loca-

tions may produce an incorrect pitch.

Yes

The sound will begin from the offset location

pre-determined for each multisample.

The sound will start from the beginning of the

multisample waveform.

Priority

This parameter is available when the “Mode” parameter is set

to Mono. It speciﬁes which note will be given priority to play

when two or more notes are played simultaneously.

[H/L] Level

These parameters specify the level of each multisample.

0…127 Multisample level.

Note: Depending on the multisample, high settings of this

parameter may cause the sound to distort when a chord is

played. If this occurs, lower the level.

Low

High

Last

Lowest note will take priority.

Highest note will take priority.

Last note will take priority.

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Page 2 - DK Samples (Drum Programs)

1 0 8

Velocity Sw itch

MS Hi/Lo Bank/Num

This is the velocity value dividing the High and Low layers for

the selected oscillator. Notes struck harder than this value

will be played by the High multisample.

Use these parameters to select a different multisample (drum

kit) for each of the High and Low layers. For more informa-

tion, see “MS Hi/Lo Bank/Num” on page 107.

V-Zone Top/Bottom (Velocity Zone)

[H/L] Level

Here you can specify the velocity range for the selected oscil-

lator.

These parameters specify the level of each multisample. For

more information, see “[H/L] Level” on page 107.

Note: You cannot set the Bottom Velocity higher than the Top

Velocity, nor the Top Velocity lower than the Bottom Velocity.

[H/L] Transpose

These parameters transpose the selected multisample. Use

them to change the pitch of the selected key.

0…127

Assigned velocity.

No transposition applied.

Octave

Use this parameter to adjust the pitch of the selected oscilla-

tor in octave units. The normal octave of the multisample is

“0”.

-64…+63

[H/L] Tune

Transpose value in semitones.

Use these parameters to ﬁne-tune the assigned sample.

-2…+1

Octave transposition.

No ﬁne-tuning.

Transpose

-99…+99

Fine-tuning value in cents (1/100 of a semi-

tone).

Use this parameter to adjust the pitch of the selected oscilla-

tor in semitone steps over a range of ±1 octave.

[H/L] Reverse

-12…+12

Transposition in semitones.

The multisample will be played in reverse. For more informa-

tion see “[H/L] Reverse” on page 107.

Tune

Use this parameter to adjust the pitch of the sample in one-

cent steps (a semitone is 100 cents) over a range of ±1 octave.

-1200…+1200

[H/L] Use Offset

These parameters specify the point where the multisample(s)

will begin to play. For more information see “[H/L] Use Off-

set” on page 107.

Fine-tune value in cents.

Delay (ms)

[H/L] Cutoff

This parameter sets a delay time from the note-on to the real

beginning of the sound. With a setting of KeyOff, the sound

will begin when note-off occurs. This is useful to create

sounds such as the “click” that is heard when a harpsichord

note is released. In this case, set the “Sustain Level” parame-

ter to 0 (see page 14-115).

These parameters set the cutoff frequency for the ﬁlter

applied to the selected sample.

[H/L] Resonance

These parameters set the resonance for the ﬁlter applied to

the selected sample.

[H/L] Attack

Key Off

The sound will begin when the note is released.

Delay time in milliseconds.

These parameters are an offset to the selected sample’s EG

Attack.

0…5000

[H/L] Decay

PAGE 2 - DK SAMPLES (DRUM PROGRAMS)

This page appears when you edit a Drum Program. Here you

can select a different percussive sample for each layer (High

and Low) on each key.

These parameters are an offset to the selected sample’s EG

Decay.

Velocity Sw itch

This is the velocity value dividing the High and Low layers for

the selected sample/key. Notes stricken harder than this value

will be played by the High multisample.

Single Trigger

DK Samples

Use this parameter to set the sample as a single-triggered one.

Key:

C 2

Yes

ROM

Yes

When the same key (note) is played repeatedly,

the previous note will be stopped before the

new note is triggered, so that they will not

overlap.

Assigned:

MS Hi Bank/Num:

BD-SoftRoom

When the same key (note) is played repeatedly,

the previous note will not be stopped before

the new note is triggered.

Key

Key in edit. You can press a key on the keyboard to select a

key.

Receive Note On

Assigned

Use this parameter to enable/disable the reception of the

Note On (Key On) message.

Use this parameter to turn the sample on/off.

Yes

The sample is assigned to the selected key.

The sample is not assigned. The sample

assigned to the next highest assigned key is

used instead.

Yes

The Note On message is normally received.

The Note On message is not received. There-

fore, the corresponding key is muted.

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Page 3 - Pitch

Receive Note Off

and negative (–) values will cause the pitch to fall as you play

higher notes.

With a value of 0, there will be no change in pitch, and the C4

pitch will sound regardless of the keyboard location you play.

Use this parameter to enable/disable the reception of the

Note Off (Key Off) message.

Yes

The sound will stop as soon as you release the

key.

The diagram shows how the Pitch Slope and pitch are related:

The sound will continue playing up to the end

of the sample. The Note Off message is

ignored.

Pitch

Warning: If the “Single Trigger” parameter is set

to No, and the sound is looped, the sound will

play endlessly. In an “emergency” situation, use

the Panic command (see “START/STOP” on

page 15).

2oct

1oct

–1

C4 C5

Key

-1.0…+2.0 Pitch slope value.

Exclusive Group

JS (+X)

Exclusive Groups are sets of mutually exclusive keys, stopping

each other. For example, if the Open Hi-Hat and Closed Hi-

Hat are assigned the same Exclusive Group, playing an Open

Hi-Hat will stop the Closed Hi-Hat playing.

This parameter speciﬁes how the pitch will change when the

joystick is moved all the way to the right. A setting of 12 pro-

duces 1 octave of change.

None

No Exclusive Group assigned. The selected key

will not be stopped by any other key.

For example if you set this to +12 and move the joystick all

the way to the right, the pitch will rise one octave above the

original pitch.

1…127

Exclusive Groups assigned to the selected key.

When you play this key, all other keys assigned

to the same Exclusive Group will be stopped,

and this key will be stopped by other keys

assigned to the same Exclusive Group.

-60…+12

Maximum pitch change in semitones.

JS (–X)

This parameter speciﬁes how the pitch will change when the

joystick is moved all the way to the left. A setting of 12 pro-

duces 1 octave of change.

Pan

This parameter sets the position in the stereo panorama of

the selected key.

For example, if you set this to -60 and move the joystick all

the way to the left, the pitch will fall ﬁve octaves below the

original pitch. This can be used to simulate the downward

swoops that a guitarist produces using the tremolo arm.

Send FX1

This parameter sets the FX1 send level for of the selected key.

-60…+12

Maximum pitch change in semitones.

Send FX2

This parameter sets the FX2 send level for of the selected key.

Pitch modulation

AMS (Alternate Modulation Source)

PAGE 3 - PITCH

This parameter selects the source that will modulate the pitch

of the selected oscillator. See “AMS (Alternate Modulation

Source) list” on page 123.

Here you can make pitch settings for each oscillator. These

settings specify how keyboard location will affect the pitch of

each oscillator, and select the controllers that will affect the

oscillator pitch and specify the depth of control. You can also

specify the amount of pitch change produced by the Pitch EG

and by LFO1 and LFO2, switch portamento on/off and spec-

ify how it will apply.

Intensity

This parameter speciﬁes the depth and direction of the effect

produced by “AMS”. With a setting of 0, no modulation will

be applied. With a setting of 12.00, the pitch will change up to

one octave.

For example, if you set “AMS” to Joystick +Y and push the

joystick, the pitch will rise if this parameter is set to a positive

(+) value, or fall if this parameter is set to a negative (–)

value. The range is a maximum of one octave.

-12.00…+12.00

Pitch

|Osc1

Selected:

Osc1

+1.0

Slope:

Joystick +X:

Joystick -X:

Parameter value.

-2

Pitch EG modulation

Selected

EG Intensity

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

This parameter speciﬁes the depth and direction of the mod-

ulation that the pitch EG speciﬁed on “Page 6 - Pitch EG” will

apply to the pitch. With a setting of 12.00, the pitch will

change a maximum of ±1 octave.

Slope

Normally you will leave this parameter at +1.0. Positive (+)

values will cause the pitch to rise as you play higher notes,

-12.00…+12.00

Parameter value.

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Page 4 - Pitch LFO1

1 1 0

EG AMS (EG Alternate Modulation Source)

of pitch modulation will be applied. Negative (–) values will

invert the LFO waveform.

-12.00…+12.00

This parameter selects the source that will modulate the pitch

EG of the selected oscillator. See “AMS (Alternate Modula-

tion Source) list” on page 123).

Intensity depth and direction.

Intensity (AMS Intensity)

JS+Y (JoyStick +Y)

This parameter speciﬁes the depth and direction of the effect

that “AMS” will have. For example, if you set “AMS” to Veloc-

ity and set this value to +12.00, the velocity will control the

range of pitch change produced by the pitch EG in a range of

±1 octave. As you play more softly, the pitch change will draw

closer to the pitch EG levels.

This parameter speciﬁes the depth and direction of the effect

that joystick movement in the +Y direction (away from your-

self) will have on the pitch modulation applied by the LFO1.

As this value is increased, moving the joystick in the +Y

direction will cause the LFO1 to produce deeper pitch modu-

lation. With a setting of 12.00 a maximum of ±1 octave of

pitch modulation will be applied. Negative (–) values will

invert the LFO waveform.

Pitch change (level)

Note-on

Note-off

-12.00…+12.00

Joystick action depth.

Pitch LFO1 ‘Level’ modulation

Strongly played with

a positive (+) value

Softly played

(Intensity (Pitch EG) setting)

Strongly played with a

negative (–) value

AMS (Alternate Modulation Source)

Note: “Intensity” (Pitch EG) and AMS will be added to deter-

mine the depth and direction of the pitch modulation applied by

the pitch EG.

This parameter selects the source that will control the depth

of pitch modulation produced by the LFO1. See “AMS (Alter-

nate Modulation Source) list” on page 123.

Intensity

Portamento

This parameter speciﬁes the depth and direction of the effect

that “AMS” will have. With a setting of 0, modulation will not

be applied. With a setting of 12.00, the LFO1 will apply a

maximum of ±1 octave of pitch modulation. Negative (–)

settings will invert the LFO waveform.

Portamento

This parameter turns the portamento effect (smooth change

in pitch from one note to the next) on/off, and speciﬁes how

it will be applied.

For example if “AMS” is set to Joystick +Y and push the joy-

stick, a positive (+) setting of this parameter will cause the

pitch modulation created by LFO1 to be applied with the

normal phase, and a negative (–) setting will cause the LFO

to be applied with inverted phase.

The “LFO1 Intensity”, “JS+Y” and “AMS” settings will be

added to determine the depth and direction of the pitch

modulation applied by LFO1.

Note: Portamento will also be switched when CC#65 (Porta-

mento SW) is received.

Portamento will be applied.

Off

Portamento will not be applied.

Portamento Time

This parameter sets the portamento time. Increasing the

value will produce a slower change in pitch.

000…127

Portamento time in MIDI value.

-12.00…+12.00

Parameter value.

PAGE 4 - PITCH LFO1

In this page you can set the LFO1 modulation parameters for

the selected oscillator.

PAGE 5 - PITCH LFO2

In this page you can set the LFO2 modulation parameters for

the selected oscillator. See “Page 4 - Pitch LFO1” for informa-

tion on the various parameters.

Pitch LF01 |Osc1

Selected:

Intensity:

Joystick +Y:

AMS

Osc1

0.00

Pitch LF02 |Osc1

+0.07

ChannelAT

Selected:

Intensity:

Joystick +Y:

AMS

Osc1

0.00

+0.07

Selected

ChannelAT

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Intensity

PAGE 6 - PITCH EG

Here you can make settings for the pitch EG, which creates

time-variant changes in the pitch of the oscillators. The depth

of pitch change produced by these EG settings on the oscilla-

This parameter speciﬁes the depth and direction of the pitch

modulation applied by the LFO1 settings you made on “Page

17 - LFO1”. With a setting of 12.00, a maximum of ±1 octave

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Page 6 - Pitch EG

tors is adjusted by the “Intensity (AMS1/2 Intensity)” param-

eter (see page 14-111).

Pitch EG ‘Level’ modulation

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value

Note-on

Note-off

Pitch EG

Start Level:

Attack Time:

Attack Level:

Decay Time:

A note played softly with

Start Level Swing set at 0,

Attack Level Swing set to +, Attack Level Swing set to +, Attack Level Swing set to –,

the Joystick pulled on the Joystick pulled on the Joystick pulled on

A note played strongly with

Start Level Swing set to 0,

A note played strongly with

Start Level Swing set to 0,

AMS1/2 (L) (Alternate Modulation Source 1/2)

These parameters select the source that will control the pitch

EG “Level” parameters (“AMS (Alternate Modulation

Source) list” on page 123).

Pitch envelope

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

Intensity (AMS1/2 Intensity)

+99 = approximately 1 octave

Note-on

Attack Level

Note-off

These parameters specify the depth and direction of the effect

applied by “AMS1”. With a setting of 0, the levels speciﬁed by

“Start/Attack/Decay/Release Level” will be used.

0 = pitch when

Time

key is held

(sustained)

Release Level

Start Level

Attack

Time

Decay

Time

For example if “AMS1” is Joystick +Y, pushing the joystick to

turn it on will change the “Level” parameters of the Pitch EG.

As the absolute value of “Intensity” is increased, the pitch EG

levels will change more greatly when the joystick is released.

The direction of the change is speciﬁed by “Start Level

Swing” and “Attack L evel Swing”. Wh en the key pressure is

released, the pitch EG levels will return to their own settings.

If “AMS1” is set to Velocity, increasing the absolute value of

“Intensity” will produce increasingly wider change in pitch

EG levels for strongly-played notes. The direction of the

change is speciﬁed by “Start Level Swing” and “Attack L evel

Swing”. As you play more softl y , t he pitch change will draw

closer to the pitch EG levels.

Release Time

–99 = approximately 1 octave

Start/Attack/Decay/Release Level

These parameters specify the amount of pitch change. The

actual amount of pitch change will depend on the “Intensity

(AMS1/2 Intensity)” parameter (see below). For example,

with an “Intensity” setting of +12.00, a “Level” setting of +99

would raise the pitch one octave, and a “Level” setting of –99

would lower the pitch one octave.

-99…+99

Parameter value.

Start Level

Speciﬁes the amount of pitch change at note-on.

-99…+99

Parameter value.

Attack Level

Start Level Sw ing

Speciﬁes the amount of pitch change when the attack time

has elapsed.

This parameter speciﬁes the direction of change in “Start

Level” caused by “AMS1/2”. If “Intensity” is a positive (+)

value, a setting of + will raise the EG level, and a setting of –

will decrease it. With a setting of 0 there will be no change.

Release Level

Speciﬁes the amount of pitch change when the release time

has elapsed.

Attack Level Sw ing

Attack/Decay/Release Time

This parameter speciﬁes the direction of change in “Attack

Level” caused by “AMS1/2”. If “Intensity” is a positive (+)

value, a setting of + will raise the EG level, and a setting of –

will decrease it. With a setting of 0 there will be no change.

These parameters specify the time over which the pitch

change will occur.

0…99

Parameter value.

Attack Time

Speciﬁes the time over which the pitch will change from

note-on until it reaches the pitch speciﬁed as the attack level.

Pitch EG ‘Time’ modulation

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Decay Time

Note-on

Note-off

Speciﬁes the time over which the pitch will change after

reaching the attack level until it reaches the normal pitch.

Release Time

Speciﬁes the time over which the pitch will change from

note-off until it reaches the pitch speciﬁed as the release level.

A note played softly with Attack A note played strongly with

Time Swing set to + and

Decay Time Swing set to +

Anote played strongly with

Attack Time Swing set to + and Attack Time Swing set to –and

Decay Time Swing set to + Decay Time Swing set to –

AMS(T) (Alternate Modulation Source)

This parameter selects the source that will control the “Time”

parameters of the pitch EG (see “AMS (Alternate Modulation

Source) list” on page 123).

Intensity (AMS(T) Intensity)

This parameter speciﬁes the depth and direction of the effect

that “AMS” will have on the “Time” parameters. With a set-

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Page 7 - Filter

1 1 2

ting of 0, the pitch EG times will be just as speciﬁed by the

“Attack/Decay/Release Time” settings.

The alternate modulation value at the moment that the EG

reaches each point will determine the actual value of the EG

time that comes next.

For example, the decay time will be determined by the alter-

nate modulation value at the moment that the attack level is

reached.

PAGE 7 - FILTER

Here you can make settings for the ﬁlters that will be used by

the oscillators. You can select either a 24 dB/octave low pass

ﬁlter with resonance, or a series connection of a 12 dB/octave

low pass ﬁlter and a 12 dB/octave high pass ﬁlter.

When this parameter is set to values of 16, 33, 49, 66, 82, or

99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16,

32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8,

1/16, 1/32, or 1/64 of the original time).

Filter |Osc1

Selected:

Osc1

LPF Resonant

Type:

Trim:

For example if “AMS” is set to Velocity, increasing the abso-

lute value of “Intensity” will allow strongly-played notes to

increase the changes in pitch EG “Time” values. The direc-

tion of the change is speciﬁed by “Attack Time Swing” and

“Decay Time Swing”. As you play more softl y , t he pitch EG

times will more closely approach the actual settings of the

pitch EG.

Frequency A:

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Filter Type

This parameter selects the type of ﬁlter (Low Pass Resonant,

Low Pass & High Pass) for the selected oscillator. When the

Low Pass & High Pass ﬁlter type is selected, the ﬁlter B will be

activated.

-99…+99

Parameter value.

Attack Time Sw ing

This parameter speciﬁes the direction in which “AMS” will

affect the “Attack Time” parameter. With positive (+) values

of “Intensity”, a setting of + will cause the time to be length-

ened, and a setting of – will cause the time to be shortened.

With a setting of 0 there will be no change.

Low Pass Resonance: 24 dB/octave low

pass filter with resonance

Low Pass & High Pass: 12 dB/octave

low pass filter and 12 dB/octave high pass

filter in series

Decay Time Sw ing

Specify the direction in which “AMS” will affect the “Decay

Time”. With positive (+) values of “Intensity”, a setting of +

will cause the time to be lengthened, and a setting of – will

cause the time to be shortened. With a setting of 0 there will

be no change.

Trim

Use this parameter to adjust the level at which the audio sig-

nal output from the selected oscillator is input to ﬁlter A.

Note: If this value is raised, the sound may distort if Resonance

is set to a high value or when you play a chord.

00…99

Trim level.

Frequency A (Cutoff Frequency A)

This parameter speciﬁes the cutoff frequency of ﬁlter A.

This is a filter that cuts the high-

frequency region above the cutoff

Low Pass

frequency.

This is the most common type of filter,

Level

12dB/oct

24dB/oct

and is used to cut part of the overtone

components, making an originally bright

timbre sound more mellow (darker).

When the “Filter Type” is Low Pass

Resonance, the cutoff will have a

steeper slope.

Frequency

00…99

Cutoff frequency value.

Resonance A

The resonance emphasizes the overtone components that lie

in the region of the cutoff frequency speciﬁed by“Frequency”,

producing a more distinctive sound. Increasing this value will

produce a stronger effect.

00…99

Resonance value.

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Page 8 - Filter Modulation

Selected

Resonance modulation

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

The effect of resonance

Low Pass

Level

Filter keyboard tracking

Tracking Low /High

These settings specify keyboard tracking for the cutoff fre-

quency of the ﬁlter for the selected oscillator. The way in

which the cutoff frequency is affected by the keyboard loca-

tion you play can be speciﬁed by the “Tracking Low”, “Track-

ing High”, “Ramp Low” and “Ramp High ” parameters.

Low resonance value

High resonance value

AMS (Alternate Modulation Source)

Selects the source that will control the “Resonance” level. See

“AMS (Alternate Modulation Source) list” on page 123.

C–1…G9

Lowest/Highest note in the range.

Intensity (AMS Intensity)

Tracking Low

This parameter speciﬁes the depth and direction of the effect

that “AMS (Alternate Modulation Source)” will have on the

resonance level speciﬁed by “Resonance A”.

For example if Velocity has been selected, changes in key-

board velocity will affect the resonance.

With positive (+) values, the resonance will increase as you

play more strongly, and as you play more softly the resonance

will approach the level speciﬁed by the “Resonance” setting.

With negative (–) values, the resonance will decrease as you

play more strongly, and as you play more softly the resonance

will approach the level speciﬁed by the “Resonance” setting.

The resonance level is determined by adding the “Resonance”

and “Intensity (AMS Intensity)” values.

Keyboard tracking will apply to the range below the speciﬁed

note number.

Tracking High

Keyboard tracking will apply to the range above the speciﬁed

note number.

Ramp

This parameter speciﬁes the angle of keyboard tracking.

-99…+99

Angle value.

Here is how cutoff frequency is affected by keyboard location

and the Ramp setting (“Intensity to A” and “Intensity to B” =

+50):

Cutoff frequency

High Ramp=+99

-99…+99

Parameter value.

High Ramp=+62

High Ramp=0

Filter B

High Ramp=–43

Low Ramp=+99

Frequency B (Cutoff Frequency B)

High Ramp=–99

Low Ramp=+43

This parameter speciﬁes the cutoff frequency of ﬁlter B. This

parameter will be displayed when “Filter Type” is set to Low

Pass & High Pass.

Low Ramp=0

Low Ramp=–62

Low Ramp=–99

Key

Low Key High Key

High Pass

Ramp Low

Ramp High

Level

This filter cuts the low-frequency range that

lies below the cutoff frequency. By cutting

the lower overtones, it lightens the tone.

12dB/oct

If “Intensity to A” and “Intensity to B” are set to +50, “Ramp

Low” is set to –62 and “Ramp High” is set to +62, the angle of

the change in cutoff frequency will correspond to the key-

board location (pitch). This means that the oscillation that

occurs when you increase the “Resonance A” will correspond

to the keyboard location.

If you set “Ramp Low” to +43 and “Ramp High” to –43, the

cutoff frequency will not be affected by keyboard location.

Use this setting when you do not want the cutoff frequency to

change for each note.

Frequency

00…99

Cutoff frequency value.

PAGE 8 - FILTER MODULATION

These settings let you apply modulation to the cutoff fre-

quency (“Frequency”) of the ﬁlter for the selected oscillator

to modify the tone.

Tracking to A/B

These parameters specify the note numbers at which key-

board tracking will begin to apply, and set the “Intensity to A”

and “Intensity to B” parameters to specify the depth and

direction of the change applied to ﬁlters A and B.

For the range of notes between “Key Low” and “Key High”,

the cutoff frequency will change according to the keyboard

location (pitch).

Filter Mod |Osc1

Selected:

Osc1

B 3

F 5

+48

Tracking Low:

Tracking High:

Ramp Low:

-99…+99

Parameter value.

When “Filter Type” is Low Pass Resonance, parameters for

ﬁlter B will not be editable (greyed out).

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Page 9 - Filter LFO1

1 1 4

Intensity to B

Filter EG modulation

Speciﬁes the depth and direction of the effect that “AMS” will

have on ﬁlter B. For details on how this will apply, refer to

“EG Intensity to A”.

Changes in cutoff frequency

Note-on

Note-off

Note: The sum of the settings for “Velocity to A/B”, “Intensity to

A/B”, and “(AMS) Intensity to A/B” will determine the depth

and direction of the effect produced by the ﬁlter EG.

Softly played

Strongly played

Setting to +

Strongly played

Setting to –

Filter A/B modulation

Velocity to A

AMS1(fA/B) (Alternate Modulation Source1 for ﬁlter A/B)

Selects the source that will control modulation of the ﬁlter A

cutoff frequency. See “AMS (Alternate Modulation Source)

list” on page 123.

Note: The ﬁlter B parameters will be displayed when “Filter

Type” on page 112 is Low Pa s s & High Pass.

This parameter speciﬁes the depth and direction of the effect

that velocity will have on the time-varying changes created by

the ﬁlter EG (as set on “Page 11 - Filter EG”) to control the

ﬁlter A cutoff frequency.

With positive (+) values, playing more strongly will cause the

ﬁlter EG to produce greater changes in cutoff frequency. With

negative (–) values, playing more strongly will also cause the

ﬁlter EG to produce greater changes in cutoff frequency, but

with the polarity of the EG inverted.

Intensity

Speciﬁes the depth and direction of the effect that “AMS1”

will have.

When “AMS1” is JS X, a positive (+) value for this parameter

will cause the cutoff frequency to rise when the joystick is

moved toward the right, and fall when the joystick is moved

toward the left. With a negative (–) value for this parameter,

the opposite will occur.

99…+99

Value of the Velocity to A parameter.

Velocity to B

This parameter speciﬁes the depth and direction of the effect

that velocity will have on the time-varying changes created by

the ﬁlter EG to control the ﬁlter B cutoff frequency (see

“Velocity to A”).

This value is added to the setting of the Filter A “Frequency”.

AMS2 (Alternate Modulation Source2)

99…+99

Value of the Velocity to B parameter.

Selects the source that will control modulation of the ﬁlter A

cutoff frequency (see “AMS (Alternate Modulation Source)

list” on page 123).

EG Intensity to A

Speciﬁes the depth and direction of the effect that the time-

varying changes created by the ﬁlter 1 EG will have on the ﬁl-

ter A cutoff frequency.

With positive (+) settings, the sound will become brighter

when the EG levels set by Filter EG “Level” and “Time”

parameters are in the “+” area, and darker when they are in

the “–” area.

Intensity

Speciﬁes the depth and direction of the effect that the

selected source will have (see “Intensity” on page 114).

PAGE 9 - FILTER LFO1

Here you can use the ﬁlter LFO to apply cyclic modulation to

the cutoff frequency of the ﬁlter (for the selected oscillator)

to create cyclical changes in tone.

With negative (–) settings, the sound will become darker

when the EG levels set by Filter EG “Level” and “Time”

parameters are in the “+” area, and brighter when they are in

the “–” area.

-99…+99

Parameter value.

EG Intensity to B

Filter LFO1|Osc1

Speciﬁes the depth and direction of the effect that the time-

varying changes created by the ﬁlter EG will have on the ﬁlter

B cutoff frequency (see “EG Intensity to A”).

Selected:

Osc1

Intensity to A:

Intensity to B:

-99…+99

Parameter value.

Joystick -Y to A: +5

EG AMS (Alternate Modulation Source)

Selects the source that will control the depth and direction of

the effect that the time-varying changes produced by the ﬁl-

ter EG will have on the cutoff frequency of ﬁlters A and B. See

“AMS (Alternate Modulation Source) list” on page 123.

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Intensity to A

Speciﬁes the depth and direction of the modulation that

LFO1 (set on “Page 17 - LFO1”) will have on the cutoff fre-

quency of ﬁlter A. Negative (–) settings will invert the phase.

Speciﬁes the depth and direction of the effect that “AMS” will

have on ﬁlter A. For details on how this will apply, refer to

“EG Intensity to A”.

-99…+99

Parameter value.

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Page 10 - Filter LFO2

Intensity to B

PAGE 11 - FILTER EG

Specify the depth and direction of the modulation that LFO1

Here you can make settings for the EG that will produce

time-varying changes in the cutoff frequency of ﬁlters A and

B for the selected oscillator. The depth of the effect that these

settings will have on the ﬁlter cutoff frequency is determined

by the “Velocity” and “Intensity” parameters.

will have on the cutoff frequency of ﬁlter B (see “Intensity to

A”).

Change in cutoff

Low setting

High setting

FilterEG |Osc1

-99…+99

Parameter value.

Selected:

Osc1

+99

Joystick –Y to A

Start Level:

Attack Time:

Attack Level:

By moving the joystick in the Y direction (toward yourself),

you can control the depth at which LFO1 modulates the cut-

off frequency of ﬁlter A. This parameter speciﬁes the depth

and direction of the control.

Higher settings of this parameter will produce greater

increases in the effect of LFO1 on the ﬁlter when the joystick

is moved toward yourself.

+95

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

-99…+99

Parameter value.

Filter envelope

Joystick –Y to B

Note-off

Sustain Level

By moving the joystick in the Y direction (toward yourself),

you can control the depth at which LFO1 modulates the cut-

off frequency of ﬁlter B. This parameter speciﬁes the depth

and direction of the control (see “Joystick –Y to A”).

Attack Level

Note-on

Release

Level

Break

Point

Level

Time

The specified

cutoff

frequency

Start

Attack

Time

Decay Slope

Release

Time

Level

Filter LFO1 modulation

Time

AMS (Alternate Modulation Source)

Start/Attack/Break/Sustain/Release Level

Select a source that will control the depth and direction of

cutoff frequency change for both ﬁlters A and B. See “AMS

(Alternate Modulation Source) list”.

These are the envelope segment levels. The result will depend

on the ﬁlter that was selected in “Filter Type”. For example,

with the Low Pass Resonance ﬁlter, positive (+) values of EG

Intensity will cause the tone to be brightened by positive (+)

levels, and darkened by negative (–) levels.

Intensity to A

Speciﬁes the depth and direction of the effect that “AMS” will

have on ﬁlter A.

For example if “AMS” is Joystick +Y, higher settings of this

parameter will allow greater change to be applied to LFO1

when you push the joystick.

-99…+99

Level value.

Start Level

This parameter speciﬁes the change in cutoff frequency at the

time of note-on.

-99…+99

Parameter value.

Attack Level

Intensity to B

This parameter speciﬁes the change in cutoff frequency after

the attack time has elapsed.

Speciﬁes the depth and direction of the effect that “AMS” will

have on ﬁlter B (see “Intensity to A”).

Break Point Level

This parameter speciﬁes the change in cutoff frequency after

the decay time has elapsed.

PAGE 10 - FILTER LFO2

Adjusts the depth of the cyclic modulation applied by LFO2

(set on “Page 18 - LFO2”) to the cutoff frequency of ﬁlters A

and B. For more information on the parameters see “Page 9 -

Filter LFO1” on page 114.

Sustain Level

This parameter speciﬁes the change in cutoff frequency that

will be maintained from after the slope time has elapsed until

note-off occurs.

Release Level

This parameter speciﬁes the change in cutoff frequency that

will occur when the release time has elapsed.

Filter LFO2|Osc1

Attack/Decay/Slope/Release Time

These parameters specify the time over which the ﬁlter

change will occur.

Selected:

Osc1

Intensity to A:

Intensity to B:

Joystick -Y to A: +5

0…99

Time value.

Attack Time

This parameter speciﬁes the time over which the level will

change from note-on until the attack level is reached.

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Page 11 - Filter EG

1 1 6

Decay Time

Filter EG ‘Time’ modulation

This parameter speciﬁes the time over which the level will

change from the attack level to the break point level.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Slope Time

This parameter speciﬁes the time over which the level will

change after the decay time has elapsed until the sustain level

is reached.

Softly played note with Attack, Strongly played note with

Strongly played note with

Attack, Decay, Slope and

Decay, Slope and Release

Level Swings set to +

Attack, Decay, Slope and

Release Level Swings set to + Release Level Swings set to –

Release Time

This parameter speciﬁes the time over which the level will

change after note-on occurs until the release level is reached.

AMS1/2(T)

Use this parameter to select the source that will control the

“Time” parameters of the ﬁlter EG. See “AMS (Alternate

Modulation Source) list” on page 123.

Filter EG ‘Level’ modulation

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Intensity

Note-off

This parameter speciﬁes the depth and direction of the effect

that “AMS1/2(T)” will have.

For example, if “AMS1/2(T)” is set to FltKTr +/+, the E G

“Time” parameters will be controlled by the Keyboard Track-

ing settings. With positive (+) values of this parameter, posi-

tive (+) values of “Ramp” will lengthen the EG times, and

negative (–) values of “Ramp” will shorten the EG times. The

direction of change is speciﬁed by “Attack Time Swing”,

“Decay Time S wi n g ”, “Slope Time S wi n g ”, and “R elease

Time Swing”.

Softly played note with Start Level Strongly played note with Start

Swing,Attack Level Swing, and

Break Level Swing set to +

Strongly played note with Start

Level Swing,Attack Level Swing, Level Swing,Attack Level Swing,

and Break Level Swing set to + and Break Level Swing set to –

AMS(L) (Alternate Modulation Source)

This parameter selects the source that will control the “Level”

parameters of the ﬁlter EG (“AMS (Alternate Modulation

Source) list” on page 123).

With a setting of 0, the times speciﬁed by “Frequency A (Cut-

off Frequency A)” will be used.

If “AMS1/2(T)” is set to Velocity , p ositive (+) values of this

parameter will cause EG times to lengthen as you play more

strongly, and negative (–) values will cause EG times to

shorten as you play more strongly.

Intensity (AMS Intensity)

This parameter speciﬁes the depth and direction of the effect

applied by “AMS”. With a setting of 0, the levels speciﬁed by

“Frequency A (Cutoff Frequency A)” will be used.

For example, if “AMS” is Velocity, and you set “Start Level

Swing”, “Attack Level Swing” and “Break Level Swing” to +

and set “Intensity” to a positive (+) value, the EG levels will

rise as you play more strongly. If “Intensity” is set to a nega-

tive (–) values, the EG levels will fall as you play more

strongly.

-99…+99

Intensity value.

Attack Time Sw ing

This parameter speciﬁes the direction in which “AMS1/2(T)”

will affect the attack time. With positive (+) values of “Inten-

sity”, setting this parameter to + will allow AMS to lengthen

the time, and setting this parameter to – will allow AMS to

shorten the time. With a setting of 0 there will be no change.

-99…+99

Intensity value.

Start Level Sw ing

This parameter speciﬁes the direction in which “AMS” will

affect “Start Level”. When “Intensity” has a positive (+)

value, a setting of + for this parameter will allow “AMS” to

raise the EG level, and a setting of – will allow “AMS” to lower

the EG level. With a setting of 0 there will be no change.

Decay Time Sw ing

This parameter speciﬁes the direction in which “AMS1/2(T)”

will affect the decay time. With positive (+) values of “Inten-

sity”, setting this parameter to + will allow AMS to lengthen

the time, and setting this parameter to – will allow AMS to

shorten the time. With a setting of 0 there will be no change.

Attack Level Sw ing

This parameter speciﬁes the direction in which “AMS” will

affect “Attack Level”. When “Intensity” has a positive (+)

value, a setting of + for this parameter will allow “AMS” to

raise the EG level, and a setting of – will allow “AMS” to lower

the EG level. With a setting of 0 there will be no change.

Slope Time Sw ing

This parameter speciﬁes the direction in which “AMS1/2(T)”

will affect the slope time. With positive (+) values of “Inten-

sity”, setting this parameter to + will allow AMS to lengthen

the time, and setting this parameter to – will allow AMS to

shorten the time. With a setting of 0 there will be no change.

Break Level Sw ing

This parameter speciﬁes the direction in which “AMS” will

affect “Break Point Level”. When “Intensity” has a positive

(+) value, a setting of + for this parameter will allow “AMS”

to raise the EG level, and a setting of – will allow “AMS” to

lower the EG level. With a setting of 0 there will be no

change.

Release Time Sw ing

This parameter speciﬁes the direction in which “AMS1/2(T)”

will affect the release time. With positive (+) values of “Inten-

sity”, setting this parameter to + will allow AMS to lengthen

the time, and setting this parameter to – will allow AMS to

shorten the time. With a setting of 0 there will be no change.

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Page 12 - Amp

PAGE 12 - AMP

PAGE 13 - AMP MODULATION

These parameters control the volume and pan of the selected

oscillator.

These settings allow you to apply modulation to amp (for

each oscillator) to modulate the volume.

Amp

|Osc1

Amp Mod |Osc1

Selected:

Osc1

120

Selected:

Osc1

C 3

A#4

+48

Level:

Pan:

Tracking Low:

Tracking High:

Ramp Low:

L001

AMS:

Note Number

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Level

Ampliﬁer keyboard tracking

Volume of the selected oscillator.

Note: The volume of a Program can be controlled by CC#7 (vol-

ume) and #11 (expression). The resulting level is determined by

multiplying the values of CC#7 and #11. The Global MIDI

channel is used for control.

These parameters let you use keyboard tracking to adjust the

volume of the selected oscillator. Use the “Key” and “Ramp”

parameters to specify how the volume will be affected by the

keyboard location that you play.

0…127

Volume level.

Tracking Low /High

Pan

These settings specify the note number at which keyboard

tracking will begin to apply. The volume will not change

between “Tracking Low” and “Tracking High”.

Pan (stereo position) of the selected oscillator.

This parameter is not available when editing a Drum Pro-

C–1…G9

Lowest/Highest note in the range.

gram. Use the individual Pan control for each key (see

“Pan” on page 109).

Tracking Low

Keyboard tracking will apply to the range below the speciﬁed

note number.

Random

The sound will be heard from a different loca-

tion at each note-on.

L001

C064

R127

Places the sound at far left.

Places the sound in the center.

Places the sound to far right.

Tracking High

Keyboard tracking will apply to the range above the speciﬁed

note number.

Note: This can be controlled by CC#10 (panpot). A CC#10

value of 0 or 1 will place the sound at the far left, a value of 64

will place the sound at the location speciﬁed by the “Pan” setting

for each oscillator, and a value of 127 will place the sound at the

far right. This is controlled on the global MIDI channel.

Ramp

These parameters specify the angle of keyboard tracking.

-99…+99

Here is an example of volume changes produced by keyboard

location and “Ramp” settings:

Angle value.

Volume

Pan modulation

AMS (Alternate Modulation Source)

Ramp Low=+99

Ramp Low=0

Ramp High=+99

Ramp High=0

Selects the source that will modify pan (see “AMS (Alternate

Modulation Source) list” on page 123). This change will be

relative to the “Pan” setting.

Ramp Low=–99

Ramp High=–99

Intensity

Speciﬁes the depth of the effect produced by “AMS”. For

example, if “Pan” is set to C064 and “AMS” is Note Number,

positive (+) values of this parameter will cause the sound to

move toward the right as the note numbers increase beyond

the C4 note (i.e., as you play higher), and toward the left as

the note numbers decrease (i.e., as you play lower). Negative

(–) values of this parameter will have the opposite effect.

Key

Key Low Key High

Ramp Low

With positive (+) values of this parameter, the volume will

increase as you play notes below the “Tracking Low” note

number. With negative (–) values, the volume will decrease.

Ramp High

-99…+99

Parameter value.

With positive (+) values of this parameter, the volume will

increase as you play notes above the “Key High” note number.

With negative (–) values, the volume will decrease.

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Page 14 - Amp LFO1

1 1 8

Ampliﬁer Modulation

Ampliﬁer LFO1 modulation

AMS (Alternate Modulation Source)

These parameters specify how the volume of the selected

oscillator will be affected by velocity.

Use this parameter to select a source that will control the

depth by which “LFO1” will modulate the volume of the

selected oscillator. See “AMS (Alternate Modulation Source)

list” on page 123.

Velocity Intensity

With positive (+) values, the volume will increase as you play

more strongly. With negative (–) values, the volume will

decrease as you play more strongly.

Intensity

As the absolute value of this setting is increased, the effect of

“AMS” on “LFO1” will increase. Negative (–) values will

invert the LFO waveform.

Volume change (with positive (+) values of this parameter)

Note-on

Note-off

-99…+99

Intensity value.

Strongly played

Softly played

PAGE 15 - AMP LFO2

These parameters let you use “LFO1” (see “Page 17 - LFO1”

on page 120) and “LFO 2” (see “Page 18 - LFO2” on

page 121) to control the selected oscillator volume. See “Page

14 - Amp LFO1” for more information on parameter’s edit-

ing.

-99…+99

Intensity value.

EG AMS (Alternate Modulation Source)

Selects the source that will control the volume of the amp for

the selected oscillator (See “AMS (Alternate Modulation

Source) list” on page 123). “Velocity” cannot be selected.

Intensity

This parameter speciﬁes the depth and direction of the effect

that “AMS” will have. The actual volume will be determined

by multiplying the value of the changes produced by the amp

EG with the values of Alternate Modulation etc., and if the

levels of the amp EG are low, the modulation applied by

Alternate Modulation will also be less.

Amp LFO2 |Osc1

Selected:

Intensity:

AMS:

Osc1

Joystick -Y

Intensity:

For example, if “AMS” is set to Joystick +Y, positive (+) values

of this parameter will cause the volume to increase when you

push the joystick. However if the EG settings etc. have already

raised the volume to its maximum level, the volume cannot

be increased further.

PAGE 16 - AMP EG

These parameters let you create time-varying changes in the

volume of the selected oscillator.

With negative (–) values of this parameter, the volume will

decrease when the joystick is pushed.

-99…+99

Intensity value.

Amp EG

|Osc1

PAGE 14 - AMP LFO1

These parameters let you use “LFO1” (see “Page 17 - LFO1”

on page 120) and “LFO 2” (see “Page 18 - LFO2” on

page 121) to control the volume of the selected oscillator.

Selected:

Osc1

+99

Start Level:

Attack Time:

Attack Level:

+95

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Amp LFO1 |Osc1

Selected:

Intensity:

AMS:

Osc1

Joystick -Y

Amp envelope

Intensity:

Amplifier EG

Note-off

Attack Level

Note-on

Break Point

Volume

Selected

Use this parameter to select an oscillator to put in edit. Alter-

natively, you can select oscillators using the F1-F4 buttons.

Sustain

Level

Start

Level

Time

Intensity

This parameter speciﬁes the depth and direction of the effect

that “LFO1” will have on the volume of the selected oscilla-

tor. Negative (–) values will invert the LFO waveform.

Attack

Time

Decay Slope

Time Time

Release Time

Start/Attack/Break/Sustain/Release Level

-99…+99

Intensity value.

These parameters are the level of the envelope segment.

0…99 Level value.

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Page 16 - Amp EG

Start Level

Start Level Sw ing

This parameter speciﬁes the volume level at note-on. If you

want the note to begin at a loud level, set this to a high value.

This parameter speciﬁes the direction in which “AMS” will

change “Start Level”. If “Intensity” is set to a positive (+)

value, setting this parameter to + will allow AMS to increase

the EG level, and setting this parameter to – will allow AMS

to decrease the EG level. With a setting of 0, no change will

occur.

Attack Level

This parameter speciﬁes the volume level that will be reached

after the attack time has elapsed.

Break Level

Attack Level Sw ing

This parameter speciﬁes the volume level that will be reached

after the decay time has elapsed.

This parameter speciﬁes the direction in which “AMS” will

change “Attack Level”. If “Intensity” is set to a positive (+)

value, setting this parameter to + will allow AMS to increase

the EG level, and setting this parameter to – will allow AMS

to decrease the EG level. With a setting of 0, no change will

occur.

Sustain Level

This parameter speciﬁes the volume level that will be main-

tained from after the slope time has elapsed until note-off

occurs.

Attack/Decay/Slope/Release Time

These parameters specify the time over which the volume

change will occur.

Break Point Level Sw ing

This parameter speciﬁes the direction in which “AMS” will

change “Break Level”. If “Intensity” is set to a positive (+)

value, setting this parameter to + will allow AMS to increase

the EG level, and setting this parameter to – will allow AMS

to decrease the EG level. With a setting of 0, no change will

occur.

0…99

Time value.

Attack Time

This parameter speciﬁes the time over which the volume will

change after note-on until it reaches the attack level. If the

start level is 0, this will be the rise time of the sound.

Decay Time

Amp EG ‘Time’ modulation

This parameter speciﬁes the time over which the volume will

change from when it reaches the attack level until it reaches

the break point level.

These parameters let you use an alternate modulation source

to modify the amp EG times that were speciﬁed in “Attack/

Decay/Slope/Release Time” on page 119.

Slope Time

Amp 1 EG changes (Time)

This parameter speciﬁes the time over which the volume will

change from when it reaches the break point level until it

reaches the sustain level.

(AMS=Amp KTrk +/+, Intensity = a positive (+) value)

(When Amp Keyboard Track “Low Ramp”= a positive (+) value, and

“High Ramp” = a positive (+) value)

Note-on

Note-off

Release Time

This parameter speciﬁes the time over which the volume will

change after note-off until it reaches 0.

Low-pitched note played with High -pitched note played with

Attack, Decay, Slope, and

Release Time Swing at +

Attack, Decay, Slope, and

Release Time Swing at –

Amp EG ‘Level’ modulation

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on Note-on Note-on

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Softly played note with

Attack, Decay, Slope and

Release Time Swing at +

Strongly played note with

Attack, Decay, Slope and

Release Time Swing at +

Strongly played note with

Attack, Decay, Slope and

Release Time Swing at –

Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level

Swing=0 andAttack Level Swing Swing=0 andAttack Level Swing and Swing=0 andAttack Level Swing and

and Breack Level Swing are set to + Breack Level Swing are set to +

Breack Level Swing are set to +

AMS1(T) (Alternate Modulation Source 1 - Time)

This parameter speciﬁes the source that will control the

“Time” parameters of the amp EG (see “AMS (Alternate

Modulation Source) list” on page 123). With a setting of Off,

there will be no modulation.

AMS(L) (Alternate Modulation Source)

This parameter speciﬁes the source that will control the

“Level” parameters of the amp EG. See “AMS (Alternate

Modulation Source) list” on page 123.

Intensity

This parameter speciﬁes the depth and direction of the effect

that “AMS1” will have. For example, if “AMS1(T)” is Amp

KT r k +/+, the (A mp) K e yboard Track settings (see “Ampliﬁer

keyboard tracking” on page 117) will control the EG “Time”

parameters. With positive (+) values of this parameter, posi-

tive (+) values of “Ramp (Ramp Setting) will cause EG times

to be lengthened, and negative (–) values of “Ramp (Ramp

Setting)” will cause EG times to be shortened. The direction

of the change is speciﬁed by “Attack Time Swing”, “Decay

Time Swing”, “Slope Time Swing”, and “Release T ime”.

When “AMS1(T)” is Velocity, positive (+) values will cause

EG times to lengthen as you play more strongly, and negative

This parameter speciﬁes the depth and direction of the effect

that “AMS” will have. For example, if “AMS” is Velocity, set-

ting “Start Level Swing”, “Attack Level Swing” and “Break

Point Level Swing” to + and setting “Intensity” to a positive

(+) value will cause the amp EG volume levels to increase as

you play more strongly. Setting “Intensity” to a negative (–)

values will cause the amp EG volume levels to decrease as you

play more strongly. With a setting of 0, the levels will be as

speciﬁed on “Page 16 - Amp EG”.

-99…+99

Intensity value.

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Page 17 - LFO1

1 2 0

Wave

(–) values will cause EG times to shorten as you play more

strongly. With a setting of 0, the EG times will be as speciﬁed

by the “Amp envelope” parameters (see page 14-118).

This parameter selects the LFO waveform. The numbers that

appear at the right of some of the LFO waveforms indicate

the phase at which the waveform will begin.

Attack Time Sw ing

This parameter speciﬁes the direction of the effect that

“AMS1” will have on “Attack Time”. With positive (+) values

of “Intensity”, setting this parameter to + will allow AMS1 to

lengthen the time, and setting it to – will allow AMS1 to

shorten the time. With a setting of 0 there will be no effect.

Triangle

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Triangle 90

Triangle wave

Phase will change

randomly at each key-in

Triangle

Random

Saw

Step Saw – 6

Sawtooth down

↓

Random1 (S/H):

Decay Time Sw ing

Saw

180

Conventional sample & hold (S/H) in which the

level changes randomly at fixed intervals of

time

This parameter speciﬁes the direction of the effect that

“AMS1” will have on “Decay Time”. With positive (+) values

of “Intensity”, setting this parameter to + will allow AMS1 to

lengthen the time, and setting it to – will allow AMS1 to

shorten the time. With a setting of 0 there will be no effect.

Square

Sine

Square wave

Sine wave

Random2 (S/H):

Both the levels and the time intervals will

change randomly.

Random3 (S/H):

Guitar vibrato

Guitar

The maximum level and minimum level will

alternate at random intervals of time (i.e., a

square wave with random period).

Exponential

Triangle

Slope Time Sw ing

Random4 (Vector)

Random5 (Vector)

Random6 (Vector)

These types cause Random 1–3 to change

smoothly. They can be used to simulate the

instability of acoustic instruments etc.

Exponential

Saw Down

This parameter speciﬁes the direction of the effect that

“AMS1” will have on “Slope Time”. With positive (+) values

of “Intensity”, setting this parameter to + will allow AMS1 to

lengthen the time, and setting it to – will allow AMS1 to

shorten the time. With a setting of 0 there will be no effect.

Exponential

Saw Up

Frequency

Set the LFO frequency. A setting of 99 is the fastest.

Release Time

00…99

Frequency rate.

This parameter speciﬁes the direction of the effect that

“AMS1” will have on “Release Time”. With positive (+) val-

ues of “Intensity”, setting this parameter to + will allow AMS1

to lengthen the time, and setting it to – will allow AMS1 to

shorten the time. With a setting of 0 there will be no effect.

Key Sync

This parameter speciﬁes if the LFO is synchronized to key

strokes.

The LFO will start each time you play a note,

and an independent LFO will operate for each

note.

The LFO effect that was started by the ﬁrst-

played note will continue to be applied to each

newly-played note. (In this case, Delay and

Fade will be applied only to the LFO when it is

ﬁrst started).

AMS2 (Alternate Modulation Source 2)

This is another alternate modulation source for the Amp EG.

See above “AMS1” parameters.

Off

PAGE 17 - LFO1

In this and the next page you can make settings for the LFO

that can be used to cyclically modulate the Pitch, Filter, and

Amp of each oscillator. There are two LFO units for each

oscillator. By setting the LFO1 or LFO2 Intensity to a negative

(–) value for Pitch, Filter, or Amp, you can invert the LFO

waveform.

Offset

This parameter speciﬁes the central value of the LFO wave-

form. For example, with a setting of 0 as shown in the follow-

ing diagram, the vibrato that is applied will be centered on

the note-on pitch. With a setting of +99, the vibrato will only

raise the pitch above the note-on pitch, in the way in which

vibrato is applied on a guitar.

When “Wave” is set to Guitar, the modulation will occur only

in the positive (+) direction even if you set “Offset” to 0.

Here are offset settings and pitch change produced by vibrato

LFO1

|Osc1

Selected:

Osc1

Wave:

Triangle Rand

Pitch

offset = –99

offset = 0

offset = +99

Frequency:

Key Sync:

Pitch at note-on

-99…+99

Offset value.

Delay

This parameter speciﬁes the time from note-on until the LFO

effect begins to apply. When “Key Sync” is Off, the delay will

apply only when the LFO is ﬁrst started.

0…99

Delay time.

Fade In

This parameter speciﬁes the time from when the LFO begins

to apply until it reaches the maximum amplitude. When “Key

Sync.” is Off, the fade will apply only when the LFO is ﬁrst

started.

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1 2 1

Page 18 - LFO2

Here is how “Fade In” affects the LFO (when “K e y Sync” is

On):

If “AMS1(F)” is set to JS +Y, raising the value of this parame-

ter will cause the oscillator LFO1 speed to increase as the joy-

stick is moved away from yourself. With a setting of +99,

moving the joystick all the way away from yourself will

increase the LFO speed by approximately 64 times.

Note-on

Note-off

Fade

-99…+99

Intensity value.

Delay

AMS2(F) (Alternate Modulation Source2)

Intensity (AMS2 Intensity)

00…99

Fade rate.

Make settings for a second alternate modulation source that

will adjust the frequency of the oscillator LFO1 (see above

“AMS1(F) (Alternate Modulation Source1)” and “Intensity

(AMS1 Intensity)”).

Frequency MIDI/Tempo Sync

MIDI/Tempo Sync

This parameter enables/disables the LFO synchronization

with Sequencer 1 Tempo.

PAGE 18 - LFO2

The LFO frequency will synchronize to the

tempo (MIDI Clock) of Sequencer 1. In this

case, the values you speciﬁed for “Frequency”

(see page 14-120) and “Frequency modula-

tion” (see page 14-121) will be ignored.

Here you can make settings for the LFO2, which is the second

LFO t hat can be applied to the selected oscillator. See “Page

17 - LFO1” for more infor mation on the parameters value.

However in “Frequency modulation”, the L FO cannot be

selected as a modulation source in “AMS1” or “AMS2.”

Base Note/Times

When “MIDI/Tempo Sync” is On, these parameters set a note

length relative to “ꢅ (Tempo)” and the multiple (“Times”)

that will be applied to it. These parameters will determine the

frequency of the LFO1. For example if “Base Note” is ꢅ (quar-

ter note) and “Times” is 04, the LFO will perform one cycle

every four beats.

PAGE 19 - EFFECTS

Here you can select two effects for the whole Program, switch

them on/off, and specify chaining.

Even if you change the “ꢅ (Tempo)” setting of Sequencer 1,

the LFO will always perform one cycle every four beats.

Effects

Base Note

FX1:

53 RecSmthHall

This parameter is not available when editing a Drum Pro-

gram.

Send:

FX2:

16 Chorus

Send:

ꢈ , ꢃ ꢉ , ꢃ , ꢅ ꢉ , ꢅ , ꢆ ꢉ , ꢆ ,

ꢄ

Note value.

Note: For details on the effects, refer to the “Effects” chapter.

Times

FX1/2

This parameter is not available when editing a Drum Pro-

gram.

Use these parameters to select the effect type for effect 1/2.

See the “Effects” chapter for more information.

Note: If 000: No Effect is selected, the output from the master

effect will be muted.

01...16

Beats before restarting the cycle.

Frequency modulation

Send

You can use two alternate modulation sources to adjust the

speed of the LFO1 for the selected oscillator.

Send level for each effect.

Drum samples have their own send level settings (see

AMS1(F) (Alternate Modulation Source1)

“Send FX1” and “Send FX2” on page 14-109). Use this

parameter to adjust the general offset of the Drum Pro-

gram.

Selects the source that will adjust the frequency of the

selected oscillator LFO1 (see “AMS (Alternate Modulation

Source) list” on page 123). LFO1 can be modulated by LFO2.

000…127

Effect level.

Intensity (AMS1 Intensity)

Chain 2>1

This parameter speciﬁes the depth and direction of the effect

that “AMS1(F)” will have. When this parameter is set to a

value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can

be increased by a maximum of 2, 4, 8, 16, 32, or 64 times

respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64

respectively).

Use this parameter to send the output of effect 2 to the input

of effect 1.

000…127

Level of the signal exiting the effect 2 going

back to the effect 1.

Send to Master

This parameters allows you to decide if the direct + effected

signal must go to the Master, or just the effected signal.

For example, if “AMS1(F)” is Note Number, positive (+) val-

ues of this parameter will cause the oscillator LFO to speed

up as you play higher notes. Negative (–) values will cause the

oscillator LFO to slow down as you play higher notes. This

change will be centered on the C4 note.

Yes

Only the effected signal will be sent to the

Audio Outputs. The direct (non-effected) sig-

nal will not be sent.

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Page 20 - FX1 editing

1 2 2

Both the effected signal and direct signals will

be sent to the Audio Outputs.

PAGE 21 - FX2 EDITING

In this page you can edit the effected assigned to the FX2 (B

or D) effect processor (usually modulating effect). See the

“Effects” chapter for more information.

PAGE 20 - FX1 EDITING

In this page you can edit the effected assigned to the FX1 (A

or C) effect processor (usually reverb). See the “Effects” chap-

ter for more information.

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AMS (Alternate Modulation Source) list

1 2 3

AMS (ALTERNATE MODULATION SOURCE) LIST

Off

Do not use Alternate Modulation

Pitch EG

Filter EG

Filter EG within the same oscillator

Amp EG within the same oscillator

LFO1 within the same oscillator

Amp EG

LFO1

LFO2

LFO2 within the same oscillator

Flt KTrk +/+ (Filter Keyboard Track +/+)

Filter keyboard tracking within the same oscillator

Amp keyboard tracking within the same oscillator

Note number

Flt KTrk +/– (Filter Keyboard Track +/–)

Flt KTrk 0/+ (Filter Keyboard Track 0/+)

Flt KTrk +/0 (Filter Keyboard Track +/0)

Amp KTrk +/+ (Amp Keyboard Track +/+)

Amp KTrk +/– (Amp Keyboard Track +/–)

Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Amp KTrk +/0 (Amp Keyboard Track +/0)

Note Number

Velocity

Poly AT (Poly After Touch)^(a)

Polyphonic After Touch (transmitted from the Pa50 only as sequence data)

Channel AT (Channel After Touch)^(a)

After Touch (Channel After Touch)

Joystick X

Joystick X (horizontal) axis

Joystick +Y

Joystick +Y (vertical upward) direction (CC#01)

Joystick –Y

Joystick –Y (vertical downward) direction (CC#02)

JS+Y & AT/2 (Joy Stick +Y & After Touch/2)^(a)

Joystick +Y (vertical upward) direction and After Touch

JS–Y & AT/2 (Joy Stick –Y & After Touch/2)^(a)

Joystick –Y (vertical downward) direction and After Touch

Ass.Pedal

CC#18

CC#17

CC#19

CC#20

CC#21

Damper

CC#65

Sostenuto

CC#80

CC#81

CC#82

CC#83

Tempo

Assignable foot pedal (CC#04)

CC#18

CC#17

CC#19

CC#20

CC#21

Ddamper pedal (CC#64)

Portamento switch (CC#65)

Sostenuto pedal (CC#66)

CC#80

CC#81

CC#82

CC#83

Tempo (tempo data from Sequencer 1 clock or external MIDI clock)

(a) After Touch data can only be received via MIDI, or create as a MIDI event in Song Record-Step Recording mode.

Flt KTrk +/+ (Filter Keyboard Track +/+)

Flt KTrk +/– (Filter Keyboard Track +/–)

Flt KTrk 0/+ (Filter Keyboard Track 0/+)

Flt KTrk +/0 (Filter Keyboard Track +/0)

Amp KTrk +/+ (Amp Keyboard Track +/+)

Amp KTrk +/– (Amp Keyboard Track +/–)

Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Amp KTrk +/0 (Amp Keyboard Track +/0)

+/–

0/+

The direction of the effect will be determined

by the sign of the “Ramp Low” setting, and by

the opposite sign of the “Ramp High” setting

(–50 for a setting of +50, and +50 for a setting

of –50).

“Ramp Low” will have no AMS effect. The sign

of the “Ramp High” setting will determine the

direction of its effect.

+/+

The direction of the effect will be determined

by the sign (positive or negative) of the “Ramp

Low” or “Ramp High” setting.

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AMS (Alternate Modulation Source) list

1 2 4

JS +Y & AT/2 (Joy Stick +Y & After Touch/2)

The effect will be controlled by the joystick +Y (vertically

upward) and by after touch data (received via MIDI). In this

case, the effect of after touch will be only half of the speciﬁed

intensity.

+/0

The sign of the “Ramp Low” setting will deter-

mine the direction of its effect. “Ramp High”

will have no AMS effect.

Amp

example of Amp

Keyboard Track settings

JS –Y & AT/2 (Joy Stick –Y & After Touch/2)

The effect will be controlled by the joystick –Y (vertically

downward) and by after touch data (received via MIDI). In

this case, the effect of after touch will be only half of the spec-

iﬁed intensity.

Ramp Low

= +50

Ramp High

= +50

Note Number

Key Low Key High

+ max

AMS = Amp KTrk +/+

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

+ max

AMS = Amp KTrk +/–

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

+ max

AMS = Amp KTrk 0/+

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

+ max

AMS = Amp KTrk +/0

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

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The Write window

15. GLOBAL EDIT ENVIRONMENT

The Global edit environment is the place where you can set

most of the Pa50 global functions, i.e. functions overriding

any operating mode. This edit environment overlaps the cur-

rent operating mode (Style, Song Play, Song, Backing

Sequence).

PAGE 1 - GENERAL CONTROLS

This page contains various general parameters, setting the

status of the keyboard, the speakers and the metronome.

THE WRITE WINDOW

Gbl:Gen.Controls

Open this window by pressing the WRITE button while one

of the Global pages is in the display. Here, you can save vari-

ous global settings. Among the global settings saved with this

page are also the Preference parameters of the Style Play and

Song Play mode, plus the Global Protect parameter of the

Disk mode. The Split Point is also saved here.

Vel.Curve:3 M.Tune:+00

Scale:Equal

Met.Vol:110 Key:C

Spkrs:On

Vel.Curve (Velocity Curve)

This parameter sets the sensitivity of the keyboard to your

touch.

No dynamic control available. Dynamic values

are ﬁxed, as in a classic organ.

Curves, from the lightest one to the hardest

one.

Write Global:

Press 'Enter'

to store

2…9

the Global

M.Tune (Master Tune)

This is the master tuning of the instrument. Use it to adapt

your keyboard tuning to an acoustic instrument, for example

an acoustic piano.

While this page is on the display, press ENTER twice. The

parameters are saved to the Flash-ROM, and will stay in

memory even when turning the instrument off.

-50

+50

Lowest pitch.

Standard pitch (A4=440Hz).

Highest pitch.

Scale

From any page, press MENU to open the Global edit menu.

This menu gives access to the various Global edit pages.

When in this menu, select a section using the VOLUME/

VALUE buttons, press PAGE+ to select a page, or press EXIT

to exit the menu.

This parameter sets the main scale (or temperament) for the

whole instrument, apart for tracks where a different scale is

selected by a Performance or STS (see “Scale” on page 44).

See “Scales” on page 227 for a list of available scales.

Note: You cannot select a User scale in Global mode.

When in a page, press EXIT to go back to current operating

mode (Style Play, Song Play, Song, Backing Sequence).

Key

This parameter is needed by some scales to set the preferred

key (see “Scale” on page 44).

Speakers

This parameter turns the internal speakers on or off.

Note: Speakers are always turned on again each time you turn

the instrument on.

Global Menu

General Ctl Midi Out

Pdl/Fw/Sld

MidiSet/Ctl

Midi In

Met.Vol (Metronome Volume)

Volume of the metronome.

40…127

Relative volume, from minimum to maximum.

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Page 2 - Master Transpose

1 2 6

internal tone generator. Therefore, the Scale

will be applied before transposition. For exam-

ple, if you altered an E, and then set the Master

Transpose to +1, the altered key will still be E

(that will play an altered F).

PAGE 2 - MASTER TRANSPOSE

This page is where you can turn the Master Transpose on or

off.

Tone

generator

Scale

Transpose

Gbl:M.Transpose

Style/Realtime:Sync

Sequsencer1/2 :On

Midi In

Scales

:Off

PAGE 3 - ASSIGNABLE PEDAL/FOOTSWITCH,

ASSIGNABLE SLIDER

:Post-KB

This page lets you program the Assignable Pedal/Footswitch,

and the Assignable Slider.

Style/Realtime

This is a ﬂag to turn the Master Transpose on or off on the

Style and Realtime (Keyboard) tracks.

Off

No Master Transpose is applied to the Style

and Realtime tracks.

Gbl:P/Sw-Sld

Sync

Sync mode. When you press either the

^{TRANSPOSE [}ꢀ] or [ꢁ] buttons, the new trans-

pose setting will not take effect until the ﬁrst

beat of the next measure is reached. The Real-

time tracks sounding at the time of the trans-

pose will be stopped.

Realtime mode. When you press either the

^{TRANSPOSE [}ꢀ] or [ꢁ] buttons, the new trans-

pose setting will occur when the next note is

played for both the Style and Realtime tracks

individually. (Note that any notes sounding

from the Realtime tracks will be stopped when

you press the TRANSPOSE button) The next

key or chord you press will sound with the new

transpose setting. (Note that if you play a Real-

time track prior to a new chord, the Realtime

track will play in the new key as the Style will

continue to play in the old key until a new

chord is entered).

P/S:Soft

Sld:M.Volume

Damper Pol.:-(Korg)

Pedal/Sw. Pol.:-(Korg)

See page 225 for a list of the assignable functions. The ﬁrst

functions are switch-type functions, while the remaining

(starting from Master Volume) are continuous-like func-

tions.

RTime

P/S (Pedal/Sw itch)

Continuous pedal, or footswitch, connected to the ASSIGN-

ABLE PDL/SW connector.

Sld (Slider)

Function assigned to the ASSIGNABLE SLIDER on the front

panel.

Damper Pol. (Damper Polarity)

Polarity of the Damper pedal.

Pedal/Sw.Pol. (Pedal/Footsw itch Polarity)

Seq 1/2

Polarity of the Assignable pedal or footswitch.

This is a ﬂag to turn the Master Transpose on or off on the

two onboard Sequencers’ tracks.

PAGE 4 - MIDI SETUP

Midi In

MIDI channels can be automatically conﬁgured by selecting a

MIDI Setup. Each of them assigns the best values to various

MIDI parameters, to allow an easier connection with a par-

ticular MIDI controller.

This is a ﬂag to turn the Master Transpose on or off on the

received MIDI messages.

Scales

The Scale Transpose Position allows you to decide the rela-

tion between the Scale and the Master Transpose.

Post-KB

When this option is selected, notes will be

transposed immediately after they leave the

keyboard. The Scale will be applied to the

transposed notes. For example, if you altered

an E, and then set the Master Transpose to +1,

the E key will play F, and the altered key will be

Gbl:Midi Setup

Default

Accordion1

Master Kbd Accordion2

Sequencer1 Accordion3

Sequencer2 Ext.Seq

^Eꢀ (that will play an altered E).

Note: After selecting a MIDI Setup, you can apply any changes

to each channel’s settings. To store the changes in memory, press

WRITE and save the Global in memory.

Tone

generator

Transpose

Scale

See “MIDI” on page 35 for more information on using the

MIDI Setups.

Pre-OSC

When this option is selected, all notes are

transposed immediately before they enter the

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1 2 7

Page 5 - MIDI Controls

Default

This a default setting. It is suitable both for

programming on an external sequencer, and

for playing Pa50 with a master keyboard.

not be selected from the control panel of the

Pa50. Use the external instrument to set the

Tempo, and start or stop the sequencers (Song,

Song Play, Backing Sequence modes) and the

arranger (Style and Backing Sequence modes).

Master Kbd Select this setting when you are connecting a

mute master keyboard.

Sequencer 1 This setting is for playing a Song (Sequencer 1)

with an external instrument sounds, or for lis-

tening to a Song performed by an external

sequencer using Pa50 as a sound generator.

Each track (S1 Tr1-16) corresponds to a MIDI

channel with the same number (1-16).

Sequencer 2 As above, but with Sequencer 2.

Accordion 1…3

Clock Send

This parameter turns the clock information on the MIDI

OUT on or off.

Off

The Pa50 cannot send the MIDI Clock signal.

You cannot slave another instrument to the

Pa50, even when connected to the MIDI OUT.

The Pa50 can send the MIDI Clock signal. You

can slave another instrument to the Pa50

Tempo, Start/Stop and Play/Stop commands.

Connect the other instrument to the Pa50

MIDI OUT port.

MIDI

Select one of these settings when connecting a

MIDI Accordion.

Ext.Seq

This setting is for programming a Song on an

external sequencer.

PAGE 6 - MIDI IN CHANNELS

In this page, you can assign the Pa50 tracks to any of the

MIDI IN channels. Use the TRACK SELECT button to switch

from channels 1-8 to channels 9-16.

PAGE 5 - MIDI CONTROLS

This page lets you program general MIDI parameters.

Gbl:MIDI Ctl

Gbl:Midi In Chnl

Local:On

Clock:Internal

Clock Send:Off

Ch01:Upper1 Ch05:Upper3

Ch02:Lower Ch06:Global

Ch03:Bass

Ch07:Pad1

Ch04:Upper2 Ch08:Pad2

Local

The Local parameter turns the keyboard on or off.

Note: The Local parameter is always turned on again each time

you turn the instrument on.

Channel

You can assign to each channel one of the following tracks:

(Off)

Lower

Upper1…3 One of the Upper tracks.

Drum

Perc

Bass

Acc1…5

No track assigned.

Lower track.

When you play on the keyboard, MIDI data is

sent to the internal sound generator and to the

MIDI OUT port.

Drum track.

Percussion track.

Bass track.

One of the Auto-accompaniment tracks.

Off

The keyboard is connected to the MIDI OUT,

but cannot play the internal sound generator.

This is very useful when working with an

external sequencer, to send notes and control-

lers from the keyboard to the external

sequencer, and then let the sequencer send

them back to the sound generator, without

overlapping. See the MIDI chapter.

S1 T1…16 One of Sequencer 1 tracks.

S2 T1…16 One of Sequencer 2 tracks.

Global

Special channel to simulate the Pa50’s inte-

grated controls (keyboard, pedals, joystick)

with an external keyboard or controller. MIDI

messages coming on this channel are consid-

ered as being generated by Pa50’s integrated

controllers.

On this special channel, the Pa50 receives

MIDI messages to remotely select Styles, Per-

formances, STS and Style Elements. See tables

on page 144 and following for more informa-

tion on the received data

Clock

This parameter selects the MIDI Clock source.

Note: The Clock parameter is always set to “Int” each time you

turn the instrument on.

Control

Internal

Internal, i.e. the clock generated by the Pa50

Sequencer 1 internal metronome.

MIDI

External from MIDI. The Pa50 is slaved to an

external instrument or sequencer, connected to

its MIDI IN port. The Start/Stop and Play/Stop

commands, and the metronome Tempo, can-

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Page 7 - MIDI IN Controls (1)

1 2 8

PAGE 7 - MIDI IN CONTROLS (1)

PAGE 8 - MIDI IN CONTROLS (2)

This page is where you can program the Chord Recognition

channels for the internal arranger, and a ﬁxed velocity value

for all notes appearing at the input.

This is another page containing various MIDI IN settings,

like note transposition for the Realtime tracks. The transpose

parameters are useful to many MIDI accordion players,

whose MIDI interface may transmit on an unexpected

octave.

Gbl:MidiIn Ctl 1

Chord1 channel:Off

Chord2 channel:Off

Velocity In:Normal

Gbl:MidiIn Ctl 2

UppOct:+1

LowOct:+0

OctIn:Off

MuteIn:Off

There are two separate Chord channels. This is very useful

when you must send chords to Pa50 on two channels (like

with some MIDI Accordions).

UppOct (Upper Octave)

Octave transposition of data received on the MIDI IN for the

Upper tracks. For example, if you select the +1 value, a

received C4 will play a C5 on the Pa50.

Chord1 channel

Notes entering this channel are sent to the Chord Recogni-

tion engine.

Low Oct (Low er Octave)

Chord2 channel

Octave transposition of data received on the MIDI IN for the

Lower track. For example, if you select the +1 value, a

received C4 will play a C5 on the Pa50.

Notes entering this channel are sent to the Chord Recogni-

tion engine.

Velocity Input

OctIn (Octave In)

Use this parameter to set a ﬁxed velocity (dynamics) value for

all MIDI notes entering. This is useful when playing the Pa50

with an organ or a MIDI Accordion.

Enables/disables the octave transposition of data received via

MIDI.

Data received via MIDI can be transposed,

according to the selected Octave Transposition.

For example, if the Octave Transposition is +1,

a received C4 will actually play a C5.

Normal

40…127

Normal velocity values are received.

All received velocity values are converted to the

selected value.

Off

Data received via MIDI can’t be transposed by

the Octave Transposition applied to the track.

For example, if the Octave Transposition is +1,

a received C4 will still play a C4.

Mute In

Use this parameter to determine if a muted track can still play

data received via MIDI.

No data received via MIDI on a muted track

can be played by Pa50.

Off

Data received via MIDI on a muted track can

still play on the Pa50.

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1 2 9

Page 9 - MIDI IN Filters

Upper1…3 One of the Upper tracks.

PAGE 9 - MIDI IN FILTERS

Use this page to set up to 8 ﬁlters for the MIDI data received

by the Pa50.

Drum

Perc

Drum track.

Percussion track.

Bass

Bass track.

Acc1…5

One of the Auto-accompaniment tracks.

S1 T1…16 One of Sequencer 1 tracks.

S2 T1…16 One of Sequencer 2 tracks.

Gbl:MidiIn Filt.

SQ Tr01…16 Use these channels to send data generated by a

track with the same name on either or both

onboard sequencers at the same time.

SysEx

PitchBend

Off

MonoTouch

0 Bank Sel. Off

1 Mod1 (Y+) Off

Chord

Use this channel to send notes recognized by

the Chord Recognition engine to the MIDI

OUT. This is useful, for example, to control an

external Harmonizer from the Pa50, using the

Lower track to play chords, even if the track is

in mute.

Filters

Selected MIDI IN ﬁlters.

Off No ﬁlter.

Pitch Bend Pitch Bend.

MonoTouch Mono (or Channel) After Touch.

PolyTouch Poly After Touch.

PrgChange Program Change.

PAGE 11 - MIDI OUT FILTERS

Use this page to set up to 8 ﬁlters for the MIDI data sent by

the Pa50.

SysExcl

All CC

0…127

System Exclusive.

All Control Change messages.

Control Change message #0…127. See “MIDI

Controllers” on page 228 for a list of available

Control Change messages.

Gbl:MidiOut Flt.

SysEx

PitchBend

Off

MonoTouch

PAGE 10 - MIDI OUT CHANNELS

In this page, you can assign to any MIDI OUT channel one of

Pa50’s tracks. Use the TRACK SELECT button to switch from

channels 1-8 to channels 9-16.

0 Bank Sel. Off

1 Mod1 (Y+) Off

Filters

Selected MIDI OUT ﬁlters.

Off No ﬁlter.

Pitch Bend Pitch Bend.

Gbl:Midi Out Chnl

MonoTouch Mono (or Channel) After Touch.

PolyTouch Poly After Touch.

PrgChange Program Change.

Ch01:Upper1 Ch05:Upper3

Ch02:Lower Ch06:Acc1

Ch03:Bass

Ch07:Acc2

Ch04:Upper2 Ch08:Acc3

SysExcl

All CC

0…127

System Exclusive.

All Control Change messages.

Control Change message #0…127. See “MIDI

Controllers” on page 228 for a list of available

Control Change messages.

Channel

You can assign to each channel one of the following tracks:

(Off)

Lower

No track assigned.

Lower track.

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Disk e d it e n viro n m e n t

The WRITE/ DISK IN USE LED

1 3 0

16. DISK EDIT ENVIRONMENT

The Disk edit environment is the place where you can man-

age ﬁles. This edit environment overlaps the current operat-

ing mode (Style Play, Song Play, Backing Sequence, Song,

Program).

Inserting a disk

Insert the disk delicately into the disk drive, with the label

facing upwards and the metal part to the front. Press it in as

far as it will go.

Note: The Pa50 incorporates a new type of disk drive and you

cannot hear “click” when the disk is inserted into place.

THE WRITE/DISK IN USE LED

When a disk is reading or writing data, the WRITE/DISK IN

USE indicator lights up. While in a Disk page, the “Wait”

message appears in the display; in this situation, you can’t

select a different Disk page (you can, however, select a differ-

ent operative mode).

Opening for

disk insertion

Disk activity

indicator

Eject

button

Disk:Save |Wait

ALL

SAVE

OPEN CLOSE

Removing a disk

Warning! Never remove a ﬂoppy disk when the WRITE/DISK

IN USE LED is turned on!

Note: When loading or saving, you can obtain the maximum

speed by loading or saving into the same location as the source

data. When loading or saving into a different location, some

data restructuring is needed, and the operation becomes slower.

Before removing a disk, make sure that the disk activity indi-

cator is off. If the LED is off, remove the disk by pressing the

eject button.

Warning: Do not remove the disk if the disk activity indicator is

lit up.

Opening for disk

insertion

FLOPPY DISK HANDLING

Disk activity

indicator

The Pa50 can save most of the data contained in memory on

a 3,5” DS-DD disk (720KB capacity) or HD (1,44MB capac-

ity), MS-DOS®-formatted. Here are some precautions when

handling disks.

Eject but-

ton

Write protection

You can protect a disk from the accidental overwriting of

data, by opening the write protect hole. To protect the disk

from overwriting, slide the protection ﬂap so that the hole

becomes visible.

Cleaning the heads

To write-protect the disk: To write-enable the disk: move

move the ﬂap and open the the ﬂap to close the hole

hole

The disk drive read/write heads get dirty with use and

become less accurate. You can clean the heads with a special

cleaning disk, you can purchase from any computer or musi-

cal instrument store. Use a 3.5” DS wet type head cleaning

disk; and carefully follow the instructions included with it.

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Disk e d it e n viro n m e n t

Loading data created with the Pa80

1 3 1

Precautions

LOADING OLDER I-SERIES DATA

•

Do not remove the disk or move the instrument while

Pa50 is compatible with the Styles of the older i-Series instru-

ments. You can load them as if they were ordinary Pa50 data.

1. Insert an older i-Series ﬂoppy disk into the disk drive.

2. Press DISK to go to the Disk environment.

3. In case you must replace the disk, insert the new disk,

and press the F1 button to scan the ﬂoppy disk again.

4. If you are reading an i30 disk, move the “.SET” folder to

the ﬁrst line of the display (use the TEMPO/VALUE

controls, or the E-H buttons), and press F3 (Open).

5. Move the “.STY” folder to the ﬁrst line of the display

(use the TEMPO/VALUE controls, or the E-H buttons).

6. At this point, you can load the whole “.STY” folder, or

open it and select a single Style.

the disk drive is operating (disk drive LED and WRITE/

DISK IN USE LED lit up).

Make a backup copy of the disks, in order not to loose

data forever in case of damage. If you have a personal

computer, you can keep a copy of the data on its hard

disk.

Do not open the metallic shutter on the disk, and do not

touch the surface of the magnetic media inside it. If the

magnetic media becomes scratched or soiled, data can

be lost.

Do not leave a disk in the disk drive while carrying the

instrument: the read/write heads may scratch the disk

and damage saved data.

Keep the disks away from sources of magnetic ﬁelds, for

example televisions, refrigerators, computers, monitors,

speakers and transformers. Magnetic ﬁelds can alter the

contents of the disks.

Do not keep disks in very hot or wet places, do not

expose them to direct sunlight and do not store them

without use in dusty or dirty places.

•

• To load the whole folder, press F2 (Load). You will be

prompted to select one of the three USER Style banks in

memory.

Once the target bank is selected, press F2 (Load) to load

the bank. The “Are you sure?” message will appear. Press

ENTER to conﬁrm, or EXIT to abort.

• To load a single Style, press F3 (Open) to open the

“.STY” folder. Since a conversion will be started at this

point, please wait some seconds for the operation to be

completed.

•

Do not place heavy objects on top of the disks.

After use, replace the disks in a case.

Move the Style to load to the ﬁrst line of the display.

Then press F2 (Load). You will be prompted to select a

target location in memory.

Once the target location is selected, press F2 (Load) to

load the Style. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

Note: Loading a whole “.SET” folder from an i30 disk

takes very long. You are advised to load a single bank or a

single Style a time.

Possible problems

•

In exceptional cases, the disk can get stuck in the disk

drive. In order to avoid this happening, you should only

use high quality disks. If the disk does get stuck, do not

try to force it out using sharp objects. Contact your local

dealer or your nearest KORG Service Center.

•

Magnetic ﬁelds, dirt, humidity and usage can damage

data on disk. You can try to recover the data with disk

repair utilities for personal computers. It is, however,

advisable to make a backup copy of data.

7. Select the loaded Style. Set the Tempo, then press

WRITE and select “Current Style” to memorize the

changes to the Style Performance. Press ENTER twice to

conﬁrm.

8. Due to difference in Programs, you will probably make

some adjustment to the old Styles, once they are loaded

in Pa50 (changing the Program, Volume, Pan, Tempo,

Drum Mapping, Wrap Around…).

9. To make the Program assignment to the Style tracks

effective, you should set the “Prog (Program)” parame-

ter to On (see page 49).

10. Save the Style Performance again. Press WRITE and

select “Current Style” to save the changes in memory.

Press ENTER twice to conﬁrm.

LOADING DATA CREATED WITH THE PA80

Pa50 data is perfectly interchangeable with its Pa80 and Pa60

counterparts. The only data Pa50 can’t load from a Pa80/Pa60

disk is the following:

•

Digital Drawbar Programs

Input 1/2 settings

VHG1 Vocal/Guitar Processor Board settings

EC5 settings

TO HOST port setting

Audio Output routing

At the same time, Pa80 and Pa60 can read any data created

with the Pa50.

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Disk e d it e n viro n m e n t

Disk structure

1 3 2

DISK STRUCTURE

MYDIR.SET

Each disk (and the internal memory) can contain ﬁles and

folders. The data structure in Pa50 is slightly more rigorously

determined than in a computer, due to the pre-conﬁgured

data structure inside the instrument’s memory. The diagram

on the left shows the global structure of a Pa50 disk.

Note: Style banks from 1 to 16 (Factory Styles) can be seen in

Disk mode only when the “Factory Style Protect” parameter is

set to Off (see page 142), and only when loading or saving a sin-

gle Style bank.

GLOBAL

BANK01.GBL

PERFORM

BANK01.PRF

1-1 Grand Piano

1-8 Full Strings

BANK02.PRF

FILE TYPES

2-1 Jazz Brass

The following tables describe all the ﬁle and folder types the

Pa50 can manage. Here are the ﬁles you can read or write on

the Pa50.

2-8 Jazz Strings

BANK .PRF

BANK10.PRF

2-1 Rock Brass

Extension

File/folder type

SET

All the User data. (This is a folder containing

other folders).

2-8 Rock Strings

GBL

PRF

PCG

STY

Global, Seq1+Seq2 Setup

Performance

PROGRAM

USER01.PCG

User Program

1 Piano 1

User Style

64 SynBrass22

The Pa50 can also read the following common types of data.

USER02.PCG

1 SopranoSax

Extension

File type

64 Noise

MID

KAR

JBX

Midi ﬁle (Standard MIDI File, SMF)

Karaoke ﬁle

USERDK.PCG

1 Standard Kit

Jukebox

64 Orchestral Kit

FILE AND FOLDER SIZE DISPLAY

The size of any ﬁle and folder in the disk can be seen in the

display.

STYLE

BANK01.STY

1-1 8 Beat 1

The single ﬁle size is always shown on the right of the ﬁle:

1-16 8 Beat 16

BANK .STY

Disk:Load

BANK16.STY

16-1 Traditional 1

ETNICA.MID

MYFUNNY

WWALTZ

11K|

23K

16-8 Traditional 16

USER01.STY

12K|

LOAD OPEN CLOSE

U1-1 User 1

To see a folder size, ﬁrst move it to the ﬁrst line of the display,

then keep the SHIFT button pressed, and press the F3 (Open)

function key under the display. A dialog box will appear,

showing the size of the folder:

U1-16 User 16

USER02.STY

U2-1 User 1

U2-16 User 16

Directory size:

384 Kb

USER03.STY

U3-1 User 1

Press EXIT to exit this dialog.

U3-16 User 16

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Disk e d it e n viro n m e n t

1 3 3

Page structure

F2 (Disk command)

PAGE STRUCTURE

Here is the typical structure of a Disk page.

Executes the disk operation.

F3 (Open)

Operating mode icon

Page header

Opens the selected folder or bank (ﬁles whose name begins

with the “

” icon.

F4 (Close)

Closes the current folder, returning to the parent (“upper”)

folder.

Disk:Load

NEWNAME.SET

LIVE.SET

ETHNICA.SET

From any page, press MENU to open the Disk edit menu.

This menu gives access to the various Disk edit pages.

When in this menu, select a section using the VOLUME/

VALUE buttons, press PAGE+ to select a page, or press EXIT

to exit the menu.

LOAD OPEN CLOSE

Page commands

Disk content

When in any page, press EXIT to go back to the current oper-

ating mode.

Operating mode icon

When in the Disk edit environment, one of the operating

modes is still active in the background. The operating mode

icon shows which mode is currently active. Press EXIT to go

back to the current operating mode from any of the Disk

pages.

Disk Menu

Load

Save

Copy

Erase

Format

Page header

New Dir

Rename

This line shows the Disk page you are in.

Disk content

Utilities

These lines show the content of the current folder. Move the

item to select to the ﬁrst line, using the E-F (Scroll Up) and

G-H (Scroll Down) VOLUME/VALUE buttons, or the

TEMPO/VALUE controls.

PAGE 1 - LOAD

In this page you can load ﬁles from a disk to the internal

memory.

Use the Page commands (F1-F4) on the last line to execute an

operation on the selected ﬁle or folder.

Press DISK and use the MENU button to reach this page.

The “

” symbol before a name identiﬁes a folder (i.e., a

“folder” containing other ﬁles).

Page commands

You can use these commands to browse through ﬁles and

folders, and to execute disk commands (load, save…). Com-

mands may be different in any Disk page. Use the F1-F4 but-

tons to select the corresponding command.

Disk:Load

NEWNAME.SET

LIVE.SET

ETHNICA.SET

LOAD OPEN CLOSE

NAVIGATION TOOLS

When in a Disk page, you can use any of the following com-

mands to browse through the ﬁles and folders, or through the

list of commands.

Loading all the User data

You can load all the User data (Performances, User Programs,

User Styles, Global) with a single operation.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to select the “.SET” folder containing the data

you wish to load.

E-F (Scroll Up)

Scroll the list up. Keep SHIFT pressed and press one of these

buttons to jump to the previous alphabetical section.

G-H (Scroll Dow n)

Scroll the list down. Keep SHIFT pressed and press one of

these buttons to jump to the next alphabetical section.

Move the folder to the ﬁrst line of the display. If the

folder you are looking for is in another folder, use the F3

(Open) button to open it. Use the F4 (Close) button to

go back to the parent folder.

TEMPO/VALUE section

These controls scroll the list up or down.

F1 (FD)

Press this button after replacing a ﬂoppy disk in the ﬂoppy

disk drive. After pressing this button, the new disk will be

scanned, and the ﬁle list shown on the display will be

updated.

4. Press F2 (Load) to conﬁrm the selection. The “Are you

sure?” message appears. Press ENTER to conﬁrm, or

EXIT to abort.

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Disk e d it e n viro n m e n t

Page 1 - Load

1 3 4

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further loading operations.

Note: Data loaded from disk, and data already in memory

is merged. For example, if there is data in all three USER

Style banks in memory (USER01, USER02, USER03), and

there is only the USER01 Style bank on disk, the USER01

bank is overwritten, while USER02 and USER03 banks

are left unchanged.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to select the “.SET” folder containing the data

you wish to load.

Move the folder to the ﬁrst line of the display. If the

folder you are looking for is in another folder, use the F3

(Open) button to open it. Use the F4 (Close) button to

go back to the parent folder.

As a result, you will have a STYLE folder in memory con-

taining the USER01 bank you just loaded, and the old

USER02 and USER03 banks.

4. Press F3 (Open) to open the “.SET” folder. A list of User

data appears (Global, Performance, Program, Style).

Loading all data of a speciﬁed type

Disk:Load

You can load all User data of a speciﬁed type (User Programs,

User Styles, Performances) with a single operation.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to select the “.SET” folder containing the data

you wish to load.

PERFORM

PROGRAM

STYLE

LOAD OPEN CLOSE

5. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

6. Press F3 (Open) to open the selected folder. A list of

User banks appears.

Move the folder to the ﬁrst line of the display. If the

folder you are looking for is in another folder, use the F3

(Open) button to open it. Use the F4 (Close) button to

go back to the parent folder.

4. Press F3 (Open) to open the “.SET” folder. A list of User

data appears (Performance, Program, Style, Global).

Disk:Load

USER01.STY

USER02.STY

USER03.STY

Disk:Load

LOAD OPEN CLOSE

PERFORM

PROGRAM

STYLE

7. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the desired bank to the ﬁrst line of the

display.

8. Press F2 (Load) to conﬁrm the ﬁle selection. The list of

User banks in memory appears.

LOAD OPEN CLOSE

5. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

6. Press F2 (Load) to conﬁrm your selection. The “Are you

sure?” message will appear. Press ENTER to conﬁrm, or

EXIT to abort.

Disk:Load

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further loading operations.

Note: Data loaded from disk, and data already in memory

are merged. For example, if there is data in all three USER

Style banks in memory (USER01, USER02, USER03), and

there is only the USER01 Style bank on disk, the USER01

bank is overwritten, while USER02 and USER03 banks

are left unchanged.

User01

User02

User03

LOAD

OPEN CLOSE

In the page above, the previously selected Style bank will

be loaded into the bank 1 (USER1 button) in memory.

The existing Styles in memory will be deleted and over-

written.

As a result, you will have a STYLE folder in memory con-

taining the USER01 bank you just loaded, and the old

USER02 and USER03 banks.

9. Scroll the available locations in memory, using the E-H

(Scroll) buttons (or the TEMPO/VALUE controls).

10. When the target bank is selected (i.e., it is in the ﬁrst line

of the display), press F2 (Load) to load the bank. The

“Are you sure message” will appear. Press ENTER to

conﬁrm, or EXIT to abort.

Loading a single bank

You can load a single bank of User data (User Programs, User

Styles, Performances) with a single operation. A bank corre-

sponds to a STYLE or PROGRAM/PERFORMANCE button.

Warning: After conﬁrming, all User data contained in the

bank in memory is deleted.

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Disk e d it e n viro n m e n t

1 3 5

Page 2 - Save

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further loading operations.

10. Press F2 (Load) to conﬁrm the ﬁle selection. The inter-

nal memory ﬁle list appears. If you are loading a single

ﬁle or bank of Styles, Programs or Performances, you

are prompted to choose a destination in memory. For

example, when loading a single Style, after selecting the

Load command, a page similar to the following appears

in the display:

Loading a single item

You can load a single User item (i.e., a single User Program, a

single User Style, or a single Performance) with a single oper-

ation.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to select the “.SET” folder containing the item

you wish to load.

Disk:Load

to U1: 1 16BeatNew

to U1: 2 _ _ _ _ _ _

to U1: 3 _ _ _ _ _ _ |

LOAD

OPEN CLOSE

Move the folder to the ﬁrst line of the display. If the

folder you are looking for is in another folder, use the F3

(Open) button to open it. Use the F4 (Close) button to

go back to the parent folder.

In the page above, the previously selected Style will be

loaded into the location U1:1 (USER1 button, Style 01)

in memory. The existing Style in memory will be deleted

and overwritten.

4. Press F3 (Open) to open the “.SET” folder. A list of User

data appears (Global, Performance, Program, Style).

11. Scroll the available locations in memory, using the E-H

(Scroll) buttons (or the TEMPO/VALUE controls).

When the target location is selected (i.e., it is in the ﬁrst

line of the display), press F2 (Load) to load the ﬁle.

Locations marked with a row of underscores (“_ _ _”)

are empty locations.

Disk:Load

PERFORM

PROGRAM

STYLE

12. Once the target location is selected, press F2 (Load) to

load the ﬁle. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

LOAD OPEN CLOSE

5. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

6. Press F3 (Open) to open the selected folder. A list of

User banks appears.

Warning: After conﬁrming, the item you are overwriting

in memory will be deleted.

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further loading operations.

PAGE 2 - SAVE

In this page, you can save User data from the internal mem-

ory to a disk. You can save ﬁles, banks, or all the User ﬁles of

the internal memory.

Press DISK and use the MENU or PAGE buttons to reach this

page.

Disk:Load

USER01.STY

USER02.STY

USER03.STY

LOAD OPEN CLOSE

7. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the desired bank to the ﬁrst line of the

display.

Disk:Save

8. Press F3 (Open) to open the selected bank. A list of User

items appears.

ALL

SAVE

OPEN CLOSE

Here are the various types of ﬁles contained in memory:

Disk:Load

U1: 1 16BeatNew

U1: 2 8Beat

The ﬁle/folder

type…

…and w ill create on

disk…

…contains…

U1: 3 WalzerMarch

FD LOAD OPEN CLOSE

ALL

All the User data in

memory

A .SET folder

9. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the desired item to the ﬁrst line of the

display.

Style

The USER 01-03 Styles

A STYLE folder inside

a .SET folder

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Disk e d it e n viro n m e n t

Page 2 - Save

1 3 6

folder. A list of User data types appear (each type is a

separate folder).

The ﬁle/folder

type…

…and w ill create on

disk…

…contains…

Program

The USER Programs

and Drum Kits

A PROGRAM folder

inside a .SET folder

Perform (Per-

formances)

The Performances

A PERFORM folder

inside a .SET folder

Disk:Save

GLOBAL

PERFORM

PROGRAM

SAVE

.GBL ﬁle

The Global. All param- A GLOBAL folder

eters marked with

inside a .SET folder

within the Style

Play, Song Play, Song

and Global chapters

are saved in the Glo-

bal.

OPEN CLOSE

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

4. Once you have selected the type of data required, press

F2 (Save) to conﬁrm the selection.

Saving the whole memory content

You can save the whole content of the memory with a single

operation.

5. The content of the target disk appears.

1. Insert the target disk into the disk drive.

2. The whole content (“All”) of the internal memory is

already selected. Press F2 (Save) to conﬁrm the selec-

tion.

Disk:Save

3. The content of the target disk appears.

NEW_NAME.SET

LIVE.SET

ETHNICA.SET

SAVE OPEN CLOSE

Disk:Save

At this point, you can:

• Create a new “.SET” folder (see “Creating a new “.SET”

folder” on page 138).

NEW_NAME.SET

LIVE.SET

ETHNICA.SET

SAVE OPEN CLOSE

• Save onto an existing “.SET” folder.

6. If you are saving into an existing folder, move the

desired “.SET” folder to the ﬁrst line of the display, using

the E-H (S croll) buttons (or the TEMPO/VALUE con-

trols).

At this point, you can:

• Create a new “.SET” folder (see “Creating a new “.SET”

folder” on page 138).

• Save onto an existing “.SET” folder.

7. Once the target folder is selected, press F2 (Save) to save

the ﬁles. The “Are you sure?” message will appear. Press

ENTER to conﬁrm, or EXIT to abort.

4. If you are saving into an existing folder, move the

desired “.SET” folder to the ﬁrst line of the display, using

the E-H (Scroll) buttons (or the TEMPO/VALUE con-

trols).

Warning: After conﬁrming, all data in the target folder is

deleted.

5. Once the target folder is selected, press F2 (Save) to save

the ﬁles. The “Are you sure?” message will appear. Press

ENTER to conﬁrm, or EXIT to abort.

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further saving operations.

Warning: After conﬁrming, all data in the target folder is

deleted.

Saving a single bank

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further saving operations.

You can save a single User bank with a single operation. A

bank corresponds to a button on the control panel of the

instrument (i.e. a button of the STYLE section).

1. Insert the target disk into the disk drive.

2. The whole content (“All”) of the internal memory is

already selected. Press F3 (Open) to open the “All”

Saving all data of a speciﬁc type

You can save all data of a speciﬁc type with a single operation.

1. Insert the target disk into the disk drive.

2. The whole content (“All”) of the internal memory is

already selected. Press F3 (Open) to open the “All”

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Disk e d it e n viro n m e n t

1 3 7

Page 2 - Save

folder. A list of User data types appear (each type is a

separate folder).

11. Once the target bank is selected, press F2 (Save) to save

the ﬁles. The “Are you sure?” message will appear. Press

ENTER to conﬁrm, or EXIT to abort.

Warning: If you conﬁrm, any data in the target bank will

be deleted.

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further saving operations.

Disk:Save

GLOBAL

PERFORM

PROGRAM

SAVE

OPEN CLOSE

Saving a single item

You can save a single User item with a single operation.

1. Insert the target disk into the disk drive.

2. The whole content (“All”) of the internal memory is

already selected. Press F3 (Open) to open the “All”

folder. A list of User data types appear (each type is a

separate folder).

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

4. Once the data type is selected, press F3 (Open) to open

the folder and gain access to the separate banks.

Disk:Save

USER01.STY

USER02.STY

USER03.STY

GLOBAL

PERFORM

PROGRAM

SAVE

OPEN CLOSE

5. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the bank to save to the ﬁrst line of the

display.

6. Once you have selected the bank that you want to save,

press F2 (Save) to conﬁrm the selection.

3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the data type you are looking for to

the ﬁrst line of the display.

4. Once the data type is selected, press F3 (Open) to open

the folder and gain access to the separate banks.

7. The content of the target disk appears.

Disk:Save

USER01.STY

USER02.STY

USER03.STY

NEW_NAME.SET

LIVE.SET

ETHNICA.SET

SAVE

OPEN CLOSE

SAVE OPEN CLOSE

5. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the bank containing the ﬁle to save to

the ﬁrst line of the display.

6. Once you have selected the bank, press F3 (Open) to

gain access to the single ﬁles.

At this point, you can:

• Create a new “.SET” folder (see “Creating a new “.SET”

folder” on page 138).

• Save onto an existing “.SET” folder.

8. If you are saving into an existing folder, move the

desired “.SET” folder to the ﬁrst line of the display, using

the E-H (Scroll) buttons (or the TEMPO/VALUE con-

trols).

9. Press F2 (Save) to conﬁrm. A list of banks on the target

disk appears. Only banks of the selected type are shown.

10. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the target bank to the ﬁrst line of the

display.

Disk:Save

U1: 1 8B-Groove1

U1: 2 8B-Groove2

U1: 3 8B-Groove3

FD SAVE OPEN CLOSE

7. Once you have selected the ﬁle that you want to save,

press F2 (Save) to conﬁrm the selection.

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Disk e d it e n viro n m e n t

Page 2 - Save

1 3 8

8. The content of the target disk appears in the display.

12. Once the target location is selected, press F2 (Save) to

save the ﬁle. The “Are you sure?” message will appear.

Press ENTER to conﬁrm, or EXIT to abort.

Warning: If you conﬁrm, any data at the target location

will be deleted.

Disk:Save

When the operation is completed (the “Wait” indicator

disappears), the source page comes back in the display,

and you may perform further saving operations.

NEW_NAME.SET

LIVE.SET

ETHNICA.SET

SAVE OPEN CLOSE

Creating a new “.SET” folder

At this point, you can:

• Create a new “.SET” folder (see “Creating a new “.SET”

folder” on page 138).

• Save onto an existing “.SET” folder (saved data is

merged with the existing data on disk).

When saving data (Save operations), you can save onto exist-

ing folders, or you can create a new “.SET” folder. Here is how

to do it.

1. When the ﬁle list of the target disk is in the display, use

the E-H (Scroll) buttons (or the TEMPO/VALUE con-

trols) to move the “NEW_NAME.SET” item to the ﬁrst

line of the display.

Note: A “NEW_NAME.SET” item is always the ﬁrst item

in any directory.

2. When the “NEW_NAME.SET” item is selected, press

one of the A VOLUME/VALUE buttons. You are

prompted to assign a name to the new folder:

9. If you are saving into an existing folder, move the

desired “.SET” folder to the ﬁrst line of the display, using

the E-H (Scroll) buttons (or the TEMPO/VALUE con-

trols).

10. Press F2 (Save) to conﬁrm. A list of ﬁles on the target

device appears. Only ﬁles of the selected type are shown.

NEW_NAME.SET

Disk:Save

to U1: 1 16BeatNew

to U1: 2 8Beat

3. Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

to U1: 3 _ _ _ _ _ _ |

SAVE

OPEN CLOSE

Locations marked with a row of underscores (“___”) are

empty locations.

11. Use the E-H (Scroll) buttons (or the TEMPO/VALUE

controls) to move the target location to the ﬁrst line of

the display.

4. When you have ﬁnished writing a name for the new

folder, press F2 (Save) to conﬁrm. The “Are you sure?”

message will appear. Press ENTER to conﬁrm, or EXIT

to abort.

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Disk e d it e n viro n m e n t

1 3 9

Page 3 - Copy

7. Once the target is selected, press F2 (Copy). The “Over-

PAGE 3 - COPY

write?” message appears:

In this page you can copy single ﬁles (i.e., midiﬁles of Jukebox

ﬁles), whole folders (generic or “.SET” folders), or a generic

folder’s content. You can copy within the same disk, or from a

disk to a different one.

Overwrite on Copy?

Enter/Yes - Exit/No

To preserve the data structure integrity, during Copy opera-

tions you can’t open a “.SET” folder, and copy one of its ﬁles.

You can only open generic folders.

Press DISK and use the MENU or PAGE buttons to reach this

page.

Press ENTER to conﬁrm overwriting, EXIT to avoid it.

When you decide to overwrite, the data you are copying

will replace the existing data on the target. For example,

if the same midiﬁle exists on the target folder, it will be

overwritten. If a USER bank exists, it will be overwrit-

ten.

Data that doesn’t exist on the source folder is left

unchanged. For example, if the USER03 Style bank

exists on the target folder, but not in the source folder, it

is left untouched after copying the other banks.

When you decide not to overwrite, data existing on the

target folder is left unchanged, therefore are not copied.

8. The “Are you sure?” message appears. Press ENTER to

conﬁrm, EXIT to abort the copy.

Disk:Copy from

LIVE.SET

ETHNICA.SET

COPY OPEN CLOSE

Copying a whole folder or folder’s content

Copying a single ﬁle

You can copy a folder (generic or “.SET”) into a different disk

or folder. If selecting the <current dir> item, you can copy

the current folder’s content, without copying the folder itself.

If copying a whole folder, a new folder with the same name is

created at the target location.

Note: During the Copy procedure, you can’t open a “.SET”

folder. You can, anyway, open any generic folder.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Move the folder that you want to copy to the ﬁrst line of

the display. If it is contained in another folder, use the F3

(Open) button to open it. Press F4 (Close) to go back to

the previous hierarchic level.

To copy just the current folder’s content, move the <cur-

rent dir> item to the ﬁrst line of the display.

4. Once the item to copy is on the ﬁrst line, press F2

(Copy) to conﬁrm the item selection. You are prompted

to insert a target disk. The window’s header changes

from “Copy from” to “Copy to”.

You can copy a single ﬁle from a generic folder to a different

folder. The ﬁle must reside on the root (the main/highest

folder in the disk hierarchy) or into a generic folder. You can’t

copy single ﬁles from a “.SET” folder.

1. Insert the source disk into the disk drive.

2. Press F1 to scan the disk and show the ﬁle list.

3. Move the folder, containing the ﬁle you wish to copy, to

the ﬁrst line of the display. If it is contained in another

folder, use the F3 (Open) button to open it. Press F4

(Close) to go back to the previous hierarchic level.

4. Press F3 (Open) to open the folder containing the ﬁle to

copy.

5. Move the ﬁle to copy to the ﬁrst line of the display.

6. Once the ﬁle is on the ﬁrst line, press F2 (Copy) to con-

ﬁrm its selection. You are prompted to insert a target

disk. The window’s header changes from “Copy from” to

“Copy to”.

Disk:Copy to

LIVE.SET

Disk:Copy to

LIVE.SET

ETHNICA.SET

COPY OPEN CLOSE

ETHNICA.SET

COPY OPEN CLOSE

7. Insert the target disk, and press F1 to update the ﬁle list

shown on the display.

5. Insert the target disk, and press F1 to update the ﬁle list

shown on the display.

6. When the target disk content appears in the display,

move the target folder to the ﬁrst line in the display.

8. When the target disk content appears in the display,

move the target folder to the ﬁrst line in the display.

Press F3 (Open) to open a folder, F4 (Close) to close it.

9. Once the target is selected, press F2 (Copy). The “Over-

write?” message appears:

•

To copy into an existing generic folder (not a “.SET”

folder), select that folder.

•

To copy into the current folder, select the <current dir>

item.

Overwrite on Copy?

Enter/Yes - Exit/No

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Disk e d it e n viro n m e n t

Page 4 - Erase

1 4 0

Press ENTER to conﬁrm overwriting, EXIT to avoid it.

When you decide to overwrite, the data you are copying

will replace the existing data on the target. For example,

if the same midiﬁle exists on the target folder, it will be

overwritten.

Press DISK and use the MENU or PAGE buttons to reach this

page.

Data that doesn’t exist on the source folder is left

unchanged. For example, if the MYSONG01.MID midi-

ﬁle exists on the target folder, but not in the source

folder, it is left untouched after copying the other data.

When you decide not to overwrite, data existing on the

target folder is left unchanged, therefore are not copied.

Disk:Format

FD Fast Format

FD Full Format

FORMAT --

Warning: When formatting a disk, all data it contains is lost.

10. The “Are you sure?” message appears. Press ENTER to

conﬁrm, EXIT to abort the copy.

FD Fast Format

This is a very fast format command, that you can use on pre-

viously formatted ﬂoppy disks. This command rewrites just

the FAT (File Allocation Table) of the disk, without actual

reformatting of all sectors.

PAGE 4 - ERASE

The Erase function lets you erase ﬁles and folders from disks.

If it cannot be executed, the “FD Fast Format failed. Full For-

mat?” message appears. Press ENTER/YES to proceed with

the Full Format, or EXIT/NO to abort.

1. Insert a 3.5” HD or DD/DS ﬂoppy disk into the disk

drive, and select this option to format it.

Disk:Erase

MYFILES.SET

LIVE.SET

2. Move the FD Fast Format option to the ﬁrst line of the

display.

ETHNICA.SET

DEL

OPEN CLOSE

3. Press F2 (Format) to conﬁrm formatting.

4. The “Delete all data?” message appears in the display;

press ENTER to conﬁrm, EXIT to abort.

Erase procedure

1. If the ﬁle to be deleted is contained in a ﬂoppy disk,

insert the disk into the disk drive.

2. Press F1 to select a device. Devices are selected in this

order: FD ➛ SSD ➛ FD…

FD Full Format

This is the traditional format command, where each sector of

the ﬂoppy disk is formatted. It is slower than the Fast Format

command, but sometimes more reliable.

See above for the procedure.

Device

Type

Floppy disk

PAGE 6 - NEW DIR

SSD

Solid State Disk (internal memory)

The New Dir function lets you create a new folder in any of

the disks, or inside any generic folder. You can’t create or

open “.SET” folders, since these are reserved folders, to be

created with a Save operation.

Press DISK and use the MENU or PAGE buttons to reach this

page.

3. Move the ﬁle or folder that you want to erase to the ﬁrst

line of the display. If the ﬁle or folder you are looking for

is in another folder, use the F3 (Open) button to open it.

Press F4 (Close) to go back to the previous hierarchic

level.

4. Press F2 (Erase) to delete the selected item. The “Are you

sure?” message will appear. Press ENTER to conﬁrm, or

EXIT to abort.

Disk:New Dir

When the operation is completed (the “Wait” indicator

disappears), you are kept on the Erase page, and you

may perform further erase operations.

FD CREATE OPEN CLOSE

PAGE 5 - FORMAT

The Format function lets you initialize a disk.

New folder procedure

1. Insert a disk into the disk drive.

2. Press F1 to scan the disk.

3. Press one of the A VOLUME/VALUE buttons. You are

prompted to assign a name to the new folder:

NEW_NAME

Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

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Disk e d it e n viro n m e n t

1 4 1

Page 7 - Rename

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

PAGE 8 - UTILITIES 1

This page includes a set of disk utilities.

Press DISK and use the MENU or PAGE buttons to reach this

page.

4. Press F2 (Create) to conﬁrm. The “Are you sure?” mes-

sage appears. Press ENTER to conﬁrm, EXIT to abort.

PAGE 7 - RENAME

Use the Rename function to change the name of a folder or a

ﬁle. To preserve data structure consistence, you can’t rename

single ﬁles inside a “.SET” folder, or the “.SET” folder name

extension.

Disk:Utilities1

FD info

SSD info

Save OS

BackupData

RestoreData

Press DISK and use the MENU or PAGE buttons to reach this

page.

FD info

Select this command to see the name of the inserted ﬂoppy

disk, and the free space on it.

If pressed without a disk inserted, the “No disk!” warning

appears. Please, insert a disk and press ENTER (or EXIT to

abort).

Disk:Rename

DJSET.SET

LIVE.SET

ETHNICA.SET

SSD info

FD RENAME OPEN CLOSE

Select this command to see the free space on the Solid State

Disk (SSD), used as the system’s internal memory.

Rename procedure

Save OS

1. Insert the disk that contains the ﬁle to be renamed into

the disk drive.

2. Press F1 to scan the disk.

3. Move the item to rename to the ﬁrst line. Then press one

of the A VOLUME/VALUE buttons. You are prompted

to change the name:

This command starts an Operating System backup, to save a

copy of the instrument’s Operating System on a ﬂoppy disk.

Note: Should you not do a back-up and your internal data is

changed, you can download the data from www.korgpa.com, or

ask your local KORG dealer.

1. Prepare a formatted, empty disk (1.44MB, MS-DOS

formatted). You can prepare this kind of disk using a PC

or the Pa50 itself (see “Page 5 - Format” on page 140).

Note: You can’t prepare a Pa50 OS disk on a Macintosh.

After formatting, the Mac includes some invisible ﬁles in

the root, that may interfere with the Pa50 OS loading pro-

cedure.

Ethnic.set

Move the cursor using the DOWN/- and UP/+ buttons.

Select a character using the DIAL. Insert a character at

the cursor position by pressing the INSERT button.

Delete a character at the cursor position by pressing the

DELETE button.

2. Select the Save OS command.

3. Insert a disk and press ENTER. The following ﬁles are

created on disk:

4. Press F2 (Rename) to conﬁrm. The “Are you sure?” mes-

sage appears. Press ENTER to conﬁrm, EXIT to abort.

• OSPa50.LZX

• BPa50.SYS

• NBPa50.SYS

If the disk is not formatted or empty, Pa50 asks if you

want to format it:

Disk not empty!

Sh+Enter to format

Keep SHIFT pressed, and press ENTER to format the

disk. Pa50 ﬁrst tries a Fast Format, then makes a Full

Format if the former is not possible.

Backup Data

This command starts a backup of all internal factory data

(Styles, Programs, Performances…) excluding the Operating

System itself.

Note: Should you not do a back-up and your internal data is

changed, you can download the data from www.korgpa.com, or

ask your local KORG dealer.

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Disk e d it e n viro n m e n t

Page 9 - Utilities 2

1 4 2

1. Prepare 5 disks. Disks don’t need to be formatted,

because Pa50 will format them for you during the

Backup procedure.

data, so it is not a problem. Press EXIT to exit the message.

6. When the Wait message has disappeared, and the

WRITE/DISK IN USE LED has turned off, turn the

instrument off, then on again.

2. Select the Backup Data command.

3. The “Are you sure?” message appears. Press ENTER to

continue, EXIT to abort.

4. The “Insert backup disk #1 and press Enter” message

appears. Insert a disk and press ENTER

5. When the Pa50 asks for it, insert a new disk into the

ﬂoppy disk drive. Write the disk number on each disk’s

label.

Note: At the end of a Restore Data operation, the “Missing some

ﬁles” error message may appear. This is due to the lack of Per-

formance banks 11-20 on older versions of the operating system

of Pa80, whose disk you are probably reading. However, this is

not a problem. Press EXIT to close the message window.

PAGE 9 - UTILITIES 2

This page includes the Protect functions.

Insert 1.4MB FD #1

and press Enter

If a disk is not formatted or empty, Pa50 asks if you want

to format it:

Disk:Utilities2

Global Protect:Off

Fact.Style Protect:On

Disk not empty!

Sh+Enter to format

Keep SHIFT pressed, and press ENTER to format the

disk. Pa50 ﬁrst tries a Fast Format, then makes a Full

Format if the former is not possible.

Global Protect

When loading a “.SET” ﬁle, this parameter (if On) protects

the Global from being reprogrammed by the loaded data. All

Global parameters are therefore left unchanged.

When loading a single “.GLB” ﬁle, this parameter is ignored,

and the Global is overwritten by the loaded data.

Note: This parameter is saved in memory, but not on disk.

Restore Data

This command restores the backup of the internal factory

data, executed with the “Backup Data” command.

Note: Should your Factory Data disks become corrupt, you can

download the data from www.korgpa.com, or ask your local

KORG dealer.

Factory Style Protect

Warning: Don’t play on the keyboard while restoring data, and

stay in the Disk mode. Wait until the “Wait” message disap-

pears, and the WRITE/DISK IN USE LED turns off.

1. Select this command.

2. The “Are you sure?” message appears. Press ENTER to

continue, EXIT to abort.

3. The “Insert backup disk #1 and press Enter” message

appears. Insert the ﬁrst backup disk, and press ENTER.

4. Wait until the ﬁrst backup disk has been read. A message

will appear: “Insert backup disk #2 and press Enter”.

Insert the second backup disk and press ENTER.

5. Repeat the same procedure with backup disks #3, #4 and

#5. When the backup disk #5 has been loaded, the

backup data has been restored into the internal memory.

When On, this parameter protects the Factory Styles (from

the “8 BEAT/16 BEAT 1” to the “TRADITIONAL” bank)

from being overwritten when loading data from disk. Fur-

thermore, you can’t access these banks when saving data.

When Off, you can load or save User Styles even into the Fac-

tory Styles banks (from “8 BEAT/16 BEAT 1” to “TRADI-

TIONAL”). This way, you can personalize your Factory Style

banks.

Please note that the Save All procedure always saves only the

USER Style banks.

Note: This parameter is automatically set to On when turning

the instrument off.

Note: Should your accidentally delete some Factory Data,

reload the Backup data, contact your KORG dealer or service

center, or download the data from www.korgpa.com.

Note: After the last disk has been loaded, a “Some ﬁles

missing” message may appear. This may refer to some User

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APPENDIX

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Fa cto ry Da ta

Styles

1 4 4

17. FACTORY DATA

STYLES

Note: You can remotely select Styles on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program

Change messages on the Control channel (see page 127).

CC#0 CC#32

PC Bank: 8/16 Beat 1

CC#0 CC#32

PC Bank: 8/16 Beat 2

CC#0 CC#32

PC Ballad

Soft Beat

Guitar Bld1

Guitar Bld2

8Bt Analog1

Analogyst

Groove Bld

Pop Beat

Diva

Stndrd8Beat

Unplug8Bt 1

Love 8 Beat

Half Beat

Rock Ballad

Folk Ballad

PopBallad 2

HalfTimeBld

Country Bld

4/4 Ballad

Love Ballad

NaturalBeat

8Bt Analog2

Trendy Beat

Slow Ballad

6Strings Bt

Std16Beat 1

Std16Beat 2

UK 8 Beat

8BeatGroove

UK RnB

PopBallad 1

10 HipHop Beat

11 LightRock 1

12 LightRock 2

13 Miami Beat

14 ClassicBeat

15 Unplug8Bt 2

10 Unpl.16Beat

11 Pop 16Beat1

12 Pop 16Beat2

13 Cinema Bld

14 Windy Beat

15 Home Beat

10 Celtic Bld

11 16BtAnalog1

12 Color Beat

13 PopBallad 3

14 8Bt Analog3

15 16BtAnalog2

CC#0 CC#32

PC Bank: Ballroom

CC#0 CC#32

PC Bank: Dance

CC#0 CC#32

PC Bank: Rock

Slow Pop

HouseGarage

House

Open Rock 1

Open Rock 2

Pop Rock

Slow Rock 1

Slow Rock 2

Unpl.SlRock

BigBnd Fox1

Slow Waltz1

Slow Waltz2

Foxtrot 1

Dream

Techno

Fire Rock

Underground

Progressive

Jungle

Hard Rock

Heavy Rock

RockShufﬂe

Rock Ballad

Half Time

Rap

BigBnd Fox2

Slow Fox

Hip Hop

Disco 70

Rock 6/8

10 Foxtrot 2

11 Operetta

12 BigBnd Fox3

13 Charleston

14 Quick Step

15 New Jive

10 80's Dance

11 Love Disco

12 Disco Party

13 Disco Funky

14 Disco Gully

15 Twist

10 Abbey Road

11 Surf Rock

12 Pop Shufﬂe

13 BluesShufﬂ

14 60's Rock

15 Rock & Roll

CC#0 CC#32

PC Bank: Soul & Funk

CC#0 CC#32

PC Bank: World 1

CC#0 CC#32

PC Bank: World 2

Rubber Funk

Groove Funk

Acid Jazz

OberkrWaltz

OberkrPolka

Bavar.Pop1

Bavar.Pop 2

Party Polka

Pop Polka

Bluegrass

Country 8Bt

Country16Bt

CountryBeat

Mod.Country

CntryBoogie

CountryShf1

CountryShf2

Country Bld

Country 3/4

Double Beat

Groove

Jazz Funk

Al Swing

Flipper 6/8

Flipper 4/4

Schlager 1

Schlager 2

HipHop Funk

HipHop Soul

MotownShuﬂ

10 PopBallad 4

11 RhythmBlues

12 Soul

10 Schlager 3

11 Schlager 4

12 PopSchlager

13 Trucker

10 Orleans

11 Jig

12 CelticDream

13 Norteno

14 Quebradita

15 Tejano

13 Memphis

14 Motown

15 Gospel

14 Cajun

15 Zydeco

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Fa cto ry Da ta

1 4 5

Styles

CC#0 CC#32

PC Bank: World 3

CC#0 CC#32

PC Bank: Latin 1

CC#0 CC#32

PC Bank: Latin 2

Hora

UnplugBossa

Basic Bossa

L.A. Bossa

New Bossa

Miss Bossa

Lite Bossa

EnglishTango

Orch. Tango

Tango.it

Sevillana 1

Sevillana 2

Jota

Habanera 1

Habanera 2

Mambo 1

Mambo 2

Salsa 1

Copla

Classic 3/4

Bolero

GrooveBossa

DiscoChaCha

Cha Cha Cha

Sabor

Minuetto

Baroque

New Age

Salsa 2

Mariachi

10 Tarantella

11 Raspa

10 ChaCha Funk

11 Latin Rock

12 UnplugLatin

13 Beguine 1

14 Beguine 2

15 Slow Bolero

10 Reggae 1

11 Reggae 2

12 Vahde

12 Reggae 3

13 Oriental

14 Roman

15 Ciftetelli

13 Pasodoble 1

14 PasDobBanda

15 Pasodoble 2

CC#0 CC#32

PC Bank: Latin Dance

CC#0 CC#32

PC Bank: Jazz 1

CC#0 CC#32

PC Bank: Jazz 2

Samba

Jazz Brush

Med. Swing

Slow Swing

SwingBallad

JazzWaltz 1

JazzWaltz 2

5/4 Swing

Big Band 3

Sw. Shufﬂe

FastBigBand

Latin Big Band

BigBnd Fox4

Dixieland

Sambalegre

Disco Samba

Samba Funk

Merengue 1

Merengue 2

Cumbia

Hollywood

Broadway

Acid Jazz

Latin Dance

Batucada

Mood Swing

Be Bop

Rumba

Unpl.Swing1

New Jazz

10 Gipsy

10 Unpl.Swing2

11 B.BndBallad

12 BigBandMed.

13 Big Band 1

14 BigBand40's

15 Big Band 2

10 Latin Jazz

11 Fusion

11 Rumba Pop

12 Calypso

13 Lambada

14 Meneito

15 Macarena

12 Ragtime Pno

13 Shufﬂe Pno

14 Boogie Pno

15 Bossa Pno

CC#0 CC#32

PC Bank: Traditional

CC#0 CC#32

PC Bank: User 1-3

Ital. Valzer

Valzer

17-19 0-15

GermWaltz 1

GermWaltz 2

Laendler

WalzMusette

ViennaWaltz

Viennese

Mazurka 1

Mazurka 2

10 Polka 1

11 Polka 2

12 Germ. Polka

13 Trad. Polka

14 Marsch

15 FrenchMarsc

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Fa cto ry Da ta

Style Elements

1 4 6

Bank: Direct FD

Page 1-2

Bank: Direct FD

Page 3-4

Bank: Direct FD

Page 5-6

CC#0 CC#32

0-15 *.SET

STYLE ELEMENTS

Note: You can remotely select the various Style Elements on the Pa50, by sending it Program Change messages on the Control channel

(see page 127).

Style Element

Var.1

Var.2

Var.3

Var.4

Intro 1

Intro 2

Fill 1

Fill 2

Ending 1

Bass Inversion

Ending 2

Manual Bass

Break/Count IN

Tempo Lock

Fade IN/OUT

Single Touch

Memory

Style Change

SINGLE TOUCH SETTINGS (STS)

Note: You can remotely select Single Touch Settings (STS) on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB

(CC#32) and Program Change messages on the Control channel (see page 127). If a Style is already selected, just send the Program

Change message.

CC#0

CC#32

STS

The same as the Style to which the STS pertains

STS 1

STS 2

STS 3

STS 4

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Programs (bank order)

1 4 7

PROGRAMS (BANK ORDER)

The following table enlists all Pa50 Factory Programs in the

same order as they appear by pressing the PROGRAM/PER-

FORMANCE bank buttons.

Legend: The table also includes MIDI data used to remotely

select the Programs. CC00: Control Change 0, or Bank Select

MSB. CC32: Control Change 32, or Bank Select LSB. PC: Pro-

gram Change.

Name

CC00

CC32

DW8000 EP

E.Piano 1

121

E.Piano 2

DetunedEP 1

EP1Veloc.sw

60'sElPiano

DetunedEP 2

EP2Veloc.sw

EP Legend

Name

CC00

CC32

R&B E.Piano

SynPiano X

Bank: Piano

Grand Piano

Class.Piano

L/R Piano

121

Bank: Mallet & Bell

Vibraphone

Vibraphone2

Vibrap.Wide

Marimba

121

AcPianoWide

Ac. Piano

BrightPian

ElGranPian

ElGrandWide

AcPianoDark

BrPianoWide

90's Piano

MarimbaWide

RimbaKeyOff

MonkeySkuls

Xylophone

Balaphon

Celesta

M1 Piano

Glocken

2000'sPiano

ChorusPiano

Honky-Tonk

Honky-Wide

Piano Pad

Music Box

Sistro

Orgel

114

112

108

112

Digi Bell

Vs Bell Boy

Steel Drum

Warm Steel

TubularBell

Church Bell

Carillon

Piano Pad 2

PnoStrngPad

Pno&Strings

PianoLayers

Piano&Vibes

Harpsichord

Harpsi Oct.

Harpsi Wide

HarpsiK.Off

Harpsi Korg

Clav

KrystalBell

ChurchBell2

Tinkle Bell

Dulcimer

Santur

Kalimba

Pulse Clav

VeloKalimba

MalletClock

Gamelan

Clav Wah

Clav Snap

Sticky Clav

BaliGamelan

GarbageMall

Bank: E. Piano

ClubElPiano

DynoTine EP

Vintage EP

Pro-Dyno EP

ProStage EP

Studio EP

121

Bank: Accordion

Sweet Harm.

Harmonica

Harmonica 2

Cassotto

121

Fisa Master

Fisa 16+8

StereoDigEP

ClassDigiEP

EP Phase

Fisa 16+4

MusetteClar

Musette 1

Musette 2

Accordion

TangoAccord

Fisa Tango!

Akordeon

Hybrid EP

Class.Tines

PhantomTine

Sweeping EP

WhitePad EP

ThinElPiano

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Programs (bank order)

1 4 8

Name

CC00

CC32

Name

CC00

CC32

Accordion 2

Arab.Accord

121

NylonKeyOff

Steel Gtr 2

AcGtrKeyOff

Club J.Gtr2

Vintage S.

121

105

104

120

104

Bank: Organ 1

Jimmy Organ

BX3 Velo Sw

ClassiClick

121

CleanMutGtr

Stereo Dist

Nylon Gtr 2

Gtr Strings

FingerK.Off

St12Strings

Jazz Guitar

SingleCoil

M1 Organ

Jazz Organ

Dist. Organ

RotaryOrgan

DarkJazzOrg

Bx3ShortDec

SuperBXPerc

Percuss.BX3

Killer B

Clean Funk

JoystGtr Y-

Reso.Guitar

St.Folk Gtr

Steel&Body

Hackbrett

Drawb.Organ

DetDrawbOrg

It60'sOrgan

DrawbOrgan2

Old Wheels

Perc. Organ

Det.PercOrg

Perc.Organ2

Rock Organ

Good Old B

Dirty B

Jazz Man

DetCleanGtr

R&R Guitar

OverdriveG

Ukulele

Mandolin

Mandol.KOff

MandoTrem

Banjo

IperDarkOrg

FullDrawbar

DWGS Organ

GospelOrgan

PercShorDec

Perc.Wheels

DirtyJazOrg

VOX Legend

TeknoOrgBas

ArabianOrg.

BanjoKeyOff

Bouzouki

Tambra

Finger Tips

MidToneGtr

Chorus Gtr

ProcesElGtr

NewStra.Gtr

DistRhytmGt

WetDistGtr

SoloDistGtr

L&R El.Gtr

Bank: Organ 2

PipeMixture

FlautoPipes

Pipe Tutti

121

L&R El.Gtr2

RhythmElGtr

Guitarish

PositiveOrg

ChurchOrg.1

ChurchOcMix

DetunChurch

ChurchPipes

Full Pipes

Country Nu

Stra. Chime

MuteMonster

Disto Mute

FunkyCutGtr

MuteVeloGtr

FeedbackGtr

Guitar Pinc

Ped.Steel 2

PedSteelGtr

GtrFeedback

PowerChords

FunkyWhaSw

VoxWahChick

EGHarmonics

GtrHarmonic

Sitar

Reed Organ

Puff Organ

Small Pipe

Bank: Guitar

NylonGuitar

Spanish Gtr

SteelGuitar

12StringGtr

Club J.Gtr1

CleanGuitar

MutedGuitar

DistortionG

Nylon Bossa

121

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Programs (bank order)

1 4 9

Name

CC00

CC32

Name

CC00

CC32

Sitar 2

121

104

105

107

106

107

104

Slow Choir

Symph. Bows

Cyber Choir

Choir Light

Vocalesque

Synth Voice

Voice Lead

Choir Pad

121

SitarTambou

IndianStars

Oud

Kanun

Kanun Trem.

Kanun Mix

Shamisen

Koto

Halo Pad

Taisho Koto

IndianFrets

FullVox Pad

FreshBreath

EtherVoices

DreamVoice

Humming

AnalogVoice

Mmmh Choir

StringChoir

ClassicVox

Doolally

Bank: Strings & Vocals

Solo Violin

StringQuart

Ens. & Solo

St. Strings

Analog Str

i3 Strings

121

110

Oh-AhVoices

Take Voices

Slow Violin

Camera Str.

ArcoStrings

LegatoStrng

MasterPad

N Strings

Fresh Air

Vocalscape

Heaven

Airways

Yang Chin

Bank: Trumpet & Trombone

MonoTrumpet

Flugel Horn

TrumptPitch

TrumpetExpr

HardTrombon

SoftTrombon

Wha Trumpet

Muted Trp

121

OhSlowVoice

TakeVoices2

SlowAttViol

PizzEnsembl

Fiddle

PizzSection

SweeperStr.

AnalogVelve

Aaah Choir

Oooh Voices

Violin

Dual Trump

Warm Flugel

Trumpet

Trumpet 2

Viola

Trombone

Cello

Trombone 2

PitchTromb

BeBopCornet

DarkTrumpet

Tuba

Contrabass

Tremolo Str

PizzicatoSt

Choir Aahs

Voice Oohs

StringsEns1

StringsEns2

Orches.Harp

60s Strings

Oct.Strings

SynStrings3

Oooh Choir

Choir Aahs2

String&Bras

Dbl Strings

ArabStrings

SynStrings1

SynStrings2

Odissey

Tuba Gold

Ob.Tuba

Dynabone

BrightTromb

Muted Trp 2

Bank: Brass

BigBandBrs

Tight Brass

Trp & Brass

Glen&Friend

MutEnsemble

Horns & Ens

Syn Brass

121

Orches. Hit

BrassSect.

Grand Choir

Fat Brass

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Programs (bank order)

1 5 0

Name

CC00

CC32

Name

CC00

CC32

Trumpet Ens

Glen & Boys

MutEnsembl2

French Horn

Syn Brass

121

Bank: Woodw ind

Jazz Flute

Old Shaku

FluteSwitch

FluteDyn5th

Flute Frull

Pan Flute

Jazz Clarin

Flute 2

121

109

111

121

Brass Hit

AttackBrass

BrassSect.2

TromboneEns

Sax & Brass

Flute Muted

FrenchHorn2

Syn Brass 3

Euro Hit

Double Reed

EnglisHorn2

Recorder 2

Nay

Orch. Flute

WoodenFlute

War Pipes

ClarinetEns

Woodwinds

Small Orch

Kawala

TightBrass2

Dyna Brass

Trombones

Brass Band

Brass Pad

French Sect

Syn Brass 4

6th Hit

Shaku 2

Whistle 2

Sect Winds

Sect Winds2

Clarinet G

Folk Clarin

Oboe

Power Brass

Brass Expr.

Dyna Brass2

Film Brass

Brass Slow

ClassicHorn

ElectrikBrs

BrassImpact

Fanfare

EnglishHorn

Bassoon

Clarinet

Piccolo

Movie Brass

Sfz Brass

Flute

Recorder

Bambu Flute

BlownBottle

Shakuhachi

Whistle

Jump Brass

AnalogBras1

AnalogBras2

Syn Brass 5

Brass Fall

Ocarina

BassHitPlus

Dbl Brass

Bag Pipe

Zurna

Bank: Sax

Hichiriki

Tenor Noise

Alto Breath

Sweet Sprno

Barit Growl

BreathyBari

Soft Tenor

121

Shanai

Flute Click

Bank: Synth 1

The Pad

121

Future Pad

Air Clouds

Dark Pad

SaxEnsemble

Folk Sax

Tinklin Pad

Pods In Pad

Analog Pad

Analog Pad2

Money Pad

TsunamiWave

RavelianPad

AstralDream

Meditate

Tenor Sax

Alto Sax

Soprano Sax

BaritoneSax

TenorBreath

Tenor Growl

BreathyAlto

AltSaxGrowl

Reso Down

Sky Watcher

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Programs (bank order)

1 5 1

Name

CC00

CC32

Name

CC00

CC32

Super Sweep

Wave Sweep

Cross Sweep

Digi IcePad

Crimson5ths

Freedom Pad

Noble Pad

Mellow Pad

Lonely Spin

Cinema Pad

VirtualTrav

Syn Ghostly

MotionOcean

Moon Cycles

Farluce

121

101

100

102

Mega Synth

TecnoPhonic

DarkElement

Band Passed

Cat Lead

121

102

100

Pan Reso

Square Rez

Rezbo

Auto Pilot

MetallicRez

Square Bass

Syn Pianoid

Brian Sync

Arp Twins

Arp Angeles

Big & Raw

Caribbean

Lead Square

Lead Saw

Bell Pad

Bell Choir

Warm Pad

Sweep Pad

Soundtrack

Sine Pad

Calliope

Chiff

Itopia Pad

Big Panner

Dance ReMix

Rave

Charang

Fifths Lead

Bass & Lead

New Age Pad

Polysynth

ElastickPad

Moving Bell

BowedGlass

MetallicPad

Crystal

Bank: Synth 2

Old Portam

Power Saw

Octo Lead

121

101

Atmosphere

Brightness

LeadSquare2

Lead Sine

ElectroLead

Rich Lead

Lead Saw 2

LeadSawPuls

LeadDblSaw

Seq. Analog

Wire Lead

Soft Wrl

ThinAnaLead

Dance Lead

Wave Lead

Sine Wave

Synchro Cit

Wild Arp

Bank: Bass

EspressLead

HipHop Lead

Analog Lead

Seq Lead

Acous. Bass

Finger Bass

Picked Bass

Fretl. Bass

121

Old&Analog

PhatSawLead

Glide Lead

Gliding Sq.

Flip Blip

Slap Bass

SynthBass

Power Synth

Sine Switch

Reso Sweep

Syn Sweeper

Cosmic

AcBass Buzz

Fing ElBass

Pick ElBass

Fret. Bass2

SuperSwBass

SuperSwBas2

SynBassWarm

SynBassReso

Bass & Ride

FingElBass2

PickElBass2

MotionRaver

Sync Kron

Fire Wave

Dig PolySix

Pop Syn Pad

Noisy Stabb

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Programs (bank order)

1 5 2

Name

CC00

CC32

Name

CC00

CC32

Fretless Sw

Thumb Bass

Finger Slap

Attack Bass

Rubber Bass

FingElBass3

DarkR&BBass

Sweet Fret

Dyna Bass

Stick Bass

121

SFX Kit

120

121

120

Percus.Kit1

Latin P.Kit

TRI-Per.KIT

ArabianKit1

ArabianKit2

Timpani

116

117

Agogo

113

Log Drum

Woodblock

Taiko Drum

Melodic Tom

Synth Drum

Reverse Cym

Dragon Gong

Castanets

115

116

117

118

119

115

116

117

118

117

118

Gtr Bass

Bass Mute

Dr. Octave

Nasty Bass

30303 Bass

Stein Bass

Euro Bass

Concert BD

MelodicTom2

Rhyt.BoxTom

Electr.Drum

Rev Tom

Jungle Rez

30303Square

Bass Square

Phat Bass

SynBass Res

Clav Bass

Rev Snare

i30Perc.Kit

Hammer

Bank: SFX

AttackPulse

Digi Bass 1

BlindAsABat

PoinkerBass

Digi Bass 3

Jungle Bass

Hybrid Bass

Digi Bass 2

Goblins

121

101

102

103

120

121

122

123

120

124

125

126

127

Echo Drops

Star Theme

GtFretNoise

BreathNoise

Seashore

Bird Tweet

AcBassStrng

Telephone

Helicopter

Applause

Gun Shot

SynthMallet

Echo Bell

Echo Pan

GtrCutNoise

Rain

Bank: Drum & Perc

Std. Kit1

120

Std. Kit2

Std. Kit3

Std. Kit4

AcousticKit

Room Kit1

Room Kit2

Jungle Kit

HipHop Kit1

HipHop Kit2

Techno Kit1

Techno Kit2

Techno Kit3

Power Kit1

Power Kit2

Electro Kit

Analog Kit

House Kit1

House Kit2

House Kit3

House Kit4

Jazz Kit

102

120

122

123

124

125

Thunder

Wind

Stream

Bubble

Dog

HorseGallop

Bird Tweet2

Telephone 2

Door Creak

Door

Scratch

Wind Chime

Car Engine

Car Stop

Car Pass

Brush Kit1

Brush V.S.2

OrchestraK.

Bdrum&Sdrum

Car Crash

Siren

Train

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Programs (bank order)

1 5 3

Name

CC00

CC32

Jetplane

121

125

126

127

Starship

Burst Noise

Laughing

Screaming

Punch

Heart Beat

Footsteps

Machine Gun

Lasergun

Explosion

Ice Rain

Jaw Harp

HitInIndia

Stadium

105

126

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Programs (Program Change order)

1 5 4

PROGRAMS (PROGRAM CHANGE ORDER)

The following table enlists all Pa50 Factory Programs in order

of Bank Select-Program Change number.

Legend: The table also includes MIDI data used to remotely

select the Programs. CC00: Control Change 0, or Bank Select

MSB. CC32: Control Change 32, or Bank Select LSB. PC: Pro-

gram Change.

CC00 CC32

PC Name

Pa50 Bank

GM2

121

HarpsiK.Off

Piano

√

Harpsi Korg

Clav

Piano

√

Pulse Clav

Clav Wah

Clav Snap

Sticky Clav

Celesta

Piano

Mallet & Bell

Drum & Perc

Mallet & Bell

Organ 1

√

CC00 CC32

PC Name

Ac. Piano

Pa50 Bank

GM2

Glocken

Sistro

121

Piano

√

AcPianoWide

AcPianoDark

Grand Piano

Class.Piano

L/R Piano

Piano

10 Music Box

10 Orgel

√

Piano

11 Vibraphone

11 Vibrap.Wide

11 Vibraphone2

12 Marimba

√

Piano

Piano&Vibes

Pno&Strings

BrightPiano

BrPianoWide

Piano Pad

Piano

√

Piano

12 MarimbaWide

12 RimbaKeyOff

12 MonkeySkuls

12 Log Drum

Piano

√

Piano

Piano Pad 2

PnoStrngPad

ElGranPiano

ElGrandWide

M1 Piano

Piano

12 MalletClock

12 Balaphon

Piano

√

13 Xylophone

14 TubularBell

14 Church Bell

14 Carillon

√

Piano

90's Piano

Piano

2000'sPiano

ChorusPiano

PianoLayers

Honky-Tonk

Honky-Wide

E.Piano 1

Piano

14 ChurchBell2

15 Dulcimer

Piano

√

Piano

15 Santur

Piano

√

16 Drawb.Organ

16 DetDrawbOrg

16 It60'sOrgan

16 DrawbOrgan2

16 DarkJazzOrg

16 IperDarkOrg

16 FullDrawbar

16 DWGS Organ

16 Jazz Organ

16 GospelOrgan

16 Good Old B

16 VOX Legend

16 ArabianOrg.

17 Perc. Organ

17 Det.PercOrg

17 Perc.Organ2

17 Old Wheels

17 Percuss.BX3

17 M1 Organ

17 TeknoOrgBas

17 Bx3ShortDec

17 RotaryOrgan

18 Rock Organ

18 BX3 Velo Sw

18 Killer B

√

Piano

Organ 1

E.Piano

Piano

Organ 1

DetunedEP 1

EP1Veloc.sw

60'sElPiano

Vintage EP

Pro-Dyno EP

ProStage EP

Studio EP

Organ 1

R&B E.Piano

ThinElPiano

DynoTine EP

ClubElPiano

E.Piano 2

Organ 1

√

Organ 1

DetunedEP 2

EP2Veloc.sw

EP Legend

Organ 1

EP Phase

Organ 1

SynPiano X

StereoDigEP

ClassDigiEP

Hybrid EP

Organ 1

√

Class.Tines

PhantomTine

DW8000 EP

Sweeping EP

WhitePad EP

Harpsichord

Harpsi Oct.

Harpsi Wide

Organ 1

18 Dirty B

Organ 1

18 ClassiClick

18 Dist. Organ

18 SuperBXPerc

18 DirtyJazOrg

18 PercShorDec

Organ 1

√

Organ 1

Piano

Organ 1

Piano

Organ 1

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Programs (Program Change order)

1 5 5

CC00 CC32

PC Name

Pa50 Bank

GM2

CC00 CC32

PC Name

Pa50 Bank

GM2

121

18 Perc.Wheels

18 Jimmy Organ

19 ChurchOrg.1

19 ChurchOcMix

19 DetunChurch

19 PipeMixture

19 ChurchPipes

19 Full Pipes

Organ 1

Organ 2

Accordion

Guitar

121

27 Vintage S.

27 ProcesElGtr

27 SingleCoil

27 NewStra.Gtr

27 Guitarish

Guitar

Bass

√

27 L&R El.Gtr

27 L&R El.Gtr2

27 Country Nu

27 FunkyWhaSw

28 MutedGuitar

28 FunkyCutGtr

28 MuteVeloGtr

28 Jazz Man

19 Pipe Tutti

19 PositiveOrg

20 Reed Organ

20 Puff Organ

20 Small Pipe

20 FlautoPipes

21 Accordion

21 Accordion 2

21 Akordeon

21 Musette 1

21 Musette 2

21 MusetteClar

21 Fisa 16+8

√

28 R&R Guitar

28 Stra.Chime

28 CleanMutGtr

28 RhythmElGtr

28 Clean Funk

28 Disto Mute

29 OverdriveGt

29 Guitar Pinch

30 DistortionG

30 FeedbackGtr

30 DistRhytmGt

30 JoystGtr Y-

30 PowerChords

30 MuteMonster

30 WetDistGtr

30 SoloDistGtr

30 Stereo Dist

31 GtrHarmonic

31 GtrFeedback

31 EGHarmonics

32 Acous. Bass

32 AcBass Buzz

32 Bass & Ride

33 Finger Bass

33 Finger Slap

33 Fing ElBass

33 FingElBass2

33 FingElBass3

33 Stick Bass

√

21 Fisa 16+4

21 Fisa Master

21 Cassotto

21 Arab.Accord

22 Harmonica

22 Sweet Harm.

22 Harmonica 2

23 TangoAccord

23 Fisa Tango!

24 NylonGuitar

24 Ukulele

√

Guitar

24 NylonKeyOff

24 Nylon Gtr 2

24 Nylon Bossa

24 AcGtrKeyOff

24 Spanish Gtr

24 Gtr Strings

25 SteelGuitar

25 12StringGtr

25 Mandolin

Guitar

√

Guitar

Bass

Guitar

Bass

Guitar

Bass

√

Guitar

Bass

Guitar

√

Bass

Guitar

Bass

Guitar

Bass

25 Steel&Body

25 Steel Gtr 2

25 St12Strings

25 Hackbrett

Guitar

Bass

Guitar

34 Picked Bass

34 Pick ElBass

34 PickElBass2

34 Stein Bass

Bass

√

Guitar

Bass

Guitar

Bass

25 FingerK.Off

25 Finger Tips

25 St.Folk Gtr

25 Mandol.KOff

25 MandoTrem

25 Reso.Guitar

26 Jazz Guitar

26 PedSteelGtr

26 Club J.Gtr1

26 Club J.Gtr2

26 Ped.Steel 2

27 CleanGuitar

27 DetCleanGtr

27 MidToneGtr

27 Chorus Gtr

Guitar

Bass

Guitar

34 Gtr Bass

Bass

Guitar

34 Bass Mute

35 Fretl. Bass

35 Fret. Bass2

35 Fretless Sw

35 Sweet Fret

35 DarkR&BBass

36 Slap Bass 1

36 SuperSwBass

36 SuperSwBas2

37 Slap Bass 2

37 Thumb Bass

37 Dyna Bass

38 SynthBass 1

Bass

Guitar

Bass

Guitar

Bass

Guitar

Bass

Guitar

√

Bass

Guitar

Bass

Guitar

Bass

√

Guitar

Bass

Guitar

Bass

Guitar

√

Bass

Guitar

Bass

Guitar

Bass

Guitar

Bass

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Programs (Program Change order)

1 5 6

CC00 CC32

PC Name

Pa50 Bank

GM2

CC00 CC32

PC Name

Pa50 Bank

GM2

121

38 SynBassWarm

38 SynBassReso

38 Clav Bass

Bass

√

121

50 Odissey

Strings & Vocals

Brass

121

Bass

51 SynStrings2

52 Choir Aahs

52 Choir Aahs2

52 Oooh Voices

52 OhSlowVoice

52 Take Voices

52 TakeVoices2

52 Oooh Choir

52 Aaah Choir

52 Mmmh Choir

52 Oh-AhVoices

52 Slow Choir

52 Grand Choir

52 Choir Light

52 StringChoir

53 Voice Oohs

53 Humming

53 Doolally

√

Bass

38 Hammer

Bass

38 30303 Bass

38 30303Square

38 Bass Square

38 SynBass Res

38 Digi Bass 1

38 Digi Bass 2

38 Digi Bass 3

38 BlindAsABat

38 Jungle Bass

38 Auto Pilot

38 Hybrid Bass

38 Dr. Octave

39 SynthBass 2

39 Attack Bass

39 Rubber Bass

39 AttackPulse

39 Euro Bass

39 Jungle Rez

39 Nasty Bass

39 Phat Bass

39 PoinkerBass

40 Violin

Bass

Synth 2

Bass

√

Bass

53 Airways

Bass

54 Synth Voice

54 AnalogVoice

54 Vocalesque

54 Vocalscape

54 ClassicVox

54 DreamVoice

55 Orches. Hit

55 BassHitPlus

55 6th Hit

√

Bass

Strings & Vocals

Drum & Perc

Strings & Vocals

√

40 SlowAttViol

40 Solo Violin

40 Slow Violin

41 Viola

√

Brass

√

55 Euro Hit

Brass

42 Cello

55 BrassImpact

55 HitInIndia

55 Wild Arp

Brass

43 Contrabass

44 Tremolo Str

45 PizzicatoSt

45 PizzEnsembl

45 PizzSection

45 Dbl Strings

46 Orches.Harp

46 Yang Chin

47 Timpani

SFX

Synth 2

55 Flip Blip

Synth 2

56 Trumpet

Trp & Trbn

√

56 DarkTrumpet

56 Trumpet 2

56 MonoTrumpet

56 TrumpetExpr

56 TrumptPitch

56 Dual Trump

56 Flugel Horn

56 Warm Flugel

56 BeBopCornet

57 Trombone

57 Trombone 2

57 BrightTromb

57 HardTrombon

57 SoftTrombon

57 PitchTromb

58 Tuba

Trp & Trbn

√

Trp & Trbn

48 StringsEns1

48 String&Bras

48 60s Strings

48 St. Strings

48 LegatoStrng

48 i3 Strings

Trp & Trbn

√

Trp & Trbn

48 N Strings

Trp & Trbn

48 ArcoStrings

48 Oct.Strings

48 StringQuart

48 Symph. Bows

48 Ens. & Solo

48 Camera Str.

48 ArabStrings

49 StringsEns2

49 SweeperStr.

50 SynStrings1

50 SynStrings3

50 Analog Str

50 AnalogVelve

Trp & Trbn

√

58 Ob.Tuba

Trp & Trbn

58 Tuba Gold

58 Dynabone

59 Muted Trp

59 Muted Trp 2

59 Wha Trumpet

59 MutEnsemble

59 MutEnsembl2

60 French Horn

Trp & Trbn

√

Trp & Trbn

√

Trp & Trbn

√

Trp & Trbn

Brass

√

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Programs (Program Change order)

1 5 7

CC00 CC32

PC Name

Pa50 Bank

GM2

CC00 CC32

PC Name

Pa50 Bank

GM2

121

60 FrenchHorn2

60 French Sect

60 ClassicHorn

60 Horns & Ens

61 BrassSect.1

61 BrassSect.2

61 Tight Brass

61 Glen&Friend

61 BigBandBrs

61 Sax & Brass

61 Glen & Boys

61 Trp & Brass

61 AttackBrass

61 Trumpet Ens

61 TromboneEns

61 Trombones

61 TightBrass2

61 Fat Brass

Brass

Synth 1

Sax

√

121

69 EnglishHorn

69 EnglisHorn2

70 Bassoon

Woodwind

Synth 2

√

71 Clarinet

√

71 Jazz Clarin

71 Clarinet G

71 Sect Winds

71 Sect Winds2

71 ClarinetEns

71 Woodwinds

71 Folk Clarin

72 Piccolo

√

72 Small Orch

72 Nay

73 Flute

73 Jazz Flute

73 FluteSwitch

73 FluteDyn5th

73 Flute Frull

73 Orch. Flute

73 Flute Muted

73 WoodenFlute

73 Bambu Flute

73 Flute 2

61 Dyna Brass

61 Brass Expr.

61 Brass Band

61 Film Brass

61 Brass Slow

61 Fanfare

61 Movie Brass

61 Power Brass

61 Dyna Brass2

61 Sfz Brass

74 Recorder

74 Recorder 2

75 Pan Flute

75 Kawala

√

61 Dbl Brass

76 BlownBottle

77 Shakuhachi

77 Old Shaku

77 Shaku 2

√

61 Brass Hit

61 Brass Fall

62 Syn Brass 1

62 Syn Brass 3

62 AnalogBras1

62 Jump Brass

62 ElectrikBrs

62 Syn Brass 5

63 Syn Brass 2

63 Syn Brass 4

63 AnalogBras2

63 Brass Pad

√

78 Whistle

√

78 Whistle 2

79 Ocarina

√

80 Lead Square

80 LeadSquare2

80 Lead Sine

80 Old Portam

80 Dance Lead

80 Wave Lead

80 Sine Wave

80 Analog Lead

80 Old&Analog

80 Gliding Sq.

80 Sine Switch

80 Square Rez

81 Lead Saw

81 Lead Saw 2

81 LeadSawPuls

81 LeadDblSaw

81 Seq. Analog

81 Power Saw

81 Octo Lead

81 Seq Lead

Synth 2

√

Synth 2

63 Big Panner

64 Soprano Sax

64 Sweet Sprno

65 Alto Sax

Synth 2

√

Synth 2

Sax

Synth 2

Sax

Synth 2

65 Alto Breath

65 SaxEnsemble

65 BreathyAlto

65 AltSaxGrowl

66 Tenor Sax

66 Tenor Noise

66 Soft Tenor

66 TenorBreath

66 Tenor Growl

66 Folk Sax

Sax

Synth 2

Sax

Synth 2

Sax

Synth 2

√

Sax

Synth 2

Sax

√

Synth 2

Sax

Synth 2

Sax

Synth 2

Sax

Synth 2

Sax

Synth 2

Sax

Synth 2

67 BaritoneSax

67 Barit Growl

67 BreathyBari

68 Oboe

Sax

√

81 PhatSawLead

81 Glide Lead

81 Fire Wave

81 Rezbo

Synth 2

Sax

Synth 2

Sax

Synth 2

Woodwind

Synth 2

68 Double Reed

81 Syn Pianoid

Synth 2

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Programs (Program Change order)

1 5 8

CC00 CC32

121

PC Name

Pa50 Bank

GM2

CC00 CC32

PC Name

Pa50 Bank

GM2

82 Calliope

Synth 2

Strings & Vocals

Synth 2

Synth 1

Strings & Vocals

Synth 1

√

121

92 BowedGlass

93 MetallicPad

93 Cosmic

Synth 1

Synth 2

SFX

√

121

83 Chiff

84 Charang

84 Wire Lead

84 Synchro City

84 Sync Kron

84 MetallicRez

84 Brian Sync

84 Arp Twins

85 Voice Lead

85 EtherVoices

85 Cyber Choir

86 Fifths Lead

86 Crimson5ths

87 Bass & Lead

87 Soft Wrl

94 Halo Pad

√

95 Sweep Pad

95 AstralDream

95 Meditate

95 DarkElement

95 Mellow Pad

95 Cinema Pad

96 Ice Rain

√

96 MotionOcean

96 Caribbean

97 Soundtrack

97 Air Clouds

97 Reso Down

97 Tinklin Pad

97 Pods In Pad

97 Noble Pad

97 Rave

√

87 ElectroLead

87 Rich Lead

87 ThinAnaLead

87 EspressLead

87 HipHop Lead

87 Square Bass

87 Big & Raw

87 Cat Lead

97 ElastickPad

98 Crystal

√

98 SynthMallet

98 Vs Bell Boy

98 KrystalBell

98 Digi Bell

Mallet & Bell

Synth 1

Mallet & Bell

Synth 1

Synth 2

Synth 1

SFX

88 New Age Pad

88 VirtualTrav

88 Arp Angeles

89 Warm Pad

89 Sine Pad

√

98 Moving Bell

98 Bell Pad

√

98 Bell Choir

99 Atmosphere

100 Brightness

100 Lonely Spin

100 Syn Ghostly

101 Goblins

89 MasterPad

89 Power Synth

89 The Pad

√

89 Money Pad

89 Dark Pad

√

89 Freedom Pad

89 Analog Pad

89 Analog Pad2

90 Polysynth

101 MotionRaver

101 Digi IcePad

102 Echo Drops

102 Echo Bell

102 Echo Pan

102 Band Passed

102 Pan Reso

102 Moon Cycles

103 Star Theme

104 Sitar

Synth 2

Synth 1

SFX

√

SFX

90 Reso Sweep

90 Sky Watcher

90 Syn Sweeper

90 Super Sweep

90 Wave Sweep

90 Cross Sweep

90 Dig PolySix

90 Noisy Stabb

90 Mega Synth

90 TecnoPhonic

90 Farluce

SFX

Synth 2

Synth 1

SFX

√

Guitar

104 Sitar 2

Guitar

104 SitarTambou

104 IndianStars

104 IndianFrets

104 Bouzouki

104 Tambra

Guitar

91 Choir Pad

91 Itopia Pad

91 Fresh Air

√

Guitar

105 Banjo

Guitar

√

105 BanjoKeyOff

105 Oud

Guitar

91 Heaven

Guitar

91 Pop Syn Pad

91 Future Pad

91 TsunamiWave

91 FreshBreath

91 RavelianPad

91 FullVox Pad

91 Dance ReMix

105 Jaw Harp

106 Shamisen

107 Koto

SFX

Guitar

√

Guitar

107 Taisho Koto

107 Kanun

Guitar

107 Kanun Trem.

107 Kanun Mix

Guitar

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Programs (Program Change order)

1 5 9

CC00 CC32

PC Name

Pa50 Bank

GM2

CC00 CC32

PC Name

Pa50 Bank

GM2

121

108 Kalimba

Mallet & Bell

Woodwind

Strings & Vocals

Woodwind

Mallet & Bell

Drum & Perc

Mallet & Bell

Drum & Perc

SFX

√

121

126 Applause

126 Laughing

126 Screaming

126 Punch

SFX

√

108 VeloKalimba

109 Bag Pipe

109 War Pipes

110 Fiddle

√

126 Heart Beat

126 Footsteps

126 Stadium

127 Gun Shot

127 Machine Gun

127 Lasergun

127 Explosion

111 Shanai

111 Zurna

111 Hichiriki

√

112 Tinkle Bell

112 Gamelan

112 BaliGamelan

112 GarbageMall

113 Agogo

√

114 Steel Drums

114 Warm Steel

115 Woodblock

115 Castanets

116 Taiko Drum

116 Concert BD

117 Melodic Tom

117 MelodicTom2

117 Rev Tom

√

118 Synth Drum

118 Rhyt.BoxTom

118 Electr.Drum

118 Rev Snare

119 Reverse Cym

119 Dragon Gong

120 GtFretNoise

120 GtrCutNoise

120 AcBassStrng

120 VoxWahChick

121 BreathNoise

121 Flute Click

122 Seashore

122 Rain

√

SFX

Guitar

SFX

√

Woodwind

SFX

122 Thunder

122 Wind

SFX

122 Stream

SFX

122 Bubble

SFX

123 Bird Tweet

123 Dog

SFX

123 HorseGallop

123 Bird Tweet2

124 Telephone 1

124 Telephone 2

124 Door Creak

124 Door

SFX

124 Scratch

SFX

124 Wind Chime

125 Helicopter

125 Car Engine

125 Car Stop

SFX

125 Car Pass

SFX

125 Car Crash

125 Siren

SFX

125 Train

SFX

125 Jetplane

SFX

125 Starship

SFX

125 Burst Noise

SFX

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Drum Kits

1 6 0

DRUM KITS

CC00 CC32

Name

GM2

120

House Kit2

House Kit3

House Kit4

The following table enlists all Pa50 Factory Drum Kit Pro-

grams in order of Bank Select-Program Change number.

Legend: The table also includes MIDI data used to remotely

select the Programs. CC00: Control Change 0, or Bank Select

MSB. CC32: Control Change 32, or Bank Select LSB. PC:

Program Change.

30-31: (remap to 24)

32 Jazz Kit

33-39: (remap to 32)

√

Brush Kit1

Brush V.S.2

CC00 CC32

Name

GM2

42-47: (remap to 40)

48 OrchestraK.

49: (remap to 48)

120

Std. Kit1

Std. Kit2

Std. Kit3

AcousticKit

Std. Kit4

√

Bdrum&Sdrum

51: (remap to 116)

52-55: (remap to 48)

5-7: (remap to 0)

SFX Kit

Room Kit1

√

57-63: (remap to 56)

HipHop Kit1

Jungle Kit

Percus.Kit1

Latin P.Kit

TRI-Per.KIT

i30 Perc.Kit

Techno Kit1

Room Kit2

HipHop Kit2

Techno Kit2

Techno Kit3

Power Kit1

Power Kit2

68-71: (remap to 64)

72-115: (remap to 0)

116

117

Arabian Kit 1

Arabian Kit 2

√

118-127: (remap to 0)

18-23: (remap to 16)

Electro Kit

Analog Kit

House Kit1

√

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Drum Kit instruments

1 6 1

DRUM KIT INSTRUMENTS

120-0-0: Std. Kit1

Sample

120-0-1: Std. Kit2

Sample

120-0-2: Std. Kit3

Sample

Legend: In the Drum Kit

tables, the numer 120-x-x

before each Drum Kit

name is the Bank Select

Note

Excl.

Off

Excl.

G#-1

A-1

A#-1

B-1

BD-Dry 1

BD-House 1

Off

BD-House 1

Off

125 99-SD

123 88-BD

124 88-SD

125 99-SD

123 88-BD

124 88-SD

125 99-SD

123 88-BD

124 88-SD

MSB (CC00)

Bank

C#0

D#0

F#0

G#0

A#0

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

SD-Full Room

SD-Processed

BD-Dry 1

SD-Amb.Piccolo

SD-Processed

BD-Pillow

SD-Off Center

SD-Processed

BD-Pillow

Select LSB (CC32) - Pro-

gram Change (PC) num-

ber. Sample enlists both

the sample number in

memory, and the sample

name. Excl is the Exlcusive

parameter: when a note is

struck, all notes with the

same Exclusive number

are stopped. A right-point-

ing arrow (➛) indicates a

velocity switch.

BD-Tight

SD-Dry 1

HH1 Closed2

BD-Dry 3

BD-Amb.Rocker

SD-Jazz Ring

HH1 Closed2

BD-Dry 1

BD-Amb.Rocker

SD-BrushHit

HH1 Closed2

BD-Jazz

SideStickAmb

SideStickDry

SD-Dry 2

SD-CrackerRoom

DrumStickHit

SideStickDry

SD-Brasser

SD-Dry 2

120 SD-Orch.

119 SD-Orch.Roll

DrumStickHit

120 SD-Orch.

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Dry 3

BD-Dry 1

BD-Tight

BD-Tubby

SideStickAmb

SD-Off Center

BD-Dry 1

BD-Tubby

SideStickAmb

SD-Jazz Ring

SideStickAmb

SD-Dry 2

122 Hand Claps

127 88-Claps

SD-Full Room

Tom 2-Floor

HH1 Open 2

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

SD-Off Center

SD-Amb.Piccolo

Tom 2-Floor

HH1 Closed1

Tom 2-Floor

HH1 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Tom 2-Floor

HH2 Closed1

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Off

Tom 2-Hi

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

159 CongaLoMtSlp

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

159 CongaLoMtSlp

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

G#4

A#4

C#5

D#5

F#5

G#5

A#5

C#6

D#6

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

216 Cuica-Lo

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

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Drum Kit instruments

1 6 2

120-0-3: AcousticKit

120-0-4: Std. Kit4

Sample

120-0-8: Room Kit1

Sample

120-0-9: HipHop Kit1

Sample

Note

Sample

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

BD-House 1

BD-Squash

SD-Hip 6

BD-Squash

SD-Hip 6

125 99-SD

123 88-BD

124 88-SD

125 99-SD

123 88-BD

124 88-SD

123 88-BD

124 88-SD

123 88-BD

124 88-SD

C#0

D#0

F#0

G#0

A#0

SD-Off Center

SD-CrackerRoom

BD-Pillow

SD-Off Center

SD-Hip 3

SD-Hip 5

SD-Hip 3

SD-Hip 5

SD-Processed

BD-Amb.Rocker

BD-Tight

SD-Jazz Ring

HH1 Closed2

BD-Dry 3

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Amb.Rocker

SD-Amb.Piccolo

HH1 Closed2

BD-Jazz

SideStickDry

SD-Dry 2

SD-Dry 1

SideStickDry

SD-Yowie

SD-Hip 6

SideStickDry

SD-Yowie

SD-Hip 6

120 SD-Orch.

119 SD-Orch.Roll

DrumStickHit

120 SD-Orch.

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

G#4

A#4

C#5

D#5

F#5

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Normal

0➛6 BD-Dry 1➛BD-Pillow

73 SideStickAmb

BD-Dry 3

BD-Tubby

BD-Pop 99

BD-Hip 3

BD-Tight

SideStickAmb

SD-Amb.Piccolo

BD-Amb.Rocker

SideStickDry

SD-CrackerRoom

126 88-Rimshot

60 SD-Ringy

127 88-Claps

35➛36 SD-Ghost f➛SD-Ghost p Off

122 Hand Claps Off

35➛36 SD-Ghost f➛SD-Ghost p Off

127 88-Claps

SD-Full Room

SD-Vintage6

Tom 1-Hi

HH-OldClose1

Tom 1-Hi

Tom 2-Floor

HH1 Open 2

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Off

Tom 2-Floor

HH1 Open 2

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Tom 2-Floor

HH1 Closed1

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH2 Open

Tom 2-Lo

Off

100 HH-OldClose2

Tom 1-Hi

HH-Old Open1

Tom 1-Hi

Off

Tom 2-Hi

Tom 1-Hi

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

115 Ride-Cup

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

75 Tom 1-Hi

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

101 HH-Old Open2

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

200 Woodblock1

215 Cuica-Hi

114 Ride-Jazz

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

216 Cuica-Lo

G#5

A#5

C#6

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

D#6

Off

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Drum Kit instruments

1 6 3

120-0-10: Jungle Kit

Sample

120-0-11: Techno Kit1

Sample

120-0-12: Room Kit2

Sample

120-0-13: HipHop Kit2

Sample

BD-Squash

SD-Hip 6

123 88-BD

124 88-SD

Note

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

BD-Squash

SD-Hip 6

BD-Hip 3

SD-Hip 6

BD-Squash

SD-Hip 6

123 88-BD

124 88-SD

123 88-BD

124 88-SD

123 88-BD

124 88-SD

C#0

D#0

F#0

G#0

A#0

SD-Hip 3

SD-Hip 5

SD-Hip 3

SD-Hip 5

SD-Hip 3

SD-Hip 5

SD-Hip 3

SD-Hip 5

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

SideStickDry

SD-Yowie

SD-Hip 6

SideStickDry

SD-Yowie

SD-Hip 6

SideStickDry

SD-Big Rock

SD-Hip 6

SideStickDry

SD-Yowie

SD-Hip 6

DrumStickHit

120 SD-Orch.

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

G#4

A#4

C#5

D#5

F#5

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Hip 1

BD-Deep 88

BD-Squash

BD-House 1

BD-Tight

BD-Ambi Kick

BD-Dance 99

BD-Amb.Rocker

SideStickDry

SD-Processed

121 FingerSnaps

66 SD-Vintage5

127 88-Claps

242 Comp Voice Noise

125 99-SD

127 88-Claps

125 99-SD

121 FingerSnaps

51 SD-Rap

337 Alkis

127 88-Claps

SD-Tiny

Tom 1-Hi

SD-Yowie

SD-Hip 2

Tom 1-Hi

HH-OldClose1

Tom 1-Hi

139 Real El.Tom

Tom 1-Floor

HH2 Closed2

Tom 1-Floor

HH2 Foot

Tom 1-Hi

HH1 Sizzle

Tom 1-Hi

129 88-HH Open

75 Tom 1-Hi

102 HH-Hip

HH-Old TiteClos

Off

139 Real El.Tom

103 HH-AlpoClose

139 Real El.Tom

101 HH-Old Open2

139 Real El.Tom

104 Crash Cymbal 1

139 Real El.Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

106 China Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

Off

102 HH-Hip

Tom 1-Hi

HH-Old Open1

Tom 1-Hi

HH-Old Open1

Tom 1-Hi

Off

Tom 1-Hi

132 88-Crash

75 Tom 1-Hi

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

104 Crash Cymbal 1

75 Tom 1-Hi

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

75 Tom 1-Hi

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

101 HH-Old Open2

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

200 Woodblock1

215 Cuica-Hi

212 Tambourin-Acc2

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

101 HH-Old Open2

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

200 Woodblock1

215 Cuica-Hi

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

216 Cuica-Lo

G#5

A#5

C#6

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

D#6

Off

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Drum Kit instruments

1 6 4

120-0-14: Techno Kit2

120-0-15: Techno Kit3

Sample

120-0-16: Pow er Kit1

Sample

120-0-17: Pow er Kit2

Sample

Note

Sample

BD-Squash

SD-Hip 6

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

BD-Squash

SD-Hip 6

BD-Dance 99

125 99-SD

123 88-BD

124 88-SD

125 99-SD

123 88-BD

124 88-SD

123 88-BD

124 88-SD

123 88-BD

124 88-SD

C#0

D#0

F#0

G#0

A#0

SD-Hip 3

SD-Hip 5

SD-Hip 3

SD-Hip 5

SD-Vintage4

SD-Vintage3

BD-Amb.Rocker

BD-Hip 1

SD-Off Center

HH2 Closed2

BD-Squash

SideStickAmb

SD-Vintage1

SD-Brasser

SD-Vintage3

BD-Amb.Rocker

BD-Hip 1

SD-Off Center

HH2 Closed2

BD-Squash

SideStickAmb

SD-Vintage1

SD-Brasser

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

BD-Ambi Kick

BD-Gated

SD-Amb.Piccolo

HH1 Open 2

BD-Pillow

SideStickDry

SD-Yowie

SD-Hip 6

SideStickDry

SD-Yowie

SD-Hip 6

DrumStickHit

120 SD-Orch.

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

G#4

A#4

C#5

D#5

F#5

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Pop Kick

BD-House 1

BD-Pop Kick

BD-House 1

BD-Gated

BD-Pop Kick

BD-Gated

SideStickDry

SD-Processed

BD-Terminator

SideStickAmb

SD-Dance

126 88-Rimshot

52 SD-Noise

127 88-Claps

143 Zap2

140 PR-House05

70 SD-Chili

127 88-Claps

124 88-SD

257 Tribe

122 Hand Claps

SD-CrackerRoom

SD-Ringy

133 88-Tom

Tom Processed

HH2 Closed1

Tom Processed

HH1 Foot

Tom Processed

HH2 Open

Tom Processed

HH2 Closed2

Tom Processed

HH2 Foot

Tom Processed

HH2 Open

HH-Old TiteClos

130 99-HH Close

273 Wind

133 88-Tom

103 HH-AlpoClose

133 88-Tom

101 HH-Old Open2

133 88-Tom

104 Crash Cymbal 1

133 88-Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

Off

100 HH-OldClose2

296 Amp Noise

131 99-HH Open

139 Real El.Tom

104 Crash Cymbal 1

139 Real El.Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

278 Xylophone Spectr

136 88-Cowbell

104 Crash Cymbal 1

212 Tambourin-Acc2

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

Off

Tom Processed

Off

Tom Processed

Off

104 Crash Cymbal 1

82 Tom Processed

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

82 Tom Processed

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

113 Ride-Edge 2

134 88-Conga

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

239 Uhh

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

237 Yeah!

216 Cuica-Lo

G#5

A#5

C#6

233 Flexatone

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

342 Darbuka 1 DumOp

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

D#6

Off

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Fa cto ry Da ta

Drum Kit instruments

1 6 5

120-0-24: Electro Kit

Sample

120-0-25: Analog Kit

Sample

271 Explosion

120-0-26: House Kit1

Sample

120-0-27: House Kit2

Sample

BD-Pop Kick

125 99-SD

Note

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

BD-Hip 1

BD-Pop Kick

SD-Vintage6

BD-Deep 88

125 99-SD

123 88-BD

124 88-SD

SD-Hip 6

BD-Normal

SD-Yowie

SD-Jazz Ring

SD-Whopper

BD-Pop Kick

BD-Dance 99

SD-Brasser

HH1 Closed1

BD-Hip 1

BD-Deep 88

124 88-SD

C#0

D#0

F#0

G#0

A#0

SD-Off Center

SD-Dance

SD-Vintage3

BD-Pop Kick

BD-Ambi Kick

SD-Hip 6

SD-Amb.Piccolo

BD-Ambi Kick

BD-Terminator

SD-Vintage4

SD-Amb.Piccolo

BD-Ambi Kick

BD-Terminator

SD-Vintage4

128 88-HH Close

17 BD-House 1

143 Zap2

BD-Hip 4

142 Zap1

SD-Processed

SD-Vintage4

DrumStickHit

SD-Hip 6

SD-Tiny

DrumStickHit

SD-Vintage5

310 Mouth Harp

DrumStickHit

120 SD-Orch.

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

G#4

A#4

C#5

D#5

F#5

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Dance 2

BD-Deep 88

BD-Hip 3

BD-Ambi Kick

BD-Hip 3

BD-Squash

138 FM El.Tom

141 PR-House06

139 Real El.Tom

127 88-Claps

126 88-Rimshot

124 88-SD

127 88-Claps

124 88-SD

133 88-Tom

128 88-HH Close

133 88-Tom

129 88-HH Open

133 88-Tom

129 88-HH Open

133 88-Tom

141 PR-House06

61 SD-Tiny

127 88-Claps

125 99-SD

257 Tribe

130 99-HH Close

319 Rek-Jingle

65 SD-Vintage4

127 88-Claps

139 Real El.Tom

90 HH1 Open 2

139 Real El.Tom

94 HH2 Foot

139 Real El.Tom

89 HH1 Open 1

SD-Hip 5

SD-Rap

Tom 2-Floor

HH-Old TiteClos

Tom 2-Floor

Off

Tom Processed

HH2 Open

Off

103 HH-AlpoClose

123 88-BD

Tom 2-Lo

HH-OldClose1

Tom 2-Lo

131 99-HH Open

139 Real El.Tom

104 Crash Cymbal 1

139 Real El.Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

106 China Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

102 HH-Hip

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

139 Real El.Tom

104 Crash Cymbal 1

139 Real El.Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

Off

Tom 2-Hi

132 88-Crash

133 88-Tom

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

212 Tambourin-Acc2

106 China Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

209 Tambourin-Push

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

113 Ride-Edge 2

106 China Cymbal

114 Ride-Jazz

282 Noise FM Mod

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

134 88-Conga

133 88-Tom

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

133 88-Tom

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

135 88-Clave

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

239 Uhh

200 Woodblock1

215 Cuica-Hi

216 Cuica-Lo

215 Cuica-Hi

237 Yeah!

216 Cuica-Lo

G#5

A#5

C#6

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

230 Finger Cymbal

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

101 HH-Old Open2

228 Sleigh Bell

231 Marc Tree

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

D#6

Off

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Fa cto ry Da ta

Drum Kit instruments

1 6 6

120-0-28: House Kit3

120-0-29: House Kit4

Sample

120-0-32: Jazz Kit

Sample

120-0-40: Brush Kit1

Sample

Note

Sample

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

BD-Pop Kick

BD-House 1

Tom 2-Floor

Tom 2-Lo

Tom 2-Hi

SD-Dry 2

125 99-SD

BD-Deep 88

124 88-SD

C#0

D#0

F#0

SD-Dance

SD-Jazz Ring

SD-Amb.Piccolo

BD-Ambi Kick

BD-Terminator

SD-Vintage4

SD-Amb.Piccolo

BD-Ambi Kick

BD-Terminator

SD-Vintage4

SD-Amb.Piccolo

BD-Amb.Rocker

BD-Pillow

BD-Jazz

BD-Pillow

SD-Full Room

HH1 Closed2

BD-Dry 1

121 FingerSnaps

143 Zap2

HH1 Closed1

BD-Dry 3

BD-Hip 4

Off

G#0

142 Zap1

SideStickAmb

SD-Dry 2

SD-BrushHit

DrumStickHit

SideStickDry

SD-BrushTap1

DrumStickHit

SD-Vintage5

A#0

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

G#4

A#4

C#5

D#5

310 Mouth Harp

Off

DrumStickHit

120 SD-Orch.

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

DrumStickHit

Off

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

142 Zap1

249 Click

213 Triangle-Open

BD-Pop 99

BD-Dance 99

BD-Hip 3

BD-Jazz

BD-Pillow

BD-Gated

SideStickAmb

SD-Dry 1

BD-SoftRoom

SideStickAmb

SD-Dry 1

BD-Jazz

141 PR-House06

47 SD-Yowie

127 88-Claps

59 SD-Hip 6

SideStickAmb

SD-BrushTap1

SD-BrushHit

SD-BrushSwirl

Tom Brush Hi

HH1 Open 2

Tom Brush Hi

HH2 Foot

Tom Brush Hi

HH2 FootOpen

Tom Brush Hi

127 88-Claps

52 SD-Noise

127 88-Claps

SD-Jazz Ring

139 Real El.Tom

128 88-HH Close

139 Real El.Tom

128 88-HH Close

139 Real El.Tom

129 88-HH Open

139 Real El.Tom

104 Crash Cymbal 1

139 Real El.Tom

113 Ride-Edge 2

108 CymbalReverse

114 Ride-Jazz

139 Real El.Tom

128 88-HH Close

139 Real El.Tom

129 88-HH Open

139 Real El.Tom

129 88-HH Open

139 Real El.Tom

132 88-Crash

139 Real El.Tom

111 CYM-99 Ride

108 CymbalReverse

114 Ride-Jazz

211 Tambourin-Acc1

107 Splash Cymbal

136 88-Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

209 Tambourin-Push

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

200 Woodblock1

215 Cuica-Hi

233 Flexatone

220 Cabasa-Down

228 Sleigh Bell

Tom JazzFloor

HH2 Closed1

Tom JazzFloor

HH2 Foot

Tom Jazz Hi

HH1 Sizzle

Off

Tom Jazz Hi

Off

104 Crash Cymbal 1

83 Tom Jazz Hi

113 Ride-Edge 2

106 China Cymbal

115 Ride-Cup

212 Tambourin-Acc2

105 Crash Cymbal 2

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

112 Ride-Edge 1

171 BongoHi-Open

168 BongoLo-Open

165 CongaHi-Slap2

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

85 Tom Brush Hi

112 Ride-Edge 1

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

102 HH-Hip

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

Off

200 Woodblock1

215 Cuica-Hi

233 Flexatone

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

F#5

G#5

A#5

C#6

D#6

216 Cuica-Lo

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

233 Flexatone

101 HH-Old Open2

228 Sleigh Bell

231 Marc Tree

Off

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

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Drum Kit instruments

1 6 7

120-0-41: Brush V.S.2

Sample

120-0-48: OrchestraK

Sample

120-0-116: Arabian Kit 1

Sample

120-0-117: Arabian Kit 2

Sample

BD-House 1

125 99-SD

123 88-BD

124 88-SD

Note

Excl.

Off

Excl.

Off

Excl.

Off

A-1

A#-1

B-1

Tom 2-Floor

Tom 2-Lo

Tom 2-Hi

SD-Dry 2

BD-House 1

125 99-SD

123 88-BD

124 88-SD

C#0

D#0

F#0

G#0

A#0

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

SD-Full Room

SD-Processed

BD-Dry 1

SD-Full Room

SD-Processed

BD-Dry 1

BD-Jazz

BD-Pillow

BD-Tight

SD-Dry 1

HH1 Closed2

BD-Dry 3

BD-Tight

SD-Dry 1

HH1 Closed2

BD-Dry 3

121 FingerSnaps

HH1 Closed1

BD-Dry 3

SideStickDry

SD-BrushTap1

DrumStickHit

SideStickAmb

DrumStickHit

SideStickAmb

DrumStickHit

283 Tubular

225 Cowbell

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

283 Tubular

225 Cowbell

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

120 SD-Orch.

119 SD-Orch.Roll

121 FingerSnaps

Off

119 SD-Orch.Roll

121 FingerSnaps

143 Zap2

281 Noise White

145 DJ-Scratch2

Off

HH1 Closed1

HH1 Foot

HH1 Open 1

HH1 Closed2

145 DJ-Scratch2

112 Ride-Edge 1

74 DrumStickHit

142 Zap1

249 Click

213 Triangle-Open

Off

DrumStickHit

Off

DrumStickHit

142 Zap1

249 Click

213 Triangle-Open

165 CongaHi-Slap2

249 Click

165 CongaHi-Slap2

249 Click

BD-Jazz

BD-SoftRoom

BD-Dry 3

BD-Tight

SideStickDry

SD-Dry 3

3➛4 BD-Normal BD➛SoftRoom

116 BD-Orch.

BD-House 1

SideStickDry

SD-Dry 3

SD-BrushTap1

SideStickAmb

43➛44 SD-BrushTap1➛SD-BrushTap2

39➛42 SD-Jazz Ring SD➛BrushHit

45➛45 SD-BrushSwirl SD➛BrushSwirl

120 SD-Orch.

178 CastSingle

120 SD-Orch.

118 Timpani

337 Alkis

122 Hand Claps

SD-AmbiHop

SD-Dry 3

Tom Brush Hi

HH1 Open 2

Tom Brush Hi

HH2 Foot

Tom Brush Hi

HH2 FootOpen

Tom Brush Hi

Tom 2-Floor

HH1 Foot

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Tom 2-Hi

Tom 2-Floor

HH1 Open 2

Tom 2-Floor

HH2 Foot

Tom 2-Lo

HH1 Open 1

Tom 2-Lo

Off

Tom 2-Hi

104 Crash Cymbal 1

85 Tom Brush Hi

112 Ride-Edge 1

106 China Cymbal

114 Ride-Jazz

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

113 Ride-Edge 2

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

352 Hollo 1

104 Crash Cymbal 1

77 Tom 2-Hi

113 Ride-Edge 2

301 Dbk-Tky-Open

300 Dbk-Tky-Mute

211 Tambourin-Acc1

302 Dbk-Tky-Rim

225 Cowbell

302 Dbk-Tky-Rim

219 Cabasa-Up

304 Douf-Dom-ak

307 Douf-Tek-ak 2

168 BongoLo-Open

306 Douf-Tek-ak 1

171 BongoHi-Open

305 Douf-rim-ak

328 Tabla-Dom

348 Darbuka D1

331 Tabla-Tak

329 Tabla-Flam

330 Tabla-Rim

189 Tabla-Na

191 Tabla-Tin

318 Rek-dom-ak

321 Rik2

320 Rik1

322 Rik3

319 Rek-Jingle

360 Tef 2

318 Rek-dom-ak

359 Tef 1

321 Rik2

353 Hollo 2

212 Tambourin-Acc2

107 Splash Cymbal

225 Cowbell

104 Crash Cymbal 1

198 Vibraslap

211 Tambourin-Acc1

345 Darbuka 2

225 Cowbell

350 Darbuka D3

219 Cabasa-Up

339 Bandir Closed

353 Hollo 2

117 Orch Cymb

171 BongoHi-Open

168 BongoLo-Open

163 CongaHiMtSlap

161 CongaHi-Open

158 CongaLo-Open

207 TimbaleHi-Rim2

202 TimbaleLo-Open

224 Agogo-Bell

219 Cabasa-Up

182 MaracasPush

234 SambaWhistle

181 Guiro Short

180 Guiro Long

199 Claves

168 BongoLo-Open

353 Hollo 2

171 BongoHi-Open

305 Douf-rim-ak

344 Darbuka 1 Closed

348 Darbuka D1

346 Darbuka 3

349 Darbuka D2

341 Darbuka 1 Tek7

343 Darbuka 1 Tek5

359 Tef 1

360 Tef 2

320 Rik1

322 Rik3

360 Tef 2

359 Tef 1

360 Tef 2

318 Rek-dom-ak

359 Tef 1

321 Rik2

G#4

A#4

C#5

D#5

F#5

G#5

A#5

C#6

D#6

Off

200 Woodblock1

215 Cuica-Hi

200 Woodblock1

215 Cuica-Hi

216 Cuica-Lo

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

214 Triangle-Mute

213 Triangle-Open

220 Cabasa-Down

228 Sleigh Bell

231 Marc Tree

178 CastSingle

203 TimbaleLo-Mute

202 TimbaleLo-Open

243 Stadium

Off

361 Tef 3

360 Tef 2

312 Bells Open

323 Sagat-HalfOpen

324 Sagat-Close

351 Davul

322 Rik3

319 Rek-Jingle

312 Bells Open

323 Sagat-HalfOpen

324 Sagat-Close

351 Davul

Off

357 Ramazan DVL2

175 Djembe-Open

(continues on the next page)

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Fa cto ry Da ta

Drum Kit instruments

1 6 8

(continued)

120-0-41: Brush V.S.2

Sample

120-0-48: OrchestraK

Sample

120-0-116: Arabian Kit 1

Sample

356 Ramazan DVL1

358 Ramazan DVL3

355 Kup 2

120-0-117: Arabian Kit 2

Sample

Note

Excl.

F#6

G#6

A#6

175 Djembe-Open

301 Dbk-Tky-Open

312 Bells Open

323 Sagat-HalfOpen

324 Sagat-Close

351 Davul

Tom Jazz Hi

355 Kup 2

354 Kup 1

Off

BD-Dry 3

BD-Jazz

354 Kup 1

361 Tef 3

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Fa cto ry Da ta

Drum Kit instruments

1 6 9

120-0-50: Bdrum & Sdrum

Sample

257 Tribe

120-0-56: SFX Kit

Sample

120-0-64: Percus.Kit1

Sample

120-0-65: Latin P.Kit

Sample

Note

Excl.

Off

Excl.

C-1

C#-1

D-1

D#-1

E-1

F-1

F#-1

G-1

G#-1

A-1

A#-1

B-1

142 Zap1

133 88-Tom

123 88-BD

BD-Hip 4

BD-Pop Kick

BD-Hip 1

BD-House 2

BD-Pop 99

123 88-BD

138 FM El.Tom

BD-Pop 99

C#0

BD-Amb.Rocker

BD-Ambi Kick

BD-Dance 99

BD-Pop Kick

BD-Hip 4

181 Guiro Short

209 Tambourin-Push

210 Tambourin-Pull

211 Tambourin-Acc1

212 Tambourin-Acc2

209 Tambourin-Push

212 Tambourin-Acc2

319 Rek-Jingle

Off

D#0

F#0

BD-Hip 3

BD-Hip 1

240 Hit It

238 Yeah!-Solo

237 Yeah!

Off

G#0

A#0

BD-House 2

BD-Dance 3

BD-Dance 2

BD-Squash

BD-Klanger

BD-Deep 88

241 Uhhhh Solo

214 Triangle-Mute

213 Triangle-Open

233 Flexatone

230 Finger Cymbal

136 88-Cowbell

179 CastDouble

178 CastSingle

121 FingerSnaps

C#1

233 Flexatone

230 Finger Cymbal

197 Tsuzumi

Off

BD-Dry 1

Off

D#1

123 88-BD

296 Amp Noise

235 Chinese Gong

153 DJ-BD Rub

148 DJ-Scratch3c

154 DJ-SD Rub

145 DJ-Scratch2

286 GtCutNois1

287 GtCutNois2

292 E.GtrPick1

294 Gtr Scratch1

290 Dist.Slide1

291 Dist.Slide2

143 Zap2

172 BongoHi-Slap

173 BongoHi-Stk1

170 BongoLo-Stk

211 Tambourin-Acc1

224 Agogo-Bell

273 Wind

224 Agogo-Bell

174 BongoHi-Stk2

200 Woodblock1

199 Claves

201 Woodblock2

225 Cowbell

200 Woodblock1

179 CastDouble

184 Baya-Open

217 Shaker1

186 Baya-Mute1

182 MaracasPush

184 Baya-Open

219 Cabasa-Up

190 Tabla-Open

192 Tabla-Mute1

198 Vibraslap

189 Tabla-Na

214 Triangle-Mute

116 BD-Orch.

213 Triangle-Open

181 Guiro Short

311 Jingle Bell

180 Guiro Long

232 Marc Tree LP

231 Marc Tree

182 MaracasPush

122 Hand Claps

127 88-Claps

144 DJ-Scratch1

145 DJ-Scratch2

150 DJ-HitRub

234 SambaWhistle

165 CongaHi-Slap2

166 CongaHeel

161 CongaHi-Open

158 CongaLo-Open

215 Cuica-Hi

BD-Tight

F#1

BD-Deep 88

BD-House 1

BD-Dance 1

BD-Dance 3

BD-Hip 2

BD-Amb.Crackle

BD-Deep 88

BD-House 1

BD-Pop Kick

BD-Tight

HH-Old TiteClos

G#1

A#1

236 Metal Hit

197 Tsuzumi

116 BD-Orch.

224 Agogo-Bell

158 CongaLo-Open

159 CongaLoMtSlp

164 CongaHi-Slap1

165 CongaHi-Slap2

137 88-Maraca

C#2

Off

D#2

BD-Dry 2

BD-Dry 3

258 GunShot 1

144 DJ-Scratch1

145 DJ-Scratch2

F#2

BD-Woofer

BD-Normal

BD-Dry 1

DrumStickHit

Off

G#2

A#2

BD-Tubby

BD-Normal

BD-Dry 1

143 Zap2

249 Click

161 CongaHi-Open

214 Triangle-Mute

213 Triangle-Open

159 CongaLoMtSlp

162 CongaHiMute

165 CongaHi-Slap2

211 Tambourin-Acc1

161 CongaHi-Open

170 BongoLo-Stk

173 BongoHi-Stk1

202 TimbaleLo-Open

174 BongoHi-Stk2

202 TimbaleLo-Open

211 Tambourin-Acc1

208 Timbale-Paila

205 TimbaleHi-Edge

208 Timbale-Paila

205 TimbaleHi-Edge

207 TimbaleHi-Rim2

206 TimbaleHi-Rim1

318 Rek-dom-ak

319 Rek-Jingle

227 Mambo Bell

200 Woodblock1

201 Woodblock2

225 Cowbell

182 MaracasPush

227 Mambo Bell

219 Cabasa-Up

217 Shaker1

225 Cowbell

220 Cabasa-Down

224 Agogo-Bell

289 Fret Noise

286 GtCutNois1

287 GtCutNois2

286 GtCutNois1

121 FingerSnaps

246 Laughing

245 Scream

BD-Normal

BD-Pillow

C#3

Off

116 BD-Orch.

BD-Gated

BD-Tubby

BD-MondoKill

BD-Tubby

BD-Terminator

BD-Dance 2

D#3

Off

F#3

256 Punch

Off

255 Heart-Beat

248 Footsteps 2

247 Footsteps 1

244 Applause

260 DoorCreak

261 DoorSlam

145 DJ-Scratch2

231 Marc Tree

262 Car Engine

263 Car Stop

264 Car Pass

265 Car Crash

254 Crickets

266 Train

281 Noise White

267 Helicopter

298 Swish Terra

258 GunShot 1

269 MachineGun

270 Laser gun

271 Explosion

252 Dog

G#3

A#3

138 FM El.Tom

133 88-Tom

BD-Deep 88

BD-Dance 3

SD-Dry 3

SD-Full Room

SD-Off Center

SD-Jazz Ring

SD-Dry 1

C#4

D#4

F#4

SD-Paper

SD-Vintage4

SD-Brasser

SD-Yowie

SD-CrackerRoom

SD-Big Rock

SD-Hip 6

SD-Processed

SD-Dance

SD-Noise

G#4

A#4

C#5

216 Cuica-Lo

208 Timbale-Paila

207 TimbaleHi-Rim2

206 TimbaleHi-Rim1

202 TimbaleLo-Open

135 88-Clave

136 88-Cowbell

121 FingerSnaps

196 Taiko Rim

D#5

SD-Vintage1

SD-Yowie

SD-Chili

F#5

253 Gallop

250 Bird 1

259 Rainstick

272 Thunder

139 Real El.Tom

125 99-SD

124 88-SD

G#5

(continues on the next page)

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Fa cto ry Da ta

Drum Kit instruments

1 7 0

(continued)

120-0-50: Bdrum & Sdrum

Sample

124 88-SD

125 99-SD

120-0-56: SFX Kit

Sample

273 Wind

281 Noise White

274 Stream

275 Bubble

299 Cat

120-0-64: Percus.Kit1

Sample

195 Taiko Open

143 Zap2

119 SD-Orch.Roll

120 SD-Orch.

120-0-65: Latin P.Kit

Sample

Note

Excl.

Off

Excl.

Off

Excl.

Off

Excl.

Off

A#5

220 Cabasa-Down

334 Tambourin-Mute2

333 Tambourin-Open

332 Tambourin-Mute

333 Tambourin-Open

336 Udu-f-open

175 Djembe-Open

183 MaracasPull

215 Cuica-Hi

SD-Hip 2

C#6

SD-BrushTap2

SD-BrushTap1

SD-BrushHit

SD-BrushSwirl

SD-Dry 1

117 Orch Cymb

336 Udu-f-open

155 Orchestra Hit

290 Dist.Slide1

291 Dist.Slide2

286 GtCutNois1

287 GtCutNois2

292 E.GtrPick1

251 Bird 2

308 Growl

D#6

Off

243 Stadium

277 Telephone Ring

276 ChurchBell

244 Applause

243 Stadium

281 Noise White

258 GunShot 1

266 Train

F#6

G#6

A#6

180 Guiro Long

181 Guiro Short

216 Cuica-Lo

SD-Dry 3

SD-Big Rock

SD-AmbiHop

SD-Hip 1

SD-Vintage1

SD-Hip 3

C#7

199 Claves

234 SambaWhistle

323 Sagat-HalfOpen

324 Sagat-Close

311 Jingle Bell

231 Marc Tree

228 Sleigh Bell

D#7

SD-Vintage6

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

117

118

119

120

143 Zap2

F#7

SD-Hip 5

SD-Whopper

SD-Brasser

G#7

A#7

SD-Vintage1

125 99-SD

SD-Whopper

SD-Dance

340 Bongo Roll

140 PR-House05

Off

C#8

SD-Dance

BD-House 1

125 99-SD

D#8

BD-Deep 88

SD-Ringy

124 88-SD

F#8

SD-Jazz Ring

SD-Processed

BD-Dry 1

293 E.GtrPick2

294 Gtr Scratch1

295 Gtr Scratch2

289 Fret Noise

288 Power Chord

296 Amp Noise

G#8

A#8

BD-Amb.Rocker

SD-Amb.Piccolo

HH1 Closed1

BD-Pillow

SideStickAmb

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Fa cto ry Da ta

Drum Kit instruments

1 7 1

120-0-66: TRI-Per.KIT

Sample

120-0-67: i30 Perc.Kit

Sample

Note

C-1

Excl.

C#-1

D-1

D#-1

E-1

F-1

F#-1

G-1

G#-1

A-1

A#-1

B-1

322

321

320

319

318

303

195

317

316

315

314

313

Rik3

Rik2

Rik1

Off

C#0

D#0

F#0

G#0

A#0

C#1

D#1

F#1

G#1

A#1

C#2

D#2

F#2

G#2

A#2

C#3

D#3

F#3

G#3

A#3

C#4

D#4

F#4

Rek-Jingle

Rek-dom-ak

Djembe-Bass

Taiko Open

Pand-Pattern4

Pand-Pattern3

Pand-Pattern2

Pand-Pattern1

Pand-Open

209 Tambourin-Push

212 Tambourin-Acc2

189 Tabla-Na

233 Flexatone

230 Finger Cymbal

197 Tsuzumi

Off

196➛195 Taiko Rim➛Taiko Open

197 Tsuzumi➛Tsuzumi

175➛175 Djembe-Open➛Djembe-Open

177➛176 Djembe-Slap➛Djembe-Mute

185➛184 Baya-Ghe➛Baya-Open

186➛187 Baya-Mute1➛Baya-Mute2

188➛303 Baya-Mute5➛Djembe-Bass

190➛190 Tabla-Open➛Tabla-Open

191➛194 Tabla-Tin➛Tabla-Mute3

192➛193 Tabla-Mute1➛Tabla-Mute2

189➛193 Tabla-Na➛Tabla-Mute2

192

116

257

121

122

214

213

179

178

179

180

181

180

198

199

135

172 BongoHi-Slap

173 BongoHi-Stk1

170 BongoLo-Stk

211 Tambourin-Acc1

224 Agogo-Bell

273 Wind

224 Agogo-Bell

174 BongoHi-Stk2

200 Woodblock1

199 Claves

201 Woodblock2

225 Cowbell

200 Woodblock1

179 CastDouble

184 Baya-Open

217 Shaker1

186 Baya-Mute1

182 MaracasPush

184 Baya-Open

219 Cabasa-Up

190 Tabla-Open

192 Tabla-Mute1

198 Vibraslap

189 Tabla-Na

214 Triangle-Mute

116 BD-Orch.

213 Triangle-Open

181 Guiro Short

311 Jingle Bell

180 Guiro Long

232 Marc Tree LP

231 Marc Tree

182 MaracasPush

122 Hand Claps

127 88-Claps

144 DJ-Scratch1

145 DJ-Scratch2

150 DJ-HitRub

234 SambaWhistle

165 CongaHi-Slap2

166 CongaHeel

161 CongaHi-Open

158 CongaLo-Open

215 Cuica-Hi

Tabla-Mute1

BD-Orch.

Tribe

Off

FingerSnaps

Hand Claps

Triangle-Mute

Triangle-Open

CastDouble

CastSingle

CastDouble

Guiro Long

Guiro Short

Guiro Long

Vibraslap

Off

Claves

88-Clave

216➛216 Cuica-Lo➛Cuica-Lo

215➛215 Cuica-Hi➛Cuica-Hi

Off

202

200

204

200

203

200

205

207

226

206

227

TimbaleLo-Open

Woodblock1

TimbaleLo-Rim

Woodblock1

TimbaleLo-Mute

Woodblock1

TimbaleHi-Edge

TimbaleHi-Rim2

ChachaBell

Off

TimbaleHi-Rim1

Mambo Bell

208➛208 Timbale-Paila➛Timbale-Paila

168

225

169

225

171

174

BongoLo-Open

Cowbell

BongoLo-Slap

Cowbell

BongoHi-Open

BongoHi-Stk2

G#4

A#4

C#5

D#5

F#5

G#5

172➛172 BongoHi-Slap➛BongoHi-Slap

158➛158 CongaLo-Open➛CongaLo-Open

160

159

163

216 Cuica-Lo

CongaLoSlap

CongaLoMtSlp

CongaHiMtSlap

208 Timbale-Paila

207 TimbaleHi-Rim2

206 TimbaleHi-Rim1

202 TimbaleLo-Open

135 88-Clave

136 88-Cowbell

121 FingerSnaps

196 Taiko Rim

161➛161 CongaHi-Open➛CongaHi-Open

162

166

164

167

165

224

CongaHiMute

CongaHeel

CongaHi-Slap1

CongaToe

CongaHi-Slap2

Agogo-Bell

195 Taiko Open

143 Zap2

A#5

(continues on the next page)

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Fa cto ry Da ta

Drum Kit instruments

1 7 2

(continued)

120-0-66: TRI-Per.KIT

Sample

Agogo-Bell

183➛182 MaracasPull➛MaracasPush

217➛217 Shaker1➛Shaker1

120-0-67: i30 Perc.Kit

Sample

119 SD-Orch.Roll

120 SD-Orch.

Note

Excl.

Off

Excl.

224

C#6

D#6

117 Orch Cymb

336 Udu-f-open

155 Orchestra Hit

290 Dist.Slide1

214 Triangle-Mute

213 Triangle-Open

233 Flexatone

218➛218 Shaker2➛Shaker2

221➛220 Cabasa-Tap➛Cabasa-Down

219➛221 Cabasa-Up➛Cabasa-Tap

222➛223 Caxixi-Hard➛Caxixi-Soft

Off

F#6

G#6

A#6

209

Tambourin-Push

211➛211 Tambourin-Acc1➛Tambourin-Acc1

210

212

Tambourin-Pull

Tambourin-Acc2

228➛228 Sleigh Bell➛Sleigh Bell

234

229

234

231

234

312

259

235

250

251

279

231

SambaWhistle

RapSleighBell

SambaWhistle

Marc Tree

SambaWhistle

Bells Open

Rainstick

Chinese Gong

Bird 1

Bird 2

Cricket Spectrum

Marc Tree

Off

C#7

D#7

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

117

118

119

120

F#7

G#7

A#7

Off

C#8

D#8

Off

312 Bells Open

223 Caxixi-Soft

179 CastDouble

121 FingerSnaps

236 Metal Hit

F#8

G#8

A#8

236 Metal Hit

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Fa cto ry Da ta

1 7 3

Performances

PERFORMANCES

All Performances are user-editable. Use the following table as a model for your own Perfomance lists.

Note: You can remotely select Performances on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Pro-

gram Change messages on the Control channel (see page 127).

CC#0 CC#32 PC

Bank: 1

Bank: 5

Bank: 9

Bank: 13

Bank: 17

CC#0 CC#32 PC

Bank: 2

CC#0 CC#32 PC

Bank: 3

CC#0 CC#32 PC

Bank: 4

CC#0 CC#32 PC

Bank: 6

CC#0 CC#32 PC

Bank: 7

CC#0 CC#32 PC

Bank: 8

CC#0 CC#32 PC

Bank: 10

Bank: 14

Bank: 18

CC#0 CC#32 PC

Bank: 11

Bank: 15

Bank: 19

CC#0 CC#32 PC

Bank: 12

Bank: 16

Bank: 20

CC#0 CC#32 PC

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Fa cto ry Da ta

MIDI Setup

1 7 4

MIDI SETUP

DEFAULT

Master Kbd

Sequencer1

Sequencer 2

Accordion 1

Accordion 2

Accordion 3

Ext. Seq

S1_Tr 1

S1_Tr 2

S1_Tr 3

S1_Tr 4

S1_Tr 5

S1_Tr 6

S1_Tr 7

S1_Tr 8

S1_Tr 9

S1_Tr 10

S1_Tr 11

S1_Tr 12

S1_Tr 13

S1_Tr 14

S1_Tr 15

S1_Tr 16

1 Upp1

Upp2

Upp3

Lower

Global

S1_Tr 1

S1_Tr 2

S1_Tr 3

S1_Tr 4

S1_Tr 5

S1_Tr 6

S1_Tr 7

S1_Tr 8

S1_Tr 9

S1_Tr 10

S1_Tr 11

S1_Tr 12

S1_Tr 13

S1_Tr 14

S1_Tr 15

S1_Tr 16

S1_Tr 1

S1_Tr 2

S1_Tr 3

S1_Tr 4

S1_Tr 5

S1_Tr 6

S1_Tr 7

S1_Tr 8

S1_Tr 9

S1_Tr 10

S1_Tr 11

S1_Tr 12

S1_Tr 13

S1_Tr 14

S1_Tr 15

S1_Tr 16

Normal

S2_Tr 1

S2_Tr 2

S2_Tr 3

S2_Tr 4

S2_Tr 5

S2_Tr 6

S2_Tr 7

S2_Tr 8

S2_Tr 9

S2_Tr 10

S2_Tr 11

S2_Tr 12

S2_Tr 13

S2_Tr 14

S2_Tr 15

S2_Tr 16

S2_Tr 1

S2_Tr 2

S2_Tr 3

S2_Tr 4

S2_Tr 5

S2_Tr 6

S2_Tr 7

S2_Tr 8

S2_Tr 9

S2_Tr 10

S2_Tr 11

S2_Tr 12

S2_Tr 13

S2_Tr 14

S2_Tr 15

S2_Tr 16

Normal

Global

Lower

Bass

Upp1

Lower

Upp1

Lower

Bass

S1_Tr 1

S1_Tr 2

S1_Tr 3

Upp2

Upp3

Upp2

Upp3

S1_Tr 4

S1_Tr 5

S1_Tr 6

S1_Tr 7

S1_Tr 8

MIDI IN

Channel

Bass

S1_Tr 9

Drum

Perc

Acc1

Acc2

Acc3

Acc4

Acc5

Upp1

Upp2

Upp3

Lower

Drum

Perc

Drum

Perc

S1_Tr 10

S1_Tr 11

Acc1

S1_Tr 12

Acc2

S1_Tr 13

Acc3

S1_Tr 14

Acc4

S1_Tr 15

Acc5

S1_Tr 16

Upp1

Upp2

Upp3

Lower

S1_Tr 1

S1_Tr 2

S1_Tr 3

S1_Tr 4

S1_Tr 5

S1_Tr 6

S1_Tr 7

S1_Tr 8

S1_Tr 9

S1_Tr 10

S1_Tr 11

S1_Tr 12

S1_Tr 13

S1_Tr 14

S1_Tr 15

S1_Tr 16

110

S2_Tr 1

S2_Tr 2

S2_Tr 3

S2_Tr 4

S2_Tr 5

S2_Tr 6

S2_Tr 7

S2_Tr 8

S2_Tr 9

S2_Tr 10

S2_Tr 11

S2_Tr 12

S2_Tr 13

S2_Tr 14

S2_Tr 15

S2_Tr 16

Normal

Upp. 1

MIDI OUT

Channel

Bass

Drum

Perc

Acc1

Acc2

Acc3

Acc4

Acc5

Normal

Bass

Drum

Perc

Acc1

Acc2

Acc3

Acc4

Acc5

110

Drum

Perc

Acc1

Acc2

Acc3

Acc4

Acc5

Normal

MIDI IN Velocity

Chord 1 Chann.

Chord 2 Chann.

Off

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Effe cts

Diagrams

1 7 5

18. EFFECTS

Pa50 is equipped with four powerful Effect Processors (A, B,

C, D). You can send them the internal tracks.

Modulation source

Note

MIDI(CC#20)

MIDI(CC#21)

Damper: #64

Prta.SW: #65

Sostenu: #66

MIDI(CC#80)

MIDI(CC#81)

MIDI(CC#82)

MIDI(CC#83)

Tempo

DIAGRAMS

The following instructions show the signal path diagram for

each of the effect types. The signal coming from the tracks

(Send) is mono. Before entering an effect processor, it is split

in two “wires” (Left and Right), and processed in stereo. The

signal is then output in stereo from the effect processor, and

sent to the Mix output (Left&Right, the heaphones or the

internal speakers).

Portamento Switch

Sostenuto Pedal

Effect Block

Diagram

Left

Send

Right

DYNAMIC MODULATION SOURCES

FILTER/DYNAMIC

When the

symbol is encoutered, a Dynamic Modula-

tion can be applied to the corresponding parameter. The fol-

lowing table shows the available modulation sources.

Filter and dynamics control effects

000: No Effect

Modulation source

Note

Select this option when you do not use any effects. When this

option is selected, the effect is muted.

Off

No modulation

Gate1

001: Amp Simulat

(St e re o Am p Sim u la t io n )

Gate1+Dmpr

Gate2

This effect simulates the frequency response characteristics of

guitar ampliﬁers. It is also effective for organ and drum

sounds.

Gate2+Dmpr

Note Nr

Note Number

Velocity

Note Velocity

Stereo In - Stereo Out

Left

Wet / Dry

ATouch

After Touch

Amp Simulation Filter

JS X

Joystick Left/Right

Joystick Forward

Joystick Backward

JS+Y: CC#01

JS-Y: CC#02

MIDI(CC#04)

MIDI(CC#12)

MIDI(CC#13)

MIDI(CC#16)

MIDI(CC#18)

MIDI(CC#17)

MIDI(CC#19)

Right

Wet / Dry

Ampliﬁer Type

SS, EL84, 6L6

Dry, 1:99...99:1, Wet

Selects the type of guitar ampliﬁer

Wet/Dry

Sets the balance between the effect and dry sounds

Src

Off...Tempo

–100...+100

Selects the modulation source of the effect balance

Amt

Sets the modulation amount of the effect balance

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Effe cts

Filter/ Dynamic

1 7 6

002: Compressor

003: Limiter

(St e re o Co m p re sso r)

(St e re o Lim it e r)

This effect compresses the input signal to regulate the level

and give a “punchy” effect. It is useful for guitar, piano, and

drum sounds. This is a stereo compressor. You can link left

and right channels, or use each channel separately.

The Limiter regulates the input signal level. It is similar to the

Compressor, except that the Limiter compresses only signals

that exceed the speciﬁed level to lower unnecessary peak sig-

nals. The Limiter applies a peaking-type EQ to the trigger sig-

nal (which controls the degree of the Limiter effect), allowing

you to set any band width to be covered. This effect is a stereo

limiter. You can link left and right channels, or use each chan-

nel individually.

Stereo In - Stereo Out

Left

Wet / Dry

EQ Trim

LEQ

HEQ

Compressor

Output Level

Envelope - Control

Envelope Select

Stereo In - Stereo Out

Compressor

Left

Wet / Dry

EQ Trim

LEQ

HEQ

Gain Adjust

Right

Limiter

Side PEQ

Wet / Dry

Envelope - Control

Trigger Monitor

Envelope - Control

Envelope Select

Limiter

Gain Adjust

Envelope Select

L/R Mix, L/R Individually

Right

Wet / Dry

Determines whether the left and right channels are linked or used sepa-

rately

➛

Sensitivity

Sets the sensitivity

1...100

➛

Envelope Select

L/R Mix, L Only, R Only, L/R Individually

Selects from linking both channels, controlling only from left channel, only

from the right channel, or controlling each channel individually

Attack

Sets the attack level

1...100

➛

EQ Trim

Sets the EQ input level

0...100

Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

➛

Pre LEQ Gain [dB]

–15.0...+15.0dB

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

Sets the gain of Low EQ

➛

Pre HEQ Gain [dB]

–15.0...+15.0dB

Attack

1...100

Sets the gain of High EQ

Sets the attack time

➛

Output Level

Sets the output level of the compressor

0...100

Release

Sets the release time

1...100

➛,

➛

Src

Off...Tempo

Gain Adjust [dB]

Sets the output gain

–Inf, –38...+24dB

Selects the modulation source for the compressor output level

➛,

Amt

–100...+100

Src

Off...Tempo

Sets the modulation amount of the compressor output level

Selects the modulation source for the output gain

Wet/Dry

Dry, 1:99...99:1, Wet

Amt

–63...+63

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the modulation amount of the output gain

Side PEQ Insert

Toggles between on/off of the trigger signal’s EQ

Off, On

Src

Off...Tempo

➛

Table , “Selects the modulation source of the effect balance ,” on page 175

Trigger Monitor

Off, On

Amt

–100...+100

Switches between effect output monitor and trigger signal monitor

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

➛

Side PEQ Cutoff [Hz]

20...12.00kHz

Sets the EQ center frequency for the trigger signal

➛

a: Envelope Select

0.5...10.0

Sets the EQ bandwidth for the trigger signal

This parameter selects whether the left and right channels

are linked to control both signals simultaneously, or

whether each channel is controlled independently.

b: Sensitivity, f: Output Level

The “Sensitivity” parameter sets the sensitivity of the com-

pressor. If this parameter is set to a higher value, lower

level sounds will be boosted. With a higher Sensitivity, the

overall volume level is higher. To adjust the ﬁnal volume

level, use the “Output Level” parameter.

Gain [dB]

Sets the EQ gain for the trigger signal

–18.0...+18.0dB

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Compressor - Sensitivity

Level

Wet

Sensitivity=100

a: Envelope Select

Sensitivity=40

Dry

When L/R Mix is selected for this parameter, the left and

right channels are linked to control the Limiter using the

mixed signal. If L Only (or R Only) is selected, the left and

right channels are linked, and the Limiter is controlled via

only the left (or right) channel.

Time

c: Attack

This parameter controls the attack level.

With L/R individually, the left and right channels control

the Limiter individually.

b: Ratio, c: Threshold [dB], e: Gain Adjust [dB]

This parameter sets the signal compression “Ratio”. Com-

pression is applied only when the signal level exceeds the

“Threshold” value.

Compressor - Attack

Level

Attack=80

Attack=20

Wet

Dry

Time

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Effe cts

Filter/ Dynamic

1 7 7

Adjust the output level using the “Gain Adjust” parame-

ter, since compression causes the entire level to be

reduced.

004: MBandLimit

(Mu lt ib a n d Lim it e r)

This effect applies the Limiter to the low range, mid range,

and high range of the input signal. You can control dynamics

for each range to adjust the sound pressure of the low range,

mid range, and high range in a different way from the EQ.

Limiter - Threshold / Ratio

Ratio=1.0 : 1

Output Level

Ratio=2.0 : 1

Threshold

Ratio=4.0 : 1

Ration=Inf : 1

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Band-Pass Filters

Low

Louder

Limiter

Input Level

Envelope - Control

Mid Low Offset

Limiter

Ratio=1.0 : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Dry

Level

Gain Adjust

Envelope - Control

Mid Offset

High

Limiter

Threshold

Envelope - Control

High Offset

Right

Wet / Dry

Ratio=Inf : 1

Time

d: Attack, d: Release

Ratio

1.0:1...50.0:1, Inf:1

These parameters set the attack time and release time. A

higher attack time will cause the compression to be

applied more slowly.

Sets the signal compression ratio

➛ Fx:003

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

➛ Fx:003

Attack

Sets the attack time

1...100

➛ Fx:003

Limiter - Attack / Release

Threshold

Release

Sets the release time

1...100

➛ Fx:003

Dry

Low Offset [dB]

Gain of the low-range trigger signal

–40...0dB

➛

Mid Offset [dB]

Gain of the mid-range trigger signal

–40...0dB

➛

Ratio=Inf : 1

Attack=1

Release=1

Wet

High Offset [dB]

Gain of the high-range trigger signal

–40...0dB

➛

Gain Adjust [dB]

Sets the output gain

–Inf, –38...+24dB

➛ Fx:003,

Ratio=Inf : 1

Attack=100

Release=100

Wet

Src

Off...Tempo

Selects the modulation source for the output gain

Release

Amt

–63...+63

Attack

Sets the modulation amount of the output gain

f: Side PEQ Insert, g: Side PEQ Cutoff [Hz], g: Q, g: Gain

[dB]

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

These parameters are used to set the EQ applied to the

trigger signal.

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

The Limiter determines whether the compression is

applied or not, based on the post-EQ trigger signal. Set-

ting the equalizer allows you to set the Limiter to respond

to any frequency band.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

f: Trigger Monitor

e: Low Offset [dB], f: Mid Offset [dB], g: High Offset [dB]

These parameters set the gain of the trigger signal.

For example, if you do not want to apply compression to

the high range, reduce the “High Offset” value down

below the “Threshold” level. In this way, the high range

limiter will not respond, and compression will not be

applied.

Setting this parameter On will cause the trigger signal to

be output, instead of the effect sound. Use this parameter

to check the trigger signal with EQ applied.

Usually, set this to Off.

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Effe cts

Filter/ Dynamic

1 7 8

The Attack and Release parameters set the Gate attack

time and release time.

005: Gate

(St e re o Ga t e )

Gate - Threshold

This effect mutes the input signal if its level is lower than the

speciﬁed level. It also reverses the on and off operation of the

gate, and uses Note On and Off messages to turn the gate on

and off.

Output Level

Threshold

Louder

Stereo In - Stereo Out

Input Level

Left

Wet / Dry

Gate - Attack / Release

Delay

Gate

Threshold

Envelope - Control

Dry

Delay

Envelope Select

Right

Wet / Dry

Wet

Attack=1

Gate+Sus

Release=1

Envelope Select

D-mod, L/R Mix, L Only, R Only

Wet

Attack=100

Release=100

Selects from Control via the modulation source, mixing the left and right sig-

nals, Only left, and Only right

Src

➛,

Release

Attack

Off...Gate2+Dmpr

Selects the modulation source that controls the gate when Envelope Select =

D-mod

e: Delay Time

This parameter sets the delay time of the Gate input. If

the sound has a very fast attack, increase the delay time so

that the signal will be input after the Gate is opened. This

will preserve the attack part of the sound.

Polarity

+, –

Switches between non-reversed and reversed Gate on/off

➛

Threshold

0...100

Sets the level to which the Gate is applied

➛

Attack

1...100

Sets the attack time

➛

006: OD/HGainWah

(Ove rd rive /Hi.Ga in Wa h )

Release

Sets the release time

1...100

➛

Delay Time [msec]

Sets the delay time of the gate input

0...100msec

This distortion effect utilizes an Overdrive mode and a Hi-

Gain mode. Controlling the wah effect, the 3-band EQ, and

the amp simulation will allow you to create versatile distor-

tion sounds. This effect is suitable for guitar and organ

sounds.

➛

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

Wet / Dry

ance,” on page 175

Mode: Overdrive / Hi-Gain

Drive

Pre Low-cut

Wah

3 Band PEQ

Amp Simulation

Driver

a: Envelope Select, a: Src

Output Level

The “Envelope Select” parameter selects whether the

gate on/off is triggered by the level of the input signal, or

controlled directly by the modulation source. The Src

parameter speciﬁes the modulation source, selected from

Off to Gate2+Dpmr.

Direct Mix

Right

Wet / Dry

-mod

With “Envelope Select” = L/R Mix, the left and right chan-

nel signal mixture will trigger the gate on/off. When L

Only or R Only is selected, the gate is controlled by either

of the channel signals.

Wah

Off, On

Switches Wah on/off

➛,

Src

Off...Tempo

Selects the modulation source that switches the Wah on and off

b: Polarity

Toggle, Moment

Selects the switching mode for the modulation source that switches the Wah

on and off

This parameter reverses the Gate on/off operation. With a

negative value, the gate is closed when the input signal

level exceeds the Threshold. The gate operation con-

trolled by the modulation source is also reversed.

c: Threshold, d: Attack, d: Release

This parameter sets the signal level below which Gate is

applied when “Envelope Select” is set to L/R Mix, L Only,

or R Only.

➛

Wah Sweep Range

Sets the range of Wah

–10...+10

➛,

Wah Sweep Src

Selects the modulation source that controls the Wah

Off...Tempo

➛

Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and hi-gain distortion

Drive

1...100

Sets the degree of distortion

➛

Pre Low-cut

0...10

Sets the low range cut amount of the distortion input

➛

Output Level

0...50

Sets the output level

➛,

Src

Off...Tempo

Selects the modulation source for the output level

Amt

–50...+50

Sets the modulation amount of the output level

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Effe cts

Filter/ Dynamic

1 7 9

007: Param.4B Eq

(St e re o Pa ra m e t ric 4-Ba n d EQ)

Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.0kHz

–18...+18dB

300...10.00kHz

Gain [dB]

This is a stereo 4-band parametric equalizer. You can select

peaking type or shelving type for Band 1 and 4. The gain of

Band 2 can be controlled by dynamic modulation.

Table , “Sets the gain of Low EQ,” on page 176

Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

0.5...10.0

Stereo In - Stereo Out

Sets the band width of Mid/High EQ 1

➛

Left

Wet / Dry

Band1 Band2 Band3

Band4

Gain [dB]

–18...+18dB

PEQ

PEQ PEQ

Sets the gain of Mid/High EQ 1

Trim

LEQ

HEQ

Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

LEQ

PEQ

HEQ

PEQ

0.5...10.0

PEQ

Sets the band width of Mid/High EQ 2

➛

Right

Wet / Dry

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

-mod

Direct Mix

0...50

Sets the amount of the dry sound mixed to the distortion

Trim

0...100

Speaker Simulation

Off, On

Sets the input level

Switches the speaker simulation on/off

Band1 Type

Selects the type of Band 1

Peaking, Shelving-Low

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛

Band4 Type

Selects the type of Band 4

Peaking, Shelving-High

➛

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Band2 Dynamic Gain Src

Off...Tempo

Selects the modulation source of the Band 2 gain

➛

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Amt [dB]

–18...+18dB

Sets the modulation amount of Band 2 gain

➛

Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

a: Wah

The Wah parameter switches the wah effect on/off.

a: Sw

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 1

This parameter sets how the wah effect is switched on and

off via the modulation source.

Gain [dB]

Sets the gain of Band 1

–18.0...+18.0dB

Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...10.00kHz

When “Sw” = Moment, the wah effect is usually turned

off. It is turned on only when you press the pedal or oper-

ate the joystick.

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 2

When a value for the modulation source is less than 64, “off”

speed is selected, and when the value is 64 or higher, “on” is

selected.

Gain [dB]

Sets the gain of Band 2

–18.0...+18.0dB

➛,

Band3 Cutoff [Hz]

300...10.00kHz

Sets the center frequency of Band 3

When “Sw” = Toggle, the wah effect is switched between

on and off each time you press the pedal or operate the

joystick.

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 3

–18.0...+18.0dB

The switch will be turned on/off each time the value of the

modulation source exceeds 64.

Band4 Cutoff [Hz]

Sets the center frequency of Band 4

500...20.00kHz

b: Wah Sw eep Range, b: Wah Sw eep Src

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 4

This parameter sets the sweep range of the wah center

frequency. A negative value will reverse the direction of

sweep. The wah center frequency can be controlled by the

modulation source speciﬁed in the “Wah Sweep Src”

parameter.

Gain [dB]

Sets the gain of Band 4

–18.0...+18.0dB

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

d: Drive, e: Output Level

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

The degree of distortion is determined by the level of

input signal and the setting of “Drive”. Raising the

“Drive” setting will cause the entire volume level to

increase. Use the “Output Level” parameter to adjust the

volume level. The “Output Level” parameter uses the sig-

nal level input to the 3-Band EQ. If clipping occurs at the

3-Band EQ, adjust the “Output Level” parameter.

d: Pre Low -cut

Cutting the signal in the low range before it is input to

the Distortion will create a sharp distortion.

g: Q, h: Q

These parameters set the bandwidth of each equalizer.

The higher the value, the narrower the band becomes.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

b: Band1 Type, c: Band4 Type

Selects a ﬁlter type for Band 1 and 4.

Parametric 4EQ - Band1, Band4 Type

3dB

+Gain

0dB

Band4 Type=Shelving High

Band4 Type=Peaking

Band1 Type=Shelving Low

Band1 Type=Peaking

3dB

–Gain

Band1 Cutoff

Band4 Cutoff

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Effe cts

Filter/ Dynamic

1 8 0

d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB]

You can control the gain of Band 2 using the modulation

source.

You can conﬁgure a 21-Band Graphic EQ ranging from

80Hz to 18kHz if you route three Graphic 7Band EQ

effects in series, with a setting of 7:Low, 9:Mid, and

11:High for each EQ.

Parametric 4EQ - Band2 Dynamic Gain Control

-mod

+15dB

Band2 Cutoff

+6dB

0dB

+6dB

0dB

009: Wah/AutoWah

(St e re o Wa h /Au t o Wa h )

Band2 Cutoff

–9dB

-mod

This stereo wah effect allows you to create sounds from vin-

tage wah pedal simulation to auto-wah simulation, and much

broader range settings.

Band2 Gain[dB]= +6.0

Band2 Dynamic Gain Amt[dB]= +9.0

Band2 Gain[dB]= +6.0

Band2 Dynamic Gain Amt[dB]= –15.0

Stereo In - Stereo Out

008: Graph.7B Eq

Left

Wet / Dry

(St e re o Gra p h ic 7 Ba n d EQ)

Wah

Envelope Sens

Sweep Mode

This is a stereo 7-band graphic equalizer. The bar graph of

the gain setting for each band gives you a clear, visual idea of

frequency responses. You can select a center frequency setting

for each band from twelve types, according to the sound.

Envelope Shape

Auto

D-mod

Response

-mod

LFO

Wah

Right

Wet / Dry

Stereo In - Stereo Out

Left

Wet / Dry

Frequency Bottom

Sets the lower limit of the wah center frequency

0...100

Trim

➛

Band1 Band2 Band3 Band4 Band5 Band6 Band7

Frequency Top

Sets the upper limit of the wah center frequency

0...100

➛

Trim

Band1 Band2 Band3 Band4 Band5 Band6 Band7

Sweep Mode

Auto, D-mod, LFO

Right

Selects the control from auto-wah, modulation source, and LFO

Wet / Dry

➛,

Src

Off...Tempo

Selects the modulation source for the wah when Sweep Mode=D-mod

Type1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2, 6:Half

Wide 3, 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, 12:Wide High

Response 0...100

Sets the response speed when Sweep Mode = Auto or D-mod

Selects a combination of center frequencies for each band

➛

Envelope Sens (Envelope Sensitivity)

Sets the sensitivity of auto-wah

0...100

Trim

0...100

➛

Sets the input level

Envelope Shape

Sets the sweep curve of auto-wah

–100...+100

Band1 [dB]

Sets the gain of Band 1

–18.0...+18.0dB

➛

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Band2 [dB]

Sets the gain of Band 2

➛,

Src

Off...Tempo

Band3 [dB]

Sets the gain of Band 3

Selects the modulation source of LFO speed

Amt

–20.00...+20.00Hz

Off, On

Band4 [dB]

Sets the gain of Band 4

Sets the modulation amount of LFO speed

BPM/MIDI Sync

Band5 [dB]

Sets the gain of Band 5

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛,

Band6 [dB]

Sets the gain of Band 6

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛

Band7 [dB]

Sets the gain of Band 7

Base Note

ꢈ , ꢃ ꢉ , ꢃ , ꢅ ꢉ , ꢅ , ꢆ ꢉ , ꢆ ,

ꢄ

Selects the type of notes that specify the LFO speed

➛

Wet/Dry

Dry, 1:99...99:1, Wet

Times

x1...x16

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the number of notes that specify the LFO speed

➛

Resonance

Sets the resonance amount

0...100

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Low Pass Filter

Switches the Wah Low Pass Filter on and off

Off, On

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

a: Type

Src

Off...Tempo

This parameter selects a combination of center frequen-

cies for each band. Each center frequency is shown on the

right edge of the LCD.

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Filter/ Dynamic

1 8 1

a: Frequency Bottom, a: Frequency Top

The sweep width and direction of the wah ﬁlter are deter-

mined by the “Frequency Top” and “Frequency Bottom”

settings.

010: Random Filt

(St e re o Ra n d o m Filt e r)

This stereo band pass ﬁlter uses a step-shape waveform and

random LFO for modulation. You can create a special effect

from ﬁlter oscillation.

Sweep Mode=D-mod

Frequency

Top=75

Wah

Stereo In - Stereo Out

Bottom=60

Wah

Left

Woo

Wet / Dry

Top=30

-mod

Woo

Bottom=25

Filter

-mod

Higher

Zero

Max

Zero

Max

Right

Sweep Mode=Auto

Wah

Wet / Dry

Frequency

Bottom=75

Frequency

Top=75

LFO Phase

LFO: Step-Tri/Random

Wah

Envelope

Woo

LFO Waveform

Selects LFO Waveform

Step-Tri, Random

Bottom=25

Top=25

Woo

➛

Envelope

Time

LFO Phase [degree]

Sets the LFO phase difference between the left and right

–180...+180

➛

b: Sw eep Mode

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

This parameter changes the wah control mode. Setting

“Sweep Mode” to Auto will select an auto-wah that

sweeps according to envelope changes in the input signal

level. Auto-wah is frequently used for funk guitar parts

and clav sounds.

➛,

Src

Off...Tempo

Selects the modulation source used for both LFO speed and step speed

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

When “Sweep Mode” is set to D-mod, you can control the

ﬁlter directly via the modulation source in the same way

as a wah pedal.

When “Sweep Mode” is set to LFO, the effect uses LFO to

sweep in cycle.

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed (speed that changes in steps) ➛,

0.05...50.00Hz

Amt

–50.00...+50.00Hz

Sets the modulation amount of LFO step speed

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using the

tempo and notes

c: Envelope Sens (Envelope Sensitivity)

➛ Fx:009,

This parameter sets the sensitivity of auto-wah. Increase

the value if the input signal is too low to sweep. Reduce

the value if the input signal is so high that the ﬁlter is

stopped temporarily.

c: Envelope Shape

This parameter determines the sweep curve for auto-wah.

BPM

MIDI, 40...240

➛ Fx:009, ➛

Selects MIDI Clock and assigns tempo

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Times

x1...x16

➛ Fx:009

Sets the number of notes that specify the LFO speed

Step Base Note

Selects the type of notes to specify the LFO step speed ➛,

ꢂ ꢊ ꢈ ꢉ ꢊ ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Envelope Shape

Level

Times

x1...x32

Envelope

Sets the number of notes to specify the LFO step speed

➛

Manual

0...100

value = 0...+100

Sets the ﬁlter center frequency

value = 0...–100

Time

Depth

0...100

Sets the modulation depth of ﬁlter center frequency

d: LFO Frequency [Hz], e: BPM/MIDI Sync

Src

Off...Tempo

–100...+100

0...100

When “BPM/MIDI Sync”=Off, the LFO speed uses the LFO

Selects the modulation source of ﬁlter modulation

Frequency parameter

setting.

When

“BPM/MIDI

Amt

Sync”=On, the LFO speed follows the “BPM”, “Base

Note”, and “Times” settings.

e: BPM, e: Base Note, e: Times

Sets the modulation amount of ﬁlter modulation

Resonance

Sets the resonance amount

One cycle of LFO sweep is obtained by multiplying the

length of a note (^ꢂ…ꢄ) (selected for “Base Note”, in rela-

tion to the tempo speciﬁed in (“BPM”, or the MIDI Clock

tempo if “BPM” is set to MIDI) by the number speciﬁed in

the Times parameter.

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛,

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: LFO Waveform, c: LFO Frequency [Hz],

d: LFO Step Freq (Frequency) [Hz]

When “LFO Waveform” is set to Step-Tri, LFO is a step-

shape, triangle waveform. The “LFO Frequency” parame-

ter sets the original triangle waveform speed. Changing

the “LFO Step Freq” parameter enables you to adjust the

width of the steps.

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Effe cts

Filter/ Dynamic

1 8 2

When “LFO Waveform” is set to Random, the “LFO Step

Freq” parameter uses a random LFO cycle.

011: Excit/Enhan

(St e re o Excit e r/En h a n ce r)

Random Filter LFO

LFO Frequency

This effect is a combination of the Exciter, which adds a

punch to the sound and the Enhancer, which adds spread and

presence.

LFO Step Freq

Random

Stereo In - Stereo Out

Step-Tri

Left

Wet / Dry

LEQ HEQ

Exciter

b: LFO Phase [degree]

Offsetting the left and right phases alters how modula-

EQ Trim

Delay

Depth

tion is applied to the left and right channels, creating a

Delay

EQ Trim

swelling affect.

Exciter

Enhancer

LFO Phase

Right

+90

Wet / Dry

+180 [degree]

-mod

–180 –90 0 [degree]

Exciter Blend

–100...+100

Sets the intensity (depth) of the Exciter effect

➛,

Src

Off...Tempo

Selects the modulation source of the Exciter intensity

Amt

–100...+100

Sets the modulation amount of the Exciter intensity

e: BPM, f: Step Base Note, f: Times

The width of an LFO step, or a cycle of random LFO, is

obtained by multiplying the length of a note (^ꢂ…ꢄ)

(selected for “Step Base Note”, in relation to the tempo

speciﬁed in “BPM,” or the MIDI Clock tempo if “BPM” is

set to MIDI) by the number speciﬁed in the “Times”

parameter.

Emphatic Point

Sets the frequency to be emphasized

0...70

➛,

Src

Off...Tempo

Selects the modulation source of the frequency to be emphasized

Amt

–70...+70

Sets the amount of modulation of the frequency to be emphasized

Enhancer Dly L (Enhancer Delay L) [msec]

Sets the delay time for the Enhancer left channel

0.0...50.0msec

j: Wet/Dry

➛

The effect sound’s phase will be reversed when you set

this parameter in the range of values from –Wet to –1:99.

Enhancer Dly R (Enhancer Delay R) [msec]

Sets the delay time for the Enhancer right channel

0.0...50.0msec

➛

Enhancer Depth

0...100

Sets the determines to what degree the Enhancer effect is applied

Src

Off...Tempo

Selects the modulation source of the Enhancer width

Amt

–100...+100

Sets the modulation amount of the Enhancer width

EQ Trim

Sets the 2-band EQ input level

0...100

Pre LEQ Gain [dB]

–15.0...+15.0dB

Table , “Sets the gain of Low EQ,” on page 176

Pre HEQ Gain [dB]

–15.0...+15.0dB

Table , “Sets the gain of High EQ,” on page 176

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: Exciter Blend

This parameter sets the depth (intensity) of the Exciter

effect. Positive values give a frequency pattern (to be

emphasized) different from negative values.

b: Emphatic Point

This parameter sets the frequency to be emphasized.

Higher values will emphasize lower frequencies.

c: Enhancer Dly L [msec], d: Enhancer Dly R [msec]

These parameters set the delay time for the Enhancer left

and right channel. Specifying a slightly different delay

time for the left and right channel will add a stereo

image, depth, and width to the sound.

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Effe cts

Filter/ Dynamic

1 8 3

012: Sub Oscill

013:Talking Mod

(St e re o Su b Oscilla t o r)

(Ta lkin g Mo d u la t o r)

This effect adds very low frequencies to the input signal. It is

very useful when simulating a roaring drum sound or

emphasizing powerful low range. This effect is different from

the equalizer in that you can add very low range harmonics.

You can also adjust the oscillator frequency to match a partic-

ular note number, for use as an octaver.

This effect adds an unusual character, like a human voice, to

the input signal. Modulating the tone via dynamic modula-

tion, you can create an interesting effect that sounds as if the

guitar or synthesizer is talking.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Stereo In - Stereo Out

Left

Wet / Dry

Talking Modulator A-I-U-E-O

Envelope Shape

Envelope Sens

Pre LPF

Sine Oscillator

Pitch

Fixed

-mod

Fixed Frequency

Note Interval, Fine

Right

OSC Mode

Wet / Dry

Note No.

Note (Key Follow)

Voice Top: A

Voice Center: I

Voice Bottom: U

Sweep Mode

-mod

D-mod

LFO

Envelope Sens

Pre LPF

LFO

Envelope Shape

Right

Wet / Dry

Sweep Mode

D-mod, LFO

Switches between modulation source control and LFO control

OSC Mode

Note (Key Follow), Fixed

Determines whether the oscillator frequency follows the note number or

whether it is ﬁxed

Manual Voice Control

Voice pattern control

Bottom, 1...49, Center, 51...99, Top

Off...Tempo

➛

Note Interval

–48...0

Src

Sets the pitch difference from the note number when OSC Mode=Note (Key

Follow)

Selects the modulation source that controls the voice pattern

➛

Voice Top

A, I, U, E, O

Note Fine

–100...+100

Selects a vowel sound at the top end of control

➛

Fine adjustment of the oscillator frequency

➛

Voice Center

Selects a vowel sound in the center of control

A, I, U, E, O

Fixed Frequency [Hz]

Sets the oscillator frequency when OSC Mode=Fixed

10.0...80.0Hz

➛

Voice Bottom

Selects a vowel sound at the bottom end of control

A, I, U, E, O

Src

Off...Tempo

➛

Selects the modulation source for the oscillator frequency when OSC

Mode=Fixed

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Amt

–80...+80Hz

Sets the oscillator frequency modulation amount when OSC Mode=Fixed

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source of LFO speed

Envelope Pre LPF 1...100

Sets the upper limit of the frequency range for which very low harmonics are

added

Amt

➛

Sets the modulation amount of LFO speed

Envelope Sens (Envelope Sensitivity)

Sets the sensitivity with which very low harmonics are added

0...100

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

Envelope Shape

Sets the oscillator’s volume envelope curve

–100...+100

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Src

Off...Tempo

Times

x1...x16

➛ Fx:009

Table , “Selects the modulation source of the effect balance ,” on page 175

Sets the number of notes that specify the LFO speed

Amt

–100...+100

Formant Shift

Sets the frequency to which the effect is applied

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

➛

Resonance

0...100

Sets the Level of resonance of the voice pattern

➛

a: OSC Mode, b: Note Interval, b: Note Fine

Wet/Dry

Dry, 1:99...99:1, Wet

The “OSC Mode” parameter selects the oscillator opera-

tion mode. When Note (Key Follow ) is selected, the oscil-

lator’s frequency is determined based on the note

number, allowing you to use it as an octaver. The “Note

Interval” parameter sets the pitch offset from the original

note number by semitone steps. The “Note Fine” parame-

ter allows you to ﬁne-tune in steps of cents.

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

d: Envelope Pre LPF

c: Voice Top, d: Voice Center, e: Voice Bottom

These parameters assign vowels to the top, center, and

bottom position of the controller.

E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice

Bottom”=U:

This parameter sets the upper limit of the frequency range

to which very low harmonics are added. Adjust this

parameter if you do not want to add lower harmonics to

the higher range.

If “Sweep Mode ”is set to D-mod and Ribbon is selected as

the modulation source, moving your ﬁnger from the right

to left of the ribbon controller will change the sound from

“a” to “i,” then “u.”

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Effe cts

Filter/ Dynamic

1 8 4

If Sweep Mode is set to LFO, the sound will change cycli-

cally from “a” to “i,” “u,” “i,” then “a.”

Talking Modulator Control

014: Decimator

(St e re o De cim a t o r)

This effect creates a rough sound like a cheap sampler by low-

ering the sampling frequency and data bit length. You can

also simulate noise unique to a sampler (aliasing).

Voice Bottom

Voice Center

Voice Top

Stereo In - Stereo Out

Left

Wet / Dry

High Damp Output Level

Pre LPF Resolution

Sampling Frequency

Ribbon

-mod

+ Max

Decimator

Zero

– Max

JS +Y

JS –Y

etc…

-mod

LFO

Zero

h: Formant Shift

Pre LPF

High Damp Output Level

Resolution

This parameter adjusts the frequency level to which the

effect is applied. If you wish to apply the effect to a

higher-range sound, set this parameter to a higher value;

to apply the effect to a lower-range sound, set this to a

lower value.

Right

Wet / Dry

Pre LPF

Off, On

Selects whether the harmonic noise caused by a decrease in sampling fre-

quency is generated or not

➛

h: Resonance

High Damp [%]

Sets the ratio of cut of the high range

0...100%

This parameter sets the intensity of resonance for the

voice pattern. A larger value will add more character to

the sound.

Sampling Freq (Sampling Frequency) [Hz]

Sets the sampling frequency

1.00k...48.00kHz

Off...Tempo

Src

Selects the modulation source of the sampling frequency

Amt

–48.00k...+48.00kHz

Sets the modulation amount of the sampling frequency

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Off...Tempo

Src

Selects the modulation source of LFO speed

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

Depth

0...100

Sets the depth of the sampling frequency LFO modulation

Src

Off...Tempo

Selects the LFO modulation source of the sampling frequency

Amt

–100...+100

Sets the LFO modulation amount of the sampling frequency

Resolution

Sets the data bit length

4...24

➛

Output Level

Sets the output level

0...100

➛,

Src

Off...Tempo

Selects the modulation source for the output level

Amt

–100...+100

Sets the modulation amount of the output level

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: Pre LPF

If a sampler with a very low sampling frequency receives

very high-pitched sound that could not be heard during

playback, it could generate pitch noise that is unrelated to

the original sound. Set “Pre LPF” to ON to prevent this

noise from being generated.

If you set the “Sampling Freq” to about 3kHz and set “Pre

LPF” to OFF, you can create a sound like a ring modulator.

e: Resolution, f: Output Level

If you set a smaller value for the “Resolution” parameter,

the sound may be distorted. The volume level may also be

changed. Use “Output Level” to adjust the level.

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Effe cts

Pitch/ Phase Mod.

1 8 5

015: Analog Rec

(St e re o An a lo g Re co rd )

PITCH/PHASE MOD.

This effect simulates the noise caused by scratches and dust

on analog records. It also reproduces some of the modulation

caused by a warped turntable.

Pitch/ phase modulation effects

016: Chorus

(St e re o Ch o ru s)

Stereo In - Stereo Out

Left

Wet / Dry

This effect adds thickness and warmth to the sound by mod-

ulating the delay time of the input signal. You can add spread

to the sound by offsetting the phase of the left and right LFOs

from each other.

EQ Trim

Pre EQ

Analog Record

Simulation

EQ Trim

Pre EQ

Stereo In - Stereo Out

Right

Wet / Dry

Left

Wet / Dry

LEQ

HEQ

Chorus

EQ Trim

Speed [RPM]

Sets the r.p.m. of a record

33 1/3, 45, 78

LEQ

HEQ

Flutter

0...100

Sets the modulation depth

➛

Right

Wet / Dry

Noise Density

0...100

LFO Phase

Sets the noise density

LFO: Tri / Sine

Noise Tone

0...100

Sets the noise tone

Noise Level

Sets the noise level

0...100

LFO Waveform

Selects LFO Waveform

Triangle, Sine

Src

Off...Tempo

–100...+100

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

Selects the modulation source for the noise level

Amt

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Sets the modulation amount of the noise level

Click Level

Sets the click noise level

0...100

Src

Off...Tempo

➛,

Selects the modulation source of LFO speed

Src

Off...Tempo

Amt

–20.00...+20.00Hz

Selects the modulation source for the click noise level

Sets the modulation amount of LFO speed

Amt

–100...+100

BPM/MIDI Sync

Off, On

Sets the modulation amount of the click noise level

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

EQ Trim

0...100

Table , “Sets the EQ input level,” on page 176

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Pre EQ Cutoff [Hz]

Sets the EQ center frequency

300...10.00kHz

0.5...10.0

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Sets the EQ band width

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

Gain [dB]

–18.0...+18.0dB

Sets the EQ gain

L Pre Delay [msec]

Sets the delay time for the left channel

0.0...50.0msec

➛

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

R Pre Delay [msec]

Sets the delay time for the right channel

0.0...50.0msec

➛

Src

Off...Tempo

Depth

0...100

Table , “Selects the modulation source of the effect balance ,” on page 175

Sets the depth of LFO modulation

Amt

–100...+100

Src

Off...Tempo

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Selects the modulation source of the LFO modulation depth

Amt

–100...+100

Sets the modulation amount of the LFO modulation depth

b: Flutter

EQ Trim

0...100

–15.0...+15.0dB

Table , “Sets the EQ input level,” on page 176

This parameter enables you to set the depth of the modu-

lation caused by a warped turntable.

e: Click Level

This parameter enables you to set the level of the click

noise that occurs once every rotation of the turntable.

This simulation reproduces record noise, and the noise

generated after the music on a vinyl record ﬁnishes.

Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010,

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

e: L Pre Delay [msec], f: R Pre Delay [msec]

Setting the left and right delay time individually allows

you to control the stereo image.

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Effe cts

Pitch/ Phase Mod.

1 8 6

h: Feedback

017: Harm.Chorus

Sets the feedback amount of the chorus block. Increasing

the feedback will allow you to use the effect as a ﬂanger.

(St e re o Ha rm o n ic Ch o ru s)

This effect applies chorus only to higher frequencies. This

can be used to apply a chorus effect to a bass sound without

making the sound thinner. You can also use this chorus block

with feedback as a ﬂanger.

018: MTap Ch/Dly

(Mu lt it a p Ch o ru s/De la y)

This effect has four chorus blocks with a different LFO phase.

You can create a complex stereo image by setting each block’s

delay time, depth, output level, and pan individually. You can

also ﬁx some of the chorus blocks to combine the chorus and

delay effects.

Stereo In - Stereo Out

Left

Low Level

Wet / Dry

Chorus/Flanger

High Level

High Damp

Feedback

High Damp

High/Low Split Point

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Low Level

Right

Wet / Dry

Feedback

Wet / Dry

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

LFO Phase

Level

Pan

LFO: Tri / Sine

Level

LFO Waveform

Triangle, Sine

Right

Selects LFO Waveform

0 [degree]

Wet / Dry

180 [degree]

90 [degree]

270 [degree]

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

LFO: Triangle

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

LFO Frequency [Hz]

Sets the LFO speed

0.02...13.00Hz

0...570msec

0...30

Src

Off...Tempo

Selects the modulation source of LFO speed

Tap1(000) [msec]

Sets the Tap1 (LFO phase=0 degrees) delay time

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

Depth

BPM/MIDI Sync

Off, On

Sets the Tap1 chorus depth

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

Level

0...30

Sets the Tap1 output level

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Pan

L6...L1, C, R1...R6

0...570msec

Sets the Tap1 stereo image

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Tap2(180) [msec]

Sets the Tap2 (LFO phase=180 degrees) delay time

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

Depth

0...30

Sets the Tap2 chorus depth

Pre Delay [msec]

Sets the delay time from the original sound

0.0...50.0msec

0...100

Level

Sets the Tap2 output level

Depth

Sets the depth of LFO modulation

Pan

L6...L1, C, R1...R6

Sets the Tap2 stereo image

Src

Off...Tempo

Selects the modulation source of the LFO modulation depth

Tap3(090) [msec]

Sets the Tap3 (LFO phase=90 degrees) delay time

0...570msec

Amt

–100...+100

Sets the modulation amount of the LFO modulation depth

Depth

0...30

Sets the Tap3 chorus depth

High/Low Split Point

Sets the frequency split point between the low and high range

1...100

➛

Level

Sets the Tap3 output level

Feedback

–100...+100

Sets the feed back amount of the chorus block

➛

Pan

L6...L1, C, R1...R6

0...570msec

Sets the Tap3 stereo image

High Damp [%]

Sets the high range damping amount of the chorus block

0...100%

Tap4(270) [msec]

Sets the Tap4 (LFO phase=270 degrees) delay time

Low Level

Sets the low range output level

0...100

Depth

0...30

Sets the Tap4 chorus depth

High Level

Sets the high range (chorus) output level

Level

Sets the Tap4 output level

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Pan

L6...L1, C, R1...R6

Sets the Tap4 stereo image

Src

Off...Tempo

Tap1 Feedback

Sets the T a p1 feedback amount

–100...+100

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Src

Off...Tempo

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Selects the modulation source of Tap1 feedback amount and effect balance

Amt

–100...+100

Sets the Tap1 feedback amount and modulation amount

g: High/Low Split Point

Wet/Dry

Dry, 1:99...99:1, Wet

This parameter sets the frequency that splits the high and

low range. Only the high range will be sent to the chorus

block.

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Pitch/ Phase Mod.

1 8 7

019: Ensemble

020: Flanger

(St e re o Fla n g e r)

This Ensemble effect has three chorus blocks that use LFO to

create subtle shimmering, and gives three dimensional depth

and spread to the sound, because the signal is output from

the left, right, and center.

This effect gives a signiﬁcant swell and movement of pitch to

the sound. It is more effective when applied to a sound with a

lot of harmonics. This is a stereo ﬂanger. You can add spread

to the sound by offsetting the phase of the left and right LFOs

from each other.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Stereo In - Stereo Out

Left

Wet / Dry

Ensemble

Flanger

Feedback

Right

Wet / Dry

High Damp

Flanger

Shimmer

LFO

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri / Sine

Speed

1...100

Sets the LFO speed

Src

Off...Tempo

–100...+100

0...100

Delay Time [msec]

Sets the delay time from the original sound

0.0...50.0msec

Triangle, Sine

Selects the modulation source of LFO speed

Amt

LFO Waveform

Selects LFO Waveform

Sets the modulation amount of LFO speed

Depth

LFO Shape

–100...+100

Sets the depth of LFO modulation

Determines how much the LFO waveform is changed

➛

Src

Off...Tempo

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

Selects the modulation source of the LFO modulation depth

Amt

–100...+100

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Sets the modulation amount of the LFO modulation depth

Shimmer

0...100

Src

Off...Tempo

Sets the amount of shimmering of the LFO waveform

➛

Selects the modulation source of LFO speed

Wet/Dry

Dry, 1:99...99:1, Wet

Amt

–20.00...+20.00Hz

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the modulation amount of LFO speed

BPM/MIDI Sync

Off, On

Src

Off...Tempo

Switches between using the frequency of the LFO speed and using the

tempo and notes

Table , “Selects the modulation source of the effect balance ,” on page 175

➛ Fx:009,

Amt

–100...+100

BPM

MIDI, 40...240

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Selects MIDI Clock and assigns tempo

➛ Fx:009

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

c: Shimmer

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

This parameter sets the amount of shimmering of the LFO

waveform. Increasing this value adds more shimmering,

making the chorus effect more complex and richer.

Depth

0...100

Sets the depth of LFO modulation

Feedback

Sets the feedback amount

–100...+100

Ensemble LFO

Level

➛

High Damp [%]

0...100%

Shimmer

Sets the feedback damping amount in the high range

➛

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Time

➛ Fx:010,

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Pitch/ Phase Mod.

1 8 8

b: LFO Shape

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

Changing the LFO waveform shape controls the peak

sweep of ﬂanging effects.

High Damp [%]

Sets the feedback damping amount in the high range

0...100%

➛ Fx:020

LFO Shape

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

LFO Shape = 0...+100

LFO Shape = 0...–100

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010, 020,

LFO Waveform=Sine

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

g: Feedback, h: Wet/Dry

The peak shape of the positive and negative “Feedback”

value is different. The harmonics will be emphasized

when the effect sound is mixed with the dry sound if you

set a positive value for both “Feedback” and “Wet/Dry”,

and if you set a negative value for both “Feedback” and

“Wet/Dry”.

022: Envel.Flang

(St e re o En ve lo p e Fla n g e r)

This Flanger uses an envelope generator for modulation. You

will obtain the same pattern of ﬂanging each time you play.

You can also control the Flanger directly using the modula-

tion source.

g: High Damp [% ]

This parameter sets the amount of damping of the feed-

back in the high range. Increasing the value will cut high-

range harmonics.

Stereo In - Stereo Out

Left

Wet / Dry

Flanger

Feedback

021: RandomFlang

(St e re o Ra n d o m Fla n g e r)

High Damp

Flanger

The stereo effect uses a step-shape waveform and random

LFO for modulation, creating a unique ﬂanging effect.

Right

Wet / Dry

D-mod

Sweep Mode

-mod

Stereo In - Stereo Out

EG Attack/Decay

Left

Wet / Dry

Flanger

Feedback

L Dly Bottom [msec] (L Delay Bottom)0.0...50.0msec

Sets the lower limit of the delay time on the left channel➛ Fx:009

High Damp

Flanger

L Dly Top [msec] (L Delay Top)0.0...50.0msec

Sets the upper limit of the delay time on the left channel➛ Fx:009

Right

Wet / Dry

R Dly Bottom [msec] (R Delay Bottom)0.0...50.0msec

Sets the lower limit of the delay time on the right channel➛ Fx:009

LFO Phase

LFO: Step-Tri/Random

R Dly Top [msec] (R Delay Top)0.0...50.0msec

Sets the upper limit of the delay time on the right channel➛ Fx:009

Sweep ModeEG, D-mod

Determines whether the ﬂanger is controlled by the envelope gen-

erator or by the modulation source➛,

Delay Time [msec]

Sets the delay time from the original sound

0.0...50.0msec

LFO Waveform

Selects LFO Waveform

Step-Tri, Random

SrcOff...Tempo

➛ Fx:010

Selects the modulation source that triggers the EG (when EG is

selected for Sweep Mode), or modulation source that causes the

ﬂanger to sweep (when D-mod is selected for Sweep Mode)➛

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:010,

EG Attack

Sets the EG attack speed

1...100

➛

Src

Off...Tempo

EG Decay

Sets the EG decay speed

1...100

Selects the modulation source used for both LFO speed and step speed

➛

Amt

–20.00...+20.00Hz

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

Sets the modulation amount of LFO speed

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed (speed that changes in steps)

0.05...50.00Hz

High Damp [%]0...100%

Sets the feedback damping amount in the high range➛ Fx:020

➛ Fx:010,

Wet/Dry–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on

page 175

Amt

–50.00...+50.00Hz

Sets the modulation amount of LFO step speed

➛010, 020,

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using the

SrcOff...Tempo

tempo and notes

➛ Fx:009,

Table , “Selects the modulation source of the effect balance ,” on

page 175

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009, 010

Amt

–100...+100

Table , “Sets the modulation amount of the

effect balance,” on page 175

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

c: Sw eep Mode, c: Src

This parameter switches the ﬂanger control mode. With

“Sweep Mode” = EG, the ﬂanger will sweep using the

envelope generator. This envelope generator is included

in the envelope ﬂanger, and not related to the Pitch EG,

Filter EG, or Amp EG.

Step Base Note

Selects the type of notes to specify the LFO step speed

ꢂ ꢊ ꢈ ꢉ ꢊ ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

➛ Fx:010,

Times

x1...x32

Sets the number of notes to specify the LFO step speed ➛ Fx:010

Depth

0...100

Sets the depth of LFO modulation

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Effe cts

Pitch/ Phase Mod.

1 8 9

The “Src” parameter selects the source that starts the

envelope generator. If you select, for example, Gate, the

envelope generator will start when the note-on message

is received.

When “Sweep Mode” = D-mod, the modulation source

can control the ﬂanger directly. Select the modulation

source using the “Src” parameter.

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

MIDI, 40...240

BPM

Selects MIDI Clock and assigns tempo

➛ Fx:009

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

The effect is off when a value for the modulation source speci-

ﬁed for the “Src” parameter is smaller than 64, and the effect is

on when the value is 64 or higher. The Envelope Generator is

triggered when the value changes from 63 or smaller to 64 or

higher.

Manual

0...100

Sets the frequency to which the effect is applied

Depth

0...100

Sets the depth of LFO modulation

Src

Off...Tempo

d: EG Attack, d: EG Decay

Selects the modulation source for the LFO modulation depth

Attack and Decay speed are the only adjustable parame-

ters on this EG.

Amt

–100...+100

Sets the modulation amount of the LFO modulation depth

Resonance

–100...+100

Sets the resonance amount

➛

023: Phaser

(St e re o Ph a se r)

High Damp [%]

Sets the resonance damping amount in the high range

0...100%

➛

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

This effect creates a swell by shifting the phase. It is very

effective on electric piano sounds. You can add spread to the

sound by offsetting the phase of the left and right LFOs from

each other.

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010,

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

Stereo In - Stereo Out

ance,” on page 175

Left

Wet / Dry

Phaser

g: Resonance, h: Wet/Dry

Resonance

The peak shape of the positive and negative Feedback

value is different. The harmonics will be emphasized

when the effect sound is mixed with the dry sound, if you

set a positive value for both “Resonance” and “Wet/Dry”,

and if you set a negative value for both “Resonance” and

“Wet/Dry”.

High Damp

Phaser

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri / Sine

g: High Damp [% ]

This parameter sets the amount of damping of the reso-

nance in the high range. Increasing the value will cut

high-range harmonics.

LFO Waveform

Selects LFO Waveform

Triangle, Sine

–100...+100

LFO Shape

Determines how much the LFO waveform is changed

➛ Fx:020

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Src

Off...Tempo

Selects the modulation source of LFO speed

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

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Effe cts

Pitch/ Phase Mod.

1 9 0

024: RandomPhser

025: Envel.Phser

(St e re o Ra n d o m Ph a se r)

(St e re o En ve lo p e Ph a se r)

This is a stereo phaser. The effect uses a step-shape waveform

and random LFO for modulation, creating a unique phasing

effect.

This stereo phaser uses an envelope generator for modula-

tion. You will obtain the same pattern of phasing each time

you play. You can also control the Phaser directly using the

modulation source.

Stereo In - Stereo Out

Left

Stereo In - Stereo Out

Wet / Dry

Left

Wet / Dry

Phaser

Resonance

High Damp

Phaser

High Damp

Phaser

Right

Wet / Dry

LFO Phase

Right

Wet / Dry

LFO: Step-Tri/Random

D-mod

-mod

Sweep Mode

EG Attack/Decay

LFO Waveform

Selects LFO Waveform

Step-Tri, Step-Sin, Random

➛ Fx:010

L Manu Bottom (L Manual Bottom)

0...100

Sets the lower limit of the frequency range for the effect on the left channel

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

➛ Fx:009

L Manu Top (L Manual Top)

Sets the upper limit of the frequency range for the effect on the left channel

➛ Fx:009

0...100

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:010,

Src

Off...Tempo

R Manu Bottom (R Manual Bottom)

Sets the lower limit of the frequency range for the effect on the right channel

➛ Fx:009

0...100

Selects the modulation source commonly used for LFO speed and step

speed

Amt

–20.00...+20.00Hz

R Manu Top (R Manual Top)

0...100

Sets the modulation amount of LFO speed

Sets the upper limit of the frequency range for the effect on the right chan-

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed

0.05...50.00Hz

➛ Fx:010,

nel

➛ Fx:009

Sweep Mode

EG, D-mod

Amt

–50.00...+50.00Hz

Determines whether the ﬂanger is controlled by the envelope generator or

Sets the modulation amount of LFO step speed

by the modulation source

➛ Fx:022,

BPM/MIDI Sync

Off, On

Src

Off...Tempo

Switches between using the frequency of the LFO speed and using the

tempo and notes

Selects the modulation source that triggers the EG (when EG is selected for

Sweep Mode), or modulation source that causes the ﬂanger to sweep

(when D-mod is selected for Sweep Mode)

➛ Fx:009,

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛009, 010

EG Attack

1...100

Sets the EG attack speed

➛ Fx:022

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

EG Decay

Sets the EG decay speed

1...100

➛ Fx:022

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

Step Base Note

ꢂ ꢊ ꢈ ꢉ ꢊ ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes to specify the LFO step speed

High Damp [%]

Sets the resonance damping amount in the high range

0...100%

➛ Fx:023

➛ Fx:010,

Times

x1...x32

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Sets the number of notes to specify the LFO step speed ➛ Fx:010

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010, 023,

Manual

0...100

Sets the frequency to which the effect is applied

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Depth

Sets the depth of LFO modulation

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

High Damp [%]

Sets the resonance damping amount in the high range

0...100%

➛ Fx:023

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010, 023,

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Pitch/ Phase Mod.

1 9 1

026: BiphaseMod.

027: Vibrato

(St e re o Bip h a se Mo d u la t io n )

(St e re o Vib ra t o )

This stereo chorus effect adds two different LFOs together.

You can set the Frequency and Depth parameters for each

LFO individually. Depending on the setting of these LFOs,

very complex waveforms will create an analog-type, unstable

modulated sound.

This effect causes the pitch of the input signal to shimmer.

Using the AutoFade allows you to increase or decrease the

shimmering speed.

Stereo In - Stereo Out

Left

Wet / Dry

Vibrato

Stereo In - Stereo Out

Left

Wet / Dry

Chorus/Flanger

High Damp

Feedback

Right

High Damp

Wet / Dry

Chorus/Flanger

LFO: Tri / Sine

AutoFade

LFO Shape

Fade-In Delay

LFO Frequency

Right

Wet / Dry

180 [degree]

LFO1: Tri / Sine

LFO2: Tri / Sine

AUTOFADE Src

Off...Tempo

Selects the modulation source that starts AutoFade

➛,

Fade-In Rate

Sets the rate of fade-in

1...100

LFO1 Waveform

Selects LFO1 waveform

Triangle, Sine

➛

Fade-In Delay [msec]

Sets the fade-in delay time

00...2000msec

LFO2 Waveform

➛

Selects LFO2 waveform

LFO Waveform

Selects LFO Waveform

Triangle, Sine

LFO Phase Sw

Switches the LFO phase difference between left and right

0 degree, 180 degree

LFO Shape

–100...+100

➛ Fx:020

LFO1 Frequency [Hz]

Sets the LFO1 speed

0.02...30.00Hz

Off...Tempo

Determines how much the LFO waveform is changed

LFO Frequency Mod

Switches between D-mod and AUTOFADE for the LFO frequency modula-

tion

D-mod, AUTOFADE

Src

Selects the modulation source of LFO1&2 speed

➛

Amt

–30.00...+30.00

0.02...30.00Hz

–30.00...+30.00

0...100

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Sets the modulation amount of LFO1 speed

LFO2 Frequency [Hz]

Sets the LFO2 speed

Src

Off...Tempo

Selects the modulation source of LFO speed

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO2 speed

Sets the modulation amount of LFO speed

Depth1

BPM/MIDI Sync

Off, On

Sets the depth of LFO1 modulation

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

Src

Off...Tempo

Selects the modulation source of LFO1&2 modulation depth

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Amt

–100...+100

Sets the modulation amount of LFO1 modulation depth

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Depth2

0...100

Sets the depth of LFO2 modulation

Times

x1...x16

➛ Fx:009

Sets the number of notes that specify the LFO speed

Amt

–100...+100

Sets the modulation amount of LFO2 modulation depth

Depth

0...100

Sets the depth of LFO modulation

L Pre Delay [msec]

Sets the delay time for the left channel

0.0...50.0msec

➛ Fx:016

Src

Off...Tempo

Selects the modulation source of the LFO modulation depth

R Pre Delay [msec]

Sets the delay time for the right channel

0.0...50.0msec

➛ Fx:016

Amt

–100...+100

Sets the modulation amount of the LFO modulation depth

Feedback

–100...+100

Sets the feedback amount

➛ Fx:017

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

High Damp [%]

0...100%

Sets the damping amount in the high range

Src

Off...Tempo

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

T a ble , “Selects the modulation source of the eff ect balance ,” on page 175

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010,

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

d: L FO F requency Mod, a: AUTOFADE Src, a: Fade-In Rate

b: Fade-In Delay [msec]

When “LFO Frequency Mod” is set to AUTOFADE, you can

use the modulation source selected in “AUTO FADE Src”

as a trigger to automatically fade in the modulation

amount. When “BPM/MIDI Sync” is set to On, you cannot

use this.

Bi-Phase Modulation LFO

LFO1

LFO2

Depth1

Depth2

The “Fade-in Rate” parameter speciﬁes the rate of fade-

in. The “Fade-in Delay” parameter determines the time

from AutoFade modulation source ON until the fade-in

starts.

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Effe cts

Pitch/ Phase Mod.

1 9 2

The following is an example of fade-in where the LFO

speed is increased from “1.0Hz” to “4.0Hz” when a note-

on message is received.

“AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0

“LFO Frequency Mod”=AUTOFADE, “Amt”=3.0

Wet/Dry Mod

D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the effect balance modulation

➛ Fx:027

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010, 020,

Src

Off...Tempo

The effect is off when a value for the dynamic modulation

source speciﬁed for the “AUTOFADE Src” parameter is smaller

than 64, and the effect is on when the value is 64 or higher. The

AutoFade function is triggered when the value changes from 63

or smaller to 64 or higher.

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

AUTOFADE AutoFade

AUTOFADE Src=Gate1

LFO Frequency[Hz]=1.0

LFO Freq. Mod=AUTOFADE

Amt=+3.0

029: 2Voice Res

Gate1 Signal

AUTOFADE

This effect resonates the input signal at a speciﬁed pitch. You

can set the pitch, output level, and pan settings for two reso-

nators individually. You can control the resonance intensity

via an LFO.

All Note Off

Note On

LFO Frequency

=1.0+3.0=4.0Hz

Fade-In Rate

Fade-In Dealy

LFO Frequency

=1.0Hz

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

High Damp

028: AutoFadeMod.

Resonator

Level Pan

Trim

(St e re o Au t o Fa d e Mo d u la t io n )

Resonance

This stereo chorus/ﬂanger effect enables you to control the

LFO speed and effect balance using auto fade, and you can

spread the sound by offsetting the phase of the left and right

LFOs from each other.

Resonator

Level

Pan

Trim

High Damp

Right

Wet / Dry

-mod

Invert: On/Off

LFO

Pitch, Fine [cent]

Control Mode

Stereo In - Stereo Out

Manual

Left

Wet / Dry

Delay

Control Mode

Switches the controls of resonance intensity

Manual, LFO, D-mod

Feedback

➛,

High Damp

Delay

LFO/D-mod Invert

Off, On

Reverses the Voice 1 and 2 control when LFO/D-mod is selected

➛

Right

Wet / Dry

LFO Phase

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

LFO Shape

LFO: Tri / Sine

AutoFade

LFO Frequency

Wet / Dry

D-mod Src

Off...Tempo

Selects the modulation source that controls resonance intensity

Mod. Depth

–100...+100

Sets the amount of resonance intensity control via LFO/D-mod

AUTOFADE Src

Off...Tempo

Selects the modulation source that starts AutoFade

Trim

0...100

C0...B8

➛ Fx:027,

Sets the input level at the resonator

Rate

1...100

Voice1: Pitch

Sets the voice1 Pitch for resonance

Sets the rate of fade-in

➛ Fx:027

Fade-In Dly (Fade-In Delay) [msec]

Sets the fade-in delay time

00...2000msec

Fine [cent]

–50...+50

➛ Fx:027

Fine-adjusts the voice 1 pitch for resonance

LFO Waveform

Triangle, Sine

Voice1: Resonance

Sets the intensity of resonance when Control Mode = Manual

–100...+100

Selects LFO Waveform

➛

LFO Shape

–100...+100

➛ Fx:020

High Damp [%] 0...100%

Sets the damping amount of resonant sound in the high range

Determines how much the LFO waveform is changed

➛

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:010

–180...+180

Voice1: Level

Sets the Voice1 output level

0...100

LFO Frequency Mod D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the LFO frequency modula-

Pan

L6...R6

C0...B8

Sets the Voice1 stereo image

tion

➛ Fx:027

Voice2: Pitch

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Sets the Voice2 Pitch for resonance

Fine [cent]

–50...+50

Src

Off...Tempo

Fine-adjusts the voice 2 pitch for resonance

Selects the modulation source of LFO speed

Voice2: Resonance

Sets the intensity of resonance when Control Mode = Manual

–100...+100

Amt

–20.00...+20.00Hz

➛

Sets the modulation amount of LFO speed

High Damp [%]

0...100%

L Delay Time [msec]

Sets the left channel delay time

0.0...500.0msec

0...200

Sets the damping amount of resonant sound in the high range

➛

Voice2: Level

Sets the Voice2 output level

0...100

R Delay Time [msec]

Sets the right channel delay time

Pan

L6...R6

Depth

Sets the Voice2 stereo image

Sets the depth of LFO modulation

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

High Damp [%]

0...100%

Sets the feedback damping amount in the high range

➛ Fx:020

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Effe cts

Pitch/ Phase Mod.

1 9 3

Wet/Dry

Dry, 1:99...99:1, Wet

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Src

Off...Tempo

Selects the modulation source of LFO speed

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Sets the modulation amount of LFO speed

Table , “Sets the modulation amount of the effect bal-

BPM/MIDI Sync

ance,” on page 175

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

a: Control Mode, e: Voice1: Resonance, h: Voice2:

Resonance

BPM

MIDI, 40...240

➛ Fx:009

Selects MIDI Clock and assigns tempo

This parameter determines the resonance intensity.

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

When “Control Mode”

Manual, the “Resonance”

Times

x1...x16

parameter sets the intensity of resonance. If the “Reso-

nance” parameter has a negative value, harmonics will be

changed, and resonance will occur at a pitch one octave

lower.

When “Control Mode” = LFO, the intensity of resonance

varies according to the LFO. The LFO sways between posi-

tive and negative values, causing resonance to occur

between speciﬁed pitches an octave apart in turn.

When “Control Mode” = D-mod, the resonance is con-

trolled by the dynamic modulation source. If JS X or Rib-

bon is assigned as the modulation source, the pitch an

octave higher and lower can be controlled, similar to

when LFO is selected for Control Mode.

Sets the number of notes that specify the LFO speed

➛ Fx:009

Pitch Depth

Sets the pitch variation of the moving sound

0...100

➛,

Src

Off...Tempo

Selects the modulation source of pitch variation

Amt

–100...+100

Sets the modulation amount of pitch variation

Pan Depth

Sets the panning of the moving sound

–100...+100

➛,

Src

Off...Tempo

Selects the modulation source of panning

Amt

–100...+100

Sets the modulation amount of panning

Wet/Dry

Dry, 1:99...99:1, Wet

a: LFO/D-mod Invert

Table , “Sets the balance between the effect and dry sounds ,” on page 175

When “Control Mode” = LFO or D-mod, the controlled

phase of either Voice 1 or 2 will be reversed. When the

resonance pitch is set for Voice 1 (Resonance has a positive

value), Voice 2 will resonate at a pitch an octave below

(Resonance has a negative value).

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

d: Voice1: Pitch, d: Fine [cent], g: Voice2: Pitch, g: Fine

[cent]

The Pitch parameter speciﬁes the pitch of resonance by

note name. The “Fine” parameter allows for ﬁne adjust-

ment in steps of cents.

a: LFO Mode, a: Src, b: LFO Sync

The “LFO Mode” parameter switches LFO operation

mode. When Loop is selected, the Doppler effect will be

created repeatedly. If “LFO Sync” is set to On, the LFO will

be reset when the modulation source speciﬁed with the

“Src” parameter is turned on.

When “LFO Mode” is set to 1-Shot, the Doppler effect is

created only once when the modulation source speciﬁed

in the “Src” ﬁeld is turned on. At this time if you do not

set the “Src” parameter, the Doppler effect will not be

created, and no effect sound will be output.

e: High Damp [% ], h: High Damp [% ]

This parameter sets the damping amount of resonant

sound in the high range. Lower values will make a metal-

lic sound with a higher range of harmonics.

030: Doppler

This effect simulates the “Doppler effect” of a moving sound

with a changing pitch, similar to the siren of an passing

ambulance. Mixing the effect sound with the dry sound will

create a unique chorus effect.

The effect is off when a value for the modulation source speci-

ﬁed for the “Src” parameter is smaller than 64, and the effect is

on when the value is 64 or higher. The Doppler effect is trig-

gered when the value changes from 63 or smaller to 64 or

higher.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

e: Pitch Depth

With the Doppler effect, the pitch is raised when the

sound approaches, and the pitch is lowered when the

sound goes away. This parameter sets this pitch variation.

f: Pan Depth

This parameter sets the width of the stereo image of the

effect sound. With larger values, the sound seems to come

and go from much further away. With positive values, the

sound moves from left to right; with negative values, the

sound moves from right to left.

Doppler

Pan Depth

Right

Wet / Dry

LFO

-mod

LFO Mode = 1-Shot

Trigger

LFO Mode

Switches LFO operation mode

Loop, 1-Shot

➛,

Doppler - Pitch / Pan Depth

Pitch

Src

Off...Tempo

Pan Depth

= (+) value

Pan Depth

= (–) value

When LFO Mode is set to 1-Shot, this modulation source triggers the LFO

➛

Original Pitch

Pitch Depth

LFO Sync

Off, On

Switches between LFO reset on and off when LFO Mode is set to Loop➛

Center

Left

Right

Pan Depth

< <<<<<< >>>>>> >

Volume

Louder

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Effe cts

Pitch/ Phase Mod.

1 9 4

a: Scratch Source, b: Response

031: Scratch

The Scratch Source parameter enables you to select the

modulation source that controls simulation. The value of

the modulation source corresponds to the playback posi-

tion. The Response parameter enables you to set the

speed of the response to the modulation source.

This effect is applied by recording the input signal and mov-

ing the modulation source. It simulates the sound of

scratches you can make using a turntable.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Scratch Source

Wet / Dry

Start

Playback Position

End

Direct

Mix

Recorded Sound

Scratch

Rec Control

Right

Scratch Source

Scratch!

Zero

Wet / Dry

JS X

-mod

D-mod

-mod

+ Max

Ribbon

– Max

Envelope Control

Input

JS+Y

JS–Y

etc…

Envelope Select

+ Max

-mod

Zero

c: Envelope Select, c: Src, d: Threshold

When “Envelope Select” is set to D-mod, the input signal

will be recorded only when the modulation source value is

64 or higher.

When “Envelope Select” is set to Input, the input signal

will be recorded only when its level is over the Threshold

value.

The maximum recording time is 1365msec. If this is

exceeded, the recorded data will start being erased from

the top.

Scratch Source

Selects the modulation source for simulation control

Off...Tempo

➛,

Response

0...100

Sets the speed of the response to the Scratch Source

➛

Envelope Select

D-mod, Input

Selects whether the start and end of recording is controlled via the modula-

tion source or the input signal level

➛,

Src

Off...Tempo

Selects the modulation source that controls recording when Envelope

Select is set to D-mod

➛

e: Response

Threshold

0...100

Sets the recording start level when Envelope Select is set to Input

This parameter enables you to set the speed of the

response to the end of recording. Set a smaller value

when you are recording a phrase or rhythm pattern, and

set a higher value if you are recording only one note.

f: Direct Mix

➛

Response

0...100

Sets the speed of the response to the end of recording

➛

Direct Mix

Selects how a dry sound is mixed

Always On, Always Off, Cross Fade

➛

With Alw ays On, a dry sound is usually output. With

Alw a ys Off , d ry sounds are not output. W i t h Cross Fade, a

dry sound is usually output, and it is muted only when

scratching.

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

S e t Wet/Dry to Wet t o u s e t h i s p arameter effectively.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mod./ P.Shift

1 9 5

b: LFO Phase [degree]

MOD./P.SHIFT

This parameter determines the difference between the

left and right LFO phases. A higher value will simulate the

auto-pan effect in which the sound is panned between

left and right.

Other modulation and pitch shift effects

032: Tremolo

(St e re o Tre m o lo )

033: EnvelTremol

(St e re o En ve lo p e Tre m o lo )

This effect modulates the volume level of the input signal.

The effect is stereo, and offsetting the LFO of the left and

right phases from each other produces a tremolo effect

between left and right.

This effect uses the input signal level to modulate a stereo

tremolo. You can simulate a tremolo effect that becomes

deeper as it fades out while the level gets lower.

Stereo In - Stereo Out

Left

Wet / Dry

Tremolo

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri/Sin/Vintage

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

Envelope

Envelope Shape

Envelope Sens

LFO Waveform

Triangle, Sine, Vintage, Up, Down

Selects LFO Waveform

➛

Envelope Sens (Envelope Sensitivity)

0...100

LFO Shape

–100...+100

➛ Fx:020

Sets the envelope sensitivity of the input signal

Determines how much the LFO waveform is changed

Envelope Shape

–100...+100

LFO Phase [degree]

Sets the LFO phase difference between the left and right

–180...+180

Sets the envelope curve shape of the input signal

➛

LFO Waveform

Selects LFO Waveform

Triangle, Sine, Vintage

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

LFO Shape

–100...+100

➛ Fx:020

Src

Off...Tempo

Determines how much the LFO waveform is changed

Selects the modulation source of LFO speed

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:032

–180...+180

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

BPM/MIDI Sync

Off, On

➛

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

Envelope Amount [Hz]

–20.00...+20.00Hz

Sets the changes of the LFO speed according to the input signal level➛

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Depth

0...100

Sets the depth of LFO modulation

➛

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Envelope Amount

–100...+100

Sets the changes of the modulation depth according to the input signal level

Times

x1...x16

➛

Sets the number of notes that specify the LFO speed

➛ Fx:009

Wet/Dry

Dry, 1:99...99:1, Wet

Depth

0...100

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the depth of LFO modulation

Src

Off...Tempo

Src

Off...Tempo

Selects the modulation source of the depth of modulation

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Amt

–100...+100

Sets the modulation amount of the depth of modulation

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

d: LFO Frequency [Hz], d: Envelope Amount [Hz],

e: D e pth, e: E n ve l o pe A m ount

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

These parameters set the modulation via an envelope

(i n put s i g nal l e v e l ).

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

The “LFO speed” is obtained by adding the “LFO Fre-

quency” value to the “Envelope Amount” value multi-

plied by the input signal. The LFO modulation depth is

obtained by adding the Depth value to the “Envelope

Amount” value multiplied by the input signal level.

a:LFO Waveform

This parameter selects the LFO waveform. Vintage wave

simulates the characteristics of the tremolo created on a

guitar ampliﬁer. Combining this effect with the Amp Sim-

ulation will make a realistic, vintage tremolo ampliﬁer

•

The following example indicates that the “Depth” is 0

with an LFO Frequency of 1.0Hz and the maximum

input, and that the “Depth” is 100 with a Frequency of

8.0Hz with zero input.

sound.

Tremolo - LFO Waveform

Triangle

Vintage

Down

Sine

“LFO Frequency [Hz]”=8.0, “Envelope Amount [Hz]”=–7.0

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Effe cts

Mod./ P.Shift

1 9 6

“Depth”=100, “Envelope Amount”=–100

Depth

0...100

Sets the depth of LFO modulation

Shimmer

Level

Dry Envelope

LFO Frequency[Hz]=8.0

Envelope Amount[Hz]= –7.0Hz

Depth=100

Src

Off...Tempo

Selects the modulation source of the depth of modulation

Envelope Amount= –100

Amt

–100...+100

Sets the modulation amount of the depth of modula-

tion

Time

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

034: Auto-Pan

(St e re o Au t o Pa n )

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

This Auto Pan effect pans sound between left and right. It is

stereo, and shifting the left and right LFO phases from each

other will simulate the sound of the left and right channels

crossing over each other by turns, or chasing each other.

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: LFO Shape

You can change the panning curve by modifying the LFO

waveform.

b: LFO Phase

This parameter determines the difference in the left and

right LFO phases. When you change the value gradually

from 0, the sound from the left and right channels will

chase each other around. If you set the parameter to +180

or –180, the sound from each channel will cross over each

other.

Stereo In - Stereo Out

Left

Wet / Dry

Pan

Depth

Pan

Right

Wet / Dry

LFO Phase

LFO: Tri / Sin

LFO Shape

You need to input different sounds to each channel in

order for this parameter to be effective.

Stereo Auto Pan - LFO Phase

LFO Waveform

Selects LFO Waveform

Triangle, Sine

–100...+100

LFO Phase = 0 degrees

LFO Phase = 90 degrees

L-In

LFO Phase = 180 degrees

L-In

R-In

LFO Shape

R-In

L-In

Determines how much the LFO waveform is changed

➛

L-In

R-In

L-In

R-In

LFO Phase [degree]

–180...+180

R-In

Sets the LFO phase difference between the left and right

➛

L-In

R-In

L-In

R-In

L-In

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

R-In

L-In

R-In

L-In

R-In

Src

Off...Tempo

L-In

R-In

L-In

Selects the modulation source of LFO speed

R-In

Amt

–20.00...+20.00Hz

Left

Right

Center

Output Stereo Image

Sets the modulation amount of LFO speed

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using the

tempo and notes

➛ Fx:009,

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Times

x1...x16

Sets the number of notes that specify the LFO speed

➛ Fx:009

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Effe cts

Mod./ P.Shift

1 9 7

enables you to offset the timing of the phaser peak and

control a subtle movement and rotation of the sound.

f: Phaser WetDry, i: Wet/Dry

The “Phaser Wet/Dry” parameter sets the balance

between the phaser output and the dry sound. The “Wet/

Dry” parameter sets the balance between the ﬁnal phaser

and tremolo output level and the dry sound.

035: Phaser/Trem

(St e re o Ph a se r + Tre m o lo )

This effect has a stereo phaser and tremolo LFOs linked

together. Swelling phaser modulation and tremolo effects

synchronize with each other, creating a soothing modulation

effect. It is suitable for electric piano type sounds.

Stereo In - Stereo Out

Left

Wet / Dry

036: RingModulat

Phaser

Tremolo

(St e re o Rin g Mo d u la t o r)

Phaser Wet / Dry

Resonance

This effect creates a metallic sound by applying the oscillators

to the input signal. Use the LFO or Dynamic Modulation to

modulate the oscillator to create a radical modulation.

Matching the oscillator frequency with a note number will

produce a ring modulation effect in speciﬁc key ranges.

Phaser Wet / Dry

Right

Wet / Dry

LFO Type

LFO

LFO Shape

LFO Phase

Stereo In - Stereo Out

Left

Wet / Dry

Type:

Phs - Trml...Phs LR - Trml LR

Pre LPF

Ring Modulator

Selects the type of the tremolo and phaser LFOs

➛

LFO Phase [degree]

Sets the phase difference between the tremolo and phaser LFOs

–180...+180

Pre LPF

➛

Ring Modulator

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Right

Wet / Dry

Sine Oscillator

Pitch

Fixed

Fixed Frequency

Note No.

Src

Off...Tempo

OSC Mode

Note Offset, Fine

Selects the modulation source of LFO speed

Note (Key Follow)

LFO

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using the

Pre LPF

0...100

tempo and notes

➛ Fx:009,

Sets the damping amount of the high range input to the ring modulator➛

BPM

MIDI, 40...240

OSC Mode Fixed, Note (Key Follow)

Switching between specifying the oscillator frequency and using a note

number

Selects MIDI Clock and assigns tempo

➛ Fx:009

➛

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Fixed Frequency [Hz]

Sets the oscillator frequency when OSC Mode is set to Fixed

0...12.00kHz

Times

x1...x16

➛,

Sets the number of notes that specify the LFO speed

➛ Fx:009

Src

Off...Tempo

Phaser Manual

0...100

Selects the modulation source for the oscillator frequency when OSC Mode

is set to Fixed

Sets the phaser frequency range

Resonance

Sets the phaser resonance amount

–100...+100

Amt

–12.00...+12.00kHz

Sets the modulation amount of the oscillator frequency when OSC Mode is

set to Fixed

Phaser Depth

Sets the phaser modulation depth

0...100

Note Offset

–48...+48

Sets the pitch difference from the original note when OSC Mode is set to

Note (Key Follow)

Src

Off...Tempo

➛

Selects the modulation source for the phaser modulation depth

Note Fine

Fine-adjusts the oscillator frequency

–100...+100

Amt

–100...+100

➛

Sets the modulation amount for the phaser modulation depth

LFO Frequency [Hz]

Sets the LFO speed of the oscillator frequency modulation

0.02...20.00Hz

Phaser Wet/Dry

Sets the balance between the phaser effect and dry sounds

–Wet...–2:99, Dry, 2:99...Wet

➛

➛ Fx:009,

Tremolo Shape

Sets the degree of the tremolo LFO shaping

–100...+100

➛ Fx:020

Src

Off...Tempo

Selects the modulation source of LFO speed

Tremolo Depth

Sets the tremolo modulation depth

0...100

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

Src

Off...Tempo

BPM/MIDI Sync

Off, On

Selects the modulation source for the tremolo modulation depth

Switches between using the frequency of the LFO speed and using the

tempo and notes

Amt

–100...+100

➛ Fx:009,

Sets the modulation amount of the tremolo modulation depth

BPM

MIDI, 40...240

Wet/Dry

Dry, 1:99...99:1, Wet

Selects MIDI Clock and assigns tempo

➛ Fx:009

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛,

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Selects the type of notes that specify the LFO speed

➛ Fx:009

Src

Off...Tempo

Times

x1...x16

➛ Fx:009

Table , “Selects the modulation source of the effect balance ,” on page 175

Sets the number of notes that specify the LFO speed

Amt

–100...+100

LFO Depth

0...100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Sets the depth of LFO modulation for the oscillator frequency

Src

Off...Tempo

a: Type, a: LFO Phase [degree]

Selects the modulation source of the depth of modulation

Select the type of phaser LFO and tremolo LFO for the

“Type” parameter. How the effect sound moves or rotates

depends on the type of LFO. Selecting “LFO Phase”

Amt

–100...+100

Sets the modulation amount of the depth of modulation

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Effe cts

Mod./ P.Shift

1 9 8

037: Detune

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Using this effect, you can obtain a detune effect that offsets

the pitch of the effect sound slightly from the pitch of the

input signal. Compared to the chorus effect, a more natural

sound thickness will be created.

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

a: Pre LPF

Input Level

This parameter enables you to set the damping amount of

the high range sound input to the ring modulator. If the

input sound contains lots of harmonics, the effect may

sound dirty. In this case, cut a certain amount of high

range.

High Damp

Feedback

Delay

Detune

Input Level

Right

Wet / Dry

b: OSC Mode

This parameter determines whether or not the oscillator

frequency follows the note number.

c: Fixed Frequency [Hz]

This parameter sets the oscillator frequency when “OSC

Mode” is set to Fixed.

d: Note Offset, d: Note Fine

These parameters for the oscillator are used when “OSC

Mode” is set to Note (Key Follow ). The “Note Offset” sets

the pitch difference from the original note in semitone

steps. The “Note Fine” parameter ﬁne-adjusts the pitch in

cent steps. Matching the oscillator frequency with the

note number produces a ring modulation effect in the

correct key.

Pitch Shift [cent]

Sets the pitch difference from the input signal

–100...+100cent

Off...Tempo

Src

Selects the modulation source of the pitch shift

Amt

–100...+100cent

0...1000msec

–100...+100

0...100%

Sets the modulation amount of the pitch shift

Delay Time [msec]

Sets the delay time

Feedback

Sets the feedback amount

High Damp [%]

Sets the damping amount in the high range

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛,

Src

Off...Tempo

Selects the modulation source for the input level

➛

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

d: Input Level Dmod [% ], d: Src

This parameter sets the dynamic modulation of the input

level.

Input Level D-mod

Input Level

x1.0

Input Level

x1.0

Amt= +50

Amt= –50

Amt= +100

Amt= –100

x0.5

-mod

Higher

Zero

Max

Zero

Max

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Effe cts

Mod./ P.Shift

1 9 9

038: PitchShift

(Pit ch Sh ift e r)

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

Src

Off...Tempo

➛ Fx:037

This effect changes the pitch of the input signal. You can

select from three types: Fast (quick response), Medium, and

Slow (preserves tonal quality). You can also create an effect in

which the pitch is gradually raised (or dropped) using the

delay with feedback.

Selects the modulation source for the input level

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet / Dry

Input Level

High Damp

a: Mode

Delay

Post

Pitch Shifter

This parameter switches the pitch shifter operating mode.

With Slow, tonal quality will not be changed too much.

With Fast, the effect becomes a Pitch Shifter that has a

quick response, but may change the tone. Medium is in

between these two. If you do not need to set too much

pitch shift amount, set this parameter to Slow. If you wish

to change the pitch signiﬁcantly, use Fast.

Pre

Feedback Position

Feedback

Input Level

Right

Wet / Dry

Mode

Slow, Medium, Fast

Switches Pitch Shifter mode

➛

Pitch Shift [1/2tone]

–24...+24

➛,

b: Pitch Shift [1/2tone], b: Src, b: Amt, c: Fine [cent], c: Amt

The amount of pitch shift will use the value of the “Pitch

Shift” plus the “Fine” value. The amount of modulation

will use the c: Amt value plus d: “Amt.”

Modulation Source is used both for “Pitch Shift” and

“Fine.”

Sets the pitch shift amount by steps of a semitone

Src

Off...Tempo

Selects the modulation source of pitch shift amount

➛

Amt

–24...+24

Sets the modulation amount of pitch shift amount

➛

Fine [cent]

–100...+100cent

e: Feedback Position, f: Feedback

Sets the pitch shift amount by steps of a cent

➛,

When “Feedback Position” is set to Pre, the pitch shifter

output is again input to the pitch shifter. Therefore, if you

specify a higher value for the Feedback parameter, the

pitch will be raised (or lowered) more and more each time

feedback is repeated.

If “Feedback Position” is set to Post, the feedback signal

will not pass through the pitch shifter again. Even if you

specify a higher value for the Feedback parameter, the

pitch-shifted sound will be repeated at the same pitch.

Amt

–100...+100cent

Sets the modulation amount of pitch shift amount

➛

Delay Time [msec]

Sets the delay time

0...1000msec

Feedback Position

Switches the feedback connection.

Pre, Post

➛

Feedback

Sets the feedback amount

–100...+100

➛

High Damp [%]

Sets the damping amount in the high range

0...100%

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Effe cts

Mod./ P.Shift

2 0 0

039: PitShiftMod.

040: RotarySpeak

(Pit ch Sh ift Mo d u la t io n )

(Ro t a ry Sp e a ke r)

This effect modulates the detuned pitch shift amount using

an LFO, adding a clear spread and width to the sound by pan-

ning the effect sound and dry sound to the left and right.

This is especially effective when the effect sound and dry

sound output from stereo speakers are mixed.

This effect simulates a rotary speaker, and obtains a more

realistic sound by simulating the rotor in the low range and

the horn in the high range separately. The effect also simu-

lates the stereo microphone settings.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Horn

Wet / Dry

Mic Distance

Mic Spread

Rotary Speaker

Rotor

Horn/Rotor

Balance

Pitch Shifter

Speaker Simulation

Right

-mod

Pan

Wet / Dry

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Manual Speed Control

Right

Wet / Dry

-mod

LFO: Tri / Sqr

Pitch Shift [cent]

Sets the pitch difference from the input signal

–100...+100cent

Mode Switch

Switches between speaker rotation and stop

Rotate, Stop

➛

LFO Waveform

Selects LFO Waveform

Triangle, Square

Src

Off...Tempo

Selects the modulation source that toggles between rotation and stop

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

➛ Fx:009,

Sw Toggle, Moment

Selects switching mode of the modulation source that toggles between rota-

tion and stop

➛

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source of LFO speed

Speed Switch

Slow, Fast

Switches the speaker rotation speed between slow and fast

Amt

Sets the modulation amount of LFO speed

Src

Off...Tempo

Selects the modulation source that toggles between slow and fast

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using the

Toggle, Moment

tempo and notes

➛ Fx:009,

Selects switching mode of the modulation source that toggles between slow

and fast

➛

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

➛ Fx:009

Manual Speed Ctrl (Manual Speed Control)

Off...Tempo

Selects the modulation source in case the rotation speed is changed

Base Note

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

directly

➛,

Selects the type of notes that specify the LFO speed

➛ Fx:009

Horn Acceleration

0...100

Times

x1...x16

How quickly the horn rotation speed in the high range is switched

Sets the number of notes that specify the LFO speed

➛ Fx:009

➛

Depth

–100...+100

➛,

Horn Ratio

Stop, 0.50...2.00

Sets the LFO modulation depth for pitch shift amount

Adjusts the (high-range side) horn rotation speed. Standard value is 1.00.

Selecting “Stop” will stop the rotation

Src

Off...Tempo

Selects the modulation source of the depth of modulation

Rotor Acceleration

0...100

Amt

–100...+100

Determines how quickly the rotor rotation speed in the low range is switched

➛

Sets the modulation amount of the depth of modulation

Pan

L, 1:99...99:1, R

Rotor Ratio

Stop, 0.50...2.00

Sets the panning effect sound and dry sound separately

➛

Adjusts the (low-range side) rotor rotation speed. Standard value is 1.00.

Selecting “Stop” will stop the rotation

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛,

Horn/Rotor Balance

Sets the level balance between the high-range horn and low-range rotor

Rotor, 1...99, Horn

Src

Off...Tempo

Mic Distance 0...100

Table , “Selects the modulation source of the effect balance ,” on page 175

Sets the distance between the microphone and rotary speaker

➛

Amt

–100...+100

Mic Spread

Sets the angle of left and right microphones

0...100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

➛

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

a: Pitch Shift [cent], e: Depth

These parameters set the amount of pitch shift and

amount of modulation by means of the LFO.

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Pitch Shift Mod - Pitch Shift / Depth

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Pitch

LFO Waveform=Triangle

Depth (+value)

Pitch Shift (+ value)

Original Pitch

a: Sw

LFO Waveform=Square

This parameter sets how the modulation source switches

between rotation and stop.

Depth (–value)

When “Sw” = Toggle, the speaker rotates or stops alter-

nately each time you press the pedal or operate the joy-

stick.

f: Pan, g: Wet/Dry

The Pan parameter pans the effect sound and dry sound

to the left and right. With L, the effect sound is panned

left, and the dry sound is panned right. With a Wet/Dry =

Wet setting, the effect and dry sound will be output in a

proportion of 1:1.

Each time the value for the modulation source exceeds 64, the

speaker rotates or stops alternately.

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Effe cts

Mod./ P.Shift

2 0 1

When “Sw” = Moment, the speaker is rotating. It stops

c: Manual Speed Ctrl

only when you press the pedal or operate the joystick.

If you wish to control the speaker rotation speed manu-

ally, not switching between Slow and Fast, select the mod-

ulation source in the “Manual Speed Ctrl” ﬁeld. If manual

control is not necessary, set this ﬁeld to Off.

Rotation will occur when the value of the modulation source is

less than 64, and will stop when the value is 64 or greater.

b: Sw

d: Horn Acceleration, e: Rotor Acceleration

This parameter sets how the rotation speed (slow and

fast) is switched via the modulation source.

When “Sw” = Toggle, the speed is switched between slow

and fast each time you press the pedal or operate the joy-

stick.

On a real rotary speaker, the rotation speed is accelerated

or decelerated gradually after you switch the speed. The

“Horn Acceleration” parameter sets the speed at which

the rotation is accelerated or decelerated.

g: Mic Distance, g: Mic Spread

This is a simulation of stereo microphone settings.

Slow/fast will alternate each time the value of the modulation

source exceeds 64.

Rotary Speaker - Mic Placement

Mic Spread

Microphone

When “Sw” = Moment, the speed is usually slow. It

becomes fast only when you press the pedal or operate

the joystick.

Mic Distance

When a value for the modulation source is less than 64, “slow”

speed is selected, and when the value is 64 or higher, “fast” is

selected.

Rotary Speaker (Top View)

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Effe cts

ER/ Delay

2 0 2

042: AutoReverse

(Au t o Re ve rse )

ER/DELAY

This effect records the input signal and automatically plays it

in reverse (the effect is similar to a tape reverse sound).

Early reﬂection and delay effects

041: Early Reﬂ

(Ea rly Re ﬂ e ct io n s)

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

This effect is only the early reﬂection part of a reverberation

sound, and adds presence to the sound. You can select one of

the four decay curves.

Direct

Mix

Auto Reverse

Rec/Reverse Play

Control

Right

Wet / Dry

D-mod

Input

Envelope Select

-mod

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Envelope Control

Wet / Dry

EQ Trim

LEQ

HEQ

Pre Delay

Early Reflections

Rec Mode

Sets the recording mode

Single, Multi

➛

EQ Trim

Reverse Time [msec]

20...1320msec

Right

Sets the maximum duration of the reverse playback

Envelope Select

➛

Wet / Dry

D-mod, Input

Selects whether the start and end of recording is controlled via the modula-

tion source or the input signal level

➛,

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reﬂection

➛

Src

Off...Tempo

Selects the modulation source that controls recording when Envelope

Select is set to D-mod

ER Time [msec]

Sets the time length of early reﬂection

10...800msec

➛

Threshold

0...100

Pre Delay [msec]

0...200msec

Sets the recording start level when Envelope Select is set to Input

Sets the time taken from the original sound to the ﬁrst early reﬂection

➛

EQ Trim

0...100

Response

0...100

➛ Fx:031

Sets the input level of EQ applied to the effect sound

Sets the speed of the response to the end of recording

Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

–15.0...+15.0dB

Direct Mix

Selects how a dry sound is mixed

Always On, Always Off, Cross Fade

➛ Fx:031

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Src

Off...Tempo

Amt

–100...+100

Table , “Selects the modulation source of the effect balance ,” on page 175

T a ble , “Sets the modulation amount of the eff ect bal-

ance,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: Rec Mode, b: Reverse Time

When ”Rec Mode“ is set to Single, you can set up to

1320msec for “Reverse Time. ”If recording starts during

the reverse playback, the playback will be interrupted.

When “Rec Mode” is set to Multi, you can make another

recording during the reverse playback. However, the max-

imum Reverse Time is limited to 660msec.

If you wish to record a phrase or rhythm pattern, set “Rec

Mode” to Single. If you record only one note, set “Rec

Mode” to Multi.

a: Type

This parameter selects the decay curve for the early reﬂec-

tion.

Early Reflections - Type

Sharp

Loose

The “Reverse Time” parameter speciﬁes the maximum

duration of the reverse playback. The part in excess of this

limit will not be played in reverse. If you wish to add short

pieces of the reverse playback of single notes, make the

“Reverse Time” shorter.

Modulated

Reverse

Rec Mode/Reverse Time

Rec

Reverse Rec

Reverse

Envelope Select = Input

Dry

ER Time

Pre Delay

Input

Time

Rec Mode = Single

Rec Mode = Multi

Reverse Time

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Effe cts

ER/ Delay

2 0 3

c: Envelope Select, c: Src, d: Threshold

e: High Damp [% ], e: Low Damp [% ]

These parameters select the source to control the start

and end of recording.

These parameters set the damping amount of high range

and low range. The tone of the delayed sound becomes

darker and lighter as it feeds back.

When “Envelope Select” is set to D-mod, the input signal

will be recorded only when the value of the modulation

source selected by the Src parameter is 64 or higher.

When “Envelope Select” is set to Input, the input signal

will be recorded only when its level exceeds the Threshold

level.

g: Spread

This parameter sets the pan width of the effect sound.

The stereo image is widest with a value of 50, and the

effect sound of both channels is output from the center

with a value of 0.

When recording is completed, reverse playback starts

immediately.

044: Cross Delay

(St e re o /Cro ss De la y)

043: L/C/R Delay

This is a stereo delay, and can by used as a cross-feedback

delay effect in which the delay sounds cross over between the

left and right by changing the feedback routing.

This multitap delay outputs three Tap signals to the left,

right, and center respectively. You can also adjust the left and

right spread of the delay sound.

Stereo In - Stereo Out

Left

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Wet / Dry

High Damp Low Damp

Wet / Dry

Delay

Input Level D-mod

L Delay

Input Level D-mod

Level

Stereo/Cross

Feedback

Spread

High Damp Low Damp

C Delay

Input Level D-mod

High Damp

Low Damp

Delay

Stereo/Cross

Feedback

R Delay

Input Level D-mod

Right

Wet / Dry

Right

Wet / Dry

Stereo/Cross

Stereo, Cross

Switches between stereo delay and cross-feedback delay

L Delay Time [msec]

Sets the delay time of TapL

0...1360msec

0...50

L Delay Time [msec]

Sets the delay time for the left channel

0.0...680.0msec

–100...+100

Level

Sets the output level of TapL

R Delay Time [msec]

Sets the delay time for the right channel

C Delay Time [msec]

Sets the delay time of TapC

0...1360msec

0...50

L Feedback

Sets the feedback amount for the left channel

Level

Sets the output level of TapC

Src

Off...Tempo

Selects the modulation source of feedback amount

R Delay Time [msec]

Sets the delay time of TapR

0...1360msec

0...50

Amt L

–100...+100

Sets the modulation amount of the left channel feedback

Level

Sets the output level of TapR

R Feedback

Sets the feedback amount for the right channel

–100...+100

Feedback (C Delay)

Sets the feedback amountof TapC

–100...+100

Amt R

–100...+100

Sets the modulation amount of the right channel feedback

Src

Off...Tempo

Selects the modulation source of the TapC feedback amount

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Amt

–100...+100

Sets the modulation amount of the TapC feedback amount

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

High Damp [%]

Sets the damping amount in the high range

0...100%

➛

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛

Src

Off...Tempo

➛ Fx:037

Selects the modulation source for the input level

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

Spread

–50...+50

➛ Fx:043

Sets the width of the stereo image of the effect sound

Src

Off...Tempo

Selects the modulation source for the input level

➛ Fx:037

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Spread

0...50

Sets the width of the stereo image of the effect sound

➛

Src

Off...Tempo

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

ER/ Delay

2 0 4

045: M.Tap Delay

046: Modul.Delay

(St e re o Mu lt it a p De la y)

(St e re o Mo d u la t io n De la y)

The left and right Multitap Delays have two taps respectively.

Changing the routing of feedback and tap output allows you

to create various patterns of complex effect sounds.

This stereo delay uses an LFO to sweep the delay time. The

pitch also varies. You will obtain a delay sound with swell and

shimmering. You can also control the delay time using a

modulation source.

Stereo In - Stereo Out

Left

Wet / Dry

Stereo In - Stereo Out

Feedback

Left

Wet / Dry

Delay

(2)

Input Level D-mod

(1)

High Damp Low Damp

Mode

Tap1 Level

Delay

Tap1=(1)

Tap2=(2)

Mode Spread

(2)

High Damp Low Damp (1)

Feedback

Delay

Feedback

Right

Wet / Dry

Right

Wet / Dry

Mode: Normal

Mode: Cross Feedback

Mode: Cross Pan1

Mode: Cross Pan2

D-mod

-mod

Response

L/R: +/+ +/–

LFO Shape

LFO: Tri / Sine

LFO Sync

LFO

Modulation Mode

LFO Phase

Mode

Normal, Cross Feedback, Cross Pan1, Cross Pan2

Switches the left and right delay routing

➛

Modulation Mode

LFO, D-mod

Switches between LFO modulation control and modulation source control

Tap1 Time [msec]

Sets the Tap1 delay time

0.0...680.0msec

D-mod Modulation

Reversed L/R control by modulation source

L/R:+/+, L/R:+/–

➛,

Tap2 Time [msec]

Sets the Tap2 delay time

0.0...680.0msec

Src

Off...Tempo

Selects the modulation source that controls delay time

Tap1 Level

Sets the Tap1 output level

0...100

➛

Response

0...30

Sets the rate of response to the modulation source

Feedback (Tap2)

–100...+100

Sets the Tap2 feedback amount

LFO Waveform

Triangle, Sine

Selects LFO Waveform

Src

Off...Tempo

Selects the modulation source of the Tap2 feedback amount

LFO Shape

–100...+100

➛ Fx:020

Determines how much the LFO waveform is changed

Amt

–100...+100

Sets the modulation amount of the Tap2 feedback amount

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

LFO Sync

Switches LFO reset off/on

Off, On

➛,

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

Src

Off...Tempo

Selects the modulation source that resets the LFO

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

L LFO Phase [degree]

–180...+180

Sets the phase obtained when the left LFO is reset

➛

Src

Off...Tempo

Selects the modulation source for the input level

➛ Fx:037

R LFO Phase [degree]

Sets the phase obtained when the right LFO is reset

–180...+180

➛

Spread

–100...+100

Sets the width of the stereo image of the effect sound

L Depth

0...200

➛ Fx:043,

Off...Tempo

Sets the depth of the left LFO modulation

Src

R Depth

0...200

Selects the modulation source of the effect sound’s stereo image width

Sets the depth of the right LFO modulation

Amt –100...+100

L Delay Time [msec]

Sets the left delay time

0.0...500.0

–100...+100

Sets the modulation amount of the effect sound’s stereo image width

Wet/Dry Dry, 1:99...99:1, Wet

R Delay Time [msec]

Sets the right delay time

Table , “Sets the balance between the effect and dry sounds ,” on page 175

L Feedback

Sets the feedback amount of left delay

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

R Feedback

Sets the feedback amount of right delay

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

ance,” on page 175

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:010,

a: Mode

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

You can change how the left and right delay signals are

panned by modifying the routing of the left and right

delay as shown in the ﬁgure above. You need to input dif-

ferent sounds to each channel in order for this parameter

to be effective.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

b: D-mod Modulation

d: Tap1 Level

When the modulation source is used for control, this

parameter reverses the left and right modulation direc-

tion.

This parameter sets the output level of Tap1. Setting a dif-

ferent level from Tap2 will add a unique touch to a

monotonous delay and feedback.

e: LFO Sync, e: Src,

f: L LFO Phase [degree], f: R LFO Phase [degree]

The LFO can be reset via a modulation source.

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Effe cts

ER/ Delay

2 0 5

The “Src” parameter sets the modulation source that

resets the LFO. For example, you can assign Gate as a mod-

ulation source so that the sweep always starts from the

speciﬁed point.

“L LFO Phase” and “R LFO Phase” set the phase obtained

when the left and right LFOs are reset. In this way, you can

create changes in pitch sweep for the left and right chan-

nels individually.

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

Spread

–100...+100

➛ Fx:043

Sets the width of the stereo image of the effect sound

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

The effect is off when a value of the modulation source speci-

ﬁed in the “Src” parameter is 63 or smaller, and the effect is on

when the value is 64 or higher. The LFO is triggered and reset to

the “L LFO Phase” and “R LFO Phase” settings when the value

changes from 63 or smaller to 64 or higher.

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

a: Control Target

047: Dynam.Delay

This parameter selects no level control, delay output con-

trol (effect balance), or feedback amount control.

a: Polarity, b: Threshold, b: Offset, c: Attack, d: Release

The “Offset” parameter speciﬁes the value for the “Con-

trol Target” parameter (that is set to None), expressed as

the ratio relative to the parameter value (the “Wet/Dry”

value with “Control Target”=Out, or the “Feedback”

value with “Control Target”=FB).

When “Polarity” is positive, the “Control Target” value is

obtained by multiplying the parameter value by the “Off-

set” value (if the input level is below the threshold), or

equals the parameter value if the input level exceeds the

threshold.

When “Polarity” is negative, Control Target value equals

the parameter value if the input level is below the thresh-

old, or is obtained by multiplying the parameter value by

the “Offset” value if the level exceeds the threshold.

The “Attack” and “Release” parameters specify attack

time and release time of delay level control.

(St e re o Dyn a m ic De la y)

This stereo delay controls the level of delay according to the

input signal level. You can use this as a ducking delay that

applies delay to the sound only when you play keys at a high

velocity or only when the volume level is low.

Stereo In - Stereo Out

Left

Wet / Dry

High Damp Low Damp

Delay

Feedback

Spread

High Damp Low Damp

Delay

Right

Wet / Dry

Out

Control Target

Attack, Release

Envelope

Threshold

Control Target

None, Out, FB

Selects from no control, output, and feedback

➛

Dynamic Delay

Level

Polarity

Reverses level control

+, –

➛

Dry

Threshold

0...100

Sets the level to which the effect is applied

➛

Release

Envelope

Attack

Offset

0...100

Sets the offset of level control

➛

(Ducking Delay)

Wet

Attack

1...100

Sets the attack time of level control

➛

Control Target=Out

Polarity= (–)

Release

1...100

Delay Time

Sets the release time of level control

➛

Wet

Control Target=Out

Polarity= (+)

L Delay Time [msec]

Sets the delay time for the left channel

0.0...680.0msec

–100...+100

Time

R Delay Time [msec]

Sets the delay time for the right channel

Feedback

Sets the feedback amount

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Effe cts

ER/ Delay

2 0 6

048: AutoPan Dly

(St e re o Au t o Pa n n in g De la y)

L Delay Time [msec]

Sets the delay time for the left channel

0.0...680.0msec

–100...+100

L Feedback

Sets the feedback amount for the left channel

This stereo delay effect pans the delay sound left and right

using the LFO.

R Delay Time [msec]

Sets the delay time for the right channel

0.0...680.0msec

–100...+100

Stereo In - Stereo Out

R Feedback

Sets the feedback amount for the right channel

Left

Wet / Dry

High Damp Low Damp

Pan

Delay

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Feedback

Depth

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

High Damp Low Damp

LFO Waveform

Selects LFO Waveform

Triangle, Sine

Right

Wet / Dry

LFO Phase

LFO Shape

–100...+100

LFO: Tri / Sin

LFO Shape

Determines how much the LFO waveform is changed

➛ Fx:020

LFO Phase [degree]

Sets the LFO phase difference between the left and right ➛ Fx:034

–180...+180

Panning Frequency [Hz]

Sets the panning speed

0.02...20.00Hz

0...100

Panning Depth

Sets the panning width

Src

Off...Tempo

–100...+100

Selects the modulation source for the panning width

Amt

Set the modulation amount of the panning width

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

ER/ Delay

2 0 7

a: BPM, b: L Delay Base Note, b: Times, c: C Delay Base

Note,

c: Times, d: R Delay Base Note, d: Times

The delay time is the length of the note obtained by mul-

tiplying the “Base Note” parameter by the Times value, in

relation to the tempo speciﬁed by the “BPM” parameter

(or the MIDI Clock tempo if “BPM” is set to MIDI).

049: LCR BPM Dly

The L/C/R delay enables you to match the delay time with the

song tempo. You can also synchronize the delay time with the

arpeggiator or sequencer. If you program the tempo before

performance, you can achieve a delay effect that synchronizes

with the song in real-time. Delay time is set by notes.

Note: With extreme values, the sync may be lost.

050: BPM Delay

(St e re o BPM De la y)

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Wet / Dry

L Delay

C Delay

Input Level D-mod

This stereo delay enables you to set the delay time to match

the song tempo.

Note: With extreme values, the sync may be lost.

Level

Spread

High Damp Low Damp

Input Level D-mod

Feedback

R Delay

Stereo In - Stereo Out

Right

Wet / Dry

Left

Wet / Dry

Tempo

High Damp Low Damp

BPM

Base Note x Times

BPM

Delay

Input Level D-mod

Base Note x Times

Feedback

High Damp Low Damp

Input Level D-mod

Delay

BPM

MIDI, 40...240

➛,

Right

Tempo

Selects MIDI Clock and assigns tempo

Wet / Dry

BPM

L Delay Base Note

Selects the type of notes to specify the delay time for TapL

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Adjust [%]

Base Note x Times

BPM

➛,

Times

x1...x16

Sets the number of notes to specify the delay time for TapL

➛

BPM

MIDI, 40...240

➛ Fx:049,

Selects MIDI Clock and assigns tempo

Level

0...50

Sets the output level of TapL

R >

----, OVER!!

Display the error message if the right channel delay time exceeds the upper

limit

C Delay Base Note

Selects the type of notes to specify the delay time for TapC

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

➛

➛,

L Delay Base Note

Selects the type of notes to specify the left channel delay time

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Times

x1...x16

➛ Fx:049,

Sets the number of notes to specify the delay time for TapC

➛

Times

x1...x16

Level

Sets the number of notes to specify the left channel delay time

Sets the output level of TapC

➛ Fx:049

R Delay Base Note

Selects the type of notes to specify the delay time for TapR

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Adjust [%]

Fine-adjust the left channel delay time

–2.50...+2.50%

➛,

R Delay Base Note

Selects the type of notes to specify the right channel delay time

ꢈ ꢊ ꢃ ꢉ ꢊ ꢃ ꢊ ꢅ ꢉ ꢊ ꢅ ꢊ ꢆ ꢉ ꢊ ꢆ ꢊ ꢄ

Times

x1...x16

Sets the number of notes to specify the delay time for TapR

➛

➛ Fx:049,

Level

Times

x1...x16

Sets the output level of TapR

Sets the number of notes to specify the right channel delay time

Feedback (C Delay)

Sets the feedback amount of TapC

–100...+100

Off...Tempo

–100...+100

➛ Fx:049

Adjust [%]

Fine-adjust the right channel delay time

–2.50...+2.50%

Src

Selects the modulation source for the TapC feedback

L Feedback

Sets the feedback amount for the left channel

–100...+100

Amt

Sets the modulation amount of the TapC feedback

Src

Off...Tempo

–100...+100

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Selects the modulation source of feedback amount

Amt L

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

Sets the modulation amount of the left channel feedback

R Feedback

Sets the feedback amount for the right channel

–100...+100

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

Amt R

Src

Off...Tempo

➛ Fx:037

Sets the modulation amount of the right channel feedback

Selects the modulation source for the input level

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Spread

0...50

➛ Fx:043

Sets the width of the stereo image of the effect sound

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

Src

Off...Tempo

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Selects the modulation source for the input level

➛ Fx:037

Amt

–100...+100

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the modulation amount of the effect bal-

Table , “Sets the balance between the effect and dry sounds ,” on page 175

ance,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Reverb

2 0 8

051: Seq. Delay

(Se q u e n t ia l De la y)

REVERB

This four-tap delay enables you to select a tempo and rhythm

pattern to set up each tap.

Reverb effects

These effects simulate the ambience of reverberation in con-

cert halls.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Wet / Dry

Pan

052: Rev. Hall

Input Level D-mod

This hall-type reverb simulates the reverberation of mid-size

concert halls or ensemble halls.

Delay

High Damp Low Damp

Input Level D-mod

Feedback

053: RevSmthHall

(Sm o o t h Ha ll)

Right

Wet / Dry

Tempo

BPM

This hall-type reverb simulates the reverberation of larger

halls and stadiums, and creates a smooth release.

Rythm Pattern

054: RevWetPlate

BPM

MIDI, 44...240

➛,

Selects MIDI Clock and assigns tempo

This plate reverb simulates warm (dense) reverberation.

Rhythm Pattern

Selects a rhythm pattern

ꢈ – – – ... ꢃ ꢃ ꢃ 3

➛,

Tap1 Pan

Sets the panning of Tap1

L, 1...99, R

055: RevDryPlate

This plate reverb simulates dry (light) reverberation.

Tap2 Pan

Sets the panning of Tap2

L, 1...99, R

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Tap3 Pan

L, 1...99, R

Wet / Dry

Sets the panning of Tap3

Pre Delay Thru

EQ Trim

Tap4 Pan

Sets the panning of Tap4

L, 1...99, R

LEQ

HEQ

Pre Delay

Reverb

Feedback

Sets the feedback amount

–100...+100

Off...Tempo

–100...+100

EQ Trim

Src

Right

Wet / Dry

Selects the modulation source of feedback amount

Amt

Sets the modulation amount of the feedback

Reverb Time [sec]

Sets the reverberation time

0.1...10.0sec

0...100%

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

High Damp [%]

Sets the damping amount in the high range

Low Damp [%]

Sets the damping amount in the low range

0...100%

➛ Fx:043

Pre Delay [msec]

Sets the delay time from the dry sound

0...200msec

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

➛ Fx:037,

➛

Pre Delay Thru [%]

Sets the mix ratio of non-delay sound

0...100%

Src

Off...Tempo

➛ Fx:037

➛

Selects the modulation source for the input level

EQ Trim

0...100

–15...+15dB

Wet/Dry

Dry, 1:99...99:1, Wet

T a ble , “Sets the EQ input level,” on page 176

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

a: BPM, b: Rhythm Pattern

Table , “Selects the modulation source of the effect balance ,” on page 175

With the tempo speciﬁed by the “BPM” parameter (or the

MIDI Clock tempo if “BPM” is set to MIDI), the length of

one beat equals the feedback delay time, and the interval

between taps becomes equal. Selecting a rhythm pattern

will automatically turn the tap outputs on and off. When

“BPM” is set to MIDI, the lower limit of the “BPM” is 44.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Reverb

2 0 9

b: Pre Delay [msec], b: Pre Delay Thru [% ]

The “Pre Delay” sets the delay time to the reverb input,

allowing you to control spaciousness.

Using the “Pre Delay Thru” parameter, you can mix the

dry sound without delay, emphasizing the attack of the

sound.

057: R.BriteRoom

This room-type reverb emphasizes the early reﬂections that

make the sound brighter. See 056: Reverb Room.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

ER Level

Reverb - Hall / Plate Type

ERs

EQ Trim

Level

Dry

Pre Delay Thru

Pre Delay

Reverb

LEQ

HEQ

Reverb Level

ERs

Reverb

EQ Trim

ER Level

Pre Delay Thru

Right

Time

Wet / Dry

Pre Delay

Reverb Time

Reverb Time [sec]

Sets the reverberation time

0.1...3.0sec

0...100%

056: Rev. Room

High Damp [%]

Sets the damping amount in the high range

This room-type reverb emphasizes the early reﬂections that

make the sound tighter. Changing the balance between the

early reﬂections and reverb sound allows you to simulate

nuances, such as the type of walls of a room.

Pre Delay [msec]

Sets the delay time from the dry sound

0...200msec

➛ Fx:052

Pre Delay Thru [%]

Sets the mix ratio of non-delay sound

0...100%

➛ Fx:052

ER Level

Sets the level of early reﬂections

0...100

➛

Reverb Level

Sets the reverberation level

0...100

➛

EQ Trim

0...100

–15...+15dB

Table , “Sets the EQ input level,” on page 176

Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

c: ER Level, d: Reverb Level

These parameters set the early reﬂection level and reverb

level.

Changing these parameter values allows you to simulate

the type of walls in the room. That is, a larger “ER Level”

simulates a hard wall, and a larger “Reverb Level” simu-

lates a soft wall.

Reverb - Room Type

Level

Dry

(Early Reflections)

Reverb

Time

Pre Delay Thru

Pre Delay

Reverb Time

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Effe cts

Mono – Mono Chain

2 1 0

059: Par4Eq-Wah

(Pa ra m e t ric 4-Ba n d EQ – Wa h /Au t o Wa h )

MONO – MONO CHAIN

This effect combines a mono-type four-band parametric

equalizer and a wah. You can change the order of the connec-

tion.

Effects that combine two mono effects connected in series

058: Par4Eq-Exc

(Pa ra m e t ric 4-Ba n d EQ – Excit e r)

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Wah/Auto Wah

This effect combines a mono-type four-band parametric

equalizer and an exciter.

Parametric 4Band EQ

Trim

Wah

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Parametric 4Band EQ

Trim

Exciter

Right

Sweep Mode

Auto

Wet / Dry

Envelope

D-mod

-mod

LFO

Right

Wet / Dry

[E] Trim

0...100

Sets the parametric EQ input level

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

[E] Trim

0...100

Sets the parametric EQ input level

0.5...10.0

➛ Fx:006

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Sets the bandwidth of Band 1

Gain [dB]

–18...+18dB

0.5...10.0

➛ Fx:006

Sets the gain of Band 1

Sets the bandwidth of Band 1

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

Gain [dB]

Sets the gain of Band 1

–18...+18dB

0.5...10.0

➛ Fx:006

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

Sets the bandwidth of Band 2

Gain [dB]

Sets the gain of Band 2

–18...+18dB

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 2

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

Gain [dB]

Sets the gain of Band 2

–18...+18dB

0.5...10.0

➛ Fx:006

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 3

–18...+18dB

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Gain [dB]

Sets the gain of Band 3

–18...+18dB

0.5...10.0

➛ Fx:006

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Sets the bandwidth of Band 4

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 4

[W] Frequency Bottom

Sets the lower limit of the wah center frequency

0...100

➛ Fx:009

Gain [dB]

Sets the gain of Band 4

–18...+18dB

Frequency Top

Sets the upper limit of the wah center frequency

0...100

➛ Fx:009

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

➛ Fx:009,

Auto, D-mod, LFO

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

Wet/Dry

Dry, 1:99...99:1, Wet

Src

Off...Tempo

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Selects the modulation source for the wah when Sweep Mode=D-mod

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Resonance

Sets the resonance amount

0...100

Off, On

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

LPF

Switches the wah low pass ﬁlter on and off

Routing

PEQ → WAH, WAH → PEQ

Changes the order of the parametric equalizer and wah connection

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 1

However, if a mono-input type effect is connected after

this effect, the left and right sounds may cancel each

other, eliminating the chorus/ﬂanger effects.

060: 4EqPhsrChFl

(Pa ra m e t ric 4-Ba n d EQ – Ch o ru s/Fla n g e r)

This effect combines a mono-type four-band parametric

equalizer and a chorus/ﬂanger.

061: Par4Eq-Phsr

(Pa ra m e t ric 4-Ba n d EQ – Ph a se r)

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

This effect combines a mono-type four-band parametric

equalizer and a phaser.

Parametric 4Band EQ

Trim

Chorus/Flanger

Feedback

Normal

Output Mode

–

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet Invert

Wet / Dry

Cho/Flng Wet / Dry

Parametric 4Band EQ

Trim

Phaser

Right

Wet / Dry

LFO: Tri / Sine

Phaser

Normal

Output Mode

–

Wet Invert

Resonance

[E] Trim

0...100

Phaser Wet / Dry

Sets the parametric EQ input level

Right

Wet / Dry

LFO: Tri / Sine

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 1

[E] Trim

0...100

Sets the parametric EQ input level

Gain [dB]

Sets the gain of Band 1

–18...+18dB

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 1

0.5...10.0

Sets the bandwidth of Band 2

➛ Fx:006

Gain [dB]

Sets the gain of Band 1

–18...+18dB

Gain [dB]

Sets the gain of Band 2

–18...+18dB

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 2

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Gain [dB]

Sets the gain of Band 3

–18...+18dB

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 4

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

[F] Delay Time [msec]

Sets the delay time

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 4

[F] LFO Frequency [Hz]

Sets the LFO speed

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.02...20.00Hz

Triangle, Sine

0...100

LFO Waveform

Selects LFO Waveform

[P] LFO Frequency [Hz]

Sets the LFO speed

[F] Depth

Sets the depth of LFO modulation

LFO Waveform

Selects LFO Waveform

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

[P] Manual

Sets the frequency to which the effect is applied

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 020

[P] Depth

Sets the depth of LFO modulation

0...100

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

➛

Resonance

–100...+100

Sets the resonance amount

➛ Fx:023

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 023

Src

Off...Tempo

Output Mode

Selects the phaser output mode

Normal, Wet Invert

Table , “Selects the modulation source of the effect balance ,” on page 175

➛ Fx:060

Amt

–100...+100

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

T a ble , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

i: Output Mode

Table , “Selects the modulation source of the effect balance ,” on page 175

When Wet Invert is selected, the right channel phase of

the chorus/ﬂanger effect sound is inverted. This creates

pseudo-stereo effects and adds spread.

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 2

062: P4Eq-TapDly

063: Cmp-AutoWah

(Pa ra m e t ric 4-Ba n d EQ – Mu lt it a p De la y)

(Co m p re sso r – Wa h /Au t o Wa h )

This effect combines a mono-type four-band parametric

equalizer and a multitap delay.

This effect combines a mono-type compressor and a wah.

You can change the order of the connection.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Parametric 4Band EQ

Trim

Multitap Delay

Feedback

Compressor

LEQ HEQ

Wah/Auto Wah

EQ Trim

Comp

Wah

Delay

(1)

(2)

High Damp

Output Level

Mt.Dly Wet / Dry

Right

Sweep Mode

Wet / Dry

Envelope - Control

Envelope

Auto

D-mod

-mod

LFO

[E] Trim

0...100

Sets the parametric EQ input level

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

0.5...10.0

➛ Fx:006

[C] Attack

1...100

➛ Fx:002

Sets the bandwidth of Band 1

Table , “Sets the attack level,” on page 176

Gain [dB]

–18...+18dB

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Sets the gain of Band 1

[E] Band2 Cutoff [Hz]

50...5.00kHz

[C] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

Sets the center frequency of Band 2

0.5...10.0

➛ Fx:006

[C] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Sets the bandwidth of Band 2

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

[W] Frequency Bottom

0...100

Sets the lower limit of the wah center frequency

➛ Fx:009

0.5...10.0

➛ Fx:006

Frequency Top

Sets the upper limit of the wah center frequency

0...100

➛ Fx:009

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 3

–18...+18dB

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

Auto, D-mod, LFO

➛ Fx:009,

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Src

Off...Tempo

Selects the modulation source for the wah when Sweep Mode=D-mod

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 4

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Gain [dB]

Sets the gain of Band 4

–18...+18dB

[W] Resonance

Sets the resonance amount

0...100

Off, On

[D] Tap1 Time [msec]

Sets the Tap1 delay time

0...680msec

Low Pass Filter

Switches the wah low pass ﬁlter on and off

Tap1 Level

Sets the Tap1 output level

0...100

➛ Fx:045

Routing

CMP → ^{WAH, WAH}→ CMP

Switches the order of the compressor and wah connection

[D] Tap2 Time [msec]

0...680msec

Sets the Tap2 delay time

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Feedback

Sets the Tap2 feedback amount

–100...+100

Src

Off...Tempo

[D] Mt.Delay Wet/DryDry, 2:98...98:2, Wet

Sets the multitap delay effect balance

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/DryDry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on

page 175

SrcOff...Tempo

Table , “Selects the modulation source of the effect balance ,” on

page 175

Amt

–100...+100

Table , “Sets the modulation amount of the

effect balance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 3

064: Cmp-AmpSim

065: Cmp-OD/HiG

(Co m p re sso r – Am p Sim u la t io n )

(Co m p re sso r – Ove rd rive /Hi.Ga in )

This effect combines a mono-type compressor and an amp

simulation. You can change the order of the effect connec-

tion.

This effect combines a mono-type compressor and an over-

drive/high-gain distortion. You can change the order of the

effect connection.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Compressor

Amp Simulation

Compressor

Overdrive / Hi-Gain

EQ Trim LEQ HEQ

3 Band PEQ

Amp Simulation Filter

Comp

Driver

Output Level

Mode: Overdrive / Hi-Gain

Drive

Right

Wet / Dry

Envelope - Control

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

[C] Attack

1...100

➛ Fx:002

[C] Attack

1...100

➛ Fx:002

Table , “Sets the attack level,” on page 176

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Output Level

Sets the compressor output level

0...100

➛ Fx:002

[C] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

SS, EL84, 6L6

[O] Drive Mode

Switches between overdrive and high-gain distortion

Overdrive, Hi-Gain

[C] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Drive

1...100

➛ Fx:006

Sets the degree of distortion

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[O] Output Level

Sets the overdrive output level

0...50

➛ Fx:006,

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

Src

Off...Tempo

Selects the modulation source for the overdrive output level

Routing

^CMP→ AMP, AMP → CMP

Amt

–50...+50

20...1.00kHz

–18...+18dB

300...10.00kHz

Switches the order of the compressor and amp simulation connection

Sets the modulation amount of the overdrive output level

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

Gain [dB]

Src

Off...Tempo

Table , “Sets the gain of Low EQ,” on page 176

Table , “Selects the modulation source of the effect balance ,” on page 175

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 1

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 1

[O] Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 2

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

Routing

CMP → OD, OD → CMP

Switches the order of the compressor and overdrive connection

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 4

066: Cmp-Par.4Eq

067: Cmp-ChorFlg

(Co m p re sso r – Pa ra m e t ric 4-Ba n d EQ)

(Co m p re sso r – Ch o ru s/Fla n g e r)

This effect combines a mono-type compressor and a four-

band parametric equalizer. You can change the order of the

effect connection.

This effect combines a mono-type compressor and a chorus/

ﬂanger. You can change the order of the effect connection.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Routing

Compressor

Chorus/Flanger

Wet / Dry

Routing

Compressor

Parametric 4Band EQ

LEQ HEQ

EQ Trim

Comp

Chorus/Flanger

Feedback

Normal

Output Mode

–

Output Level

Comp

Wet Invert

Trim

Output Level

Cho/Flng Wet / Dry

Right

Wet / Dry

Envelope - Control

LFO: Tri / Sine

Right

Wet / Dry

Envelope - Control

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

[C] Attack

1...100

➛ Fx:002

Table , “Sets the attack level,” on page 176

[C] Attack

1...100

➛ Fx:002

Table , “Sets the attack level,” on page 176

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Output Level

Sets the compressor output level

0...100

➛ Fx:002

[C] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[E] Trim

0...100

Sets the parametric EQ input level

[C] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[E] Band1 Cutoff [Hz]

20...1.00kHz

Sets the center frequency of Band 1

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 1

[F] Delay Time [msec]

Sets the delay time

Gain [dB]

Sets the gain of Band 1

–18...+18dB

[F] LFO Frequency [Hz]

Sets the LFO speed

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

LFO Waveform

Selects LFO Waveform

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 2

[F] Depth

Sets the depth of LFO modulation

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Feedback

–100...+100

Sets the feedback amount

➛ Fx:020

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

[F] Cho/Flng Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the effect balance of the chorus/ﬂanger

➛ Fx:010, 020

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

➛

Gain [dB]

–18...+18dB

Sets the gain of Band 3

Routing

CMP → FLNG, FLNG → CMP

Switches the order of the compressor and chorus/ﬂanger connection

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

➛

Wet/Dry

Dry, 1:99...99:1, Wet

0.5...10.0

➛ Fx:006

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the bandwidth of Band 4

Gain [dB]

Sets the gain of Band 4

–18...+18dB

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Routing

CMP → PEQ, PEQ → CMP

Amt

–100...+100

Switches the order of the compressor and parametric EQ connection

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

h: Output Mode, i: Routing

Src

Off...Tempo

When Wet I n vert is s e l e c t ed, the r i g ht c h annel pha s e o f

the chorus/ﬂanger effect sound is inverted. This creates

p s e udo -s t ereo effects and adds spread.

However, if a mono-input type effect is connected after

this effect, the left and right sounds may cancel each

other, eliminating the chorus/ﬂanger effects.

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

When “Routing” is set to FLNG→CMP, “Output Mode”

will be set to Normal.

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Effe cts

Mono – Mono Chain

2 1 5

068: Cmp-Phaser

(Co m p re sso r – Ph a se r)

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

This effect combines a mono-type compressor and a phaser.

You can change the order of the effect connection.

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Compressor

Phaser

069: Cmp-MTapDly

(Co m p re sso r – Mu lt it a p De la y)

EQ Trim LEQ HEQ

Comp

Phaser

Normal

Output Mode

Wet Invert

–

Output Level

Resonance

This effect combines a mono-type compressor and a multi-

tap delay. You can change the order of the effect connection.

Phaser Wet / Dry

Right

Wet / Dry

LFO: Tri / Sine

Envelope - Control

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Compressor

Multitap Delay

[C] Sensitivity

1...100

Sets the sensitivity

➛ Fx:002

EQ Trim LEQ HEQ

Feedback

Comp

High Damp

Output Level

Delay

[C] Attack

1...100

➛ Fx:002

(2)

(1)

Table , “Sets the attack level,” on page 176

Mt.Dly Wet / Dry

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Right

Wet / Dry

Envelope - Control

[C] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0.02...20.00Hz

Triangle, Sine

0...100

[C] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[C] Attack

1...100

➛ Fx:002

Table , “Sets the attack level,” on page 176

[P] LFO Frequency [Hz]

Sets the LFO speed

Output Level

Sets the compressor output level

0...100

➛ Fx:002

LFO Waveform

Selects LFO Waveform

[C] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0...680msec

[P] Manual

Sets the frequency to which the effect is applied

[C] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[P] Depth

Sets the depth of LFO modulation

0...100

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

[D] Tap1 Time [msec]

Sets the Tap1 delay time

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 023

Tap1 Level

Sets the Tap1 output level

0...100

➛ Fx:045

Output Mode

Selects the phaser output mode

Normal, Wet Invert

➛ Fx:067

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

Routing

CMP→PHS, PHS→CMP

Switches the order of the compressor and phaser connection

Feedback

Sets the Tap2 feedback amount

–100...+100

➛ Fx:067

[D] High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

Routing

CMP→DLY, DLY→CMP

Switches the order of the compressor and multitap delay connection

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

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Effe cts

Mono – Mono Chain

2 1 6

070: Lim-Par.4Eq

071: Lim-ChorFlg

(Lim it e r – Pa ra m e t ric 4-Ba n d EQ)

(Lim it e r – Ch o ru s/Fla n g e r)

This effect combines a mono-type limiter and a four-band

parametric equalizer. You can change the order of the effect

connection.

This effect combines a mono-type limiter and a chorus/

ﬂanger. You can change the order of the effect connection.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Routing

Limiter

Chorus/Flanger

Wet / Dry

Routing

Limiter

Parametric 4Band EQ

Limiter

Chorus/Flanger

Feedback

Normal

EQ Trim

LEQ HEQ

–

Output Mode

Limiter

Gain Adjust

Wet Invert

Cho/Flng Wet / Dry

Trim

Gain Adjust

Right

Wet / Dry

LFO: Tri / Sine

Envelope - Control

Right

Wet / Dry

Envelope - Control

[L] Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

➛ Fx:003

[L] Ratio

Sets the signal compression ratio

1.0:1...50.0:1, Inf:1

➛ Fx:003

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

➛ Fx:003

Threshold [dB]

–40...0dB

Sets the level above which the compressor is applied

➛ Fx:003

[L] Attack

Sets the attack time

1...100

➛ Fx:003

[L] Attack

Sets the attack time

1...100

➛ Fx:003

Release

Sets the release time

1...100

➛ Fx:003

Release

Sets the release time

1...100

➛ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

➛ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

➛ Fx:003

[F] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0.0...50.0msec

0...100

[E] Trim

0...100

Sets the parametric EQ input level

LFO Waveform

Selects LFO Waveform

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

[F] Delay Time [msec]

Sets the delay time

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 1

Depth

Sets the depth of LFO modulation

Gain [dB]

–18...+18dB

Sets the gain of Band 1

Feedback

–100...+100

Sets the feedback amount

➛ Fx:020

[E] Band2 Cutoff [Hz]

50...5.00kHz

Sets the center frequency of Band 2

[F] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 2

[F] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[E] Band3 Cutoff [Hz]

300...10.00kHz

Sets the center frequency for Band 3

[F] Cho/Flng Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the effect balance of the chorus/ﬂanger

➛ Fx:010, 020

0.5...10.0

➛ Fx:006

Sets the bandwidth of Band 3

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

➛ Fx:067

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Routing

Switches the order of the limiter and chorus/ﬂanger connection

➛ Fx:067

LMT→FLNG, FLNG→LMT

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Wet/Dry

Dry, 1:99...99:1, Wet

0.5...10.0

➛ Fx:006

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Sets the bandwidth of Band 4

Gain [dB]

Sets the gain of Band 4

–18...+18dB

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Routing

LMT→PEQ, PEQ→LMT

Amt

–100...+100

Switches the order of the limiter and parametric EQ connection

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 7

072: Lim-Phaser

[L] Attack

Sets the attack time

1...100

➛ Fx:003

This effect combines a mono-type limiter and a phaser. You

can change the order of the effect connection.

Release

Sets the release time

1...100

➛ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

➛ Fx:003

Wet / Dry

Routing

[D] Tap1 Time [msec]

Sets the Tap1 delay time

0...680msec

Limiter

Phaser

Tap1 Level

Sets the Tap1 output level

0...100

➛ Fx:045

Limiter

Phaser

Normal

Output Mode

Gain Adjust

–

Wet Invert

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

Resonance

Phaser Wet / Dry

Right

Wet / Dry

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

Envelope - Control

LFO: Tri / Sine

[D] Mt.Delay Wet/Dry

Dry, 1:99...99:1, Wet

Sets the multitap delay effect balance

[L] Ratio

Sets the signal compression ratio

1.0:1...50.0:1, Inf:1

High Damp [%]

0...100%

➛ Fx:043

➛ Fx:003

Sets the damping amount in the high range

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

➛ Fx:003

Routing

LMT→DLY, DLY→LMT

Switches the order of the limiter and multitap delay connection

[L] Attack

Sets the attack time

1...100

➛ Fx:003

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Release

Sets the release time

1...100

➛ Fx:003

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

➛ Fx:003

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

[P] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0...100

LFO Waveform

Selects LFO Waveform

074: Exc-Compr

(Excit e r – Co m p re sso r)

[P] Manual

Sets the frequency to which the effect is applied

[P] Depth

Sets the depth of LFO modulation

0...100

This effect combines a mono-type exciter and a compressor.

You can change the order of the effect connection.

Resonance

–100...+100

Sets the resonance amount

➛ Fx:023

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 023

Wet / Dry

Routing

Exciter

Compressor

Output Mode

Selects the phaser output mode

Normal, Wet Invert

EQ Trim LEQ HEQ

➛ Fx:067

Exciter

Comp

Output Level

Routing

LMT→PHS, PHS→LMT

Switches the order of the limiter and phaser connection ➛ Fx:067

Wet/Dry

Dry, 1:99...99:1, Wet

Right

Wet / Dry

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Envelope - Control

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

[X] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

073: Lim-MTapDly

(Lim it e r – Mu lt it a p De la y)

[X] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

This effect combines a mono-type limiter and a multitap

delay. You can change the order of the effect connection.

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

[C] Attack

1...100

➛ Fx:002

Multitap Delay

Limiter

Table , “Sets the attack level,” on page 176

Feedback

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Limiter

Delay

(1)

(2)

Gain Adjust High Damp

Mt.Dly Wet / Dry

Routing

XCT→CMP, CMP→XCT

Switches the order of the exciter and compressor connection

Right

Wet / Dry

Wet/Dry

Dry, 1:99...99:1, Wet

Envelope - Control

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

[L] Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

➛ Fx:003

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

➛ Fx:003

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Effe cts

Mono – Mono Chain

2 1 8

075: Exc-Limiter

076: Exc-ChorFlg

(Excit e r – Lim it e r)

(Excit e r – Ch o ru s/Fla n g e r)

This effect combines a mono-type exciter and a limiter. You

can change the order of the effect connection.

This effect combines a mono-type limiter and a chorus/

ﬂanger.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Limiter

Exciter

Chorus/Flanger

EQ Trim LEQ HEQ

Limiter

Exciter

Chorus/Flanger

Feedback

Exciter

Normal

Output Mode

–

Gain Adjust

Wet Invert

Cho/Flng Wet / Dry

Right

Wet / Dry

Envelope - Control

LFO: Tri / Sine

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

[X] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

[X] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[X] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[X] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[L] Ratio

Sets the signal compression ratio

1.0:1...50.0:1, Inf:1

[F] Delay Time [msec]

Sets the delay time

➛ Fx:003

[L] Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

➛ Fx:003

[F] LFO Frequency [Hz]

Sets the LFO speed

[L] Attack

Sets the attack time

1...100

➛ Fx:003

LFO Waveform

Selects LFO Waveform

Release

Sets the release time

1...100

➛ Fx:003

[F] Depth

Sets the depth of LFO modulation

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

➛ Fx:003

Routin

XCT→LMT, LMT→XCT

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

Switches the order of the exciter and limiter connection

➛ Fx:010, 020

Wet/Dry

Dry, 1:99...99:1, Wet

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

Table , “Sets the balance between the effect and dry sounds ,” on page 175

➛ Fx:060

Wet/Dry

Dry, 1:99...99:1, Wet

Src

Off...Tempo

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Src

Off...Tempo

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

T a ble , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 1 9

077: Exc-Phaser

078: Exc-MTapDly

(Excit e r – Ph a se r)

(Excit e r – Mu lt it a p De la y)

This effect combines a mono-type limiter and a phaser.

This effect combines a mono-type exciter and a multitap

delay.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Exciter

Phaser

Wet / Dry

Exciter

Multitap Delay

EQ Trim LEQ HEQ

Exciter

Phaser

EQ Trim

LEQ HEQ

Normal

Output Mode

Feedback

Delay

–

Exciter

(2)

Wet Invert

Resonance

(1)

High Damp

Phaser Wet / Dry

Mt.Dly Wet / Dry

Right

Wet / Dry

LFO: Tri / Sine

Right

Wet / Dry

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

➛ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

➛ Fx:011

[X] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0.02...20.00Hz

Triangle, Sine

0...100

[X] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

0...680msec

[X] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[X] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[P] LFO Frequency [Hz]

Sets the LFO speed

[D] Tap1 Time [msec]

Sets the Tap1 delay time

LFO Waveform

Selects LFO Waveform

Tap1 Level

Sets the Tap1 output level

0...100

➛ Fx:045

[P] Manual

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

Sets the frequency to which the effect is applied

[P] Depth

Sets the depth of LFO modulation

0...100

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

[D] High Damp [%]

Sets the damping amount in the high range

0...100%

➛ Fx:043

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 023

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

Output Mode

Selects the phaser output mode

Normal, Wet Invert

Wet/Dry

Dry, 1:99...99:1, Wet

➛ Fx:060

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Src

Off...Tempo

Amt

–100...+100

Table , “Selects the modulation source of the effect balance ,” on page 175

T a ble , “Sets the modulation amount of the eff ect bal-

ance,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

079: OD/HG-Amp S

(Ove rd rive /Hi.Ga in – Am p Sim u la t io n )

This effect combines a mono-type overdrive/high-gain dis-

tortion and an amp simulation. You can change the order of

the effect connection.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Overdrive / Hi-Gain

Amp Simulation

3 Band PEQ

Driver

Amp Simulation Filter

Output Level

Mode: Overdrive / Hi-Gain

Drive

Right

Wet / Dry

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

Drive

1...100

Sets the degree of distortion

➛ Fx:006

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Effe cts

Mono – Mono Chain

2 2 0

[O] Output Level

0...50

[O] Output Level

0...50

Sets the overdrive output level

➛ Fx:006,

Sets the overdrive output level

➛ Fx:006,

Src

Off...Tempo

Src

Off...Tempo

Selects the modulation source for the overdrive output level

Amt

–50...+50

20...1.00kHz

–18...+18dB

300...10.00kHz

Amt

–50...+50

20...1.00kHz

–18...+18dB

300...10.00kHz

Sets the modulation amount of the overdrive output level

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

0.5...10.0

➛ Fx:006

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 1

Gain [dB]

–18...+18dB

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 1

[O] Mid2 Cutoff [Hz]

500...20.00kHz

[O] Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

0.5...10.0

➛ Fx:006

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 2

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

0.02...20.00Hz

Triangle, Sine

0.0...50.0msec

0...100

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

[F] LFO Frequency [Hz]

Sets the LFO speed

Routing

OD→AMP, AMP→OD

LFO Waveform

Selects LFO Waveform

Switches the order of the overdrive and amp simulation connection

Wet/Dry Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

[F] Delay Time [msec]

Sets the delay time

Depth

Src

Off...Tempo

Sets the depth of LFO modulation

Table , “Selects the modulation source of the effect balance ,” on page 175

Feedback

–100...+100

Amt

–100...+100

Sets the feedback amount

➛ Fx:020

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 020

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

➛ Fx:067

080: OD/HG-ChoFl

(Ove rd rive /Hi.Ga in – Ch o ru s/Fla n g e r)

Routing

Switches the order of the overdrive and chorus/ﬂanger connection

➛ Fx:067

OD → FLNG, FLNG → OD

This effect combines a mono-type overdrive/high-gain dis-

tortion and a chorus/ﬂanger. You can change the order of the

effect connection.

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Table , “Selects the modulation source of the effect balance ,” on page 175

Wet / Dry

Routing

Amt

–100...+100

Overdrive / Hi-Gain

Chorus/Flanger

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

3 Band PEQ

Driver

Chorus/Flanger

Feedback

Normal

Output Mode

Output Level

–

Wet Invert

Cho/Flng Wet / Dry

Mode: Overdrive / Hi-Gain

Drive

Right

Wet / Dry

LFO: Tri / Sine

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

Drive

1...100

Sets the degree of distortion

➛ Fx:006

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Effe cts

Mono – Mono Chain

2 2 1

081: OD/HG-Phser

(Ove rd rive /Hi.Ga in – Ph a se r)

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

This effect combines a mono-type overdrive/high-gain dis-

tortion and a phaser. You can change the order of the effect

connection.

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

082: OD/HG-MTDly

(Ove rd rive /Hi.Ga in – Mu lt it a p De la y)

Overdrive / Hi-Gain

3 Band PEQ

Phaser

Driver

Normal

Output Mode

Wet Invert

Output Level

This effect combines a mono-type overdrive/high-gain dis-

tortion and a multitap delay.

–

Resonance

Mode: Overdrive / Hi-Gain

Drive

Phaser Wet / Dry

Right

Wet / Dry

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

LFO: Tri / Sine

Wet / Dry

Overdrive / Hi-Gain

Multitap Delay

3 Band PEQ

Feedback

Delay

(1)

[O] Drive Mode

Switches between overdrive and high-gain distortion

Overdrive, Hi-Gain

Driver

(2)

High Damp

Output Level

Mt.Dly Wet / Dry

Drive

1...100

➛ Fx:006

Mode: Overdrive / Hi-Gain

Drive

Sets the degree of distortion

Right

Wet / Dry

[O] Output Level

Sets the overdrive output level

0...50

➛ Fx:006,

Src

Off...Tempo

Selects the modulation source for the overdrive output level

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

Amt

–50...+50

20...1.00kHz

–18...+18dB

300...10.00kHz

Sets the modulation amount of the overdrive output level

Drive

1...100

➛ Fx:006

Sets the degree of distortion

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

[O] Output Level

Sets the overdrive output level

0...50

➛ Fx:006,

Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

Src

Off...Tempo

Selects the modulation source for the overdrive output level

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

Amt

–50...+50

20...1.00kHz

–18...+18dB

300...10.00kHz

Sets the modulation amount of the overdrive output level

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 1

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

Gain [dB]

Sets the gain of Mid/High EQ 1

–18...+18dB

Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[O] Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 2

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 1

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

0.02...20.00Hz

Triangle, Sine

0...100

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 1

[P] LFO Frequency [Hz]

Sets the LFO speed

[O] Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

LFO Waveform

Selects LFO Waveform

0.5...10.0

➛ Fx:006

Sets the band width of Mid/High EQ 2

[P] Manual

Sets the frequency to which the effect is applied

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 2

Depth

0...100

Sets the depth of LFO modulation

[D] Tap1 Time [msec]

0...680msec

Sets the Tap1 delay time

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

Tap1 Level

0...100

Sets the Tap1 output level

➛ Fx:045

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 023

[D] Tap2 Time [msec]

0...680msec

Sets the Tap2 delay time

Output Mode

Selects the phaser output mode

Normal, Wet Invert

➛ Fx:067

Feedback

Sets the Tap2 feedback amount

–100...+100

Routing

OD → PHS, PHS → OD

Switches the order of the overdrive and phaser connection

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 2:98...98:2, Wet

➛ Fx:067

High Damp [%]

0...100%

Sets the damping amount in the high range

➛ Fx:043

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

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Effe cts

Mono – Mono Chain

2 2 2

083: Wah-AmpSim

084: Decim-Amp S

(Wa h /Au t o Wa h – Am p Sim u la t io n )

(De cim a t o r – Am p Sim u la t io n )

This effect combines a mono-type wah and an amp simula-

tion. You can change the order of the effect connection.

This effect combines a mono-type decimator and an amp

simulation. You can change the order of the effect connec-

tion.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Wah/Auto Wah

Amp Simulation

[D] Pre LPFOff, On

Turn the harmonic noise caused by lowered sampling on and off

➛ Fx:014

Amp Simulation Filter

Wah

High Damp [%]

0...100%

Sets the ratio of high-range damping

[D] Sampling Freq [Hz] (Sampling Frequency)

Sets the sampling frequency

1.00k...48.00kH

Right

Sweep Mode

Wet / Dry

Envelope

Auto

D-mod

-mod

Resolution

4...24

LFO

Sets the data bit length

➛ Fx:014

LFO

[D] Output Level

Sets the decimator output level

0...100

➛ Fx:014

[W] Frequency Bottom

0...100

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

Sets the lower limit of the wah center frequency

➛ Fx:009

Frequency Top

Sets the upper limit of the wah center frequency

0...100

➛ Fx:009

RoutingDECI→AMP, AMP→DECI

Switches the order of the wah and amp simulation connection

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

➛ Fx:009,

Auto, D-mod, LFO

Wet/DryDry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on

page 175

Src

Off...Tempo

SrcOff...Tempo

Selects the modulation source for the wah when Sweep Mode=D-mod

Table , “Selects the modulation source of the effect balance ,” on

page 175

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Amt

–100...+100

Table , “Sets the modulation amount of the

effect balance,” on page 175

[W] Resonance

Sets the resonance amount

0...100

Off, On

Low Pass Filter

Switches the wah low pass ﬁlter on and off

085: Decim-Cmp

(De cim a t o r – Co m p re sso r)

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

This effect combines a mono-type decimator and a compres-

sor. You can change the order of the effect connection.

Routing

WAH → AMP, AMP → WAH

Switches the order of the wah and amp simulation connection

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Compressor

Src

Off...Tempo

Decimator

Table , “Selects the modulation source of the effect balance ,” on page 175

Resolution

Output Level

Comp

Amt

–100...+100

Decimator

Pre LPF

High Damp

Output Level

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Right

Wet / Dry

Envelope - Control

[D] Pre LPF

Off, On

Turn the harmonic noise caused by lowered sampling on and off

➛ Fx:014

High Damp [%]

Sets the ratio of high-range damping

0...100%

[D] Sampling Freq [Hz] (Sampling Frequency)

Sets the sampling frequency

1.00k...48.00kHz

Resolution

4...24

Sets the data bit length

➛ Fx:014

[D] Output Level

Sets the decimator output level

0...100

➛ Fx:014

[C] Sensitivity

Sets the sensitivity

1...100

➛ Fx:002

[C] Attack

1...100

Table , “Sets the attack level,” on page 176

➛ Fx:002

Output Level

Sets the compressor output level

0...100

➛ Fx:002

Routing

DECI→CMP, CMP→DECI

Switches the order of the decimator and compressor connection

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Effe cts

Mono – Mono Chain

2 2 3

087: Ch/Fl-MTDly

(Ch o ru s/Fla n g e r – Mu lt it a p De la y)

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

This effect combines a mono-type chorus/ﬂanger and a mul-

titap dela y .

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Chorus/Flanger

Multitap Delay

086: AmpS-Tremol

(Am p Sim u la t io n – Tre m o lo )

Feedback

Delay ₍₂₎

Chorus/Flanger

Trim

(1)

Cho/Flng

Wet / Dry

Mt.Dly

Wet / Dry

LEQ HEQ

High Damp

Feedback

This effect combines a mono-type amp simulation and a

tremolo.

Right

Wet / Dry

LFO: Tri / Sine

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Amp Simulation

Tremolo

[F] Delay Time [msec]

Sets the delay time

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

Amp Simulation Filter

Tremolo

[F] LFO Frequency [Hz]

Sets the LFO speed

LFO Waveform

Selects LFO Waveform

Right

Wet / Dry

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

[F] Depth

Sets the depth of LFO modulation

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

[F] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

[T] LFO Waveform

Selects LFO Waveform

Triangle, Sine, Vintage, Up, Down

➛ Fx:032

[F] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

LFO Shape

–100...+100

Determines how much the LFO waveform is changed

➛ Fx:020

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

[T] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:010, 020

[T] Depth

Sets the depth of LFO modulation

0...100

[D] Tap1 Time [msec]

0...680msec

Sets the Tap1 delay time

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

T a p1 Level

0...100

Sets the Tap1 output level

➛ Fx:045

Src

Off...Tempo

[D] Tap2 Time [msec]

Sets the T a p2 delay time

0...680msec

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

High Damp [%]

0...100%

Sets the damping amount in the high range

➛ Fx:043

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

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Effe cts

Mono – Mono Chain

2 2 4

088: Phser-ChoFl

089: Rev-Gate

(Ph a se r – Ch o ru s/Fla n g e r)

(Re ve rb – Ga t e )

This effect combines a mono-type phaser and a chorus/

ﬂanger.

This effect combines a mono-type reverb and a gate.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Reverb

Wet / Dry

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

EQ Trim

Phaser

Chorus/Flanger

Pre Delay

Reverb

Gate

Reverb

LEQ HEQ

Balance

Chorus/Flanger

Feedback

Normal

Output Mode

LEQHEQ

–

Trim

Right

Wet / Dry

Phaser

Wet / Dry

Wet Invert

Resonance

Cho/Flng

Wet / Dry

Input Reverb Mix

Input

Right

Wet / Dry

Envelope - Control

LFO: Tri / Sine

Gate+Dmpr

D-mod

Envelope Select

Gate

[P] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0...100

[R] Reverb Time [sec]

Sets the reverberation time

0.1...10.0sec

0...100%

LFO Waveform

Selects LFO Waveform

High Damp [%]

Sets the damping amount in the high range

[P] Manual

[R] Pre Delay [msec]

Sets the delay time of the reverb sound and gate control signal

0...200msec

Sets the frequency to which the effect is applied

Depth

0...100

[R] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

Sets the depth of LFO modulation

Resonance

Sets the resonance amount

–100...+100

➛ Fx:023

[R] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

➛ Fx:010, 023

[F] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

[R] Reverb Balance

Sets the reverb effect balance

Dry, 1:99...99:1, Wet

LFO Waveform

Selects LFO Waveform

Triangle, Sine

0.0...50.0msec

0...100

[G] Envelope Select

Switches between modulation source control and input signal control

D-mod, Input

➛

[F] Delay Time [msec]

Sets the delay time

Src

Off...Gate2+Dmpr

Selects the modulation source that controls the gate when Envelope Select

is set to D-mod

Depth

➛

Sets the depth of LFO modulation

[G] Input Reverb Mix

Sets the balance between the dry and reverb sounds of the gate control sig-

nal.

Dry, 1:99...99:1, Wet

Feedback

Sets the feedback amount

–100...+100

➛ Fx:020

➛

[F] EQ Trim

Table , “Sets the EQ input level,” on page 176

0...100

–15...+15dB

Threshold

Sets the gate threshold level

0...100

➛

[F] Pre LEQ Gain [dB]

Table , “Sets the gain of Low EQ,” on page 176

[G] Polarity

+, –

Switches between non-invert and invert of the gate on/off state

Pre HEQ Gain [dB]

Table , “Sets the gain of High EQ,” on page 176

➛ Fx:005

[G] Attack

Sets the attack time

1...100

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

➛ Fx:005

➛ Fx:010, 020

Release

1...100

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

Sets the release time

➛ Fx:005

➛ Fx:060

Wet/Dry

Dry, 1:99...99:1, Wet

Wet/Dry

Dry, 1:99...99:1, Wet

Table , “Sets the balance between the effect and dry sounds ,” on page 175

Src

Off...Tempo

Src

Off...Tempo

Table , “Selects the modulation source of the effect balance ,” on page 175

Amt

–100...+100

Amt

–100...+100

Table , “Sets the modulation amount of the effect bal-

ance,” on page 175

f: Envelope Select, f: Src, g: Input Reverb Mix, g: Threshold

The “Envelope Select” parameter enables you to select

whether turning the gate on and off is triggered by the

input signal level or controlled directly by the modulation

source. You can select from Off to Gate2+Dmpr for the Src

parameter to specify the modulation source.

When “Envelope Select” is set to Input, the gate is con-

trolled by the level of signals that are the combination of

the dry sound and the reverb sound. When the signal level

exceeds the threshold, the gate opens and the reverb

sound is output.

Normally, set “Input Reverb Mix” to Dry (the gate is con-

trolled only by the dry sound). If you wish to extend the

gate time, set the “Input Reverb Mix” value higher and

adjust the “Threshold” value.

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Assig n a b le p a ra m e te rs

List of functions assignable to the Footswitch

2 2 5

19. ASSIGNABLE PARAMETERS

LIST OF FUNCTIONS ASSIGNABLE TO THE

FOOTSWITCH

Function

Meaning

Style Up

Selects the next Style

Style Down

Selects the previous Style

The following functions can be assigned to a footswitch.

Perform. Up

Perform. Down

Program Up

Program Down

STS Up

Selects the next Performance

Selects the previous Performance

Selects the next Program

Selects the previous Program

Selects the next STS

Function

Meaning

Off

No function assigned

Start/stop

Play/Stop Seq1

Play Stop Seq2

Synchro

STS Down

STS1

Selects the previous STS

Selects the STS #1

STS2

Selects the STS #2

Tap tempo/Rst

Tempo lock

Intro 1

STS3

Selects the STS #3

STS4

Selects the STS #4

Punch In/Out

FX CC12 Sw.

FX CC13 Sw.

Fx A mute

Fx B mute

Fx C mute

Fx D mute

All Fx mute

Drum mute

Perc mute

Bass mute

Acc1 mute

Acc2 mute

Acc3 mute

Acc4 mute

Acc5 mute

Acc 1/5 mute

Ens. on/off

Quarter tone

Chord Latch

Turns the Punch Recording on/off

Ending 1

Intro 2

Standard FX controllers

Ending 2

Mute of the Internal FX A

Mute of the Internal FX B

Mute of the Internal FX C

Mute of the Internal FX D

Mute of all Internal FXs

Mute of the Drum track

Mute of the Percussion track

Mute of the Bass track

Mute of the Acc1 track

Mute of the Acc2 track

Mute of the Acc3 track

Mute of the Acc4 track

Mute of the Acc5 track

Mute of all Acc tracks

Ensemble on/off

Fill 1

Same functions of the control panel

buttons with the same name

Fill 2

C.In / Break

Variation 1

Variation 2

Variation 3

Variation 4

Variation up

Variation down

Fade in/out

Memory

Bass inversion

Manual Bass

Upper 1 Mute

Upper 2 Mute

Upper 3 Mute

Lower Mute

Song Melody Mute

Mute of the Upper 1 track

Mute of the Upper 2 track

Mute of the Upper 3 track

Mute of the Lower track

Quarter Tone on/off

Holds the recognized chord until the

pedal is released

Mute of the Song’s track 4 (usually,

the Melody track)

Chord Latch+Damper

Holds the recognized chord until the

pedal is released, and sustains tracks

where the Damper has been turned

Song Drum&Bass

Mute of all tracks, apart for track 2

(usually Bass) and 10 (usually Drum)

Style Change

Single Touch

Same functions of the control panel

buttons with the same name

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Assig n a b le p a ra m e te rs

List of functions assignable to the Pedal or Assignable Slider

2 2 6

LIST OF FUNCTIONS ASSIGNABLE TO THE

PEDAL OR ASSIGNABLE SLIDER

The following functions can be assigned to a continuous

pedal or to the Assignable Slider.

Function

Meaning

Joystick +X

Joystick right

Joystick -X

Joystick left

Joystick +Y

Joystick forward

Joystick backward

Joystick -Y

Function

Meaning

Vdf cutoff (RT tracks)

Filter cutoff (on the Programs

assigned to the Realtime tracks)

Master volume

Accomp.Volume

Kb Expression

Master Volume

FX CC12 Ctl

FX CC13 Ctl

Accopaniment Volume

Keyboard Expression

Standard FX controllers

LIST OF SOUNDS ASSIGNABLE TO THE PADS

You can assign the following sounds to the Pads.

SOUND NAME

ChinaGong

Crash 1

DistSlid2

Sticks

Darbuka1

Darbuka2

Darbuka3

Darbuka4

Darbuka5

Darbuka6

Darbuka7

Darbuka8

DoufRimAk

Tef 1

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

HeartBeat

Footstep1

Footstep2

Stadium

DoorCreak

DoorSlam

CarEngine

Car Stop

Car Pass

Car Crash

Crickets

Train

Crash 2

Cowbell

Agogo 1

Agogo 2

Whistle 1

Whistle 2

Sh. Guiro

LongGuiro

Cuica 1

88 Crash

Ride 1

Ride 2

China

Ride Bell

Splash

RevCymbal

DragonGng

OrchCymb1

OrchCymb2

OrcSdRoll

OrchSnare

Timpani 1

Timpani 2

Timpani 3

Timpani 4

Orch. Hit

BrassFall

Ch. Bell

Cuica 2

Tef 2

Triangle1

Triangle2

88Cowbell

TimbLow

TimbHi

Tef 3

Tef 4

Helicopt

Gun Shot

MachinGun

Laser Gun

Explosion

Dog

Tef 5

Tef 6

Rik 1

TimbRim1

TimbRim2

CongaLow

CongaHi

CongaSlap

CongaMute

Tamb.Acc1

Tamb.Acc2

Tamb.Push

TambOpen

Castanet1

Castanet2

Aah !

Rik 2

Rik 3

RekDomAk

OpenBells

Sagat 1

Sagat 2

Davul

H. Gallop

Birds 1

Birds 2

Thunder

Sea Shore

River

JingleBel

WindChim1

WindChim2

WindChim3

VibraSlap

RainStick

Scratch 1

Scratch 2

Scratch 3

Scratch 4

Scratch 5

Scratch 6

DistSlid1

Ramazan 1

Ramazan 2

Ramazan 3

Kup 1

Bubble

Cat

Lion

Kup 2

PhoneRing

Applause

Wind

Kup 3

Uuh !

100

101

102

103

104

105

Kup 4

Yeah ! 1

Yeah ! 2

Hit It !

Baya 1

Baya 2

Laughing

Scream

Punch

Starship

Jetplane

Siren

Hollo 1

Cosmic

Hollo 2

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Assig n a b le p a ra m e te rs

List of functions assignable to the Pads

2 2 7

LIST OF FUNCTIONS ASSIGNABLE TO THE

PADS

You can assign the following functions to the Pads, and use

them as switch controls.

SCALES

The following is a list of scales (or tunings) you can select in

Style Play (“Scale” on page 44) and Global (“Scale” on

page 125) modes.

Equal

Equal tuning, the standard scale for modern

Western music. It is made of 12 identical semi-

tones.

Function

Meaning

StyleUp

Selects the next Style

Pure Major Major chords in the selected key are perfectly

StylDown

PerfUp

Selects the previous Style

Selects the next Performance

Selects the previous Performance

Selects the next Program

Selects the previous Program

Turns the Punch Recording on/off

Mute of the Internal FX A

Mute of the Internal FX B

Mute of the Internal FX C

Mute of the Internal FX D

Mute of all Internal FXs

Mute of the Upper 1 track

Mute of the Upper 2 track

Mute of the Upper 3 track

Mute of the Lower track

Mute of the Drum track

Mute of the Percussion track

Mute of the Bass track

tuned.

Pure Minor Minor chords in the selected key are perfected

tuned.

PerfDown

ProgUp

Arabic

An arabic scale, using quarters of tone. Set the

Key parameter as follow:

ProgDown

PunchI/O

FxA Mute

FxB Mute

FxC Mute

FxD Mute

Fx Mute

C - for the “rast C/bayati D” scale

D - for the “rast D/bayati E” scale

F - for the “rast F/bayati G” scale

G - for the “rast G/bayati A” scale

A# - for the “rast Bb/bayati C” scale

Pythagorean Pythagorean scale, based on the music theories

of the great Greek philosopher and matemati-

cian. It is most suitable for melodies.

Werckmeister

Late Baroque/Classic Age scale. Very suitable

for XVIII Century music.

Kirnberger Harpsichord scale, very common during the

XVIII Century.

Upp1Mute

Upp2Mute

Upp3Mute

Low Mute

DrumMute

PercMute

BassMute

Acc1Mute

Acc2Mute

Acc3Mute

Acc4Mute

Acc5Mute

Acc Mute

Mel.Mute

Slendro

Scale of the Indonesian Gamelan. The octave is

divided in 5 notes (C, D, F, G, A). The remain-

ing notes are tuned as in the Equal tuning.

Scale of the Indonesian Gamelan. The octave is

divided in 7 notes (all white keys, when Key is

= C). The black keys are tuned as in the Equal

tuning.

Simulates the “stretched” tuning of an acoustic

piano. Basically an equal tuning, the lowest

notes are slightly lower, while the highest notes

are slightly higher than the standard.

User scale, i.e. scale programmed by the user

for the Style Play, Backing Sequence and Song

Play modes. The user scale can be saved to a

Performance, Style Performance, STS or Song.

You can’t select a User scale in Global mode.

Mute of the Acc1 track

Pelog

Mute of the Acc2 track

Mute of the Acc3 track

Mute of the Acc4 track

Mute of the Acc5 track

Stretch

User

Mute of all Acc tracks

Mute of the Song’s track 4 (usually,

the Melody track)

Drum&Bas

Mute of all tracks, apart for track 2

(usually Bass) and 10 (usually Drum)

QuarterT

Fx CC12

Fx CC13

Quarter Tone on/off

Standard FX controllers

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MIDI Co n tro lle rs

2 2 8

20. MIDI CONTROLLERS

The following is a table including all Control Change mes-

sages, and their effect on various Pa50 functions.

CC#

CC Name

Pa50 Function

Attack

Attack time

F.CutOff

Decay T.

Lfo1 Sp.

Lfo1 Dpt

Lfo1 Dly

FilterEg

Filter cutoff (Brilliance)

Decay time

CC#

CC Name

Pa50 Function

Bank Select

Mod1 (Y+)

Mod2 (Y-)

Undef. ctl

Foot ctl

Program selection

Joystick forward

Joystick backward

Vibrato speed

Vibrato depth

Vibrato initial delay

Gen.pc.5

Gen.pc.6

Gen.pc.7

Gen.pc.8

Port.ctl

Port.time

Data ent.

Volume

Track volume

Balance

Undef. ctl

Pan Pot

85-90

Undef. ctl

Fx A/C

Track panning

Expression

A/C (reverb) send level

B/D (modul.) send level

Expression

Fx Ctl 1

Fx 2 ctl

Fx B/D

Fx Ctl 2

Fx 4 ctl

14-15

Undef. ctl

Gen.pc.1

Gen.pc.2

Slider

Fx 5 ctl

Data Inc

Data Dec

NRPN Lsb

NRPN Msb

RPN Lsb

RPN Msb

Undeﬁned ctl

AllSOff

Gen.pc.4

Undef. ctl

20-31

100

101

102-119

120

121

122

123

124

125

126

127

Control Change #32-63 are the LSB (Least Signiﬁcant Bytet) of

Control Change #0-31, i.e. the MSB (Most Signiﬁcant Byte), and

are changed according to their MSB counterparts.

Damper

Damper pedal

Portamento

Sostenuto

Soft pedal

Legato

Res Ctl

Reset All Controllers

Sostenuto pedal

Soft pedal

LocalCt

NoteOff

OmniOff

Omni On

Mono On

Poly On

Hold 2

Sustin level

F.Res.Hp

Filter resonance

Release time

Release

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MIDI Co n tro lle rs

MIDI Implementation Chart

2 2 9

KORG Pa50

MIDI IMPLEMENTATION CHART

OS Version 1.0 - Mar. 15, 2003

Function

Transmitted

Recognized

Remarks

Default

1–16

Memorized

Basic Channel

Changed

Default

Messages

Altered

Mode

****************

0–127

Note

Number:

True Voice

Note On

****************

0–127

9n, V=1–127

Velocity

Note Off

V=64

Poly (Key)

Mono (Channel)

Sequencer data only

Aftertouch

Pitch Bend

0, 32

Bank Select (MSB, LSB)

Modulations

1, 2

Damper

Data Entry MSB

Data Entry LSB

7, 11

Volume, Expression

Control

Change

10, 91, 93

71, 72, 73

74, 75

76, 77, 78

98, 99

100, 101

120, 121

Panpot, A/B or C/D FX Block Send

Harmonic Content, EG time (Release, Attack)

Brightness, Decay Time

Vibrato Rate, Depth, Delay

NRPN (LSB, MSB)

*A,

*A, 1

RPN (LSB, MSB)

All sounds off, Reset all controllers

0–127

Program

Change

True #

****************

0–127

System Exclusive

Song Position

Song Select

Tune

System

Common

Clock

System

Real Time

Commands

Local On/Off

All Notes Off

Active Sense

Reset

O (123–127)

Aux

Messages

*A: Sent and received when MIDI Filters In and Out are set to Off in Global mode.

*1: LSB, MSB = 00,00: Pitch Bend range, =01,00: Fine Tune, =02,00: Course Tune.

*2: Includes Inquiry and Master Volume messages.

Notes

*3: Transmitted only when the Clock Send parameter (Global page 6) is set to Midi.

Mode 1:OMNI ON, POLY

Mode 3:OMNI OFF, POLY

Mode 2:OMNI ON, MONO

Mode 4:OMNI OFF, MONO

O: Yes

X: No

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Pa ra m e te rs

2 3 0

21. PARAMETERS

Control panel and operating modes parameters

The following table shows the parameters you can save to memory when pressing the WRITE button in the various operating

modes and edit environments.

Single Touch

Setting (STS)

Style

Performance

Seq1+Seq2

Setup

Page Parameter

Control Panel

Performance

Global

Note

–

Master Volume (Slider)

–

√

–

√

–

√

–

Acc./Seq Volume (Slider)

Assignable Slider

Selected Mode

Memory

–

√ (function)

–

√

–

Bass Inversion

Manual Bass

Split Point

Not saved to disk

Groove Quantize

Tempo Lock

Single Touch

Selected Style Number

Synchro Start/Stop

Fade In/Out

General parameter

Style Element

(V1, V2, V3, V4, Fill 1/2,

Count In, Intro 1/2, Ending 1/2)

General parameters

Ensemble On/Off

Chord Scanning

Keyboard Mode

Style Change

√

–

√

–

Perf./Program

Program Change

Octave Transpose

Master Transpose

Tempo

–

√

–

√

–

√

–

Separate tracks

General parameters

–

Display Hold

–

Style Play Mode

Main Program

√

–

Play/Mute status

Volume

Separate tracks

Pan

FX Send Level

Detune

Scale

Key

–

General parameters

Separate tracks

Note

Detune

Pitchbend Sensitivity

√

–

7-8 FX Select (A, B, C, D)

Modulating Track

√ (A, B, C, D)

√ (A/B, C/D)

√ (C, D)

√ (C/D)

√ (A, B)

√ (A/B)

–

General parameters

Separate tracks

B>A (or D>C) Send

9-12 FX Parameters (A, B, C, D)

√ (A/B, C/D)

√ (C/D)

√ (A/B)

–

Easy Program Edit

Track Mode

√

–

Track Internal/External

Damper

Expression

Only Realtime tracks

Joystick X

Joystick Y

√

–

Dynamic Range

√

–

Ensemble Track

Ensemble Type

Dynamic

Tempo

Feedback

√

–

General parameters

V1-V4 Drum Map

√

–

√

–

Kick Designation

Snare Designation

–

Fill 1/2

–

Program (Original/On)

Only Style tracks,

globally

Wrap Around

√

–

√

–

Only Style tracks

Keyboard Range (Original/Off)

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Pa ra m e te rs

2 3 1

Single Touch

Setting (STS)

Style

Performance

Seq1+Seq2

Setup

Page Parameter

Performance

Global

Note

Pad 1-4

Volume

Pan

C Send Level

D Send Level

√

–

Pad Lock

–

√

–

Scale Lock

General parameters

Auto Octave Lock

Master Transpose Lock

Chord Recognition Mode

Scale Mode

Memory Mode

Velocity Control

Song Play Mode

Main Program

–

Play/Mute status

Volume

√

–

Separate tracks

Pan

–

FX Send Level

–

FX Select (A, B, C, D)

Modulating Track

B>A (or D>C) Send

–

√

General parameters

5-6 FX Parameters (A, B, C, D)

–

√

–

Track Mode

–

Separate tracks

List saved to disk

Track Internal/External

Jukebox

–

√

–

Link Mode

√

–

S2 FX Mode

–

General parameters

Performance FX Mode

–

Song Mode

Song data

Global Edit Environment

See table “Style and Song parameters”

Velocity Curve

Master Tune

–

√

–

General parameters

Scale

Key

–

√

–

Speakers On/Off

–

Set to “On” at startup

Metronome Volume

√

Master Transpose on …

…Style/Realtime tracks

…Seq 1/2

…Midi In

Scale Transpose Position

–

√

–

General parameters

Pedal/Switch Function

Assignable Slider Function

Damper Polarity

Footswitch Polarity

MIDI Setup Preset

Local On/Off

–

Set to “On” at startup

Set to “Int” at startup

General parameters

Separate tracks

Clock

–

Clock Send

√

Midi In Channels (1…16)

Chord 1 Channel

Chord 2 Channel

–

Velocity Input

–

√

–

Upper Octave

Lower Octave

Octave Transp. on the Midi In

–

√

–

General parameters

Mute In

–

√

–

Midi In Filters (1…8)

Midi Out Channels (1…16)

Midi Out Filters (1…8)

Separate tracks

General parameters

Disk Edit Environment

Global Protect

–

√

–

Not saved to disk

Factory Styles Protect

Set to “On” at startup

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Pa ra m e te rs

2 3 2

Style and Song parameters

The following table is a list of data saved (to memory or disk) when editing a Style or a Song.

Note: When saving a Song to disk as a Standard MIDI File (SMF), all parameters are converted to ordinary track parameters. Pa80

exclusive data are converted to SysEx or Meta-Events, that will be ignored when reading the SMF on a different keyboard or sequencer.

Style

Tracks

–

Song

Tracks

–

Parameter

Header

Master Track

Header

Master Track

Volume (GM Master Volume)^(a)

Tempo

–

√

–

√

–

√

–

Meter (Time Signature)

√

–

Programs^(b)

Note On/Off

Pitch Bend

√

–

√

–

√

–

After Touch

Control Change^(c)

√

Quarter Tone^(a)

Quarter Tone Reset^(a)

Chord Variation Length

Original Key/Chord

NTT

–

√

–

√

–

√

–

Expression

√

–

Keyboard Range

Chord Variation Table

Retrigger Mode

Tension

–

Play/Mute status^(a)

√

Master Transpose^(a)

–

√

–

Volume

Pan

FX Block^(a)

FX Send

Detune

–

√

–

√

–

Scale^(a)

Key

Note

–

√

–

√

Detune

Scale Yes/No^(a)

–

√

–

Pitch Bend Range

–

√

–

FX Select (A, B, C, D)^(a)

Modulation Track^(a)

FX Feedback Send (B>A or D>C)^(a)

FX Parameters (A, B, C, D)

Easy Program Edit

√

–

√

–

√

–

√

–

√

–

Track Mode^(a)

Internal/External Mode

–

(a) Saved as SysEx data.

(b) For this Program to be used in a Style, the “Prog” parameter should be set to “Orig” in the Style Play mode. See “Prog (Program)” on

page 49.

(c) N o t a l l C o ntrol C h ange me s s a ges are a l l o wed i n S t y l e s . Pl e a s e s e e “L i st o f re c o rded e v e nt s ” o n page 54 for more i n format i o n.

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Re co g n ize d ch o rd s

2 3 3

22. RECOGNIZED CHORDS

The following pages show the most important chords recognized by the Korg Pa80, when the selected Chord Recognition mode

is Fingered 2 (see “Chord Recognition Mode” on page 50). Recognized chords may vary with a different Chord Recognition

modes.

Major 6th

Major

3-note

2-note

4-note

2-note

Major 7th

4-note

3-note

2-note

Sus 4

Sus 2

3-note

2-note

3-note

Dominant 7th

4-note

3-note

2-note

Dominant 7th Sus 4

Dominant 7th 5

4-note

3-note

4-note

Major 7th 5

Major 7th Sus 4

4-note

= constituent notes of the chord

T = can be used as tension

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Re co g n ize d ch o rd s

2 3 4

Minor

Minor 6th

3-note

2-note

4-note

Minor 7th

Minor-Major 7th

3-note

4-note

3-note

4-note

Diminished

Diminished Major 7th

3-note

4-note

Minor 7th 5

4-note

Augmented

Augmented 7th

Augmented Major 7th

3-note

4-note

No 3rd

No 3rd, no 5th

2-note

1-note

= constituent notes of the chord

T = can be used as tension

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Erro r m e ssa g e s & Tro u b le sh o o tin g

2 3 5

Error messages

23. ERROR MESSAGES & TROUBLESHOOTING

Backing Sequence Mode

ERROR MESSAGES

Your Pa50 can communicate with you using various mes-

sages. Here is the list of these messages.

Too Many Styles! (Press Exit)

You have recorded the maximum number of Styles allowed

(depending on the memory, 10 to 15 Style changes).

Messages can be of two different types:

•

Waiting for your conﬁrmation (Yes – No). Press

ENTER/YES to go on, EXIT/NO to stop.

Revealing an error or failure. Press any button on the

front panel.

Song Play

•

Cannot Load JBX File to Seq 2 (Press Exit)

You can’t load a Jukebox (JBX) ﬁle to Sequencer 2. Jukebox

ﬁles can only be loaded to Sequencer 1.

General

Juke Box List Empty! (Press Exit)

You are trying to start playing back a Jukebox list, but the list

is empty. Please add some Songs to the list.

Another Command Is Running (Press Exit)

You can’t execute a command until the one that is running is

completed.

Juke Box List Full! (Press Exit)

A Jukebox list may contain up to 127 Songs. You were trying

to add one Song more.

Are you sure? (Enter/Exit)

This is a conﬁrmation request before many operations. Press

ENTER/YES to conﬁrm, EXIT/NO to abort.

Save Song List: Insert Disk and Press Enter

You are saving a list of Songs. Please insert a disk and press

ENTER.

Generic error

Some undeﬁned error has happened.

Save JBX List: Insert Disk and Press Enter

You are saving a list of Songs as a JBX ﬁle. Please insert a disk

and press ENTER.

Record Aborted

There is not enough memory to enter the Style Record, Song

Record, or Backing Sequencer Record mode.

Wait Please

You were trying to load a ﬁle, while Pa50 is still loading

another one.

Style Play

Corrupted Style Perform. – Save It Again

The Style Performance was damaged. Press WRITE, and

select the Current Style option, to save it to memory again.

Song

Too Many Events

Style Select Fails

You have tried to copy too many events on the same tick.

Pa50 was not able to complete the operation.

Out of Memory!

The memory limit for a Song (300KB) has been reached.

Style Record

Incompatible Meter

Arranger is Running! (Press Exit)

You were trying to copy a track on a track with a different

meter.

While in Style Record mode, this message may appear when

you try to select a different track, or execute an edit opera-

tion, while the Arranger is running.

Sequencer is Running! (Press Exit)

While in Song Record mode, this message may appear when

you try to select a different track, or execute an edit opera-

tion, while the Sequencer is running.

Low memory!

The space in the SSD (the space where User Styles are stored)

is going low. Exit Record, then load some banks of smaller

Styles before entering Record again.

Song Play and Song mode

Style Copy Failed (Press Exit)

Pa50 was not able to complete the Copy operation.

Cannot load Jukebox ﬁle on Seq.2

You can load a Jukebox ﬁle only on Sequencer 1.

Style Delete Failed (Press Exit)

Pa50 was not able to complete the Delete operation.

Damaged Standard Midi File

The Standard MIDI File you are trying to load is damaged,

and cannot be played back.

Style Save Failed (Press Exit)

Pa50 was not able to complete the Save operation.

Jukebox list is empty

Style Select Failed (Press Exit)

You tried to delete a Song in an empty Jukebox list, or to save

an empty Jukebox list.

Pa50 was not able to complete the selection.

SMF Import Failed! (Press Exit)

Jukebox list is full

There was an error while reading the Standard MIDI File

with the Import SMF function. The ﬁle may be corrupted.

The Jukebox list already contains 127 Songs.

Not a Standard Midi File

The selected ﬁle is not a Standard MIDI File, and cannot be

played back. Select a “.MID” or “.KAR” ﬁle. Pa50 can play

back Standard MIDI Files in 0- and 1-format.

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Erro r m e ssa g e s & Tro u b le sh o o tin g

Error messages

2 3 6

Standard Midi File format 2

Disk not empty! (Sh+Enter to Format)

You have tried to read a Format 2 Standard MIDI File. Pa50

can’t play this kind of ﬁle. Select a Standard MIDI Files in 0-

and 1-format.

During a Backup, you inserted a disk containing some data.

Please replace it with an empty one, or press SHIFT+ENTER

to start formatting the disk.

Disk w rite-protected

Program

The ﬂoppy disk is write-protected. Move the protection tab

to close the hole, and try again. Be sure there aren’t data you

don’t want to overwrite. Otherwise, replace the disk with an

empty one.

Overw rite Program? (Enter/Exit)

You are trying to store a Program to a memory location

already occupied by a Program. Press ENTER to overwrite it,

or EXIT to abort.

Erase Failed! (Press Exit)

An error occurred during Erase. Erase operation aborted.

Error w hile converting (Press Exit)

Disk mode

While trying to load Korg i-series data, some errors occurred.

The original ﬁle is probably corrupted, or its structure is too

different from Pa-series data.

Can’t Erase Old Korg Resource (Press Exit)

You can’t erase a single Style from a Korg i-series disk. You

can only delete a whole ﬁle.

Error w hile formatting medium

Can’t Read Disk! (Press Exit)

An error was reported when formatting the medium (disk).

The format procedure has been aborted. Try again. If format-

ting a ﬂoppy disk, replace the disk and try again.

The disk is probably damaged. Try again. If the message

appears again, try with a different disk.

Can't Read File! (Press Exit)

Error w hile Writing! (Press Exit)

The ﬁle you are trying to load, copy, erase or rename is dam-

aged, or has a null size (0 kb), thus can’t be read. This mes-

sage during a New Dir operation means there are problems

on the disk. Try loading the ﬁle from a different disk.

An error was reported while writing on the medium (disk).

The procedure has been canceled. Select a different medium,

and try again.

Existing Files Not Copied (Press Exit)

Copy Failed! (Press Exit)

After a Copy procedure (no Overwrite selected), all ﬁles shar-

ing the same name have not been copied.

An error occurred during Copy. Copy operation aborted.

Copy: Invalid Destination (Press Exit)

You tried to copy an ordinary ﬁle or folder into a “.SET”

folder.

Factory Styles Protected! (Press Exit)

The “.SET” ﬁle you just loaded included some banks of Fac-

tory Styles. Since the Factory Style Protect ﬂag was switched

on, Factory Style banks were not loaded. (See “Factory Style

Protect” on page 142).

Corrupted Style Perf. Save it again

The Style Performance is damaged. Save it again by pressing

WRITE, and selecting the “Current Style” option.

Fast Format Failed. Full Format? (Enter/Exit)

The Fast Format procedure failed. Press ENTER to go on

with a Full Format procedure (slower).

Delete all data. Continue? (Enter/Exit)

Formatting will delete all data on the disk you are ready to

format. Be sure you have a copy of all data you wish to pre-

serve.

File is protected

You have tried to write over a read-only or system ﬁle. Pa50

can’t write over this kind of ﬁles. Should you need to write

over one of these ﬁle, use a personal computer to change the

ﬁle’s properties, then try again. Read your computer’s user’s

manual.

Delete Destin. Files Failed! (Press Exit)

The ﬁle you were trying to overwrite could not be deleted.

Destination File Exists (Press Exit)

The ﬁle you are trying to copy already exists on target.

Directory Full (Press Exit)

File/Dir Already Existing (Press Exit)

You reached the maximum folder number for the root of the

selected medium:

During a Rename or New Dir operation, you were trying to

use an existing name. Use a different name.

• 720 kb ﬂoppy disk: max 112 folders

• 1.44 Mb ﬂoppy disk: max 224 folders

Delete some ﬁles, or replace the disk.

File in Use (Press Exit)

The ﬁle you tried to delete is in use by another procedure.

Wait for the procedure to be completed, then try again.

Directory Not Empty (Press Exit)

Files in Use Not Deleted (Press Exit)

You were trying to delete a directory still containing ﬁles.

Delete these ﬁles, then delete the directory.

This message may appear during an Erase operation. Files

used by other procedures have not been erased.

Directory not found (Press Exit)

Files in use have not been overw ritten

This message may appear during a Copy with Overwrite

operation. Files used by other procedures have not been cop-

ied.

The directory is not in the current medium. The disk has

probably been replaced before ﬁnishing the disk operation.

Insert the disk again, and try again.

Disk Full (Press Exit)

File Is Protected (Press Exit)

The selected medium (disk) is full. Delete ﬁles you are not

interested to keep, or replace the disk with an empty one.

Then, try again.

You were trying to overwrite a protected ﬁle.

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Erro r m e ssa g e s & Tro u b le sh o o tin g

2 3 7

Error messages

File Not Found (Press Exit)

Not Enough Space on Media

The ﬁle is not in the current medium. The disk has probably

been replaced before ﬁnishing the disk operation. Insert the

disk again, and try again.

There is no more space to load, save or copy data. The disk

operation will be aborted. Replace the disk, and use an empty

disk to save your data. Should this message appear during

loading, the SSD (Solid State Disk)-based internal memory is

full.

Format Completed (Press Exit)

Formatting has been successfully completed.

Nothing to Rename (Press Exit)

Format aborted (Press Exit)

There are no items to rename.

Format operation aborted.

Overw rite Existing File? (Yes/No)

Format failed! (Press Exit)

You are writing data on an existing “.SET” folder, or on a ﬁle

of type “.MID” or “.JBX”.

An error occurred during Format. Format operation aborted.

Illegal name (Press Exit)

Overw rite on Backup? (Enter/Exit)

The name is not allowed on Pa-series instruments.

Press ENTER/YES to overwrite ﬁles carrying the same name

on the target device, or EXIT/NO to avoid overwriting any

ﬁle.

Insert 1.4MB FD and press Enter

While saving the operating system, Pa50 asks for a ﬂoppy disk

(1.44 Mbyte, High Density).

Overw rite on Copy? (Enter/Exit)

Insert 1.4MB FD #[n] and press Enter

Press ENTER/YES to overwrite ﬁles carrying the same name

on the target device (Press Exit)/NO to avoid overwriting any

ﬁle. File that are not yet on disk are always copied.

While executing a Backup procedure (see “Backup Data” on

page 141), Pa50 asks for the ﬁrst ﬂoppy disk (1.44 Mbyte,

High Density). After ﬁlling this disk, the following disks will

be asked for.

Place the label on the disks, and write their progressive num-

ber on it. You will use these numbers when restoring data (see

“Restore Data” on page 142).

Overw rite Protected Files? (Enter/Exit)

Protected ﬁles cannot usually be overwritten. By pressing

ENTER, you can overwrite them during the current opera-

tion.

Rename: Invalid Name (Press Exit)

Y o u can ’t u se the name you entered. Please retry and select a

different name.

Insert Backup FD n.[n] and Press Enter

During a Restore operation (see “Restore Data” on page 142),

you are prompted to insert Backup disks. Insert the disk with

the shown number.

Rename: New Name Must Be a \".SET\

You can’t modify a “.SET” folder extension.

Invalid Copy Parameter (Press Exit)

Rename Failed! (Press Exit)

The copy operation was not possible. Maybe you were trying

to copy a ﬁle over itself, or copying nested folders.

An error occurred during Rename. Rename operation

aborted.

Load Failed! (Press Exit)

Save Failed! (Press Exit)

The Load procedure has not been executed. Try again, or try

with different ﬁles.

An error occurred during Save. Save operation aborted.

Some Files Missing (Press Exit)

Make New Dir Failed! (Press Exit)

This message may appear at the end of a Restore operation.

Some User ﬁle may be missing. This is not a problem for the

Factory Data integrity.

While trying to create a new directory, an error occurred.

Media Write-Protected (Press Exit)

The disk is physically protected. Remove the protection, and

try again.

Unit Not Found (Press Exit)

You were trying to access a storage device not available on

your instrument.

Memory full

This message appears in Backing Sequence mode, when the

memory for recording a Song is full.

Unformatted medium

You have selected a medium (disk) that is not yet formatted,

or is in a format that Pa50 can’t recognize. Format the

medium using the Format procedure (see “Page 5 - Format”

on page 140).

No Disk/Unformatted. (Sh+Enter to Format)

Either there is no ﬂoppy disk in the drive, or the disk is

unformatted. Insert a disk, and try again, or press

SHIFT+ENTER to start formatting the disk.

Wait

Not a Pa-series or Corrupted File

Pa50 is busy with a disk operation.

The ﬁle you are trying to load is not compatible with Pa-

series instruments.

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Erro r m e ssa g e s & Tro u b le sh o o tin g

Troubleshooting

2 3 8

TROUBLESHOOTING

Problem

Solution

Page

General problems

Power does not turn on

Make sure that (1) the power cable is plugged into the outlet, (2) the cable is plugged

into the connector on the back of the instrument, (3) and is not damaged, (4) there are

no problems with the mains.

Is the power switch turned ON?

If the power still does not turn on, contact your dealer or the nearest KORG Service Cen-

ter.

No sound

Is a jack connected to the HEADPHONES connector? This would disable the internal

speakers.

Check the connections of your amp or mixer.

Make sure that all the components of the amplifying system are turned on.

Are the MASTER VOLUME or ASSIGN.SLIDER sliders of the Pa50 set to a position other

than “0”?

Is the Local parameter set to Off? Turn it On.

Is the Speaker parameter set to Off? Turn it On.

127

125

Is the Attack parameter value too high? Set it to a lower value, to let the sound start

faster. Is the Volume parameter too low? Set it to a higher value.

Lowest note are not played

Wrong sounds

When the SPLIT button is lit up, the keyboard will be divided into the Lower part (low

notes, below the split point) and the Upper part (high notes, above the split point). Is the

Lower track muted? Unmute it.

Do the USER banks contain modiﬁed data? Load the appropriate data for the Song or the

Style you wish to playback.

133

Has one of the USER Drum Kits been modiﬁed? Load the appropriate Drum Kits.

133

Have the Styles or Performances been modiﬁed? Load the appropriate data (Styles or Per-

formances).

Sound does not stop

Make sure that the damper switch polarity parameter is set correctly.

126

127

The selected Style or Song can- Make sure that the Clock parameter is set to Int. If you are using the MIDI Clock of

not start

another device, you must set the MIDI Clock parameter to MIDI, and make sure that the

external device transmits MIDI Clock data.

Does not respond to MIDI mes- Make sure that all MIDI cables are connected correctly.

sages

Make sure that the external device is transmitting through MIDI channels enabled to

receive in the Pa50.

Make sure that the MIDI IN Filters of the Pa50 do not prevent the reception of messages.

129

Percussive instruments are not

played correctly

Make sure that the Percussion and Drum Track is set to Drum Mode and the

external device has not transposition applied.

Some “clicks” can be heard

when playing a percussive

instrument

This is part of the sound, and not a problem.

A background noise can be

heard after selecting a Perfor-

mance, Style or STS

The selected Performance, Style or STS recalled the effect “15 Analog Record”, simulating

the noise of a old vinyl recording.

Disk related problems

Cannot format a ﬂoppy disk

Are you using a 3.5 inch 2DD or 2HD ﬂoppy disk? You must use one of these types.

Is the disk inserted correctly?

130

140

130

132

Is the write protect tab of the disk in the protect position?

Is the disk formatted?

Cannot save data to a ﬂoppy

disk

Is the disk inserted correctly?

Is the write protect tab of the disk in the protect position?

Cannot load data from a ﬂoppy Is the disk inserted correctly?

disk

Does the disk contain data compatible with the Pa50?

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Te ch n ica l sp e cifica tio n s

2 3 9

24. TECHNICAL SPECIFICATIONS

Model: KORG Pa50

Keyboard

61 keys, with velocity.

Operating System

KORG OPOS (Objective Portable Operating System). Multitasking, Load-While-Play feature. SSD

(Solid State Disk)-resident. Upgradable from ﬂoppy disk.

Display

Backlit custom LCD

Data storage

8MB (>20MB equivalent) Internal Solid State Disk (SSD), 1.44MB Floppy Disk Driver (MS-DOS® com-

patible).

Sound generation system

Polyphony

KORG HI - Hyper Integrated.

62 voices, 62 oscillators. Filters with resonance.

40 tracks (2 x 16 Sequencer, 4 Realtime, 4 Pads)

32 Mbyte of PCM ROM, with Stereo Piano.

Multitimbricity

Sound memory

Programs

>660 (Single Oscillator, Double Oscillator), including a Stereo Piano and GM Level 2-compatible Pro-

grams. 32 Drum Kits, 128 User Programs, 64 User Drum Kits. Easy and Full Program Editing.

Effects

4 stereo digital multi-effect systems (with 89 effect types each).

Performances

160 Realtime Performance memories. Up to 304 Styles Performances with 4 Single Touch Setting

each.

Styles

Up to 304 Styles, Solid State Disk-resident, freely reconﬁgurable. 8 Style tracks, 4 Single Touch Set-

tings per-Style, 48 User Styles, programmable Style Performances and Single Touch Settings. Direct

Disk reading feature. Compatible with old i-Series Styles. Style Record with Edit functions, Step Edit,

Event Edit.

Single Touch Settings (STS)

Style controls

4 × 304 (memorize Realtime tracks)

4 Variations, 2 Fills, 2 Intros, 2 Endings, Counter In/ Break, Synchro Start/Stop,

Tap Tempo/Reset, Fade In/Out, Bass Inversion, Manual Bass, Tempo Lock, Memory, Accompaniment

Volume, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, Single Touch.

General controls

Master Volume, Ensemble, Octave Transpose, Master Transpose, Split Point, Style Change, Tracks Vol-

ume, Quarter of Tone, Assignable Slider, Joystick, Dial.

Pads

4 Assignable Pads + Stop button

Song Play

XDS* Crossfade Dual Sequencer player - 2 Sequencers with separate

Start/Stop, Pause, << (Rewind) and >> (Fast Forward) controls. Balance control.

Lyrics data are displayed on-screen. Jukebox function. SMF Direct Player (formats 0 and 1).

Song / Backing Sequence

Pedals

Easy Record function. Full featured sequencer. 16 tracks. SMF native format.

Damper, Assignable (continuous, footswitch)

Joystick (pitch + modulation), Assignable slider, Pads

IN, OUT, THRU. Individual track assignement. Auto-setup functions (MIDI Setup)

2 × In, Line impedance

Realtime controllers

MIDI

Audio Inputs

Audio Outputs

Main Ampliﬁer

Speakers

2 Main (Left/Mono, Right)

2 × 15 Watt Ampliﬁer

2 × 10 double-cone speakers (bass-reﬂex box).

26 Watt

Power Consumption

Dimensions

W: 41.5” / 1054mm, D: 15.5” / 393mm, H: 5.9” / 150mm (without music stand)

24.8 lbs (11.25 kg)

Weight

Accessories

User’s Manual, AC Power Adapter, Music Stand

EXP-2 (Foot Controller), XVP-10 (Exp/Volume Pedal), PS-1 (Footswitch), DS-1H (Damper Pedal)

Options

* Patent Pending

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Alp h a b e tica l In d e x

2 4 0

25. ALPHABETICAL INDEX

Effects

Song mode 96, 97

Acc/Seq Volume 10, 13

AMS(Alternate Modulation Source)

Resonance 112

Arabic Scale 34

Assignable Slider 126

Attack 119

S o ng Play mode 71, 76

Style Play mode 43, 44

E n ding 14

E n semble 47

Attack Level

Amp EG 119

F1-F4 buttons 16, 19

Fade

LFO 120

Fill 14

Attack Time

Filter EG 116

Audio Inputs 10, 22

Audio Outputs 10, 22

Filter

Cutoff Frequency 113

Filter Type 112

Low Pass & High Pass 112

L o w Pass Resonance 112

Footswitch 126

Polarity 126

Backing Sequence mode 31, 82–87

Backup 8, 141

Balance 10, 18, 27, 30

Bank Select 37

Format 140

BPM

MIDI/Tempo Sync., LFO 121

General MIDI 35

Global 125–129

Global channel 35

Groove Quantize 71

Chord Recognition Mode 50

Chord Scanning 17

Cutoff Frequency 113

Inputs 10, 22

Intro 15

Damper 11, 47

Polarity 126

Decay Time

Filter EG 116

Delay

LFO 120

Demo 11

Joystick 47

J u kebox 74, 79

Direct FD 40

Disk 130–142

Keyboard Mode 17

Keyboard settings 24

Backup 141

Format 140

Write protection 130

Display 19–21

F1-F4 buttons 16, 19

Page buttons 19

Volume/Value buttons 16, 19

Display Hold 17

Double Sequencer 27, 70

Drum mode 78

Drum tracks 45, 99

Waveform, LFO waveform 120

L o cal Off 37, 127

Lock 49

Low Pass & High Pass 112

Low Pass Resonance 112

Ly r ics 73, 74

Edit Environment 21

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Alp h a b e tica l In d e x

2 4 1

Scale

Master Transpose 18, 126

Master Tune 125

Master Volume 10, 13

Menu 15

Message window 21

MIDI

L o ck 50

Main scale 125

Selecting in realtime 34

Select

MFX Effect Select 121

Selecting Windows 21

Sequencer

Chord channels 128

Clock 70, 127

Li n k mode 79

General MIDI 35

Global channel 35

IN channels 127

Selecting and switching 73

Sequencer 1 73

Sequencer 2 73

Interface 22, 37

Sequencer 2 effects mode 80

Transport controls 18

S h ift 16

OUT channels 129

Setting a track for MIDI 78, 99

Setup 36, 126

Standard MIDI File 70, 88

MIDI interface 22, 37

MIDI Setup 36, 126

Midifile 35, 70, 88

Mode

Backing Sequence 82–87

Program 105–124

Song Play 70–81

Style Play 40–51

Mute 16, 24

Si n gle Touch 14, 16, 26

Si n gle Touch Settings (STS) 16

Selecting 27

S o ng

Editing 32

Playback from disk 27, 28, 73, 84, 89

Recording 31, 82

Selecting 73, 84, 89

S t andard MIDI File 35

S o ng Play mode 70–81

Speakers On/Off 125

Split Point 14, 36

Standard MIDI File 35, 70, 88

S t yle

Octave Transpose 18

Offset

Ending 14

Offset, LFO 120

Operating Modes 13, 20

OS (Operating System)

Backup 8, 141

Update 9

Fill 14

Intro 15

Recording 52–69

Selecting 14, 26

S t yle Performance 40

Variation 14

Outputs 10, 22

Style Change 25

Style Play mode 40–51

Sync.

Key Sy n c., LFO 120

MIDI/Tempo, L FO 121

Sy n chro S t art/S t op 15

Pads 18, 49

Lock 49

Page 15, 19

Pedal 126

Performance 40

Selecting 17, 25

Pitch Bend 44, 97

Portamento

Tap Tempo 15

Tempo 40

AMS 123

Program

Editing 45, 98

Selecting 17, 26

Program Change 37

Program mode 105–124

Tempo/Value section 16

Track Select 16, 73

Tracks

Drum mode 78

Drum/Percussion 45, 99

Keyboard/Realtime tracks 24, 40, 70

Octave Transpose 18

Programs 17

Selecting 16, 24, 73

Volume 19, 43

Resonance 112

Transpose 18

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Alp h a b e tica l In d e x

2 4 2

Tune

Tune, Program 108

Velocity Intensity, Amp Mod. 118

Velocity, Filter EG 114

Velocity Curve 125

Volume

Acc/Seq 10, 13, 71, 88

Balance 10

Individual tracks (Song Play) 75

Individual tracks (Song) 95

Individual tracks (Style Play) 43

Master 10, 13, 71, 88

Volume/Value section 16, 19

User Interface 20

Edit Environments 21

Operating Modes 20

Selecting Windows 21

VALUE slider

AMS 123

Variation 14

Velocity

Write 15

Global 125

S t yle Play mode 42

AMS 123

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Ad d re ss

KORG ITALY Spa

Via Cagiata, 85

I-60027 Osimo (An)

Italy

We b se rve rs

www.korg.co.jp

www.korg.com

www.korg.co.uk

www.jam-ind.com

www.korgfr.net

www.korg.de

www.korg.it

www.letusa.es

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