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GEM WX400

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Documents

doc0

Stylesdisketten GEM WX2/WX2 Plus/WX400
Prog.-Styles, Vol.1 Rock 1, Rock Shuffle, Rock 3, Rock 4, Rock 5, Pop, Ballade 1, Ballade 2, Country 1, Country 2, Country 3, Shuffle, Bounce, Swing, Jazz, Blues, Funk, Bossa Nova, Cha Cha, Reggae, Rhumba, Tarantella, Walzer, Polka
Prog.-Styles, Vol.2 Only You, Ballade Pour Adeline, When A Man Loves A Woman, Bungalow in Santa Nirgendwo, Please Release Me, Lady In Red, I Promised Myself, Let's Twist Again, Hallo Frau Nachbarin, Marmor Stein und Eisen bricht, Santa Maria Goodbye, Gummimambo, Little Lies, Imagine, Strangers In The Night, Lotosblume, Kornblumen blau, Alte Kameraden, Beinhart, Ein Bett im Kornfeld, Obladi Oblada, Pigalle, Rock Around The Clock, Time Of My Life, Nikita, Now Or Never, Ich hab' getrumt von dir, Who'll Stop The Rain, Twist And Shout, Sad Songs, Be-Bop-A-Lula, Zirkus Renz
Prog.-Styles, Vol.3 Du hast ihre Augen, Sieben Jahre sieben Meere, Green Green Grass Of Home, San Francisco, Hallo guten Morgen Deutschland, My Way, Don't Be Cruel, Yellow River, Johnny Guitar, Einsamer Hirte, Arizona Arizona, Let's Dance, Rose Garden, Country Roads, Klarinettenmuckel, That'll Be The Day, Aus Liebe weint man nicht, Acapulco, Hello Dolly, Pretty Bellinda, New York New York, I Am Sailing, Don't You (Forget About Me), Please Please Me, Bright Eyes, Bus Stop, A Hard Day's Night, Rebel Yell, Get It On, All My Loving, At The Hop, Zillertaler Hochzeitsmarsch
Prog.-Styles, Vol.4 Brazil, Africa, Der rote Diamant, Weine nicht kleine Eva, Aber dich gibts nur einmal fr mich, Mercie Cherie, Marina, Sommerwind, Ich vertraue dir weil ich dich liebe, Lass mich dein Kolumbus sein, Nachts wenn die Sehnsucht kommt, Tanzen unterm Rgenbogen, Mit offenen Karten, Schenk mir diese eine Nacht, Traum von Mykonos, Eleni hie das Mdchen, Bridge Over Troubled Water, Sacrifice, Suspicious Minds, The Most Beautiful Girl, Island Girl, The Heat Is On, The House Of The Rising Sun, Yankee Doodle, Red River Valley, Moskau im Regen, Caprifischer, Caprifischer, Schuld war nur der Bossa Nova, Stand By Your Man, Go West, Die Flgel meiner Trume, Please Forgive Me
Prog.-Styles, Vol.5 Ganz in Wei, Blueberry Hill, Der Jodelautomat, Ist das nicht himmlisch, Ich brauch ein bichen Glck, Two Hearts, Crazy For You, Senza Una Donna, Easy Lover, Limbo Dance, Let It Be, Rote Lippen, In The Summertime, Paloma Blanca, Venus, Sugar Baby Love
Prog.-Styles, Vol.6 Bossa Nova, Cha Cha, JazzWalzer, Calypso, Foxtrot, Reggae, Swing, Tango, Country, Disco, Discofox, Englischer Walzer, Lndler, Shuffle, Slow Beat, Polka
Prog.-Styles, Vol.7 Ballade, BigBand, Rock & Roll, Jive, Jazz Walzer, House, Disco Soul, Disco, Swing, Funk, Country, Latin, Rock 1, Rock Shuffle, Polka, Rock 2
Prog.-Styles, Vol.8 (Flippers) Bungalow in Santa Nirgendwo, Santa Maria Goodbye, Lotosblume, Acapulco, Aus Liebe weint man nicht, Weine nicht kleine Eva, Aber dich gibt's nur einmal fr mich, Sommerwind, Tanzen unterm Regenbogen, Traum von Mykonos, Moskau im Regen, Caprifischer
Prog.-Styles, Vol.9 Polka, Walzer, Slow Waltz, PopWaltz, Disco 1, Disco 2, Disco 3, 8Beat 1, 8Beat 2, 8Beat 3, Latin1, Latin2, Rock 1, Rock 2, Slow Rock 1, Slow Rock 2
Prog.-Styles, Vol.10 Swing 1, Swing 2, Latin, Pop, Disco 1, Disco 2, Disco 3, Disco 4, Disco 5, 8Beat 1, 8Beat 2, 8Beat 3, 16Beat, Italo Rock, Rock, Slow Rock
Prog.-Styles, Vol.11 Polka 1, Polka 2, Polka 3, Walzer 1, Walzer 2, Englischer Walzer, 8Beat 1, 8Beat 2, Swing, Shuffle, Slow Fox, Reggae, Mambo, Samba, Cha Cha, Rumba
Prog.-Styles, Vol.12 Jazz 1, Jazz 2, Swing 1, Swing 2, Quickstep, Jive, Rock & Roll, Discofox, Disco, Slow Rock, Polka 1, Polka 2, Walzer, Rhumba, Cha Cha, Samba

Prog.-Styles, Vol.13 Jailhouse Rock, If I Had A Hammer, Great Balls Of Fire, Macho Macho, Mister Sandman, Under The Boardwalk, Coward Of The Country, Cotton Fields, Careless Whisper, It Never Rains In Southern California, You Win Again, Trompetenecho, Patrona Bavariae, La Montanara, Tulpen aus Amsterdam, Und wenn i tanz mit dir
Prog.-Styles, Vol.14 Mir san die lustigen Holzhackerbuam, Radetzky Marsch, Herzilein, Evergreen, What A Wonderful World, We Are The World, I Don't Want To Talk About It, Slow Motion, I bin a bayrisches Cowgirl, Top Of The World, Mit 66 Jahren, Mnner, Eviva Espania, I Just Called To Say I Love You, Walk Of Life, Moonlight Shadow
Prog.-Styles, Vol.15 Hardrock, Rock, 16Beat 1, 16Beat 2, 8Beat 1, 8Beat 2, Slow Beat, Slow Rock, Ballade, Slow, Disco, Techno, Marsch, Soul, Beguine, Bolero
Prog.-Styles, Vol.16 16Beat 1, 16Beat 2, 8Beat 1, 8Beat 2, Dance, Disco, Funky, Foxtrot, Dixie, Boogie, Swing, Walzer, Latin, Mambo, Salsa, Merengue
Prog.-Styles, Vol.17 Rock, House, Bigband, Disco ChaCha, Ballade, Rock & Roll, Shuffle, Bluegrass, Twist, Tango, Marsch, Polka, Oberkrainer Polka, Langsamer Walzer, Oberkrainer Walzer, Wiener Walzer
Prog.-Styles, Vol.18 Dance 1, Dance 2, Newage, Slow, Slow Rock, Surf Beat, Techno, Rhythm & Blues, Blues, Rumba, Reggae, Bossa Nova, Latin, Cha Cha, Bolero, Merengue
Prog.-Styles, Vol.19 16Beat 1, 16Beat 2, 16Beat 3, 8Beat 1, 8Beat 2, Disco, Funky, Newage, Hully Gully, Foxtrot, Jazz Walzer, Paso Doble, Samba, Gypsy, Bajon, Bossa Nova
Prog.-Styles, Vol.20 Rock 1, Rock 2, Rock 3, Slow Rock, Ballade 1, Ballade 2, Country Beat, House, Country Walzer, Marsch, Walzer, Polka, Rock & Roll, Shuffle, Disco Samba, Beguine
Prog.-Styles, Vol.21 16Beat 1, 16Beat 2, 8Beat 1, 8Beat 2, House, Newage, Dance, Blues, Disco, Funky, Rock 1, Rock 2, Slow Rock, Techno, Shuffle, Foxtrot
Prog.-Styles, Vol.22 Ballade, Marsch, Oberkrainer Polka, Oberkrainer Walzer, Polka, Walzer, Rock & Roll, Boogie, Hully Gully, Tango, Samba, Rhumba, Beguine, Merengue, Bossa Nova, Dixie
Prog.-Styles, Vol.23 8Beat 1, 8Beat 2, Disco, Dance, Bluegrass, Big Band, Marsch, Country Beat, Langsamer Walzer, Slow, Paso Doble, Twist, Surf, Wiener Walzer, Swing, Reggae
Prog.-Styles, Vol.24 Rock, Rock & Roll, Ballade, Funky, Disco, Newage, House, Techno, Slow Rock, Foxtrot, Polka, Walzer, Mambo, Cha Cha, Gypsy, Beguine
Prog.-Styles, Vol.25 16Beat 1, 16Beat 2, 16Beat 3, Soul, Dance, Slow, Rhythm & Blues, Shuffle, Country Walzer, Jazz Walzer, Disco Cha Cha, Merengue, Bossa Nova, Latin, Disco Samba, Bajon

doc1

CHAPTER 5
STYLES, SONGS & SEQUENCER... 5. 1 - 5. 48 1. INTERNAL STYLES.... 5. 1
General information..... 5. 1 What is a Style?..... 5. 1 Chord recognition and the Riff.... 5. 2 How to select an Internal Style.... 5. 3 The Style Commands.... 5. 3 The Style Tempo.... 5. 4 The Tempo-fix, M. Perf. and Sync functions... 5. 4 Chord Split..... 5. 5 Free and Lock..... 5. 5 Deactivating the tracks engaged by the Sequencer (SEQ)... 5. 6 How to Mute a Sequencer track.... 5. 6 How to disengage a track and play it in real time.... 5. 6 Save a modified Internal Style Performance... 5. 7 Save to SRam or Disk..... 5. 7 Restore Internal Style Performance.... 5. 7 The ARRANGER options and how the Styles are affected... 5. 8
2. PROGRAMMABLE STYLES... 5. 10
Riffs..... 5. 10 Styles can be programmed in three ways:... 5. 10 The Prog. Style Performance.... 5. 10
How to record a Style (Real Time)... 5. 11
A detailed explanation of each step... 5. 12 Name your Prog. Style.... 5. 19 Save your new Prog. Style to SRam or to Disk... 5. 19
Programming Styles using STEP recording... 5. 20
Procedure..... 5. 20 Use COPY to copy a recorded Riff to another... 5. 23 Other operations available in Prog Style mode.... 5. 23 Programmable Styles compared with Internal Styles... 5. 24

3. SONG STYLES.... 5. 25

Real Time Recording..... 5. 25 Step recording..... 5. 25 Copying from an existing Song Style.... 5. 25
How to record a Song Style (real time).... 5. 26
How to see the Chord track events.... 5. 28 Recording a Medley..... 5. 28 Give your Song Style a name..... 5. 29 Muting or disengaging recorded tracks.... 5. 29 Song Style Performances.... 5. 29 How to create up to 8 Song Style Performances... 5. 29 Editing Song Styles..... 5. 31 Save your Song Style to SRam or Disk... 5. 31 Load Song Styles from WS Songs Disks.... 5. 31
4. SONGS & THE SEQUENCER... 5. 32
About the Sequencer..... 5. 32 The Sequencer controls.... 5. 32 The Sequencer operating modes.... 5. 33

SONGS.... 5. 34

Something about the Songs and their structure.... 5. 34 Where are the Songs stored?..... 5. 35 The Song Performances..... 5. 35 Exploiting the Real Time Performances.... 5. 35 Loading Songs from disk.... 5. 36 Preload..... 5. 36 Song Playback Mode..... 5. 37 Start a Song from any point.... 5. 37 Playing along with a Song in playback.... 5. 38 The SCORE function - sing along with your Songs... 5. 38 The GET function..... 5. 39 Connecting to a domestic TV or colour computer monitor... 5. 39
SONG RECORD mode.... 5. 40
Songs can be recorded in two ways:.... 5. 40 Before entering Record mode, prepare your Performance.. 5. 40
How to Realtime Record a Song.... 5. 40
Realtime Record options.... 5. 42 The Mask option..... 5. 43
How to Step Record a Song.... 5. 43
Recording Pitch Bend, After Touch and Controller data... 5. 44 Multi-track recording.... 5. 44 Recording MIDI IN events simultaneously with Track events... 5. 45 Synchronization with external MIDI devices... 5. 45 Create a Performance to communicate with Computers/Sequencers... 5. 45
The GET function - create a Score of your recording.. 5. 46
GENERAL INSTRUCTIONS TO FOLLOW WHEN PROGRAMMING THE LYRICS AND CHORDS TRACKS USING A COMPUTER.... 5. 47 LYRICS TRACK..... 5. 47 CHORDS TRACK..... 5. 47
Working with Standard MIDI Files... 5. 48
Create Standard MIDI Files..... 5. 48 Load Standard MIDI Files.... 5. 48 General MIDI and Standard MIDI Files.... 5. 48

CHAPTER 6

SEQUENCER EDIT MODE... 6. 1 - 6. 22 MASTER TRACK.... 6. 1
The Master Track parameters - First page... 6. 1 For Song Styles only:..... 6. 3 For Songs only:..... 6. 3 For Songs and Song Styles:.... 6. 4 Master Track Event Edit.... 6. 4 How to edit Master Track events.... 6. 5 Create an event with INSERT..... 6. 5

DELETE EVENTS.... 6. 6

The Master Track MASK function.... 6. 7

COPY..... 6. 8

To effect the Copy, press ENT.... 6. 9
MOVE..... 6. 10 ERASE.... 6. 11 INSERT/DELETE.... 6. 12
INSERT..... 6. 12 DELETE...... 6. 12
TRANSP.... 6. 13 DYNAMIC.... 6. 14 QUANTIZE.... 6. 15
Quantize Procedure in Record mode.... 6. 15
MICROSCOPE (Event Edit)... 6. 16
The Microscope functions.... 6. 19

THE EFFECTS SEND/RETURN JACKS (Ext Out 1 - Out 2)
Sound sources which connect to the WX Audio In (L/R) cannot be processed by the WX Effects Processor. The Effects Send/Return outputs can be used to process instruments connected to the Audio In inputs and then return them to the main WX mix.
Return (to internal amplification and/or Audio Out )

Send/Return

Output (from instrument connected to Audio In)

To Effect

From Effect

SEND/RETURN CABLES

Effects Device
Each EXT jack (Out 1 - Out 2) on the WX rear panel is a stereo jack. If you connect a Send/Return cable to one of these jacks, the Tip connects to the output and the Ring serves as the signal Return. Therefore, you can process the sound with an external effect (reverb, chorus, distortion, etc.) and return it to the WX internal amplifier and/or Audio Outputs (L/R).
AUDIO IN LEFT-RIGHT/M INPUTS
To exploit the WX internal amplifier, you can connect audio cables from an external sound source (a microphone, a musical instrument or a cassette recorder) to the input

1 - 11

[Left, Right/M] jacks. There is also a facility available in the Mixer function to control the Treble, Bass and Volume of the incoming audio signal.
CONTROL PEDALS - CONNECTION OF THE FOOTPEDALS
WX has two jacks (Pedal 1 - Pedal 2) which can be programmed to accept Switch Control pedals (logic) or Continuous Control pedals (analog), a third jack for a Switch Control pedal (logic) marked Damper and a Continuous control jack marked Volume, preset to control the standard MIDI Foot command - MIDI O4. The default status of the programmable jacks varies according to the instrument. In WX2 (all optional): Pedal 1 = Volume - Pedal 2 = Start/Stop - Damper = Damper In WX400:Pedal 1 = Soft - Pedal 2 = Sostenuto - Damper = Damper. The pedals in model WX400 are enclosed in the pedal cross-bar of the instrument. To connect the Pedals, follow the assembly instructions at the begining of the owners manual. The jacks are marked 1, 2 and 3 where jack 3 refers to the Damper. The three Pedal jacks Pedal 1, Pedal 2 and Damper are all function assignable and have reversible polarity options, allowing the connection of pedals of different brands.
You can connect a Pedalboard to this jack.

MIDI CONNECTIONS

To select a Sound

The simplest thing about WX is Sound selection. x Press one of the SOUND BANKS to select the required Sound family:
The selected Family is shown in the lower display area:
NOTE 1: The newly selected Sound Bank will not be accessed until one of the Sounds are selected. This is a general rule for all Banks.
Press one of the Function buttons (F1F8) to assign the relative sound1 to the selected (reverse-highlighted) track in the display:

2 - 10

Second and third banks
The Sound Banks provide a maximum of 24 Sounds for each family, with the exception of the SAMPLES family which provides 64 and the DRUM family with 16 Banks. The Sounds are arranged in groups of eight in three different banks, accessed by pressing the PAGE+ and PAGE buttons in the Edit section.
The number displayed on the extreme left shows you which bank is currently selected. SAMPLES WX must be fitted with the optional 2 Megabyte Sample RAM to be able to load Samples from disk.
The SAMPLES family provides eight banks; the first two contain resident ROM samples while the remaining six banks contain empty slots to memorise samples loaded from disk.
Samples Bank 1 Samples Bank 2
The DRUMS family provides 16 Banks of percussion sounds, two of which have 8 Drumkits each (Banks 2 and 3):
To select a Real Time Performance
x Press one of the PERFORMANCE BANKS (Perf 1, Perf 2, Perf 3) in the Performance and Style banks:
The eight Performance names are shown in the lower display area:
Press the Function buttons (F1F8) to select the Real Time Performances.
F2 F7 Each Performance Bank provides 8 Performances, all of which are multi-timbral configurations. You can modify the Real Time Performances to suit your requirements.

2 - 11

To select an Internal Style
x Press one of the relative Banks (DANCE, BEAT, ROCKN, etc.) from the lower row of buttons in the Performance and Style Banks.
Press one of the Function buttons (F1F8) to select an internal Style.

Once you get acquainted with these graphic elements, youll move around quickly and easily in all display situations.

Edit Section

The Edit Section provides the following edit modes:
DISK Accesses the four principal disk functions; Load, Save, Erase and Utility, as well as the Static RAM. This last feature is an exclusive function offered by WX which, unlike the much talked about buffered memory that memorises the last situation prior to turning off, the SRam allows the user to turn on the instrument with the situation effectively required. Therefore, all the operations foreseen in this section can be carried out either on the DISK-DRIVE or on the STATIC RAM. The Utility page also offers the Load WS Song function - great for all those WS users who don't want to lose all those WS disks! Pressing the MIXER button gains access to the parameters relating to the volumes of the various tracks, the panpot and several general controls of the machine. Facilities for the setting of all the general functions of the instrument not tied to the Performance parameters, such as Master Transpose/Tuning, Keyboard Dynamic and After Touch sensitivity, Pedal/Footswitch polarity settings and function assignments, etc., intonation scales and a Video monitoring section (score and lyric settings, monitor view mode, etc.). This page also provides the function that permits you to toggle between English and Italian chord notations, displayed in the Chord box when playing with Styles. Gains access to the track configuration, where you can configure the way each track reacts with the WX keyboard, MIDI IN events, the WX sound engine and MIDI OUT destination, as well as all the programmable Performance parameters assignable to each track, such as the mode (poly, mono), detune, transpose, effects 1&2 assign, pedal/footswitch assign, priority, name and others. Gains access to the two Digital Effects processors (Effect 1 and Effect 2) providing a selection of static and dynamic effects as well as editing facilities for both. Where you can program the individual keyboard extensions of all tracks of your Performances. This function also provides the programmable Chord Split position for the Styles. This button accesses the Macro-editing facility which allows a very extensive Sound editing capacity with only a few parameters. Depending on whether you enter this mode with a Sound or a Drumkit, you will have at your disposal two different Sound edit modes. Where you can configure the MIDI IN and OUT channels for each track, set the MIDI IN/OUT filters and control other parameters such as Internal/External Clock, MIDI Merge, System Exclusive, and others. Of special interest is the General MIDI function which guarantees GM Standard operation when you load Standard MIDI Files generated by instruments of other manufacturers. Accesses the Arranger where you can set all the automatic functions relative to the Styles, such as One finger, Bass Follow, Harmony, etc.

WRITE PROTECT To PREVENT Data Recording, slide the tab fully down towards the edge of the disk.
To PERMIT Data Recording, slide the tab fully UP away from the edge of the disk.
Dont forget to Write protect disks that contain your most important data and maintain a set in a clean, safe place, free from dust, dirt, smoke, ash, liquids, extreme temperatures and direct sunlight; Always put the correct size label on the disk (within the outlined location on top of the disk) and avoid layering labels, as excess disk thickness may cause misalignment of the drive cartridge. Write on labels with a soft felt pen. Dont use lead pencils and dont use erasers; Save frequently to avoid loss of edit data due to unforeseen circumstances (power failure or other). You dont have to memorise 10 Performances with edit data before saving. Get into the habit of saving data which might not be easy to replace; Organise your saved data properly by identifying and documenting it correctly in order that you know exactly where to go and look for data quickly without wasting time; Lastly, remember that loading replaces the current memory contents with that of the disk. Before loading from disk, think twice as you may be about to erase data that still hasnt been saved on disk.
How to load a floppy disk into the Disk Drive
Load your disks into the Drive as shown in the following diagram:
This green led , when on, Shows that the driver is in motion. Press this button to extract the floppy disk.
Orient the Disk correctly, shutter first, hub down.
Insert the floppy Disk in the direction shown until is fits into place with a click.

DISK OPERATING MODES

Press DISK in the Edit section to access the four principal DISK or SRam operations LOAD, SAVE, ERASE and UTILITY. The first page usually shows the LOAD operations:
Other pages are accessed with the PAGE+ and PAGE- buttons:
How to toggle between DISK and SRam
All the pages of the Disk/SRam edit modes show a small rectangle in correspondence with the F5 function button:
If DISK operations are currently selected, press F5 (corresponding to SRam) to access the SRam operations.
Conversely, if SRam operations are currently selected, press F5 (corresponding to Disk) to access DISK operations.

Loading data into SRAM

It should be clear to the user that data cannot be loaded from a DISK directly into SRAM - you can only go via the instrument's Memory. For example, if you want to load some Songs from DISK into SRAM, first you must load the Songs from Disk into MEMORY, then, SAVE the Songs from MEMORY to SRAM. All the operations described in this section are valid for both types of operation, unless otherwise indicated.

Disk & SRam 4 - 17

All MIDI FILES are identified by the extension.MID which is attached to the converted file automatically.
NOTE: WX converts Songs into Standard MIDI Files. Song Styles are only partially converted (Tracks 5 and 6 if recorded - the Style Patterns are not recognised).
Example: 1. Set the display parameters to Single and MIDI FILE:
Press ENTER and the directory of the Songs in Memory will be displayed:
IMPORTANT If the Standard MIDI File must conform to GM Standards, the GENERAL MIDI function in the third page of Edit MIDI should be set to ON to convert all program changes relating to the WX Drumkits on MIDI Channel 10 to GM or GS Standards.
If the disk contains several different files, an option that isolates all the MIDI files present is provided by the F8 function button. When pressed, only files showing the.MID extension are displayed. 3. 4. Select the Song to convert and press ENTER. After a short period during which the Wait Please message is displayed, the display shows an active rectangular edit zone on the right where you can write the new name of your converted file, using up to 8 characters.
In this display situation, the keyboard converts to an alphanumeric source where each key provides a letter or a number as well as other functions: Shift = Capitals, Space, Delete at the cursor position, < [cancel previous entry], [move cursor one step back].
Inserting the first character moves the cursor one step to the right.
Continue in this way until the name is fully written:
Press ENTER once and once again to confirm, or Esc to cancel the operation:

4 - 18 Disk & SRam

After a short period, the SONG will be converted to the MIDI FILE, shown by the.MID extension:
NOTE: Some songs may be protected by a GENERALMUSIC copyright - in this case, attempting to convert to MIDI FILES will display an appropriate message, informing you that the operation cannot be performed and inviting you to escape.

Disk & SRam 4 - 19

ERASE OPERATIONS
All operations relative to the cancellation of data from Disk or SRam are carried out on the ERASE page. The operations are identical to those used in the Load and Save operations discussed in the preceding pages. The ERASE function permits the cancellation of the following elements: All the contents of Disk or SRam All Songs (from Disk or SRam) All Styles (from Disk or SRam) All Performances (from Disk or SRam) All Samples (from Disk or SRam) A Single Bank Style (from Disk or SRam) A Single Bank Internal Style Performance (from Disk or SRam) A Single Bank Performance (from Disk or SRam) A Single Song (from Disk or SRam) A Single Programmable Style (from Disk or SRam) A Single Internal Style Performance (from Disk or SRam) A Single Performance (from Disk or SRam) A Single MIDI File (from Disk or SRam) Example: How to ERASE a modified Performance of an Internal Style. 1. Set the Erase display parameters to Single and Style:

4 - 58 Sounds

General Edit Procedure
Select the Sound (the track of the currently selected Performance) and press the SOUND button in the Edit section to access the Editor. The display shown will depend on which type of Sound is accessed.
NOTE When you access Edit Sound, a copy of the ROM Sound is transferred into a memory buffer which permits you to escape editing temporarily (by repressing SOUNDS) without data loss. Only one track is active in edit mode.
If a normal sound is selected (Single or Dual Oscillator type), such as WXGrandP, entering Sound Edit will display the following editor:
The parameters intervene on various aspects of the Sound (the Filter and the Amplitude Envelope). If a Drumkit is accessed, such as DKJazz, the following edit page will be displayed:
The Drumkit and Sound Patch parameters affect the Sounds performance parameters (volume, pan, transpose, etc.). These sounds provide a second display which represents the second dynamic level with identical parameters to the first level. Press F2 (Edit 2) to access the higher dynamic level of the Drumkit/Sound Patch.
As in all display situations that show multiple sets of parameters, you can navigate with the four cursor arrows (select the parameters) and use the Dial as the main data entry source. Various display commands are also provided which are selected with the Function buttons.

The Display Commands

Both types of display situations have several commands in common: Library, Store, Compare, Effects: The Drumkits and Sound Patches have additional options which are related to the edit procedures: Edit 1, Edit 2, Expand, CatchNote: When the commands or options are selected, they are shown in reverse-highlight. All the commands and options are discussed in the relevant section further ahead.

Sounds 4 - 59

THE SOUND EDIT PARAMETERS Single and Dual Oscillator editing
After selecting a track showing the sound you are interested in editing, press SOUNDS in the Edit section to show the main EDIT display:
SOUND MAP The SOUND MAP shown in the Appendix lists all ROM Sounds. Those indicated with an Asterisk (*) are SINGLE OSCILLATOR sounds. Those indicated with a cross () are Drumkits (or Sound Patch).
Generally speaking, Single Oscillator sounds are affected by the Cutoff 1 and Resonance 1 parameters on the left part of the display and all parameters on the right. Dual Oscillator sounds are affected by all parameters.

The Edit Menu:

CUTOFF 1 & 2: This parameter affects the Cutoff Frequency of the Filter incorporated in the Sound and determines the frequency at which the filter begins cutting into the band of harmonics contained in the sounds waveform. Values range from 0 to 191. Specifying increasingly higher values is equivalent to opening the filter while closing the filter is obtained by entering lower values. Note: This parameter can also be regulated in real time by assigning the functions Filter 1, Filter 2 or Filter 1+2 to one of the Pedals (see Edit Status). You can open and close the Filters by operating the pedal. RESONANCE 1 & 2: Resonance creates a peak of emphasis at the cutoff frequency specified above. This parameter determines the amount of Resonance to apply. Values range from 0. 127 The effects obtained are varied and depend how much Resonance is applied, on the sounds waveform, on the filter type incorporated in the sounds waveform and on the cutoff frequency. Resonance is commonly used to produce analog sounds (for example, listen to the sound Noise Res 97-1). Extremely high settings of the Resonance parameter in sounds that incorporate square or sawtooth waveforms, for example, makes the filter oscillate so that it produces a pitch of its own. 5. VOLUME: this parameter intervenes on the sounds Amplitude Envelope and regulates the sounds basic Volume (the maximum amplitude level). Values: 0. 127. Note: This parameter can also be regulated in real time by assigning Volume to a Pedal in the Status Edit; Pedal Function Assign option.

MIDI CONTROLLERS

(00) Bank Change 0 (01) Modulation (02) Breath Controller (03) Controller 3 (04) Foot Controller (05) Portamento time (06) Data Entry MSB (07) Main Volume (08) Balance (09) Control 9 (10) Panorama (11) Expression (12) Attack GEM (13) Release GEM (14) Filter 1 GEM (15) Filter 2 GEM (16) Gen. purp. Contr. 1 (17) Gen. purp. Contr. 2 (18) Gen. purp. Contr. 3 (19) Gen. purp. Contr. 4 (20) Filter 1+2 GEM (21. 31) Control 21. 31 (64) Damper Pedal* (65) Portamento (66) Sostenuto (67) Soft Pedal (68) Control 68 (69) Hold 2 (70.79) Controllers 70.79 (80) Gen. purp. Contr. 5 (81) Gen. purp. Contr. 6 (82) Gen. purp. Contr. 7 (83) Gen. purp. Contr. 8 (84.89) Controllers 84.89 (90) Rotary Slow/Fast (91) Ext. Effect Depth (92) Tremolo Depth (93) Chorus Depth (94) Celeste Depth** (95) Phaser Depth (96) Data increment (97) Data decrement (98) Non-Registered Parameter Number LSB (99) Non-Registered Parameter Number MSB (100) Registered Parameter Number LSB (101) Registered Parameter Number MSB (102. 120) Control 102. 120 (121) Reset control (122) Local control (123) All note off (124) Omni mode off (125) Omni mode on (126) Mono mode on (127) Poly mode on.
Controllers marked with the symbol transit on the MIDI Common channel.

*(Sustain) **(Detune)

MIDI 4 - 79
The Special MIDI controllers Generalmusic have implemented some of the unused MIDI Controllers of the standard MIDI protocol as control codes for the respective Edit Sound parameters.
(12) Attack GEM (13) Release GEM (14) Filter 1 GEM (15) Filter 2 GEM (20) Filter 1+2 GEM (90) Rotary Slow/Fast
affects the Attack sound parameter. affects the Release sound parameter. affects the Cut-off 1 sound parameter. affects the Cut-off 2 sound parameter. affects both Cut-off 12 and 2 sound parameters. change of speed slow <> fast of the Rotary effect (this control transits on the MIDI Common channel only).

4 - 80 MIDI

MIDI Other
Press PAGE + to pass to the MIDI Other page:
This page contains general MIDI functions that influence the instrument as a whole.

MIDI 4 - 81

Common to exploit a wider keyboard range (A0-C8). An instrument with only one MIDI channel can communicate on MIDI Common and use the WX Keyboard programmed as several split ranges (each with a different Sound). WX can receive Control Change data in the form of Bank Change information on the Common channel (see Bank Change data on page 4.77). WX recognises this type of data from sources that transmit Program Change only (Bank 0 - 127) as well as those capable of transmitting Bank Change data (e.g. Bank 08, P. Change 0-23 for Real Time Performances). Also included is Control Change data that simulates the Sequencer functions (Start/Stop, Intro/End, Fill/Tap, Var/Cont, Rec, <<, >>, Punch, Manual Perf., Sync, Tempo fix). Common at MIDI OUT WX can use the MIDI COMMON to transmit general WX control information to an external compatible MIDI device or other instrument such as a Sequencer. In such a case, WX can transmit data such as Bank Change (e.g. Bank 8 P. Change 0-23: Real Time Perf) and the MIDI Controller (07) Pedal Volume and Rotary Slow/Fast (90).
MERGE: Activates (On) or deactivates (Off) the function.
When merge is Off, messages received on MIDI IN are directed to the instruments internal generator (WX Sounds) and redirected to the MIDI THRU in the same form as they entered. The incoming MIDI data cannot be transmitted on MIDI OUT; it can only be directed to the WX internal Sound engine. When On Merge directs messages originating from MIDI IN to the MIDI OUT ports, merging them with the LOCAL source data (originating from the WX keyboard and controllers) and the Sequencer data (Songs). Example: An external Sequencer can be connected to the WX MIDI IN and an expander to the MIDI OUT.

Local Track 1 Midi In

When MIDI MERGE is off, the expander can only receive messages originating from the WX keyboard (Local). The events originating from the external Sequencer communicating with Track 1 can only be directed to the WX sound generator. If Track 1, for example, is destined to MIDI OUT, by setting Merge to On, the messages generated by the external Sequencer and by the WX Keyboard will be merged and will then converge on the external expander connected to the WX MIDI OUT. The MIDI MERGE function is particularly useful when combined with the MIDI filters which process messages in transit. In all cases, this function simplifies MIDI connections and avoids having to purchase a Thru/Merge box.

Midi Out

4 - 82 MIDI
SYSTEM EXCLUSIVE: enables the instrument for System Exclusive operations (On).

A triplet is obtained by pressing the selected note a third time.
Return to the normal note by pressing the note once more. A dotted note changes the step time by 3/2. A triplet changes a note by 2/3. Enter the note using the keyboard. To enter a Chord, simply press the chord. Regardless of the timing with which each they are pressed, each note played until released will be recorded at the same step. Pressing a note on the keyboard shows the key on position (the song pointer), the note name, the note on velocity, key off velocity (standard value 64) and the note length. When you release the note or notes, you advance to the next step. Repeat steps 3 & 4 as many times as necessary. To enter a Rest, simply press the ENT button. The rest will take the value of the selected note. If you make a mistake, use the Up/Down cursor arrows to select the entry one step before the one to replace and enter the correct note. The note immediately after the one selected will be deleted. When you have finished recording, press REAL (F8) to return to realtime record mode and press Start to listen to the playback of the recording.
NOTE: Step recording does not allow you to record control data. This type of data can be introduced in real time into the recorded track, or by inserting it manually in the Microscope and Master Track using the Insert function. Step Recording is also discussed in the Programmable Style chapter, page 5-20.
NOTE: Aftertouch data consume large amounts of memory.
Recording Pitch Bend, After Touch and Controller data
Pitch Bend and Aftertouch data are generated by the Track Ball and keyboard respectively. Controller data is generated by appropriately programmed Pedals. All three types of events are recorded into tracks in realtime record mode and can be seen in the Microscope. They can also be inserted manually.

Multi-track recording

Multi-track recording (recording several tracks simultaneously) follows exactly the same steps as described for single track recording, with the difference that you can select two or more tracks to record in record-pending status. Tracks not recorded can be activated and played in real time with the Song in playback.

5 - 45

Recording MIDI IN events simultaneously with Track events.
You can record events received on MIDI IN simultaneously with events generated by the keyboard (Local). For example, you can program the Configuration parameter of your Performance so that two or three tracks receive MIDI IN data only (MIDI status), while several other tracks can be exploited by the sequencer (SEQ). The remaining tracks can be set to Local (KYB) or mute (OFF). The following messages received at MIDI IN can be recorded: note on/off; pitch bend; program change; channel pressure; poly key pressure; control change (0 - 101).

selects the Song to work on. specifies the point to delete from.
Number of Bars specifies the number of bars to delete. Press ENT to confirm the operation. Use UNDO to restore the original status if you make a mistake. Press ESC or INS/DEL to leave the function without performing the operation.

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6 - 14 Sequencer

DYNAMIC
Press PAGE + to go to the Dynamic page. This operation modifies the velocity values (note on) in the specified area by the specified intensity.

Song Track Bar Mode

Selects the Song to work on. Specifies the track in which to modify the velocities. Specifies the first and last bar where the velocity modification will take place. Specifies the mode in which the velocity modifications will be effected. Normal - adds or subtracts the specified value from the recorded values. Fixed - modifies all the recorded velocities to the specified value. Specifies the amount by which the velocity values will change.
Two options are available: 1. 2.

Change Dynamic

Press ENT to confirm the operation. Use UNDO to restore the original status if you make a mistake. Press ESC or TRANSP to leave the function without performing the operation. This is a great option if, for example, you want to open the Filters of a sound that is sensitive to dynamic variations, otherwise not possible unless you repeat the recording with the modified Sound.

6 - 15

QUANTIZE
This operation corrects the timing of each event in the specified range to the nearest interval (quantization) of the specified value.
How does Quantize work? The following diagram shows how a track recorded in real time and played with incorrect timing can be corrected by quantizing with the values 1/4 and 1/8.
Song Track Bar Note Quantize
Selects the Song to work on. Specifies the track in which to Quantize the events. Specifies the first and last bar to be quantized. Specifies the Quantize value. This parameter determines the timing interval to which the notes will be quantized. You can select the values 1/4, 1/8, 1/12, 1/16, 1/12, 1/32, 1/ 48, 1/64, 1/96 and Free.
The top line represents an unquantized real time recording of one bar, showing events out of time with respect to the grid resolution of 1/16. The second line shows the same events quantized with a value of 1/4. The events are shifted to the nearest values. The third line shows the same events quantized with a value of 1/8. Note: Quantize does not destroy recorded note data.

1. 2. 3. 4. 5. DELETE

In case you delete data accidentally, restore it with UNDO.

6 - 20 Sequencer

This function allows you to give your recorded songs a name:
In the above display situation, the keyboard activates as an alphanumeric source. Song mode allows you to specify: Song File name Song Title By Ed here you can enter an abbreviated name - this is the name that will appear in the display and disk files; here you can enter the Songs full title; here you can specify the Songs composer;
here you can specify the name of the group or body who own the rights of the lyrics and Song. Use the Up/Down cursor arrows to move from zone to zone. Song Styles and Programmable Styles allow you to specify the Song File name only.

How to use the keyboard

The letters, the numbers and other symbols are silk-screened under the keyboard and they are entered into the active zone by pressing the relative keys. The flashing cursor moves one step to the right after each entry. Several functions are provided on the extreme left side of the keyboard. x x x x x x Press Shift to write capital letters; Use Space to create a space; Use Delete to cancel the entry at the flashing cursor position; Use the arrow left arrow (<) to cancel the last entry; Use the back space ( ) to move the cursor backwards.
Other symbols (apostrophe, comma, etc.) are located on the extreme right side of the keyboard. A File name consisting of up to 8 characters can be written. All other name writing zones in Song mode allows up to 24 characters. Press ENTER to confirm the name. Press ESC to escape the function and cancel all entries.

6 - 21

Undo is of immense importance because it permits you to cancel a recorded sequence, restore portions of a cancelled Song, restore a modified event setting before being modified, etc. It can be considered as a note book that follows you while you work, conserving data that you might not want to throw away. How to use UNDO 1. If you want to cancel a recorded track or an event edit, press UNDO. The following dialogue window is shown:
Press ENTER to confirm UNDO or Exit to annul the operation. If you want to restore the Song cancelled by Undo, or the event modification, press UNDO again. You can continue undoing your last Undo indefinitely, and so use this system as a means of comparing one recorded situation with another.

UNDO and FREE MEMORY

With Undo on in Record mode, a memory buffer is activated which acts as a ghost copy of the song memory - it occupies the same amount of RAM as the recorded sequence. You might also find that, while you are recording, you run out of memory, even though the Free memory indicates the availability of RAM. In such a case, you can deactivate Undo in order to reclaim the ghost memory used up by this function.

6 - 22 Sequencer

This function gains access to User Program software loaded from floppy disks. Generalmusic will implement new functions in the future which, not being able to exploit the software of the machine, will require a special software the can be loaded with a User Program. For the moment, no user programs are available and your display will show the following message when you press OPTION:

 

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