With the lower LED lit, the bottom row of parameters is active
Furthermore, to access the whole host of other Synth parameters available for editing, a serious of different Menus can be activated. For example, the oscillator section also has Octave select, portamento control and so on. To access these, the Osc Menu needs to be activated. This is done by pressing the Menus/Audio button, so that the lower LED lights, and then pressing the button directly above osc as follows:
Once in Menus mode, press the button above osc (on the blue strip) to activate the Oscillators Menu
Press the Menus/Audio button to activate Menus mode (so that the bottom LED lights). Do not press and hold the button as this activates Audio mode
If the Menus/Audio button is held for too long, making the upper LED light (activating the Audio parameters across the knobs), then simply press it again to cancel and then once more to make the lower LED light.
The Oscillators (OSCS) Section/Menu
The XioSynth has three oscillators, a Noise generator and a Ring modulator. The oscillators are selected using the osc button and indicated by the corresponding LEDs. For example, with the 2nd LED lit, the remaining three controls will adjust Oscillator 2, as follows:
Oscillator Level when LED 1 is active and LFO 1 depth when LED 2 is active
Oscillator Detune (fine tuning) when LED 1 is active and Semitone (coarse tuning) when LED 2 is active
Press to select Oscillator 1, 2 or 3 (shown by corresponding LED)
Press to change the Oscillator Waveform
The Waveforms available for each oscillator are four traditional waveforms: SINE, TRIANGLE, SAWTOOTH, SQUARE/PULSE Four Noise Types: WHITE NOISE, HP NOISE, BP NOISE, HBP NOISE And nine digitally sampled waveforms to help construct more traditional instruments or percussive sounds: ORGAN, HARPSICHORD, ELECPIANO, SLAP BASS, RHOD PIANO, RHOD TINE, WHURLY EP CLAVINET, , ANA BASS. The remaining Oscillator controls are adjusted in the Oscillator Menu, accessed by pressing the Menus/Audio button (so that the lower LED lights) followed by the button above osc. Once in the Oscillator Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: OSC Portamento sets the portamento (sliding between notes) of the Oscillators to a value between 0 and 127 OSC1ModEnv>Pitch controls how much the Oscillator 1 pitch is modulated by the Modulation Envelope negative and positive values have opposite effects on the pitch (falling then rising and vice versa, respectively) set between -64 and +63, where 0 has no effect OSC2ModEnv>Pitch controls how much the Oscillator 2 pitch is modulated by the Modulation Envelope (see above)

Press to select the LFO waveform
Press to switch between LFO 1 and 2 (shown by corresponding LEDs)
Speed sets the speed of the selected LFO Delay sets the delay of the selected LFO (the amount of time before the LFO starts). Useful for applying vibrato The available waveforms are: SINE, TRIANGLE, SAWTOOTH, SQUARE, RANDOM S/H (Sample and Hold), QUANT (Quantize) S/H, CROSSFADE, EXP (Exponential) DECAYS 1-3, ATTACK EXP 1-3, SUST EXPS 1-3, PIANO ENV 1-3, EXP UPDOWN, CHROMATIC, MAJOR MODES, MAJOR-7, PATTERNS 1-9 The CHROMATIC, MAJOR MODES and MAJOR-7 waveforms can be useful if used for LFO 1. This can be used to make an Oscillator play a scale by just holding down a key. If doing this, make sure the LFO1 Depth knob in the Oscillator section is set to + or 30, so that the scale is in key. The remaining LFO controls are adjusted in the LFO Menu, accessed by pressing the Menus/Audio button (so that the lower LED lights) followed by the button above lfo. Once in the LFO Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: LFO1 Velocity sets the amount that velocity controls LFO1. Setting a positive value makes LFO1 increase with velocity, whereas setting a negative value has the opposite effect. Increase the value to increase the effect LFO1 MonoDelTrig allows a different LFO effect to be applied when in either Monophonic mode. For example, if wanting a delayed vibrato only on the first note of a musical phrase, set this to SGL (single). However, if wanting a delay on every note, set this to MLT (multi) LFO1 Keysync synchronises LFO1 to the keyboard. Set to ON, each key press will retrigger the LFO LFO1 Init Phase sets a different start point for the LFO waveform when the previous option (Keysync) is set to ON
LFO1 Unipolar sets whether the LFO modulates in a positive and negative direction (set to OFF) or just in a positive direction (set to ON) LFO1 Common allows the LFO applied to each of the eight voices to be phase locked, creating a more unnatural sound. Note that with this set to ON, the Keysync page will have no effect. Instead, the Synth Global Sync option in the Synth Global Menu will override it LFO1 One-Shot makes the LFO cycle through its waveform only once and then stop, when set to ON LFO2 Velocity sets the amount that velocity controls LFO2. Setting a positive value makes LFO2 increase with velocity, whereas setting a negative value has the opposite effect. Increase the value to increase the effect LFO2 MonoDelTrig allows a different LFO effect to be applied when in either Monophonic mode. For example, if wanting a delayed vibrato only on the first note of a musical phrase, set this to SGL (single). However, if wanting a delay on every note, set this to MLT (multi) and the same as the remainder of options for LFO1.

The Envelopes (ENVS) Section/Menu
Amp Attack with LED 1 active and Mod Attack with LED 2 active Amp Decay with LED 1 active and Mod Decay with LED 2 active Amp Sustain with LED 1 active and Mod Sustain with LED 2 active Amp Release with LED 1 active and Mod Release with LED 2 active
Changes the Amp Envelope Trigger (in Monophonic mode)
Changes the Mod Envelope Trigger (in Monophonic mode)
Changes the A/D Envelope Trigger (in Monophonic mode)
The Envelopes section allows the Amplitude, Modulation and A/D (Attack/Decay) Envelopes to be adjusted. The Amplitude Envelope is the level of the signal from the Oscillators section over time. The Modulation Envelope can be used to control three other area of the synth: Oscillator pitch, Oscillator pulse width and Filter frequency each with individual settings in the respective sections or menus. The A/D Envelope can be used to modulate Oscillator 3 and control the FM amount. The options for AMP and MOD envelopes are as follows: Attack sets the amount of time taken for the envelope to reach maximum level Decay sets the amount of time taken for the envelope to fall to the sustain level after maximum level has been reached Sustain sets the level when a note is held down after the decay period Release sets the amount of time taken for the level to decrease when a note is released The three buttons can be used to set the Trigger of each envelope. This sets whether or not an envelope is triggered with every key press, and is only applicable when the Oscillator section is in Monophonic Mode (see the Oscillators section for details). For example, you may want the AMP envelope to only be triggered on the first note of a legato phrase (so the phrase gets progressively quieter) but the MOD envelope to be triggered on every key press; in this case, the AMP ENV TRIG should be set to SGL (Single) and the MOD ENV TRIG to MLT (Multi). Press each button to alternate between these states. The remaining Envelope controls are adjusted in the Envelopes Menu, accessed by pressing the Menus/Audio button (so that the lower LED lights) followed by the button above env. Once in the Envelopes Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: ENV Amp Velocity sets the amount that velocity effects the volume of the sound. Setting a negative value has the opposite effect (decreasing when pressed harder)
ENV Mod Velocity sets the amount that velocity effects the level of the Modulation Envelope. Setting a negative value has the opposite effect (decreases when pressed harder) ENV A/D Velocity sets the amount that velocity effects the level of the A/D Envelope (Envelope 3). Setting a negative value has the opposite effect (decreasing when pressed harder) ENV A/D Attack sets the Attack time of the A/D (Attack/Decay) Envelope ENV A/D Decay sets the Decay time of the A/D (Attack/Decay) Envelope

Change the Arp Speed when LED 2 is active
Press to turn the Arp On and Off, press and hold to latch the Arp
Note that the speed will be overridden by the Arp tempo set in the Sync Menu (see the Sync Menu section for details) if the XioSynth is synchronising to MIDI clock (received over USB). The XioSynth will synchronise automatically unless the MIDI Clock Sync option is changed in the Synth Global Menu (see the Synth Global Menu section for details). The remaining Arpeggiator controls are adjusted in the Arpeggiator Menu. The Arpeggiator Menu is accessed by pressing the Menus/Audio button (so that the lower LED lights) followed by the button above x-gator/arp. Pressing this button, alternates between the X-Gator and Arp Menus so make sure you can see one of the pages below to ensure you are in the correct Menu. Once in the ArpMenu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: ARP Mode sets the Arpeggiator pattern to various up and down combinations (UP DOWN, UP-DOWN 1, , UP-DOWN 2), as played (PLAYED), randomly (RANDOM) or a chord of any notes pressed (CHORD) ARP Latch turns the Arpeggiator latch ON and OFF. Setting to ON makes the Arpeggiator sustain after a note is pressed ARP Octaves sets the number of octaves that the arpeggiator spans across from 1 to 4 ARP Pattern sets the Arpeggiator to play a rhythmic pattern. Choose between 32 options ARP Pattern Vel sets the velocity of notes within the Arpeggiator pattern to follow the velocity of notes being played. Set to OFF to make the Arpeggiator pattern follow preset velocities ARP Gate Time sets the gate time (duration) of Arp notes. Set to a small value to make the notes more staccato. Increase to create a legato effect ARP Keysync synchronises the Arp to each note press ARP Notes allows the Arpeggiator MIDI data (Note On/Off messages) to be sent to a number of destinations: INT (Internal Sound Engine), EXT (MIDI Output) or I+E (both)

The Effects Section/Menu

The Effects controls are used to apply any or all of the Effects (Delay, Reverb, Chorus/Phaser, Distortion, EQ/Vol and Panning) to the Synthesizer. Effects are applied using the Effect Select buttons and Effect Level knob as follows:

Increase the Effect Level with LED 1 active
Press to select the Effect (shown by corresponding LED)
Delay adds a delayed version of the signal (like an echo) a certain time after the original. This can be made to repeat many times if required (determined by the Feedback level) Reverb sets the amount of reverberant (reflected) sound to simulate an environment like a performance hall or small chamber Chorus/Phaser adds a repetition of the original signal with a variable delay to create the effect of multiple voices (hence chorus). The Phaser adds a repetition of the original signal with variable phase to create a swirling effect Distortion adds distortion (loud overtones) to the signal to create a heavier sound EQ/Vol increases/decreases the level of Low (as default), Mid or High (within the Menu) Frequencies. Also sets the MIDI Volume (within the Menu) Panning allows the sound to bounce from left to right. Increasing the level of this Effect increases the amount of stereo panning (PAN Mod Depth) The remaining parameters for each effect can be accessed in each of the Effects Menus. Note that there are 6 different Effects Menus, all accessed in the same way but dependent on what Effect LED is active on the XioSynth. For example, if wanting to edit the remaining parameters for Delay, use the Effect Select buttons (shown above) to select Delay then press the Menus/Audio button (so that the lower LED lights) followed by the button above effects. Once in the Delay (Effects) Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: DEL Delay Time sets the length of the Delay DEL Feedback sets the amount of Feedback (the length of time for which the Delay continues) DEL Stereo Width sets the stereo width of the Delay
DEL L/R Ratio sets the delay ratio between Left and Right channels Whilst in the Effects Menu, you can move to another Effect simply by selecting it with the Effect Select buttons shown in the diagram above. For example, to access the Reverb parameters from the Delay Menu, press the downward Effect Select button so that the Reverb LED lights. Now, use the page up/down buttons next to the LCD screen to cycle through the following pages: REV Type sets the type of Reverb between: Chamber, S-Room (Small Room), L-Room (Large Room), S-Hall (Small Hall), L-Hall (Large Hall), G-Hall (Giant Hall) REV Decay Time sets the amount of time taken for the Reverb to decay To view the Chorus parameters, press the downward Effect Select button once more so that the Chorus LED is active. Once in the Chorus (Effects) Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: CHOR Type selects either CHORUS or PHASER mode CHOR Mod Rate sets the rate of Chorus modulation CHOR Mod Depth sets the amount of Chorus modulation CHOR Centre Posn shifts the centre point of the Chorus modulation between either extreme (dependent on the previous Depth setting) CHOR Feedback sets the amount of Feedback. It is normally advisable to have low levels of feedback when in Chorus mode and higher levels in Phaser mode CHOR Init Posn sets the Chorus start point to Left, Right, Middle or Off (where there is no defined start point) To view the Distortion parameters, press the downward Effect Select button once more so that the Distort LED is active. Once in the Distortion (Effects) Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: DIST Compensate compensates for/decreases the level overload caused by the Distortion DIST Output Lvl compensation can cause the overall level to be low so this page allows the level to be increased To view the EQ/Vol parameters, press the downward Effect Select button once more so that the EQ/Vol LED is active. Once in the EQ/Vol (Effects) Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: EQ Mid increases/decreases the level of Mid Frequencies EQ Treble increases/decreases the level of High Frequencies

Touchpad X Type sets the Action of the Touchpad to: No Spring (value remains at the last contact point), Spring Left (value jumps to the extreme left value when contact with the pad is ended), Spring Centre (value jumps to the centre value when contact with the pad is ended) Touchpad Y Type sets the Action of the Touchpad to: No Spring (value remains at the last contact point), Spring Down (value jumps to the bottom value when contact with the pad is ended), Spring Centre (value jumps to the centre value when contact with the pad is ended) Touchpad X Assign sets the parameter controlled by the Touchpad x-axis between: OFF no control BEND pitch-bend MOD - modulation AFTERTOUCH - aftertouch BREATH - breath FILTER FREQ filter frequency FILTER RES filter resonance LFO1 RATE speed of LFO1 LFO2 RATE speed of LFO2 LFO2>FILTF amount that LFO2 modulates the Filter Frequency Touchpad Y Assign sets the parameter controlled by the Touchpad y-axis between the identical parameters above
The Aftertouch And Breath Menu
This Menu allows the Aftertouch and Breath settings to be edited. Although the XioSynth keyboard does not have Aftertouch, it can be assigned to the Touchpad to allow effects to be created. The Breath settings determine how the XioSynth will respond to Breath (CC2) Messages, normally received from a MIDI wind instrument. Again, Breath can be assigned to either Touchpad axis and both Breath and Aftertouch messages can be received over USB. To access the Aftertouch and Breath Menu, press the Menus/Audio button (so that the lower LED lights) followed by the button above atouch/breath. Once in the Aftertouch and Breath Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: AT Pitch Direct increases/decreases the amount of Oscillator pitch variation in semitones when aftertouch is applied AT Pitch Mod sets the amount that aftertouch results in LFO1 modulating Oscillator pitch AT Filter Freq sets the amount that aftertouch affects the filter frequency. A negative value decreases the filter frequency as aftertouch is increased and a positive value increases it AT Filter Freq Mod sets the amount that aftertouch results in LFO2 modulating the filter frequency AT Output Level allows aftertouch to control the overall output level. A positive value makes the volume increase with modulation and a negative value makes the volume decrease BR Pitch Direct increases/decreases the amount of Oscillator pitch variation in semitones when breath is applied BR Pitch Mod sets the amount that breath results in LFO1 modulating Oscillator pitch followed by the remaining options for Aftertouch.

The Sync Menu

The Sync Menu allows the X-Gator, Arpeggiator, LFOs and Effects to all be synchronised to MIDI clock. This can be an external MIDI clock (from a sequencer for example) or the internal MIDI clock of the XioSynth, the speed of which is determined by the Arp Tempo knob. The XioSynth default settings mean that the keyboard will automatically lock to incoming MIDI clock. To change this setting, go to the Synth Global Menu (see the next section for details). To access the Sync Menu, press the Menus/Audio button (so that the lower LED lights) followed by the button above sync. Once in the Sync Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: SYNC Xgate Tempo sets a tempo for the X-Gator (relative to the MIDI clock) to fractions of 1 bar, beginning at a 64th. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Arp Tempo sets a tempo for the Arpeggiator (relative to the MIDI clock) to fractions of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Lfo1 Delay sets a tempo for LFO1 Delay (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Lfo1 Speed sets a tempo for LFO1 Speed (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Lfo2 Delay sets a tempo for LFO2 Delay (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Lfo2 Speed sets a tempo for LFO2 Speed (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Delay Time sets a tempo for the Delay effect (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Chor Rate sets a tempo for the Chorus effect (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options SYNC Pan Rate sets a tempo for Panning (relative to the MIDI clock) to fractions or multiples of 1 bar, beginning at a 32nd. On this page, T stands for Triplet and D for Dotted, allowing two more syncopated rhythmic options
Global Menu in Synth Mode
There are two Global Menus in Synth Mode, accessed by alternate presses of the GLOBAL button. The first is the standard Global Menu, accessed from Synth or MIDI Controlling Mode, and the second is the Synth Global Menu, just accessed whilst in Synth Mode. Within the Synth Global Menu, the general Synth settings, such as MIDI channel, port routing and transposition, can all be modified. To access the Synth Global Menu, press the GLOBAL button twice, ensuring that one of the options below is displayed. Then, once in the Synth Global Menu, use the page up/down buttons next to the LCD screen to cycle through the following pages, using the data encoder to change the settings for each page: Synth Midi Chan sets the MIDI channel that the synth responds to. This defaults to 16 Synth Out Ports sets the port routing for synth MIDI data to the USB, MIDI Out, both or neither Def SampleRate sets the sample rate of synthesizer audio transmitted over USB to 44.1 or 48kHz (dependant on your session) Synth Tune Cents allows fine tuning of the synthesizer. At +63, the pitch will be a semitone above the played note. At -64, the pitch will be a semitone below. At 0, the pitch will be unaffected Synth Transpose transposes the synthesizer pitch in whole semitones. Positive values increases, negative values decreases Synth Glob Sync allows the synthesizer (effects etc.) to be synchronised to the first note pressed after notes are released, a program change message or a song start message. This means that effects can have their start time linked to the start of a song for stunning effects Synth Vel Curve sets the Velocity Curve of the synthesizer to a curve from 1-7 (see the Template Common section for Velociy Curve Graphs) or to a constant value between 8 and 127 Synth Vel Resp sets the response of the Velocity to SOFT (where softer playing will create low and high velocities) or HARD (where harder playing will be required to create the same dynamic range) Syn Local Cntrl determines whether the XioSynth keys and controls affect the onboard synthesizer. Useful if wanting to use the synth to send MIDI data but not be played whilst doing so. However, the XioSynths hybrid modes mean that its probably better to remain in MIDI controlling mode if wanting to utilise the full potential of the keyboard Midi Clock Sync sets the MIDI clock to AUTO (automatic synchronisation to MIDI clock received over USB), INT (Internal MIDI clock) or EXT (External MIDI clock) Synth Mode (Input) Mute - allows either or both of the Inputs to be muted when in Synth Mode

Editing a Template

This mode is used to either edit individual controls within one of the 16 onboard MIDI Templates or change the common Template parameters (the settings across all Templates) such as the velocity curve that the keyboard is set to. The two different EDIT Mode menus are accessed by either the first or second press of the EDIT button. Pressing the EDIT button once, whereby the LED to the left of the button will illuminate constantly, activates the individual Template Edit menu. Pressing the EDIT button twice, making the LED to the left of the button flash, accesses the Common Template Edit menu. To view all the Template controls simultaneously and edit them quickly and easily on your computer, use the separate Template Editor application, which can be downloaded for free from www.novationmusic.com.
Editing an individual onboard Template
After the EDIT button has been pressed once to activate the Template Individual Edit Menu (the LED to the left of the button will be illuminated continuously), the MIDI data assigned to Knob 1 (in Group A or B, depending on which is selected) will be displayed on the LCD screen. Pressing/rotating/moving any of the XioSynths controls will call up the MIDI data for that particular control for editing on the LCD screen, by stepping through the pages of the Template Individual Edit Menu. The first option in the Template Individual Edit Menu is the type of MIDI data that the control has assigned to it. So, if the button/knob is set to a Continuous Controller number then the screen shows:

Control Type: XXX CC

The types of MIDI data available are: CC Continuous Controller. Any controller number can be used, however the MIDI standard defines controller numbers 0, 6, 32, 38, 96, 97, 98, 99, 100, 101 & 120-127 for specific specialised purposes. These values should not be used unless the consequences upon the connected MIDI device are appreciated. Non-registered Parameter Number. Registered Parameter Number. MIDI Machine Control. This can only be selected for buttons. Note On/Note Off message. This can only be selected for buttons. Program Change message. This can only be selected for buttons. Pitch Bend. This can only be selected for the X / Y Touchpad. Aftertouch. This cannot be selected for buttons. The control will transmit no MIDI when touched. There are no further menu pages available if this option is selected.

NRPN RPN MMC Note On/Off Program Change Pitch Bend Aftertouch No Control
To change between these types of MIDI data, simply rotate the DATA encoder. Once the type of MIDI data is selected, the remaining settings for that MIDI control can be defined by accessing the additional individual Template Edit menu pages. This is done using the PAGE UP/DOWN buttons to the right of the LCD screen. The above MIDI data may be applied to EACH of the 11 knobs or 11 buttons for Groups A and B, the Pitch/Mod Joystick, any of the 4 quadrants of the X/Y Touchpad and a sustain pedal (if one is attached).
Template Individual Edit CC Menu
Page Number 11 Page Name Control Type Control Number Display Type Pot Control Low Value High Value Button type Button Step size MIDI Channel MIDI Ports Control Naming DATA Encoder selects Control Type (See List above) 0127 0-127 or 64 +64 Jump or Pickup Mode Low Value of control High Value of control Action of button Size of increment MIDI Channel for this control Port routing for this control Name of control
Here is a detailed breakdown of each page of the individual Template Edit Menu once CC has been selected on Page 1: Edit Menu Page 2 Control Number

Controller Num 119

This page allows you to select the Continuous Controller Number. Rotating the DATA encoder scrolls through numbers 0 to 127. Edit Menu Page 3 Display Type

Display Type: XXX

This page chooses the specific values you wish the control to send, whether they are between 0 and 127 or -64 and +63. Rotating the DATA encoder selects either XXX = or XXX = -64 to +63 as the minimum and maximum values for the control. For example, if wanting to assign the volume of a track to a knob then 0-127 would be preferable, whereas the pan would suit -64 to +63.
Edit Menu Page 4 Jump or Pickup Mode

Pot/Slider Control: XXX

Here, XXX = Pickup or Jump, representing the two types of pot (knob) behaviour. Pickup mode means that the knobs only transmit MIDI data once they have passed through the value of MIDI data set to that control in the currently selected Template, whereas Jump mode transmits MIDI data as soon as the knob is rotated. Edit Menu Page 5 Control LOW value setting

Low Value: XXX

XXX can be set to a value between 0 and 127 or -64 and +63 (depending on how Page 3 of this Menu is set) using the DATA encoder. This is the minimum value of the control, which will often be 0 or -64 but in the case of wanting to set a control to vary from 20 to 30, it would be 20. Edit Menu Page 6 Control HIGH value setting

Here is a detailed breakdown of each page of the individual Template Edit Menu once RPN has been selected on Page 1: Edit Menu Page 2 LS Bank number selection

RPN LSBank Num: XXX

This page allows the Least Significant Bank controller number of the RPN control to be changed. The data encoder scrolls through values of XXX from 0 - 127. Edit Menu Page 3 MS Bank number selection

RPN MSBank Num: XXX

This page allows the Most Significant Bank controller number of the RPN control to be changed. The data encoder scrolls through values of XXX from 0 - 127.
The remainder of the individual Template Edit Menu for RPNs is exactly the same as the corresponding pages of the Menu for CC data (see previous pages).
Template Individual Edit MMC Menu
Page 1 is the same for all Template Edit Menus (Control Type see CC Menu for details). Page Number 4 Page Name Device ID MMC Command MIDI Ports DATA Encoder selects Value between 0 and 127 Type of MMC message Port routing for the control
Here is a detailed breakdown of each page of the individual Template Edit Menu once MMC has been selected on Page 1. Note that MMC can only be selected for buttons: Edit Menu Page 2 device ID selection

Device ID: XXX

This page selects the device ID number for the MMC message. Rotating the DATA encoder selects a value for XXX between 0 and 127. Edit Menu Page 3 MMC Command selection

MMC Command: XXX

This page selects the type of MMC message that is transmitted. XXX is selected to be one of the following choices: Stop Play Def Play Forward Rewind Record Record Exit Record Pause Pause Eject Chase Err Reset MMC Reset

(Error Reset)

The last page of the Menu for MMC messages is the MIDI routing Page that is also the last page for CC numbers (see previous pages).
Template Individual Edit Note On/Off Menu
Page 1 is the same for all Template Edit Menus (Control Type see CC Menu for details). Page Number Page Name Note Value Button type Note Velocity MIDI Channel MIDI Ports Control Naming DATA Encoder selects MIDI note value Action of button Note velocity MIDI Channel for this control Port routing for the control Name of Control
Here is a detailed breakdown of each page of the individual Template Edit Menu once Note On/Off has been selected on Page 1. Note that Note On/Off can only be selected for buttons: Edit Menu Page 2 Actual Note Selection

Note Value: XXX

This page selects any MIDI note to be played when the button is pressed. Rotating the encoder selects the value of XXX as C-2, C#-2, D-2 etc. all the way to A7, A#7, B7, C8. Edit Menu Page 3 Button Type This page is the same as the corresponding option for CC Numbers (see the previous section), only there is no Step option possible for Note On/Off messages. Explanation of button types Normal The Note On data will be sent out as a MIDI message on depression of the button. There will be no action on release of the button. (Not normally advisable as this means the note will sustain indefinitely.) Momentary The Note On data will be sent out as a MIDI message on depression of the button and the Note Off sent on release. Toggle When the button is pressed for the first time the Note On data is sent. The next press causes the Note Off data to be sent. The next press causes the Note On data to be sent and so on.

V-Station

Layout Group A Knobs 1 and 2: Osc 1 Detune and Osc 1 Level Knobs 3-5: Filter Frequency, Resonance and Mod Depth Knob 6: LFO Speed Knobs 7-10: Amp Attack, Decay, Sustain and Release Knob 11: Arp Tempo Buttons 1 and 2: Osc 1 Octave and Waveform Button 3: Filter Slope Button 4: No Control Buttons 5 and 6: LFO 1 Waveform and K Sync Butons 7 and 8: Amp Envelope Trigger and Amp Trig Multi Button 9: No Control Buttons 10 and 11: Arp Latch and Arp On/Off Group B Knobs 1 and 2: Osc 2 Detune and Level Knobs 3-5: Filter Tracking, Overdrive and LFO Amount Knob 6: LFO 2 Speed Knobs 7-10: Mod Env Attack, Decay, Sustain and Release Knob 11: A G Time

V-Station (continued)

Buttons 1 and 2: Osc 2 Octave and Waveform Button 3: Filter 2 Slope Button 4: No Control Buttons 5 and 6: LFO 2 Waveform and Key Sync Buttons 7 and 8: M T Sing and MLT Button 9: No Control Buttons 10 and 11: Arp Key Sync and Octave Touchpad has Filter Frequency and Resonance assigned to it throughout. Setup No setup is required for the Template to work. User The User Template has different CC numbers assigned to each control so is ideal for creating your own Template for software with a MIDI learn facility.
Audio Recording and playback
Whilst in either Synth or MIDI controlling mode, the XioSynth can be used to output or input audio to your computer. Similarly, if using the keyboard in standalone mode (powering off batteries or an external power supply), then a microphone and line level signal can be amplified and mixed and sent to the line Outputs for recording; this way, the XioSynth acts as a miniature Mixing desk.

Audio Playback

To send audio from a sequencer to speakers, simply connect active (powered) speakers or an amplifier directly to the XioSynth Line Outputs and use the level control (Line Out Vol) on the far left of the front panel to set the level. Providing the XioSynth is now connected over USB and set up as an audio interface in the sequencer preferences, audio from your session can be played using the connected speakers.

Audio Recording

To record audio to your sequencer, a microphone (Input 1), line-level or instrument (e.g. guitar) signal (Input 2) needs to be connected to the rear panel.

Global Edit menu page 1 Memory Protect

Memory Protect: XXX

This page of the menu allows protection of the XioSynth onboard memory to be activated. Using the Data encoder to select XXX as On will mean that none of the 12 onboard Templates can be overwritten. Choosing Off will mean that the WRITE button procedure for saving onboard Templates or Synth patches can be carried out. Global Menu Page 2 Phantom Power
Use the data encoder to select OFF, 12, 24 or 48V to supply the relevant phantom power to a microphone connected to Input 1 (XLR Input). Global Menu Page 3 Dump Template(s)/Synth patches

Dump: Current Template

This page allows an individual onboard Template, set of all 16 Templates, the Global settings, an individual Synth patch or an entire Sound Bank to be dumped (sent) to a destination, most likely the XioSynth Template Editor. Rotating the Data encoder selects between the following options: Current Template, All Templates, Send Globals, Current Sound, Sound Bank 1 or Sound Bank 2 (The last three options will only appear when in Synth mode.) Pressing the WRITE button once will then send the currently selected Template to the receiving device as a sysex message. To indicate completion, the screen will flash:
Global Menu Page 4 MIDI data routing

USB to MIDI Out: XXX

This page allows the MIDI data received at the USB port to be routed directly to the MIDI Out port, for controlling external hardware with the XioSynth. Set this to On or Off, as required. Global Menu Page 5 Global pot action

Pot/Slid Ovride: XXX

This page allows a Global knob action (Jump or Pickup) to be set, which will override any individual control settings (set in EDIT mode). Set this to PICKUP or JUMP for the override to take effect. Set to OFF for the individual control settings to take effect. Global Menu Page 6 Set Display timeout

Display Timeout: XXX

This page sets the amount of time that the LCD display shows temporary screens such as the MIDI data when an assignable control is moved. Rotating the DATA encoder sets XXX at a value between 0 and 1260 ms, and then PERMANENT. Global Menu Page 7 Sustain Pedal Settings

GLOBALS SAVED

Updating the Operating System
The last page of the GLOBAL Edit menu allows a new Operating System to be received by the XioSynth. To access this page, press the GLOBAL button so that the LED to the left of it illuminates, then scroll using the Page Up button to page 9 so that the screen shows:
Now press the WRITE button to put the XioSynth in waiting mode. The XioSynth will then be waiting for an OS to be sent using the updating software provided with the download.

Troubleshooting

XioSynth is not powering up Is the keyboard connected over USB or attached to an external power supply, or have batteries been inserted? Is the power select switch on the rear panel in the correct position? It must be in the extreme left or right position for the keyboard to be powered. XioSynth is not appearing as a MIDI controller/Audio Interface in the sequencer Is the connected computer running on Win XP or Mac OSX? These are the only supported Operating Systems. Is the keyboard connected over USB? With some sequencers, the keyboard will need to have been connected before the sequencer is booted up. An onboard Template isnt working properly Is the receiving device (connected hardware or plug-in on a MIDI track within the sequencer) set up to receive MIDI information from the XioSynth on the correct MIDI channel? Has the relevant setup procedure been carried out? All sequencer Templates and some plug-ins require a setup to be carried out before they will work. (See the Templates Guide section for details.) Is an override MIDI channel selected in the Template Common Edit Menu? The onboard synthesizer isnt working Is the XioSynth in the correct mode? Pressing the PLAY button alternates between Synth and MIDI Controlling modes. Is the Synth level turned up? Press and hold the Menus/Audio button and then rotate knob 7 to adjust. XioSynth onboard synthesizer audio is not appearing on an audio track within the sequencer Has the XioSynth been set up as an Input Audio device in the sequencer preferences? Is the Synth USB Level turned up? XioSynth onboard synthesizer is not responding to MIDI information sent from the sequencer Does the sequencer track have XioSynth selected as the source for the MIDI Output? Is the sequencer track sending on MIDI Channel 16? This is the default setting in the Synth Global Menu. If in Hybrid Mode, is the Synth By Midi page in the Template Common Menu (activated by pressing the EDIT button twice) set to ON? Audio from the sequencer is not being heard at the Line Outputs Has the XioSynth been set up as an Output Audio device in the sequencer preferences? Is the Monitor knob (that blends between Inputs and Outputs) in a sufficiently clockwise position? In the extreme anticlockwise position, no Output tracks from the sequencer will be heard. For more comprehensive technical support, visit the online Answerbase @ www.novationmusic.com

a division of Jam Industries Limited
new & featured products

vol. 10, #5

Inside
Wharfedale Titan 12 Tour Bag Getting to Know A-T: 30 Series Microphones New Stanton CD Players New Sales Rep PreSonus V-Fire NetCIRA I/O-1C Card MIAC Preview Quick Notes Distributor of The Year Award Fostex MC32 Coming Soon From A-T Stanton PA Series Amps SurgeX PowerFrame 420 Updates & Tech Notes
NOVATION XIOSYNTH MAKES DEBUT
ovation continues to raise the bar with costeffective keyboard/ interface solutions with the introduction of the XioSynth synthesizer and audio USB controller keyboard, available in 25- and 49-key versions.
Add to this a multi effects processor, a high quality semi-weighted keyboard and the popular Xpression pad and stick and you have every tool needed to create your next masterpiece. The XioSynth is class compliant with Mac OSX and Windows XP just plug and play.
XioSynth is a complete music recording / producing workstation in a compact and highly affordable format. It boasts a powerful 8-voice Novation synthesizer engine with multi-effects processing as well as several cool new features, like the X- GATOR onboard patch sequencer and 200 fantastic preset sounds, including 60 from internationally renowned artists and producers. New throaty filter options deliver even more sonic power. In addition, the XioSynth has USB audio and MIDI interfacing capabilities, with 2 inputs / 2 outputs, phantom power and ultra-low latency. Furthermore, the XioSynth is a dual mode device, which also acts as a comprehensive MIDI controller, with 16 onboard Templates for controlling popular software and hybrid modes for simultaneous synthesizing.
COOL STUFF AWARD FOR AT2020 MIC
Audio-Technicas ground-breaking AT2020 microphone adds another award to its accolades. Radio World's "Cool Stuff" Award recognizes new and innovative products or technologies notable for design, features, cost efficiency and performance in serving radio users. It was awarded at the recent NAB (National Association of Broadcasters) trade show.
VESTAX CONTROLLER ONE TURNTABLE
estax has done it again! This leading manufacturer of DJ equipment has invented a new weapon for the turntablists arsenal. The Controller One reinvents the turntable to allow DJs precise control when they play it like a musical instrument. Button Control This lets you program and play back musical notes by assigning standard notes to one of 8 "key" buttons (up to 2 octaves using the octave key). Pedal Control Using an optional foot pedal, this enables you to change notes with a maximum 2 octaves of music notes. It also enables you to change pitch with its standard pitch range of 8, 10, or 60% by switching to PITCH MODE. Change the scale with the foot switch while you scratch just as a guitarist would do with a wah pedal or guitar effects. Of course, Vestax's original powerful AC direct drive motor provides the best torque and stable speeds to perform the best in sounds. A 7-segment pitch LED keeps you in the loop and on the right pitch.

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Th e c o n c e p t o r i gi n a te d w i t h scratch artists, DJ Styles and Ricci Rucker and evolved into a turntable that allows DJs to play melodies with their single note vinyl in a ways never seen before. Fader Control This splits the 100mm fader into 16 zones to playback musical notes (max. 2 octaves) and lets you play like traditional fretless string instruments.

spotlight on page 2.

WHARFEDALE TITAN 12 TOUR BAG
The Titan 12 comes with a dust cover packed in the box. Now, for a more rugged option, Wharfedale offers the Titan Tour Bag made from reinforced nylon. This great looking bag features strengthened front and back panels, holes for handles, and a zip pocket on the back for cables/mics. The Titan 12 is a compact affordable high performance passive speaker system with high output, punchy low end and extended high frequency response in an ultra-lightweight composite enclosure, designed to be stand mounted, arrayed or even used as a floor monitor.
PLAYERS GETTING TO KNOW AUDIO-TECHNICA: STANTON CDC.314 C.313, THE 30 SERIES MICROPHONES
udio-Technicas 30 Series microphones bring a new level of professional performance to home and project studios. These studio-quality microphones are engineered to meet exacting performance standards at a very affordable price.

Always on the move, Stanton has introduced a fine new pair of CD players for professional DJs.
AT3035 Cardioid Condenser Microphone Designed for critical studio applications and live performance, this 30 Series large-diaphragm side-address cardioid condenser delivers excep-
tional detail and low noise. With its extended low-frequency response, the AT3035 produces rich, full sound reproduction and handles extremely high sound pressure levels with ease. Tailored for a smooth, natural sound, this mic is a perfect complement for digital recording equipment. Along with its rugged construction and high-performance specifications, the AT3035 provides an exceptional level of consistency from model to model. AT3060 Cardioid Phantompowered Tube Microphone A price/performance first in tube microphone technology, AT3060 side-address tube mic delivers warm, classic tube sound. Operating on 48V phantom power, it offers the convenience and easy setup of a studio condenser. The microphone contains a large diaphragm cardioid capsule, large coupling transformer, and a hand-selected, individually tested and aged tube. Its shock-mounted tube assembly dampens mechanically coupled vibrations. Unique in this price range, the AT3060 does not need a proprietary power supply. AT3031, AT3032 Condenser Microphones Two versions provide omnidirectional and cardioid polar patterns in a small diaphragm microphone. The AT3031 is smooth, quiet and open with a slight rise but an extended high end, and is ideal for acoustic instruments, overheads, a nd X-Y stere o recording. The AT3032 has a natural, flat sound with very low self noise. It is terrific for capturing room ambience, as a single point drum overhead, or as a spread pair, ORTF, etc. in stereo recording applications.
C. 3 Th i s i s Stantons new work horse tabletop CD player with MP3 functionality. The large jog wheel makes cueing tracks easy, while a 10second anti-shock buffer eliminates embarrassing CD skips. The affordable C.313 delivers digital features like Key Lock, seamless looping and four sample trigger buttons. C. 4 is a tabletop CD player designed for MP3 DJs who want to s c ratc h C D s l i ke vinyl. The large touchsensitive jog wheel makes it possible to scratch and beat juggling just like a turntable, while onboard effects, seamless looping and sampling let professional DJs perform more creative mixes.

Erikson Audio:

Telephone Orders: 800-667-3745 Fax Orders: 888-918-2244 or 514-457-4986 Service Toll-Free: 877-JAM-LINE Service Fax: 800-563-2591 Tech. Support: 888-816-2333 Email: JF.Nolin@eriksonpro.com Email: info@eriksonaudio.com www.eriksonaudio.com This is a feature publication of Jam Industries Ltd. copyright 2006 all rights reserved for comments, suggestions, or to request additional (or French) copies, please contact the editor: Benjamin Russell Communications Manager Jam Industries Ltd. 21000 Trans Canada Baie DUrf, QC, Canada, H9X 4B7 tel: (514) 457-2555 ext 232 fax: (514) 457-0055 benjamin.russell@jamindustries.com
Manitoba & Saskatchewan:
August 1 sees a new sales rep joining the Erikson Audio team. Cliff Pidlubny is well known in the industry as a sound engineer, guitarist / vocalist, and a partner in Top Music Productions, a sound company based in Fort Francis, Ontario. Cliff will be responsible for the territory from Saskatchewan through Thunder Bay. Cliff Pidlubny Welcome aboard, Cliff! And good luck to Ron Zacharias who will now be handling Erikson Pro in Ontario.

spotlight on page 3.

PRESONUS V-FIRE R-BUS TO FIREWIRE INTERFACE MIAC 2006 H
eres a product a lot of people have been waiting for. The V-FIRE is a 24-bit/96k RBUS to FireWire computer recording system for both Windows XP and Macintosh computer systems. The V-FIRE allows the user to conver t Rolands R-BUS digital audio format to FireWire (IEEE 1394), thus providing a multi-channel computer interface for Roland products equipped with R-BUS output. The V-FIRE features two R-BUS ports and two FireWire ports allowing sixteen channels of digital audio to stream at up to 24-bit 96K sample rate. The V-FIRE is also equipped with R-BUS 1, RBUS 2 and master sync LED indicators. V-FIRE also comes with a software control panel enabling the user to select the sample rate (44.1K , 48K , 88.2K , and 96K ), latenc y, buffer size and clock source. FEATURES: high-speed R-BUS to FireWire (IEEE 1394) 24-bit / 44.1, 48, 88.2 96K sampling rates two R-BUS ports for 16 channels of digital audio dual FireWire ports for connecting other FireWire Devices
Be sure to stop by Booth #4400 at MIAC i n To ro n t o, Sunday and Monday August 27 & 28. Erikson Audio will have lots of goodies for you to check out including Ashlys PE and SRA/TRA amps; Camcos amplifiers; Focusrites Saffire Le, Liquid Mix & Saffire Pro; the C R 0 & PM0.5 MKII from Fostex; the Faderp o r t , D i g i m a x F S & Firestudio from PreSonus, as well as the latest offerings from Stanton, Vestax, Gator, et al.

NetCIRA I/O-1C Card For MS-88 AUDIO-TECHNICA DISTRIBUTOR OF THE YEAR N
etCIRA by Fostex continues to expand and enhance distributed digital audio capabilities. The new I/O-1C option card for the MS-88 master/slave unit provides 8 channels of input simultaneously with 8 channels of output at up to 192kHz sampling rate in a single rack space. What can we say? Its been a great year! MS-88 + I/O-1C connects digital mics and mixing consoles using the D-SUB 25-pin AES/EBU input & output terminal for applications such as touring and installed sound. It can also connect with multichannel equipment used in broadcast stations. The MS-88 + I/O-1C combination is the best choice for people who want to minimize latency and signal loss brought by A-to-D and D-to-A conversion. the DIGIPAK PRO V.2. This all-in-one mobile package contains a pair of C.313 CD players, and an M.202 mixer in a rugged custommade road case, and includes all necessary cables. At InfoComm in June, A-Ts Director of Professional Product Sales, Glen Roop, presented this Distributor of the Year award to Erikson Audio Vice-President, Jeff Carman.

quick Notes

PreSonus
What a great idea! PreS onus has a great learning tool for those who want to get to work quickly with their new CuBase LE software. CuBase Demystified is a DVD that details how to use the program. This 2+ hour video thoroughly covers all aspects of CuBase LE from installation through mixdown. It has a retail price of just $49 and is available now.
Av a i l a b i l i t y o f P r o d u c t s Featured In This Newsletter
Generally, any products presented in our Spotlight On Erikson Audio newsletter are in stock or arriving in the month of publication, so you may order your products immediately. In the case where the newsletter coverage is for a product that will arrive in the future, we will always indicate, Av a i l a b l e S e p t e m b e r, 2006 for example.

FOSTEX MC32

Building on the success of the MC10ST and the MC35, Fostex introduces the MC32 electret condenser microphone with switchable polar patterns (cardioid / super-cardioid) in a light-weight aluminum body. Suitable for a wide range of applications from ENG to location sound, the MC32 has a smooth and extended on-axis response, a natural, clear, non-colourized sound, and can be phantom powered, or operate with a single AA battery. Available September 2006.

Stanton

The popular DJ package from Stanton, the DIGIPAK PRO has been upgraded to

spotlight on page 4.

UPDATES & TECH NOTES COMING SOON FROM Audio-Technica
Focusrite & Intel-based Macs
Never one to rest on its laurels, Focusrites software team has worked diligently to deliver new versions of software and firmware to ensure all relevant products operate efficiently with Apple's new Intel-Macs. Intel-Macfriendly versions of Liquid and Saffire Control solutions are already available from the support websites. (Please note the Intel Mac Saffire Control is not for use with the Saffire LE.)
udio-Technica adds to summers heat with the addition of some sizzling new products. Heres a taste of whats coming

Fostex Updates

DV824 WaveManager Mac & PC The new versions of the BWF WaveManager comply to not only BWF files but regular WAV files as well. BWF Manager V1.11 for Macintosh supports files with more than 2 GByte capacity. The previous version did not. CAUTION: With this change, The BWF Manager V1.11 for Macintosh works only on the Macintosh OS X. If the Macintosh OS is older, please use the previous version of BWF Manager: V1.02 for Macintosh. The BWF Manager for Windows Update V1.10 complies to Windows 2000 and Windows XP operating systems. Link through : www.eriksonaudio.com
Artist Series This renowned range of mics has been reengineered from the ground ATM250DE up. Innovative models have 2000 & 3000 been added while classics have (Artist Series) Series For ordering been upgraded. Standouts include the new ATM410 ATM250DCE dual-element kick drum mic; the convenience, a lava(Artist Series) ATM450 pencil sidelier system has been address condenser; added to these series. (This summer.) a n d t h e AT M 0 dynamic vocal mic The new ATW-DA49 with a price/perforUHF Antenna Distribution ATW-DA49 mance ratio that makes System is a UHF (wide-band 440-900 (2000, 3000 Series) it a killer! (This summer.) MHz) active unity-gain antenna distribution system that pro700 Series The all-new 700 Series Freeway vides two 1-in, 4-out RF chanwireless delivers professional features and nels. I t connec ts a pair of sound quality unheard of in its class with 8 selectable UHF channels, automatic frequency a n te n n a s to a s ATM450 scanning, diversity operation, Tone Lock (Artist Series) m a n y a s f o u r wireless receivers squelch system and more. (September.) directly. This is a perfect addi3000 Series Systems in this series are tion to 2000 and 3000 wireless now available with a condenser mic/transsystems. (This summer.)
mitter, the new ATW-T371 featuring the new Artist Series ATM710 cardioid condenser element, ideal for house-or-worship and critical vocal applications. ( This summer.)

Exclusive Canadian Distributor:
STANTON PA SERIES POWER AMPS R
esponding to the needs of professional DJ s has put Stanton at the top of the class. The new PA Series power amplifiers are perfect for the DJ on the move or club installations. These very high performance, low cost amplifiers feature a highly efficient tunnel cooling design which maintains low operating temperatures under the most extreme load conditions. A switchable limiter and switchable 12 db/octave 40 hz highpass filter keep everything operating smoothly. The PA Series is comprised of three models: A.900 (200W @ 8 ohms); A.1800 (600W @ 4 ohms); A.2800 (900W @ 4 ohms). All models have an excellent specification (20-20 kHz frequency response) and are 2 rack units high.

SURGEX POWERFRAME 420 D

riven by A/V integrator demand and consultant design collaboration, SurgeX introduces the Powerframe 420 Advanced Series Mode AC Surge Eliminator and Power Conditioner. This new 80 Amp load center comes in a 16x12x4" NEMA enclosure and allows for protection of four 20 Amp branch circuits, complete with Impedance Tolerant EMI/RFI filtering, in a compact and easyto-install design. The Powerframe 420 is the first release in this new product segment and, like all SurgeX products, carries a ten-year warranty.