Operation Manual

2001, E-MU Systems, Inc. d.b.a. E-MU / ENSONIQ. All rights reserved.

FI12076 Rev. A

E-MU World Headquarters E-MU / ENSONIQ P.O. Box 660015 Scotts Valley, CA USA 95067-0015 Telephone: 831-438-1921 Fax: 831-438-8612 Internet: www.emu.com
Europe, Africa, Middle East E-MU / ENSONIQ Suite 6, Adam Ferguson House Eskmills Industrial Park Musselburgh, East Lothian Scotland, EH21 7PQ Tel: +44 (0) 131-653-6556 Fax: +44 (0) 131-665-0473
The following are registered worldwide trademarks owned and/or exclusively licensed by E-MU Systems, Inc.: E-MU and E-MU Systems. All other trademarks are the property of their respective holders. Important Notice: In order to obtain warranty service on your Orbit-3 unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on the Orbit-3, please contact E-MU Systems at once. This product is covered under one or more of the following U.S. patents: 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104; 5,342,990; 5,430,244 and foreign patents and/or pending patents. All other trademarks belong to their respective companies. Specications and features are subject to change without notice.
Orbit-3 Operation Manual i

Table of Contents

Introduction... 1
Product Description.... 1 Overview... 3
Important Safety Instructions.. 4 Foreign Language Warnings - German.. 7 Foreign Language Warnings - French.. 10 Setup... 15
Unpacking.... 15 Connection Instructions... 16
Basic Setup...16 Studio Setup....17 Power Up!....18
Instant Gratication... 19
Playing Demo Sequences...19 Auditioning Presets...19 Selecting and Quick Editing Presets...20 Playing BEATS....22 Exploring the Master Arpeggiator..24 Multi-Channel Arpeggiator..25

Basic Operations.. 27

Front Panel... 27
Volume Control....27 Master Button....27 Edit Button...27 Control Button...27 Audition Button....28 Left/Right Cursor Buttons...28 Save/Copy Button...28 Home/Enter Button...28 Data Entry Control...29

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Front Panel Controller Modes... 29
Real-time Control... 29 Quick Edit.... 30 Deep Edit Mode... 30

Main Screen.... 32

MIDI Channel Selection.... 32 Preset Selection.... 32 Channel Volume... 33 Channel Pan.... 34 Channel Arpeggiator... 34

Sound Navigator... 35

Preset Category.... 35 Instrument Category... 35
Multitimbral Operation... 36
Arpeggiator/Beats Menu..37
Base Tempo (Master Clock)... 38

SuperBEATS... 38

BEATS Mode.... 41 Status.... 41 Beats Channel... 41 Trigger Channel... 41 BEATS Controllers... 43 Beat Velocity Group 1-4.. 43 Beat Xpose Group 1-4... 43 Beat Busy.... 43 Beat Variation.... 44 Beat Variation... 44 Beats Trigger Layout.... 45 1-Bar Trigger Option... 45 Beats Trigger Offset... 46 Beats Part Velocity... 46 Beats Part Transpose.... 47 Beats Part Group.... 48 Master Riff.... 48 Riff Tempo... 49 Riff Controllers... 49 MIDI Song Start... 50 Arp/Riff MIDI Out... 50

Arpeggiators... 51

Arp Controllers... 52 Arp Resolution.... 52 Arp Extension.... 52 Arp Velocity... 52 Arp Gate... 52 Arp Interval... 52
Orbit-3 Operation Manual iii
Master Arpeggiator Parameters... 52
Status....53 Mode....53 Note Value...54 Arpeggiator Pattern Speed...54 Pattern....54 Velocity....55 Gate Time...55 Extension Count...56 Extension Interval...56 Sync....57 Pre-Delay....57 Duration....58 Post-Delay....58 Recycle....59 Keyboard Thru...59 Latch....59 Key Range....60
Send MIDI System Exclusive Data.. 60
Editing a User Arpeggiator Pattern...61 Pattern Step Number...61 Key...61 Key Offset....62 Tie....62 Rest....62 Skip....62 End....62 Velocity....63 Duration....63 Repeat...63 User Pattern Name...64
Multi-Channel Arpeggiating... 65 Using a MIDI Interface to Channelize Data... 66

Master Menu... 67

Dening Master Parameters... 68
Transpose/Tune....68 Bend Range....68 Velocity Curve...69 Mix Output....70

Master Effects... 72

Effects Mode....72 Effects Multi Mode Control..72 Master FXA Algorithm...73 A Effect Types....73 FXA Parameters: Decay/HF Damping FxB -> FxA..74 FXA Send Amounts...74

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Master FXB Algorithm... 74 B Effect Types.... 75 FXB Parameters: Feedback/LFO Rate Delay Time.. 75 FXB Send Amounts... 75

MIDI Parameters... 76

MIDI Mode.... 76 MIDI SysEx ID.... 76 MIDI Enable.... 77 MIDI Program Change -> Preset... 77 Receive Program Change... 78 Real-time Controller Assignment... 78 MIDI Footswitch Assign.... 79 Tempo Controller... 80 Knob Preset Quick-Edit... 80 Knobs Deep Edit... 81 Knobs/Riff MIDI Out.... 81 Preset Edit All Layers Enable... 81 Front Panel Knob Calibration... 82 MIDI SysEx Packet Delay... 83 Send MIDI System Exclusive Data.. 83 User Key Tuning... 85 Output Format... 85 Base Tempo.... 86 Screen Viewing Angle... 86

Multitimbral operation means that Orbit-3 can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously.
To Set Up Orbit-3 for Multitimbral Operation
Set the MIDI mode to multi mode, using the MIDI mode function in the Master menu. 2. Decide which MIDI channels you want the Orbit-3 to receive (32 channels can be used simultaneously). If you are using 16 MIDI channels or less, just use the A MIDI port. Use both MIDI ports if you need more than 16 MIDI channels. You can turn any unused channels OFF using the MIDI Enable function in the Master menu. 3. Select the desired preset for each of the MIDI channels you want the Orbit-3 to receive using the Main preset selection screen. (See Main Screen on page 32.) 4. Orbit-3 now responds multitimbrally on each of the MIDI channels you have specied. The volume and pan position parameters can be adjusted over MIDI (for each MIDI channel) or using the Cursor and Data Entry Control in the Preset Select screen.
Save the Multisetup using the instructions provided in Chapter 9:Save/Copy

A MIDI channels 1-16

B MIDI channels 1-16

Channel 01

Preset Volume Pan

Channel 02

Channel 03

Channel 03 B

Channel 16
Orbit-3 has two MIDI inputs with 16 MIDI channels each. Each of the 32 MIDI channels can be assigned to play a specic preset with unique volume and pan settings.

36 E-MU Systems

Arpeggiator/Beats Menu
Orbit-3s SuperBEATS mode allows you to trigger, latch and unlatch synced loops and grooves from separate keys on your keyboard. Select a SuperBEATS Riff and then choose any one of Orbit-3s presets. Now by playing 24 assignable keyboard keys, you can bring specic Parts in and out. Its time to Groove! Orbit-3 can also run up to 16 simultaneously synced arpeggiators, each with a different preset sound. The arpeggiators can either play one of 7 different arpeggios or can be set to play a pattern, which is a stored sequence of notes. Combined with SuperBEATS, the number of musical permutations is staggering!

Before editing a Pattern, select Master Arpeggiator (M) in the main screen and set the Arpeggiator to the Pattern you are editing. This lets you hear the Pattern as you edit it.

PTRN S01

KEY +0

VEL ply

DUR 1/8

Pattern Step number

Key offset

Repeat

Pattern Step Number
You can set up to 32 steps for each arpeggiator pattern. This eld selects which step you will be editing from 1 to 32.
This parameter denes what happens during the current step. The Key parameter can do one of ve different operations. Following is a description of each of the key functions and how to use them.
Orbit-3 Operation Manual 61

Key Offset

This parameter denes not the actual note of the arpeggiator playback, but instead species the amount of offset, in semitones, from the original note played. You can set a Key Offset from -48 to +48 for each step. For example, if you play a C on the keyboard with the Key Offset amount for the rst step set to +1, the rst step in the pattern will be C#.

Offset

Played Note

+ Offset

This function extends the duration of notes beyond the values given in the duration eld by tying notes together. You can tie together any number of consecutive steps.
IMPORTANT: The Gate function in the arpeggiator MUST be set to 100% when using the tie function, otherwise the tied note is retriggered instead of extended.

Step 1

Step 2

Step 3

Instead of playing a note, you can dene the step as a Rest. The Duration parameter species the length of the rest. Rests can be tied together to form longer rests.
This command simply removes the step from the pattern. The Skip feature makes it easy to remove an unwanted step without rearranging the entire pattern. Youll be happy to know that the velocity, duration and repeat parameters are remembered if you decide to put the step back later.
This command signals the end of the pattern. Any steps programmed after the step containing the End command are ignored.

62 E-MU Systems

Each note in the pattern plays using either a preset velocity value (from 1 through 127), or using the actual velocity of the played note (ply). Note: Velocity values will not have an effect on the sound unless velocity is programmed to do something in the preset.
This parameter sets the length of time for the current step, dened as a note value, based on the Master Clock Tempo. The selectable note durations are described below. 1/32 1/16t 1/32d 1/16 1/8t 1/16d 1/8 1/4t 1/8d 1/4 32nd Note 16th Note Triplet Dotted 32nd Note 16th Note 8th Note Triplet Dotted 16th Note 8th Note Quarter Note Triplet Dotted Eighth Note Quarter Note 1/2t 1/4d 1/2 1/1d 1/1t 1/2d 1/1 2/1t 2/1 Half Note Triplet Dotted Quarter Note Half Note Dotted Whole Note Whole Note Triplet Dotted Half Note Whole Note Double Whole Note Triplet Double Whole Note

Destination Amp Volume

Modulation Source LFO 1 LFO 2 Amp Env Filt Env Aux Env Wheel Pressure etc.
Destination Amp Vol Pitch Pan LFO Rate Aux Env Env Atk Glide etc.

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Programming Basics Envelope Generators

Envelope Generators

An envelope can be described as a contour which is used to shape the sound over time in a pre-programmed manner. There are three envelope generators per layer and all of them are the rate/level type. This is how the rate/level (time based) envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate. As soon as it reaches this rst level, it immediately begins the next phase and moves toward the Attack 2 level at the Attack 2 rate. As long as the key is held down, the envelope continues on through the Decay 1 and Decay 2 stages. If the key is still held when the envelope reaches the end of Decay 2, it simply waits there for you to release the key. When you release the key, the envelope continues into the Release 1 and Release 2 stages, stopping at the end of the Release 2 stage. Orbit-3s envelope generators provide great exibility for programming both complex and simple envelopes.
If two adjacent segments have the same level in a timebased envelope, the segment will be skipped. Adjacent segments must have different levels for the rate control to work.

level time

Sustain Key Down Key Released
All three envelope generators have the six stages described above. The Volume Envelope generator controls the volume of the voice over time. The Filter Envelope generator is a general purpose envelope most often used to control the lter frequency. Unlike the Volume Envelope, however, the Filter Envelope can have a negative level value as well as a positive level. There is also an Auxiliary Envelope generator which is a general purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope and can have negative as well as positive levels. You can adjust the time of each stage to create myriad envelope shapes, which in turn shape the sound over time.
By routing the Auxiliary or Filter Envelopes to control the pitch (PatchCords) you can easily hear the shape of the envelopes you are creating.
Volume envelopes contour the way the volume of a sound changes over time determining how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using Orbit-3s Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming them appropriately.
Orbit-3 Operation Manual 91

Tempo-based Envelopes

Tempo-based envelopes are based on Time which is controlled by the Master Clock (located in the Arp/Beats menu). The Master Clock rate scales the time of the Tempo-based envelope segments. The Master Clock can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes.

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The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations. There are four instrument layers in the Edit menu. See the illustration on page 119 for a description of the Preset Layer model.
While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored.

To Access the Edit Menu

Press the Edit button, lighting the LED. The Edit Menu screen displays the menu page most recently selected since powering up Orbit-3. The cursor appears below the rst character of the screen heading on line one.

To Scroll through Layers

Place the cursor below the layer eld. Rotate the Data Entry Control to select a layer (1-4). You can also select All Layers by choosing A in the layer eld. When All Layers is selected, the existing parameter value for any eld will be displayed if the values of all four layers are equal. If the values of all four layers are NOT equal, the value of layer 1 will be displayed with ashing characters. If you change the parameter value, all layers will assume the new value and the display will stop ashing.
If there is no A option in the Layer eld, you must enable the Edit All Layers function in the Master Menu.

To Scroll through Pages

Place the cursor below the page title eld. This will automatically be done when you press the Home/Enter button. Rotate the Data Entry Control to scroll through the pages.

To Change a Parameter

Place the cursor below the parameter eld. Rotate the Data Entry Control to change the parameter value.
Orbit-3 Operation Manual 117
The Preset names consists of two parts: a 3 letter preset category and a 12 letter preset name. Position the cursor under the character location and use the data entry control to change the character. The preset category is used in conjunction with the Sound Navigator feature. Using the Sound Navigator, a category is selected and the presets in that category are listed in alphabetical order. Creating categories makes it easier to nd specic sounds when you need them. For more information on Sound Navigator, see Sound Navigator in Chapter 2: Operations.
PRESET NAME 1270 bpm: Mars Garden?
The keyboard can also be used to select character. The charts below show the keyboard character assignments.
% # ! ( * / ; = @ E B G I L Q N S U X ] Z _ a d i f k m p u r w y | ->
b & + : ? D J O T Y ^ c h n s x } l " ' , < A F K P V [ ` e j o t z <a $ ). > C H M R W b g l q v { n k

C C# D D# E -2 -Octave

118 E-MU Systems
F# G G# A A# B ! 9 E Q ] i u ". : F R ^ j v # / ; G S _ k w $ 0 < H T ` l x % 1 = I U a m y & 2 > J V b n z

' 3 ? K W c o {

( 4 @ L X d p |

) 5 A M Y e q }

* 6 B N Z f r

+ 7 C O [ g s

, 8 D P h t
Edit Menu Four Layer Architecture

Four Layer Architecture

Orbit-3 provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 lter types, over 64 modulation sources, more than 64 modulation destinations and 24 PatchCords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.
Instrument Z-Plane Filter DCA

Layer 1

Z-Plane Filter DCA

Layer 2

Layer 3

Layer 4

Selecting Layers
In most of the Edit screens, the selected layer is shown in the upper left corner of the display. Layers 1-4 or All can be selected by positioning the cursor on this eld and using the Data Entry Control to change the layer. In the screen shown below, Layer 1 is selected.
INSTRUMENT 0273 vox: Thinny
When All Layers (A) is selected, the existing parameter value for any eld will be displayed if all layers are equal. If the layer parameter values are NOT equal, the value of Layer 1 will be displayed with ashing characters. If you move the Data Entry Control all values will be equal to this new value and the parameter value will no longer ash.
Orbit-3 Operation Manual 119
Edit Menu Dening Layer Parameters

Dening Layer Parameters

Selecting an Instrument
The Edit menu parameters dene the four layers and include the instrument assigned to the layer, the ranges of the layer, tuning, envelopes, lters, and patch cords. These parameters are dened for each layer on an individual basis (based on the currently selected layer). See Common Preset Parameters on page 150 for global preset settings. The Instrument parameter denes which of the available instrument sounds is played by the current layer.

ROM SIMM Name

INSTRUMENT 0273 vox : Thinny

ROM: BEAT

Instrument Name
To select an instrument for the selected layer(s), move the cursor to the bottom line of the display and change the instrument using the Data Entry Control.
Sound Navigator also works to help select Instruments although the category names are predened. When the cursor is on the Instrument Category eld, turning the Data Entry Control selects different instrument categories. The Name Field will change to show the rst instrument in each category. Move the cursor to the instrument name to select instruments in the selected category.

1. Choose Category

2. Scroll through Instruments
Selecting Categories of Instruments using Sound Navigator.

120 E-MU Systems

Dening Key Range
The Key parameter denes the range on the keyboard used by the current layer. The Key range is from C-2 through G8.

Middle C

To dene the range, set the low key value and the high key value. You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key eld in the display.

Fade In

Fade Out

LO FADE C-2 000

HIGH C2

FADE 012

Layers can be crossfaded according to key position by adjusting the Low and High Fade parameters. The rst Fade eld determines how many semitones it takes the layer to Fade In from the low key. The second Fade eld determines how many semitones it takes the layer to Fade Out to the high key. The screen shot above and the diagram below show Layer 1 being faded out over a one octave range.
Layer 1 Layer 2 Layer 3 Switch Layer 4
With a High Fade value of zero (as in layer 3 of the diagram), the layer simply switches off at the high key.
Orbit-3 Operation Manual 121
To Switch Layers According to Key Position
The Key Range parameter allows you to create a split keyboard with up to four sounds adjacent to each other on the keyboard. This is shown in the diagram below.
Just assign the low and high key range for each of the four layers with Fade set to zero. Set the Low and High Keys so they dont overlap other layers.
You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key eld n the display.

HIGH F1

LO F#1

HIGH C3

KEY: LO C#3

HIGH F#4

KEY: LO G4

HIGH C6

If two layers do overlap, both will play as shown in the next example.

122 E-MU Systems

To Stack Layers
If the ranges of two or more Layers overlap it is called stacking layers. All Layers assigned to a key sound when the key is played. This is shown in the following diagram. Its very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack.

Layer 1 Layer 2

KEY: LO C0
Orbit-3 Operation Manual 123

The range of transposition is -36 to +36 semitones.

TRANSPOSE +36 semitones

Orbit-3 Operation Manual 129

Tuning

The Tuning parameter changes the pitch of the key in semitone and 1/64 semitone intervals.

TUNING Coarse: +36

Use the Coarse eld to shift the tuning by semitone intervals. Use the Fine eld to shift tuning by 1/64 semitones (or 1.56 cents) intervals.
Background: Transpose vs. Coarse Tuning
Transpose works by shifting the keyboard assignment of the Instrument (as if you were sliding the keyboard up and down with the Instrument remaining in the same position). Coarse Tuning keeps the instrument placement on the keyboard and actually tunes the samples up using a digital process called interpolation. Use Course Tuning on drum instruments to change the pitch while keeping sample placement constant. Coarse Tuning can also be useful to slightly change the timbre of the instrument.

Amplier

This parameter sets the initial volume and pan position of the current layer. These values can be changed using any Real-time Controller set up in the PatchCords. The value range for the volume is from -96 dB to +10 dB. 0 dB is the default setting. Routinely turning the volume up to +10 dB is not recommended because it doesnt allow other modulation sources to increase the volume further.

AMPLIFIER Volume: +10dB

Pan: 48L
This eld determines the initial Pan value for the current layer. The value range for Pan is from 64L to 0 (left) and 0 to 63R (right). Pan adjusts the volume into the left and right output channels relative to the Pan setting in the main Preset Select screen (see Channel Pan on page 34). So, if you, for example, set the Pan value in the Preset Select screen to 64L and set this Pan value to 63R, the actual pan amount would be 0 as these two pan parameters are relative to each other.

130 E-MU Systems

An envelope can be described as a contour which is used to shape the sound over time. The Volume Envelope controls the volume of the sound in the current layer over time. The way the volume of a sound evolves has a profound effect on how we perceive the sound. Each instrument has its own Factory preset Volume Envelope setting. The Volume Envelope allows you to program your own envelope settings.

Selecting the Mode

Slapback

Stereo Flanger
This is the frequency response of a Comb Filter.
Flanging was originally created using two tape recorders playing identical recordings. By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel anges, the anging effect was born.
Orbit-3 Operation Manual 185
The Orbit-3 anger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay. The Feedback control sends some of the delayed signal through the delay line again. When feedback is used the comb lter notches are deepened.
Delay is an effect which can be used for doubling, reverb pre-delay, or echoes. Delay Time is variable from 0-635 mS and controls the time between echoes. Feedback and determines how long the echoes continue sounding. Innite delay effects are also possible without the risk of runaway.

Stereo Delay

Similar to delay except that the delay line outputs a stereo signal from the mono input. The two output signals are a few milliseconds apart to create a stereo image. The delay times are variable from 0-635 mS. A panning delay is similar to the normal delay lines except that the echoes bounce back and forth between the two stereo speakers. These are delay lines where the signal is tapped off at two unevenly spaced locations. When feedback is used, multiple complex echoes are produced. The fraction in some of the algorithm names (i.e. 1/3, 1/4) refers to the time ratio between the taps. Basically, this a delay line modulated by an LFO, but with none of the original signal added in. The LFO modulation creates a Doppler shift and a resultant cyclical pitch shift. The vibrato created in this manner sounds very different than vibrato created by frequency modulating the sample. Distortion uses a technique called soft-clipping to create additional harmonics in the signal. As the level increases, the top of the waveform becomes somewhat squared. As the level increases further, it transforms into a true square wave.

Panning Delay Dual Tap

Vibrato

Distortion

Soft clipping gradually squares the edges of the waveform as the amplitude is increased.

186 E-MU Systems

Save/Copy Menu
The Save/Copy menu is used to save changes to a preset and to copy data between presets. When in Quick Edit mode, this menu always defaults to the Save to Preset page of this menu with the cursor on the second line. You can use the Data Entry Control to navigate to other pages that support copying information.

Multisetups

A Multisetup is a group of parameters that you might associate with a particular sequence or song. It is like a snapshot of the current MIDI channel conguration of the module. There are 64 setups numbered 0-63. All Multisetups are user programmable.
A Multisetup includes ALL the following parameters:
Preset/Volume/Pan/Arp/Beats assignments for each of the 32 MIDI channels. Multisetup Name ALL Arp/BEATS Menu Parameters ALL Master Menu Parameters except MIDI Program Change->Preset map User Key Tuning Tables

192 E-MU Systems

Restoring Multisetups
Orbit-3 contains 64 Multisetup locations. These are all User locations which you can use to store your own Multisetups. Multisetups can also be restored using a MIDI Bank Select command. Select: cc00 = 80, cc32 = 00, (dec) then send a Program Change command corresponding to the Multisetup you wish to select.
RESTORE MULTISETUP 003 Jazz Encounter
To Restore (Select) a Multisetup:
From the Save/Copy menu, scroll to the Restore Multisetup screen using the data entry control. The menu page most recently selected since powering up Orbit-3 will be displayed. The cursor appears below the rst character of the screen heading on line one. 2. Press either cursor button to move the cursor to the bottom line of the screen. 3. Now, use the Data Entry Control to select a Multisetup. The Enter LED will be ashing. 4. Press the Enter button to load the selected Multisetup.

Multisetup Name

Multisetups can be named to make it easier to remember their purpose.
Scroll to the Setup Name screen (shown below) using the Data Entry Control.
MULTISETUP NAME 020 User Setup 23
Press either cursor button to move the cursor to the bottom line of the screen. 3. Change the characters using the data entry control. Change the cursor position using the cursor buttons. 4. Press Enter or move the cursor to the top line when youre nished naming the multisetup.
Orbit-3 Operation Manual 193

Saving Multisetups

To Save a Multisetup:
Set the Preset, Volume, Pan, Arp and Beats settings the way you want them for all channels. Set the Master menu parameters the way you want them. 2. Press the Save/Copy button, then scroll to the Save Setup screen (shown below) using the Data Entry Control.
SAVE SETUP TO 020 Destination Multisetup
Press either cursor button to move the cursor to the bottom line of the screen. 4. Now, use the Data Entry Control to select the destination location. The Enter LED will be ashing. 5. Press the Enter button to save the Multisetup.

MIDI D adds a pitch modulation effect. MIDI G adds clocked stereo panning (except the kick). Mod Wheel slows the attack and is useful for special grooves. MIDI F works only on the snare at E1.
Closed TeCnO HH Open TeCnO HH Open TeCnO HH
TeCnO BD 909 Snare TeCnO Snare

Tom-Toms 909

909 Ride 909 Ride Splash Cymbal 909 Cymbal 909 Ride High Bongo High Conga Low Conga
Used in: Bank kit:GM TeCnO 7, 058 kit:GM TeCnO8, 059 kit:GM TeCnO 9, 106 kit:GM TeCnO 1,107 kit:GM TeCnO 2, 113 kit:GM TeCnO 3, 114 kit:GM TeCnO 4, 115 kit:GM TeCnO 5

GM TeCnO

228 E-MU Systems
BEAT ROM kit:Percussion 1
BEAT ROM git:Funk Groover
Beatring Groove Shake 1 Beatring Groove Shake 3
Beatring Hand 2 Beatring Downshake 2 Beatring Shake 2
Down Strikes Major Chords
Beatring Guiro Cabasa 1 Cabasa Down Groove Big Cowbell Big Cowbell Mute 2

Up Strikes Major Chords

kit:Percussion 1

Instrument 421

git:Funk groover
Med. Cowbell Mute 1 Med. Cowbell Mute 3 Small Cowbell Mute 2 Cajon Slap 2 Cajon Slap 4
Down Strikes Minor 7th Chords

Instrument 191

CCC6 96
Cajon Open 3 Egg Hand Mute Down Egg Groove 2nd Note Egg Shaker Up 1 Egg Shaker Groove 1st Flexatone Flexatone FX Guiro Short 1 Guiro Hit 2 Jam Block High
Up Strikes Minor 7th Chords

CC5 84

Beatring Groove Hand 1 Beatring Groove Shake 2 Beatring Groove Hand 2 Beatring Hand 1 Beatring Downshake 1 Beatring Shake 1 Beatring FX Beatring Stick Hit Beatring Upshake Ghost Note Cabasa 2 Cabasa Up Groove Claves Alike Big Cowbell Mute 1 Med. Cowbell Open 1 Med. Cowbell Open 2 Med. Cowbell Mute 2 Small Cowbell Open Small Cowbell Mute 1 Cajon Slap 1 Cajon Slap 3 Cajon Open 1 Cajon Open 2 Egg Hand Mute Up Egg Groove Upbeat Egg Groove First Note Egg Groove 3rd Note Egg Shaker Down Egg Shaker Groove 2nd Egg Shaker Groove 3rd Flexatone Short Frog Guiro Hit 1 Guiro Long 1 Guiro Long 2 Jam Block Low Big Metal Shaker
Use B:1, 126 arp:git C3-C6 for Minor 7 grooves. Use B:1, 127 arp:git C1-C4 for Major grooves. Play one note at a time in the correct key of your song. Presets with the names (arp:git C3-C6, arp:git C1-C4) use this instrument.
The ghost notes should be placed between the riff notes and played at a lower volume. Try out the Arp Template presets with this instrument.
Funk groover is used in presets: git:Riff me 1 (bank 0 007) and git:Riff me 2 (bank 0 039). You can play the guitar riff in any Major or Minor 7th key by playing the appropriate note.

Ghost Notes

Orbit-3 Operation Manual 229

Orbit-3 Operation Manual 249

Index G

free running, LFO 143 frequency center 109 cutoff 107 lter 139, 148 frequency modulation 88 front panel knobs 199 FX cords 155 FX mode 72, 180 FXA algorithm 177, 178 FXA parameters 153 FXB -> FXA 177, 178, 182 FXB algorithm 153, 177, 179 FXB master algorithm 74 FXB parameters 154 FXB submix routing 75
key glide 89 offset, arpeggiator 62 range 122 arpeggiator 60 preset link 159 sync 57 transpose 129 trigger 45 tuning 85 velocity 89 keyboard character assignments 118 key 89 layering and splitting 171 pressure 89 range 121, 122 splitting 171 transpose 129 transpose on/off 134 tuning 157 19-tone 157 equal temperment 157 gamelan 157 just C 157 Vallotti 157 keyboard thru arpeggiator 59 Kirnberger tuning 157 knob preset quick edit 80 knobs calibration 82 controller 31, 113 real-time control 29 transmit MIDI 29 typical functions 199 knobs MIDI out 81
gain processor 98 gamelan tuning 157 gate 89 gate time 55 generator envelope 89 lter envelope 139, 169 noise and random 89 volume envelope 131 glide 136 curve 136 key 89 rate 89, 136 global effects 178, 181 grooves, beat 39 group, assigning channels to a 135 groups, beats 39
headphones 16 high frequency damping 74, 176, 184 high-pass lter 106, 165 home position 21 home/enter button 28, 67
lag amount 99 lag processor 97 latch beats 23 beats part 45 keys 39 latch mode, arpeggiator 59 layer copy 189 denition 119 instrument 87 presets 171 selecting 119 legato 134 LFO 141 effect B 75 anger 186 key sync 143 master FXB rate 75 rate 176 rate, effect 75 tricks & tips 142 trigger 94
ID number, sysex 76 implementation chart, MIDI 235, 237 initial pan position 130 initial volume 130 instrument 111, 161 category 35 listing 206 selecting 120 instrument listing 206 inverting LFO waves 94
just C tuning 157 description 158 just intonation 157

250 E-MU Systems

Index M
variation 145 waveforms 93 waveshape 142 linking presets 159, 160, 171 looping envelopes 92 low frequency oscillator 89, 93, 141 delay 144 free running 143 sync 141, 143 variation 145 low-pass lter 106 example 108
main screen 32, 67 master arpeggiator 24 arpeggiator parameters 52 bend range 68 effects 173, 178, 181 FXA algorithm 73 FXB algorithm 74 menu 67 menu button 27 riff 41, 48 tuning 68 master clock current tempo 38, 86 modulation 94 melody solo mode high 134 last 134 low 134 menu arpeggiator/beats 37 effects 173 master 67 preset edit 117 save/copy 187 MIDI 80 A-H messages 29 arp sysex data, sending 60 bank select display 19, 28 channel 32 channel selection 32 clock 38, 86 continuous controllers 78, 89, 112 controller #device ID 76 enable 77 external clock 94 footswitches 79 implementation chart 235, 237 in 16 inputs A & B 17 knobs transmit 29, 81 mode 36, 76, 173 multi mode 76 omni mode 76 out 17 out, arp/beats 50 pan control #10 34

poly mode 76 real-time controllers 112 receive program change 78 received channel commands 241 receiving sysex data 84 recording sysex data 84 send sysex data 84 song start 50 standardized controller numbers 79 sync 50 sysex packet delay 83 send/receive 84 sending 83 transmit, knob 81 minimoog, solo mode 135 mix output 70, 149, 174 mod wheel 89 mode arpeggiator 53 arpeggiator latch 59 control 27 controller 29 deep edit 81 effect bypass 180 effects 72, 180 factory 164 lter envelope 167 latch 59 MIDI 76, 173 mono 242 multi 76, 173, 242 non-transpose 134 omni 76, 180, 242 poly 76, 180, 242 quick edit and real-time controller 30 real-time controllers only 29 solo 134 time-based 167 modulation amplitude 88 clock 95 denition 88 destinations 96 note-on 96 polarity 147 processors 97, 101 random 90 routing 146 sources 89, 90 sources & destinations 148 wheel 79 mono aftertouch 89 mono A-I, assign group 135 mono mode 242 morph lter 110 multi channel arp 25 multi mode 76, 173, 242 control, effects 180 effects control 72 map, send/receive 83 multiple arpeggiators 65 multiple trigger solo mode 134
Orbit-3 Operation Manual 251

Index N

multisetup naming 193 restoring 193 saving 194 selecting via MIDI 193 send/receive 83 multi-timbral 36 mute beats 39
name arpeggiator pattern 64 multisetup 193 preset 118 noise & random generators 89 non-transpose mode 134 notch lter 107 note value arpeggiator 54, 58 note-on modulation 96
offset, arpeggiator key 62 omni mode 76, 180, 242 output format 85 headphones 16 jack 16 mix 70, 149, 174 mono 16 routing 149 stereo 115 overall tuning, adjusting 68
packet delay, MIDI sysex 83 packet delay, sysex 83 pan 111 channel 34 initial 130 preset link 159 pan control 34 panning delay, effect 186 panning L/R 34 parameters effects 175 parametric lters 109 part, beat 39 patchcord 90, 146 amount 112, 146 copying a 190 example 101 routing 96 pattern arpeggiator 51, 54 duration 63 naming 64 repeat 63 speed 54 velocity 63 pedal 89 percussion maps 225
performance controllers 89 pink noise, example 103 pitch wheel 89, 169 master bend range 68 range 149 pitch, shifting 162 pitchbend range 149 play solo layers 160 polarity, modulation and LFO 147 polarity, ramp rate 100 pole lters 108 poly all, assign group 135 poly mode 76, 180, 242 poly, assign group 135 portamento 136 power 18 power consumption 243 preset architecture 119 audition 19, 28 categories 200, 201 category 21, 35 changing 21 copying 188 editing 161 effects 150, 177 links 159, 160, 171 listing 202, 206 MIDI changes 78 naming 118 quick edit 80 random 194 saving a 187 selecting 20, 32 user 84 preset lag 99 preset ramp 99 processor 4x gain 98 absolute value 97 diode 98 effect 173 ip-op 98 modulation 101 quantizer 98 summing amp 97 switch 97 product description 1 product ID 241 program change, receive 78 program/preset map 77 send/receive 83 programming basics 87