Blue Chip Axion AX-100 SB Manual
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Rear Panel AX-100
Rear Panel AX-100-SB
of your AXON from the is SB 100, your AXON is with Model numbersound board built in atfactory. If there You canafter the AXON AX purchase the soundequippedlater. the internal the factory. of course opt to board Serial Number of your AXON. This is the internal sound board, if you have the AXON AX 100 RIGHT (MONO):jack alone isright side line level output from the being connected) the resulting signal from this output SB. If this output connected (without the left output jack is a composite MONO signal. This is the level output from the internal sound board, if you have the AXON LEFT (STEREO):jack alone isleft side line(without the right jack being connected) the resulting signal from thisAX 100 SB. If this output connected jack is still the left side of the stereo signal alone. jack: Your AXON AX 100 (SB) and data on MIDI INOFF in GLOBAL mode, you canreceives program change data sysexdirectly tothis port. If you also use the setting LOCAL have all incoming MIDI sent the optional internal sound board. This is the typical setting if you are using your AXON with a sequencer.
MIDI THRU jack: All data that is received on the MIDI IN jack will be echoed unchanged to this port. jack: generated be If MIDI OUT with All MIDI data be sure to by your AXON willwithsent to this port.portyou are using an external MIDI instrument your AXON, connect this port the MIDI IN on your external instrument.
foot swell pedals: pedals to these jacks to control any MIDI EXP1, EXP2 jacks forEspecially valuable You can connect to separate swellfilter effects. Because your AXON supports controller you choose. when assigned to modulation and the NRPN/RPN controllers, you can assign controllers #6 and #38 to these pedals and have access to a wide variety of usable functions that are not presently available in any other machine of this category.
CHAIN footpedal jack: In chain mode, you can use a pedal switch attached to this port to cycle through a series of preprogrammed presets.
footpedal jack: connect the foot to this port HOLD such as COMMON, SEPARATE,pedal included with your AXONCONTROL.to access any of the various HOLD modes LAYER, ARPEGGIATOR and ADAPTER: Connect the powersupply included with your AXON to this jack. analog signal from your guitar pickups is transmitted 13-conductor cable GUITAR OUT jack: The normalwith all the other information sent to your AXON. Thisthrough the analog signal is fed from your guitar interface along unchanged through your AXON to this port so that you can, for example, combine your natural guitar sound with the MIDI sounds generated by your AXON. In order to eliminate possible hum from the guitar analog signal, always use this port and the signal coming through the 13-conductor cable for the source of your analog guitar sound if you are going to be combining it with MIDI sounds. Your guitar interface AX101/102 has a mini phone jack for this purpose. You can connect it directly to the included 13-conductor cable.
CE symbol: This symbol certifies that your AXON follows the appropriate standards of the European Union (EU).
About the AXON AX 100 (-SB)
Congratulations on your purchase of the AXON AX 100 (-SB), the fastest and highest performance Guitar to Midi Converter presently on the market. The AXON AX 100 represents a new generation of the NGC 77, which up until now has been the standard for innovative technology and which has become standard equipment for many professional guitarists like John McLaughlin for example. With the development of the Neural Net System, with its ability to learn your personal guitar playing style, the AXON AX 100 is capable of recognizing the exact pitch that you play immediately as you play it, whereas other converters need several string vibrations for pitch analysis. Transient Early Recognition is a process that allows the AXON to immediately and simultaneously recognize and translate pitch, volume, and even the pick position of your right hand, a characteristic that is to date unique to the AXON. This is because of the AXONs unique structure of Splits. You can divide the six strings of your guitar into two separate groups and then assign two separate sounds to those string groups. Or you can make use of a Fretsplit, to divide the fingerboard of your guitar into two totally distinct play areas, assigning separate sounds or characteristics to each area. Using Picksplit you can divide the area of your guitar where you pick the strings into three separate ranges, allowing you to assign various sounds and sound characteristics to each range. In this way you can switch from sound to sound with lightning speed, simply by moving your right hand forward or backward. Impressive effects can be controlled by the Pickcontrol function, allowing you to assign such Midi controller effects as Modulation to various pick ranges. Other effects such as COMMON (Bypass), SEPARATE (Hold), LAYER (ensemble/doubling), etc. can be controlled by the fully programmable hold pedal. The implimentation of a sophisticated Arpeggiator gives you the possibilities of variation and expression and accompaniment. Splits and effects can be freely combined and saved in up to 128 presets, which can then be called up quickly. Also unique to the AXON AX 100 is the ability to use special piezo pickups in your bass guitar or even accoustic and nylon stringed instruments, allowing you complete control of your AXON from accoustic instruments. Finally a door to the midi world for bass guitarists and classical guitarists is wide open for new and modern forms of musical expression.
Pick Split 2
Pick Split 1
Fret Upper Zone
String Split Fert Split
Fret Lower Zone
The internal sound board built into the AXON AX 100-SB makes your AXON a professional guitar synthesizer with 480 excellent and well-thought-out sounds, as well as 11 drum kits. Aside from the fact that the soundboard totally adhers to XG-MIDI-MODE, the newest standard in General-MIDI, there are numerous digital effects. All the reverb, chorus and variation effects (11 reverb, 11 chorus, 42 variation) can be freely combined and simultaneously implimented. In addition the AXON AX 100-SB is a freely editable drum sequencer as well as a programmable synthesizer section with 32 freely programmable user voices. And because the AXON AX 100 is structured modularly, you can choose at any time to add the optional sound board, upgrading to the SB version.
Its certainly understandable that you are not in the mood right now to learn all about the theory and structure of your AXON. You can do that later in the pages of this manual. Now its time to dabble a little: Basic Settings Before you start, its important to tell the AXON a few things about the instrument youll be playing. The more exact you are about these basic settings, the more exact your AXONs neural net will be able to interpret your playing style and adjust to how you play. The default parameters are so thought-out so that you will probably only have to change a few of them. Then later, when you get to know your AXON a bit better, you will be able to fine-tune these settings (Global Parameters). 1. Using the 13 pin jack on the front side of the AXON, connect your guitar interface to it using the 13 connector cable provided. If you will be using an external MIDI instrument, connect it using the MIDIout port on the AXON and the MIDI-in port on the synth using normal MIDI cables 2. Turn the AXON on. Wait for a moment until the AXON has completed its initialisation process and the display is still. 3. Press the GLOBAL button. In the display you now see BASIC CHANNEL. If you see a 1 after the colon, leave it. If not, use the +/- Value buttons to set this value to 1.
4. Press the + Parameter button, to get to the next Global parameter. Check to make sure that the parameter HOLD CHANNEL is set to 7. If your AXON does not have the optional internal sound board built in, you should skip to step 5. Otherwise press the + Parameter button again and set the value for SEQ CHANNEL to 16 (+/Value buttons) if the value is different than 16. 5. Press the + Parameter button to set the values for PBEND RANGE. This value sets the maximum number of halfsteps that are allowed when Pitchbend information is analysed. What you set this value for will be determined by the MIDI instrument you will be using. If in doubt, read the users manual of your MIDI instrument. If your instrument allows, use the +/- Value buttons to set this value to 12 (one octave). 6. Press the + Parameter button to get to SND PBENDRG. If your MIDI instrument supports setting separate pitchbend parameters for each sound preset, set this value to ON (+/- Value buttons). If in doubt, read the users manual of your MIDI instrument. If you are using the internal sound card of the AXON AX 100-SB, set this value to OFF. 7. Press the + Parameter button repeatedly until you see GUITAR NO in the display. Now press the ENTER button to get to the submenu. At the prompt TYP: use the +/- Value buttons to set the instrument you will be playing into your AXON: BASS, GUITAR, VIOLINE OR CELLO (+/- Value buttons). 8. Press the + Parameter button to tell the AXON about the type of pickup you are using on your instrument. If you are using an accoustic guitar or bass with a piezo pickup, choose PIEZO (+/- Value buttons). Otherwise leave the default setting at AIX101.
The type of pickup in your instrument (AIX101, PIEZO)
Choose the type of pickup you will be using to drive your AXON. AIX101 is the normal setting if, for example, you are using the Guitar Interface AIX-101. The setting PIEZO allows for the use of polyphonic Piezo-Pickups (optional). The signal from piezo pickups is very true to the original accoustic sound of the instrument and have been developed especially for accoustic guitars. The advantages of these pickups for accoustic guitarists are that the pickup is totally invisible (installed under the bridge) and that you can use nylong stringed instruments (classical guitars) to drive your AXON.
NOTE OFF LIM Note off Limiter (1030) Unlike a keyboard, where a key is pressed and the note ends when you release the key, a guitar string sounds until its vibrations decay totally or until it is dampened. The decay time is most definitely dependant upon the quality and structure of the guitar and the strings. Some guitars sound more percussive; others have a longer sustain. Synthesizers recreate these characteristics using a so-called envelope curve, to graphically reproduce an instruments characteristic of decaying amplitude (volume) as it diminishes to zero. Be setting a limit point within the envelope, we can determine at what point in time a notes release comes; the point at which it ceases to sound. The higher this value, the earlier a MIDI NOTE OFF event will be sent to the MIDI instruments. Smaller values will allow the note to be held longer. In this way you can adjust this value to match your instrument optimally.
TRIG. LEVEL Trigger Level (09) Using this parameter you can set the volume level at which your AXON reacts to a signal from your instrument (at which volume level a MIDI NOTE ON event is sent). The smaller the value, the more sensitively your AXON reacts even to very softly played notes. Higher values mean that you have to play loudly in order for the AXON to send a NOTE ON event. You should experiment with this parameter in order to find a setting that feels good to you and your playing style.
Guitar/Bass input sensitivity: E6E1 or B6C1 (1664)
Using the +/- Parameter buttons you can toggle through all the strings of your instrument and set each ones input sensitivity separately. Higher values mean a higher level of sensitivity. Your AXON, like many electronic devices that translate analog audio into a digital signal, is very sensitive and can easily be overdriven. But the other extreme is equally as true: you shouldnt drive your AXON with too low of an input signal level either.You will probably have to increase the sensitivity of the thin strings to obtain a balance between the strings and to reproduce a natural sound. When setting up a bass guitar, for reasons of compatibility, your AXON takes for granted that you are playing a six-string bass. If you are playing an instrument with less than six strings, simply bypass the strings that dont apply.
PAN ENABLE Panorama Controller (ON/OFF) Within a given preset of your AXON, it is possible to set distinct stereo panorama placement for each individual split. Panorama is MIDI Controller #10 which is sent to your MIDI instruments. If you dont want to send Controller #10 events, perhaps because you would rather use the panorama settings within a connected keyboard, for example, or because a given MIDI instrument is older and doesnt support Controller 10 information, set this value to OFF. If this parameter is set to ON, the values will be sent that were set in the Play Area parameters (see PRESET MODE). As will all other controller information, you AXON will only send Controller 10 if the panorama settings have changed from what was previously sent, so as not send redundant information. REV ENABLE Reverb Controller (ON/OFF) For the same reasons (see PAN ENABLE), you may not want MIDI Controller #91 information (Reverb) for a preset split sent to your MIDI instruments. Set this value to OFF. If your AXON is equipped with the internal soundboard, a third parameter, NO EFFECT, is also listed as a choice. If this is selected, the programmed reverb function of the preset will be ignored by the soundboard. CHOR ENABLE Chorus Controller (ON/OFF) Here you determine whether MIDI Controller #93 (Chorus) will be sent to your MIDI instruments or not. (see PAN ENABLE) f your AXON is equipped with the internal soundboard, a third parameter, NO EFFECT, is also listed as a choice. If this is selected, the programmed chorus function of the preset will be ignored by the soundboard. VAR ENABLE Variation Controller (ON/OFF) ere you determine whether MIDI Controller #94 (Variation) will be sent to your MIDI instruments or not. (see PAN ENABLE) f your AXON is equipped with the internal soundboard, a third parameter, NO EFFECT, is also listed as a choice. If this is selected, the programmed variation function of the preset will be ignored by the soundboard.
GLOBALS PAN ENABLE:
GLOBALS REV ENABLE:
GLOBALS CHOR ENABLE:
GLOBALS VAR ENABLE:
CC DEFAULTS Controller defaults In using the various possibilities of control you have using modulation wheels or, in our case, pick control functionality, it is necessary for the controller value to be reset to its default value (usually zero) after a preset change for example. But there are exceptions. The optional soundboard excpects a standard value of 64 for Controllers 71-74 because these controllers are used as offsets. Because there are numerous non-standard Controllers available in the MIDI Protocol, that manufacturers can use at will, your AXON is equipped with the ability to determine and set the default value for all these controllers. Press the ENTER button to get to the submenu. In the first line of the display shows the name and number of the presently selected controller and in the second line, its default value in hexadecimal format. The cursor is in the first line and by using the +/- Value buttons, you can select the controller you want to work with. The + Parameter button moves the cursor to the second line, and then the default value can be changed using the +/- Value buttons. The value you enter here will be saved in a battery-backed-up memory area of your AXON. The table contains the factory default values. All standardized MIDI controllers have a default value of zero. Refer to the user manual of MIDI instrument or module you are using for the default values of any controller used by the manufacturer and set it here. Use the EXIT button to leave the Submenu. MIDI MAPPING:
GLOBALS MIDI MAPPING:.
Program change commands that are received on the selected active BASIC CHANNEL can be assigned to any AXON presets using this mapping table. Press the ENTER button. The first line of the display shows the program number that your AXON receives; the second line of the display shows the Preset to which the change will be made. The default setting is the program change will be sent to the AXON preset with the same program number. If you want to change this setting, use the +/- VALUE buttons to change to the appropriate value. Your entry will be immediately saved in the AXONs internal battery-backed-up memory, and does not have to be saved. Use the EXIT button to leave the submenu.
Preset Mode is always active unless you activate another mode. When you leave one of the other modes, you will always be sent back to Preset Mode. Preset Mode is signaled by a lit LED just to the right of the PRESET button on the front panel.
Preset Parameters These parameters contain all the settings that relate to individual presets. A preset is a playing environment that you determine, saved and easily retrievable, with the flexibility and complexity to give you total control over playing and sound characteristics. You can program, save and recall up to 128 complex presets. How complex a preset is, is something you determine. For example you have the capability of dividing the strings of your guitar into a total of 12 totally separate and individual splits and then to freely combine them. Each of these presets can have its own set of effects, selected from a copious list, as well as its own set of playing parameters.
Recalling Presets Use the +/- Value buttons to cycle through your presets. You can also use the UP/DOWN buttons on your guitar interface.
Guitar Tuner In the default setting (see UTILITY MODE, DISPLAY) the bottom half of the display shows a tuner that monitors your instrument as you play to insure correct tuning. It is important that your instrument is tuned within a certain tolerance so that your AXON will send the proper MIDI pitch information to your MIDI instruments. Tune every string so that the meter pointer is directly over the arrow in the middle of the scale. As long as the Tune Base Parameter is set to 0, the arrow in the middle of the scale represents a standard tuning of 440 Hz. There may be reasons for changing this basic tuning standard, for example if you want to play with an acoustic piano that is somewhat under the pitch. (see Global Parameters, TUNE BASE) In this case you can tell the AXON to orient itself to the tuning of your guitar, giving you a new standard. In this case the arrow in the middle of the tuning scale represents the new tuning standard.
Chorus Effect (0127)
If your MIDI instrument is equipped with built-in Chorus, you can control it with this parameter. The higher the value, the more chorus will be added to the mix in the output signal of your MIDI instrument. The optional sound board has this feature built in. VARIATION
Variation Effect (0127)
If your MIDI instrument is equipped with built-in variation effects (such as Auto-wah), you can control it with this parameter. The optional sound board contains numerous variation effects that can be randomly combined with Reverb and Chorus. VEL SENSE
Velocity Sensitivity (0127)
You can limit the dynamic range of your MIDI instrument by adjusting the value of this parameter. The smaller the value, the less dynamic range there will be between note events. In the extreme case, a value of zero plays all notes on your MIDI instrument at the same dynamic level, regardless of how loud or softly you play your guitar. With a value of 127, you achieve the highest sensitivity and dynamic range for the notes you play.
Velocity Offset (64+64)
If the average dynamic level of your MIDI instrument is too soft or too loud after limiting the dynamic using VEL SENSE (see above), you can set the middle/average volume here. (see the graphic on the following page.) PICK CONTROL
Pick Controller (NO CONTROLLER, CONTRLxxx)
Because your AXON has the ability to recognize the position of your right hand on the strings (where you pick or strum), you can link this function with a MIDI Controller, allowing you to simulate the modulation wheel on a synth, or after touch, etc. with the position of your right hand over the string pick area. Further interesting effects can be generated by assigning Ctrl 74 (Filter) or Ctrl 10 (Pan) to pick control. Press the ENTER button and choose the controller you desire using the +/- Value buttons. The function of the chosen controller will appear in text in the display window. For controllers that are not standardized, you see a horizontal line. Using the following parameters you will now assign the value areas of the chosen controllers. This controller only affects one pick split zone. (Your AXON can have up to 3 pick zones to which you can theoretically apply 3 different pick controllers.) As a rule, you will not use more than one pick split for a pick control effect. Set both parameters PICKSPLIT1 and PICKSPLIT2 to 0. If you dont do this, the controller will only affect one pick split and not the entire pick area between bridge and fingerboard. PICK VAL1
ED: HOLD-SEP VOLUME: OFF
SEQ TEMPO (EXT., 41240) The tempo of your sequence can be set externally using Midi clock (EXT/MIDI IN) or internally using BPM (beats per minute) between 41 (very slow) and 240 (very fast). In the case of external synchronization, (e.g. MIDI-Drums, sequencer software) the sequence will only start when the start command is received from the MIDI IN port. LAYER This function allows you to play 2 sounds over each other (layer). In this way you can play particularly full, rich sounds by layering them one on top of the other. Using the sub menu (ENTER) select a sound for layering. Now when you press the hold pedal, this sound will be added to your present sound as long as the hold pedal is depressed. After pressing the ENTER button, you can set the following parameters in the sub menu: LAYER PRESET (1128) Using the +/- Value buttons select the sound you want to layer with your normal play sound as long as you have the hold pedal depressed. SEQ PATTERN (OFF, 132) If you own the AXON AX 100SB, you have the option alongside the normal Hold Preset, to set a drum pattern sequence )see UTILITY MODE, EDIT SEQUENCE). As soon as you press the hold pedal, the selected drum pattern will play on a separate MIDI channel. The pattern will be repeated until you press the hold pedal two times quickly. Choose one drum pattern of 1-32, that you want to play when you press the hold pedal, or set this parameter to OFF. SEQ TRACK (OFF, 18) If you own the internal sound board, you can set a complex track sequence to play instead of a pattern (see UTILITY MODE, EDIT SEQUENCE) parallel to the hold preset. As soon as you press the hold pedal, the selected track pattern will play on a separate MIDI channel. The pattern will be repeated until you press the hold pedal two times quickly. Or you can set the number of times that you want the sequence to be played. Choose one track pattern of 1-8, that you want to play when you press the hold pedal, or set this parameter to OFF. Please note that you can only use one of the two sequence possibilities at a time: either SEQ TRACK or SEQ PATTERN. Make sure the other one is set to OFF.
SEQ TEMPO (EXT., 41240) The tempo of your sequence can be set externally using Midi clock (EXT/MIDI IN) or internally using BPM (beats per minute) between 41 (very slow) and 240 (very fast). In the case of external synchronization, (e.g. MIDI-Drums, sequencer software) the sequence will only start when the start command is received from the MIDI IN port. ARPEG In addition to the above mentioned sequencing possibilities you can use the powerful arpeggiator in your AXON to accompany yourself. Along side the function SEP, which allows you to hold a single chord as accompaniment, the ARPEG function allows you more complex accompaniment structures. When you press the hold pedal, and play a series of notes, these notes are received and then played back in the same order as you played them. The recording of your arpeggio is ended when you release the hold pedal. The sequence of recording notes is now played back immediately and endlessly (on the preselected Hold channel), allowing you to play your solo or other part above them. By pressing the hold pedal again, the arpeggio is stopped, but simultaneously able to record a new sequence of notes, making it possible to play and change your accompaniment sequence without stopping. To stop the arpeggio, simply press the hold pedal once and release without playing any notes. The parameter settings for the arpeggiator determine how the notes you play into it will be played back. You can control the order in which the notes are played back, or stretch out the intervals between them into several octaves. But the most interesting characteristic of the arpeggiator is its ability to quantize the notes played into it into freely programmable rhythmic patterns. Press the ENTER button to get to the Sub menu of the arpeggiator: ARPEG PRESET (1128) Select the sound you want to use when playing back by using the +/Value buttons. TEMPO (EXT., 41240) The tempo of your arpeggiator can be set externally using Midi clock (EXT/MIDI IN) or internally using BPM (beats per minute) between 41 (very slow) and 240 (very fast). In the case of external synchronization, (e.g. MIDI-Drums, sequencer software) the sequence will only start when the start command is received from the MIDI IN port.
To do this, set the wheel AIX 101/102 to a Filter Controller (74). Your main preset should then be set to NO CONTROLLER instead of VOLUME 7, so that only the arpeggiator will be affected by the wheel and the volume setting of the main sound will remain constant. Use the EXIT button to get back to the main menu.
NRPN/RPN NRPN/RPN (NONE, NRPN, RPN) Many manufacturers of synths allow you to set sound characteristics of their presets using so called NRPNs (nonregistered parameter numbers) or RPNs (registered parameter numbers). According to MIDI specifications RPNs have standardized functions and NRPNs do not. The functions of NRPNs are dependent upon the manufacturer and are found in the individual users manuals. The process for using RPNs and NRPNs is identical as follows: NRPN-LSB and MSB or RPN-LSB and MSB set system parameters using Controller #6 (DATA ENTRY MSB) or Controller #38 (DATA ENTRY LSB) to access them. Here is how you access these settings in your AXON:
You have extracted from the users manual of your synth/sound module that the manufacturer uses NRPN: MSB=01h and LSB=21h for a filter function for example. Use the +/- Value buttons to select the setting NRPN/RPN:NRPN and press the ENTER button. The first line of your display shows you whether you are editing NRPNs or RPNs. The second line shows you the present value for MSB and LSB. The cursor is in the MSB field at first. Use the +/- Value buttons to set this value to 01h. With the +/- Parameter buttons move the cursor to the filed LSB and set the value here to 21h. You have now set the NRPN so that Controller #6 (or #38) can be used as a filter controller. As a source for controller #6/#38, you have the option of using Pick control or any of the three wheel options. If for example you set the AIX 101/102 wheel on your interface to controller #6/ #38, you can now control the actual sound of your synth using the wheel. Press the EXIT button to leave the sub menu.
Note: If you are not an experienced user, it is advised that you steer clear of using the RPN controllers because pitchbend and even tuning information can be changed.
PITCH CENTR (C-2G8) Here you set the pitch that will be your pitch center in your pitch scale (see above). This is the note that will be played true to its pitch, from which all the other intervals up and down will be computed.
RESONANCE (063) Set the strength of filter resonance, the emphasis of the filter cutoff frequency. Higher values give more emphasis to filter cutoff frequency, giving a higher point of resonance.
VELO SENSE (07) Setting this parameter determines how much touch sensitivity (your playing dynamic) affects resonance.
CUTOFF FREQ (0127) Setting this parameter determines the frequency at which the filter no longer allows sound. Lower values produce warmer, duller sounds; higher values produce brighter, crisper sounds.
VEL FEG LEV (-7+7) Setting this parameter determines the velocity sensitivity level how much influence touch sensitivity (the various dynamic levels of your playing) has on the filter envelope. With a value of 0 (zero), velocity has no effect on the filter envelope. Positive values have increasing effect on the filters effect according to your play velocity. Negative values cause more filter effect the softer (smaller velocities) you play.
VEL FEG RATE (-7+7) Setting this parameter determines how the speed of the filter is affected by the various dynamic levels (velocities) you play. Positive values change the filter faster the louder (harder) you play. Negative values cause the filter to change faster the softer you play.
FILTER EG Press the ENTER button to edit the parameters for the Envelope curve controlling the filter. This is where the highs of your voice are controlled on a time curve. The upper half of the display shows a help graphic to help you orient yourself to the various points in the envelope curve. Press the EXIT button to leave this sub menu. The following is a description of the various parameters in this sub menu: ATTACK RATE (063) This value determines how long after a string is played on your guitar the filter is totally open.
DECAY1 RATE (063) This is the time it takes for the level to reach the value in DEC1 LEVEL.
DECAY2 RATE (063) This is the time it takes for the level to reach the value in DEC2 LEVEL.
REL RATE Release Rate (063) This is the time after a MIDI Note Off event is received before the filter level falls all the way to zero.
INIT.LEVEL (-64+64) Set the beginning level for the filters effect at the beginning of the note.
ATTCK LEVEL (-64+64) Set the maximum filter level to be reached after the attack time is reached.
User manual AXON AX-100 / AX-100 SB 61
REL LEVEL Release Level (-64+64) Set the final value of the filters level at a MIDI Note Off event.
PTCH DPT (1/2OCT, 1OCT, 2OCT, 4OCT) Here you determine the effective working values in octaves for the pitch envelope generator.
VEL PEG LEV (-7+7) Setting this parameter determines the pitch sensitivity level how much influence touch sensitivity (the various dynamic levels of your playing) has on the pitch filter envelope. With a value of 0 (zero), velocity has no effect on the pitch envelope. Positive values have increasing effect on the pitch envelopes effect according to your play velocity. Negative values cause more pitch envelopes effect the softer (smaller velocities) you play.
VEL PEG RATE (-7+7) Setting this parameter determines how the speed of the pitch envelope is affected by the various dynamic levels (velocities) you play. Positive values change the pitch envelope faster the louder (harder) you play. Negative values cause the pitch envelope to change faster the softer you play.
PITCH EG Press the ENTER button to edit the parameters for the Envelope curve controlling the pitch envelope. This is where the pitches of your voice are controlled on a time curve. The upper half of the display shows a help graphic to help you orient yourself to the various points in the envelope curve. Press the EXIT button to leave this sub menu. The following is a description of the various parameters in this sub menu:
ATTACK RATE (063) This value determines how long after a string is played on your guitar the pitch envelope reaches its maximum value.
DECAY1 RATE (063) This is the time it takes for the pitch to reach the value in DEC1 LEVEL.
DECAY2 RATE (063) This is the time it takes for the pitch to reach the value in DEC2 LEVEL.
REL RATE Release Rate (063) This is the time after a MIDI Note Off event is received before the pitch envelope level effect all the way to zero.
INIT.LEVEL (-64+64) Set the beginning pitch for the pitch envelopes effect at the beginning of the note.
ATTCK LEVEL (-64+64) Set the maximum pitch envelope effect to be reached after the attack time is reached.
DEC1 LEVEL (0127) Here you set the first decay effect level which will be reached after the amount of time set in DECAY1 RATE has passed.
DEC2 LEVEL (0127) Here you set the second decay effect level which will be reached after the amount of time set in DECAY2 RATE has passed.
REL LEVEL Release Level (-64+64) Set the final pitch value of the pitch envelope at a MIDI Note Off event.
COPY ELEMENTS COPY (ELM1->2, ELM2->1) You can copy all of the parameters of one element of your voice to the other and thereby save you a lot of duplicate programming. You can then modify individual parameters in one element or the other to fit your needs. Select the element that you want to receive the parameters from the other one, and press the ENTER button. (In order to then use both elements simultaneously in your voice, you need to set the parameter ELEMENT to 1+2 ON.
PROGRAM CROSSDLY: L ->R Dly (0.1ms. 355.0ms) / Crossdelay Left/Right R ->L Dly (0.1ms. 355.0ms) / Crossdelay Right/Left Fdbck Level (-63. +63) / Feedback level Inp Select (L, R, L&R) / Input selection for L, R, or both High Damp (1. 10) / Highs roll-off Dry/wet (1. 127) / Amount of effect signal EQ Low (50Hz. 2.0kHz) / Equalization for low Freq. EQ LowGain (-12dB. +12dB) / EQ-Level for low frequencies EQ Hi (500Hz. 16.0kHz) / Equalization for high Freq. EQ HiGain (-12dB. +12dB) / EQ-level for high frequencies
PROGRAM EARLYREF1,2: Type (SHORT, LARGE, RANDOM, REVERS, PLATE, SPRING) / Reverb-Typ Room size (0.1m. 7.0m) / Size of room Diffusion (0. 10) / Diffusion reverb reflections PreDelay (0.1ms.99.3ms) / Delay before reverb Fdbck Level (-63. +63) / Feedback level HPF Cut (20Hz. 8.0kHz) / Low frequency Cutoff LPF Cut (1.0kHz. 20.0kHz) / High frequency Cutoff Dry/wet (1. 127) / Amount of effect signal Liveness (0. 10) / Liveness Density (0. 3) / Intensity High Damp (1. 10) / Highs roll-off
PROGRAMS GATED REV, REV GATE: Type (TYPE A, TYPE B, L<->RB, L->RB, L<-RB, LTURNB) / Reverb-Typ Room size (0.1m. 7.0m) / Size of room Diffusion (0. 10) / Diffusion of reverb reflections PreDelay (0.1ms.99.3ms) / Delay before reverb Fdbck Level (-63. +63) / Feedback level HPF Cut (20Hz. 8.0kHz) / Low frequency Cutoff LPF Cut (1.0kHz. 20.0kHz) / High frequency Cutoff Dry/wet (1. 127) / Amount of effect signal Liveness (0. 10) / Liveness Density (0. 3) / Intensity High Damp (1. 10) / Highs roll-off
PROGRAMS KARAOKE1,2,3: DlyTime (0.1ms. 200.0ms) / Delay-Time Fdbck Level (-63. +63) / Feedback level HPF Cut (20Hz. 8.0kHz) / Low frequency Cutoff LPF Cut (1.0kHz. 20.0kHz) / High frequency Cutoff Dry/wet (1. 127) / Amount of effect signal
PROGRAMS CHORUS1. FLANGER3: (see Chorus Parameter)
PROGRAM SYMPHONIC: LFO Freq (0.00Hz. 39.70Hz) / Frequency of the Low Frequency Oscillators LFO Depth (0. 127) / Modulation depth Delay Offs (0.0. 50.0) / Delay offset for the Modulation EQ Low (50Hz. 2.0kHz) / Equalization for low Freq. EQ LowGain (-12dB. +12dB) / EQ-Level for low frequencies EQ Hi (500Hz. 16.0kHz) / Equalization for high Freq. EQ HiGain (-12dB. +12dB) / EQ-level for high frequencies Dry/wet (1. 127) / Amount of effect signal
175. FS:Clari+Sax : Preset with fret split. Up to the 9th fret a clarinet is played. Above that, a saxophone. Pitchbend is quantized to afford trills using string vibrato. 176. PS:Orgn+Orgn : Preset with 1 pick split. 2 different organ sounds that can be switched between depending on your pick position. The split point is approximately in the middle of the pick area. 177. PS:Bass+Bass : Preset with 1 pick split. 2 different bass sounds that can be switched between depending on your pick position. The split point is approximately in the middle of the pick area. 178. PS:2xAc.Bass : Preset with 1 pick split. 2 different bass sounds that can be switched between depending on your pick position. The split point is approximately in the middle of the pick area. 179. PS:BassVar : Preset with 2 pick splits. 3 different bass sounds that can be switched between depending on your pick position. The split points are divided approximately in thirds of the pick area. All three bass sounds are transposed down one octave. 180. PS:2xGuitar : Preset with 1 pick split. 2 different guitar sounds that can be switched between depending on your pick position. The split point is approximately in the middle of the pick area. 181. PS:GuitVar : Preset with 2 pick splits. 3 different guitar sounds that can be switched between depending on your pick position. The split points are divided approximately in thirds of the pick area. 182. MS:Strg+Fret : Preset with multi splits. Combination of a string split and a fret split. The result is four play zones. The three lower strings play bass sounds; in the lower zone below the 7th fret,an acoustic bass, in the upper frets above the 7th fret a fretless. The three higher strings in the lower frets a slap bass, in the higher frets a synth bass. 183. MS:Strg+Pick : Preset with multi splits. Combination of a string split and a pick split. The result is four play zones. The three lower strings near the bridge, a marimba, near the fingerboard, a pad sound. The three higher strings near the bridge a flute, near the fingerboard an organ. 184. MS:Fret+Pick : Preset with multi split. Combination of a fret split and a pick split. The result is four play zones. Near the fingerboard and in the lower frets a synth sound, above the 7th fret an oboe. Near the bridge and in the lower frets an acoustic guitar, above the 7th fret an organ.
User manual AXON AX-100 / AX-100 SB 85
185. MS:StrFrtPck : Preset with multi split. Combination of all split options. The result is 12 different play zones. This example is not very practical but is here to show the flexibility of the AXON. Remember that you you can use multi splits like this one not only to access various sounds, but more practically to access various characteristics such as TRANSPOSE, QUANTIZE, VOLUME, REVERB, PICK CONTROL, thereby maintaining the same sound for all split zones.
The MIDI-Connection for all Kind of Guitars
Electric, Acoustic, Western, Bass Guitars
This is where the AXON shows its true colors. Totally separate MIDI signals for each string instead of the MIDI salad that comes from most other converters make professional or home recordings now possible. You can now take advantage of the myriad of possibilities of multi-track recording, music-page-layout and printing, digital saves and data transport via CD-ROM or via the Internet. Its a new era for guitarists with the AXON.
With the advent of the AXON, all guitars, whether acoustic, electric, western, bass, classical, have now become full members of the MIDI family. The AXON reacts as fast when playing external sound modules as it does when playing its own optional internal sound board. For guitarists is this the beginning of a new era.
Pick it all up
Whether electric guitar or acoustic, whether classical guitar or bass the AXON is there for them all. Even instruments with nylon or gut strings using piezo-pickup systems (pickups described on the back of this brochure). Bass guitars with 4 or 6 strings, classical guitars with 10.5 or 11.5 mm gaps for bass string every kind of guitar the nylon/gut string AXON offers a solution.
Guitaristic virtuosity means mastering the entire technical spectrum. Quick changes between bass notes and high solistic melodies give the guitar its flexible ability. Not a problem with the AXON and its string splits and fret splits. Various sounds or timbres can be assigned to the different split areas. You can for example assign a bass guitar sound to the lower strings and maybe a sax or distortion guitar sound to the upper solo strings, and then for the middle fret split a piano or twelve-string sound. The AXON offers a variety of split possibilities that, in combination with each other, divide the play area of your guitar into various segments according to string and fret splits and pick position. Unbelievable possibilities that you have to try to believe!
For Your Love
1998 Editors Choise Award
The AXON deserves praise not only for its MIDI conversion but also for its ability to adapt to guitarists individual playing styles.
As far as pitch recognition, the AXON sets the standard!
If Country Roads or Blueberry Hill are a part of your repertoire, you will never again need to switch guitars just MIDI channels. Choose a sound module, synth or sampler with your favorite country sounds and play them on your guitar. You can also use a banjo, ukulele or acoustic guitar. You wont have to change to another instrument to get the sounds you want.
MIDI for bass guitar has long been thought impossible. The low frequency (pitch) of the notes played as well as the time it takes for a string to fully resonate have caused MIDI interpretation to have such time delays that it has not been viable at all until now. The AXON has solved the problem! Now bass guitarists can use the full spectrum of their instruments technique to play MIDI sounds. The possibilities go beyond a bassists wildest dreams. You can now combine the sounds of your bass that sounds the best with the bass you like to play the best. You can play an acoustic bass on your electric bass, or a Fender bass sound on your Rickenbacher.
Good buy. sets a new standard that the competition will have to address in the future.
The AXON AX 100 sets a new standard in tracking and flexibility. It is finally possible for guitarists to play in real time, even on the lower strings.
Fast response; clever split options; tracks well; flexible!
With the optional sound board SB-676, you are equipped with a wealth of onboard sounds and rhythms. Of course, you can connect your AXON (even without the sound board) to virtually any MIDI capable sound module or synth with no difference at all in performance. The most popular synths, sound modules, samplers, expanders as well as MIDI pianos, organs, computers with sound boards (or anything else that generates sounds) are now available to you as a guitarist/bassist. The AXON is as fast using external devices as it is using its internal sound board. The AXON AX 100-SB with its internal sound board offers you a practical alternative at an excellent value. A wide variety of quality sounds are available to you as guitarist/bassist. You, your guitar and the AXON AX 100-SB are all you need for incredible live performances.
Using the modulation wheel on the guitar interface as well as the pick control function, which registers the actual position of your right hand over the string. The AXON makes it possible to send every type of CC message directly from your guitar by varying your picking position. In addition, you can use two expression pedals and two foot switches to control hold functions and sequences. Effects such as reverb, chorus and vibrato can be combined with volume, tremolo and such exotic parameters as filter cutoff, autowah and more. You can also control program change and the actual selection of sounds using your onboard mod wheel or pick position. These facts alone make for the most alive and dynamic guitar youve ever played.
The AXONs built in arpeggiator is perhaps one of the most innovative developments of modern music technology. A simple chord is metamorphasized into an explosion of notes played in sequence, either in the order that you played them or octavized, or repeated in a controllable, rhythmical sequence. Up to 16 notes (and rests) can be played in one arpeggio. On-stage, you play a chord and let the AXONs' arpeggiator do its' magic. The results are unbelievable!
Guitar to MIDI controller
AX 100 (SB) Features Extremely fast tracking Pick Position recognition Functional with steel string, bass or nylon string 128 editable presets 12 play area zones (segments) Programmable foot switches (Hold and preset) Arpeggiator with editable rhythmical sequence patterns 32 editable chain presets Programmable wheel control 2 Programmable expression pedals inputs Built in tuner
LEVEL MONO MONO INPUT GUITAR 13 POLE IN NEURAL GUITAR MIDI CONTROLLER
GLOBAL UTIL CHAIN PARAMETER
32 Bit RISC processor 6x18 bit A/D converters 13-conductor jack from guitar interface variable MONO-input for microphone 2X16 character LCD screen with back lighting 2 Audio out put jacks for the optional sound card SB Models 480 Sounds 32 editable synth patches 200 wave forms 11 reverbs, 11 choruses, 42 variation effects 3 simultaneous effects
PRESET STORE EDIT VALUE
SIGNAL +6 db - MIC MAG. / PIEZO
E-GUITAR / CONCERT GUITAR / BASS
ON / OFF
AXON AX 100 (Magnetic/Piezo/Arpeggiator) includes: Guitar to MIDI converter, power supply, foot switch, MIDI cable, owners manual AXON AX 100-SB (Magnetic/Piezo/Arpeggiator) includes: Guitar to MIDI converter including an internal sound board, power supply, foot switch, MIDI cable, owners manual SOUNDBOARD SB-676 Equips the AXON with 480/676 sounds, 11/21 drum kits, 11 reverbs, 11 choruses, 32 voice polyphony GUITAR INTERFACE AIX-101 Interface for the steel stringed guitars. Features include MIDI volume, up/down preset buttons, three position toggle switch for synth only, guitar and synth and guitar only playing, 13 pin connector out-put jack BASS INTERFACE AIX-103 Interface for the steel stringed bass guitars. Features include MIDI volume, up/down preset buttons, three position toggle switch for synth only, guitar and synth and guitar only playing, 13 pin connector out-put jack HEX PIEZO PICKUP SYSTEM 6 separate piezo pickups (one for each string) built into one bridge. For installation on acoustic and nylon string classical guitars. When ordering this, please provide the exact information regarding the type of guitar and exact measurements for the pickup. INTERFACE BOARD AIX-110 The interface board can be installed in virtually every acoustic and half acoustic guitar. Optionally you can have the up/down preset buttons, MIDI volume control and 1/4" jack and MIDI volume control installed. INTERFACE BOARD FOR THE GODIN GUITARS AIX-210 This interface board is a direct replacement board for the LGX and MULTIAC circuits.
GUITAR 13 POLE IN
NEURAL GUITAR MIDI CONTROLLER
13 pol. cable Interface / AXON
13-CONDUCTOR CABLE AXK-100 This cable is for connecting the AXON to the pickup interface. FOOT SWITCH AFT-100 This is the pedal to control the HOLD and CHAIN functions. EXPRESSION PEDAL AFS-100 These expression pedals connected to the CV inputs. The AX 100 supports two AFS100 pedals.
Industriestrasse 1 D-56283 Halsenbach Tel.: 47/Fax: 47/web: http://ourworld.compuserve.com/homepages/bluechipmusic E-Mail: firstname.lastname@example.org CompuServe 47,1205
Guitar goes MIDI
As long as there has been MIDI, there have been guitarists attempting to tap into that fantasy world of sounds and expressions. Most of these attempts ended in frustration and failure due to the lack of a Analog Digital Conversion pitch recognition system that was precise enough and more importantly fast enough to keep up with a guitarists technique and the massive amounts of sound information to be Early-recognition system translated into MIDI data. ReFrherkennungsimpuls searchers at Blue Chip Labs have revealed that at the very instant that a guitar sound string sounds, it is already too late for pitch recognition to begin, regardless of technology or method used. And so ends the story of the first MIDI controllers that were always frustrating guitarist Plucking the string with their long delays on their MIDI output. Question: How can we recognize the pitch of a string before it fully sounds? Enter Blue Chip Music. Engineers at Blue Chip have successfully developed an early recognition system that analyses the impulse that occurs at the very instant a string is played. This system recognizes the pitch of a string before it fully vibrates. Dynamics and length are then computed as the string continues to sound. Imagine this: You have an entire room
filled with all kinds of instruments (Trumpets, Oboes, Violins, a Clavichord). Over in the corner is a piano, a violin, a vibraphone and almost any orchestral instrument imaginable. Then theres the electronic department: Electric guitars and basses with multi effects, sound modules, analog synths, workstations, all kinds of keyboards, even a Hammond B-3. And here you sit in the middle of it all with your guitar on your knee and your AXON in front of you. Youre playing just like you always do, but the sounds you hear are all the sounds that you would have expected to hear from the other instruments around you. There is a whole new world of sounds now available to you as a guitarist. Live via the Internet you play your ideas for a friend. Your PC becomes your recording studio that displays the notes you play on your guitar and allows you to print them. You compose, arrange, direct and perform in a new dimension. Live on stage the sound that your audiences hear comes unrestricted, right John McLaughlin at Blue Chip from your mind to their ears, giving you unparalleled creativity that is sure to blow them away. This is Guitar goes MIDI. The guitar is no longer an instrument to be restricted by its analog nature. A new world is out there waiting to be discovered by the guitarist and bassist.
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