AN200 Editor

Manual

Important Notices

The AN200 Editor is a comprehensive editing software program specially designed for the AN200 Desktop Control Synthesizer providing an easy, intuitive way to edit and create your own original Patterns for the AN200. IMPORTANT:
Do not use any of the panel controls on the AN200 while editing the Patterns with the AN200 Editor, since this may inadvertently change the settings of the AN200.

Copyright Notices

The software and this owners manual are the exclusive copyrights of Yamaha Corporation. Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. Copying of the commercially available music sequence data and/or digital audio les is strictly prohibited except for your personal use.
Trade Marks and Registered Trade Marks
The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.

Notices

Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. The windows and illustrations in this manual are for instructional purposes only, and may be slightly different from the ones shown on your software.
Copyright 2001 Yamaha Corporation. All rights reserved. January, 2001 YAMAHA CORPORATION

About the AN200 Editor

The AN200 Editor is a full-featured editing software program for the AN200 Desktop Control Synthesizer, providing an exceptionally simple, convenient and intuitive way to edit and control all of the AN200 parameters. Virtual "knobs," "buttons" and a special "LCD display" let you change parameters just as if you were operating an actual synthesizer control panel! The AN200 Editor lets you save your edits as an original User pattern and store up to 128 User. Naturally, you can save the data to oppy disks or your hard disk drive as AN200 Files. The AN200 Editor also features a convenient, easy-to-use AN200 Librarian that lets you organize your User patterns. For general instructions and explanations on how to use the AN200 Editor, see Setting and Changing Parameter Values and Toolbar. For information on specic, commonly used operations, see Operations.

Operations

Selecting an AN200 Pattern
Selecting an AN200 pattern is the important rst step in editing. You can select a pattern from the Preset 1, Preset 2, or User banks (each of which contains 128 patterns). Once youve edited a pattern you can store it to the User bank as your original pattern and save it to a oppy disk/hard disk drive with other patterns as an AN200 File. AN200 patterns can be selected from either the Edit Panel window or the main control panel window.
Make sure to store your edits to a pattern before selecting another pattern. If youve edited the AN200 Editor parameters and then select a different pattern, all your edited parameters will be initialized to the default values of the newly selected pattern.
z Select AN200 Pattern List.
Click the PATTERN button at the bottom right of the main control panel.
You can also quickly call up this dialog box by clicking any inactive part of the window pressing control key and clicking "AN200 Pattern List" in the pop-up menu. Or, you can click "Edit" on the menu bar, then select "AN200 Pattern List."

x Select the desired pattern.
Click on the desired pattern, then close the dialog box (click the close button) to return to the main control panel window. (You can also do this by clicking anywhere on the main control panel.)

Operations /

Editing an AN200 Pattern
z Select the desired pattern.
Refer to Selecting an AN200 Pattern.
x Edit the pattern parameters as desired from the main control panel.
The main window of the AN200 Editor provides a "virtual" control panel with knobs and buttons, and lets you edit the patterns much as you would if you were operating an actual hardware synthesizer.
c Store the edited settings as a User pattern, then save it with other edited patterns as an AN200 File.
Use the Store operation to store your newly edited pattern. Then use the Save operation to save that edited pattern with other User patterns to an AN200 File. Both the Store and Save operations are necessary to ensure that your pattern is saved properly. Failing to do so would be roughly similar to writing a letter but not putting it in an envelope and sending it. Make sure to execute both operations when you wish to keep a pattern youve edited.
Initializing an AN200 Pattern to the Default Settings
This function allows you to reset all the parameters of the selected pattern to the factory "initial pattern" default values. This gives you a "blank slate" from which you can create your own pattern. Keep in mind that this operation automatically erases all the settings of the selected pattern. If you wish to save the pattern for future recall, use the Store and Save functions.
x Select the User bank and the desired pattern to be initialized.
Click on the User bank button, then click on the desired pattern.
c Initialize the pattern.
Click the "Pattern Init" button in the dialog box. The specied pattern is initialized and automatically selected for editing. To return to the main control panel window, close the dialog box (click the close button). (You can also do this by clicking anywhere on the main control panel.)
If you want to initialize all User patterns, then click on the "INIT ALL" button in the AN200 Librarian window.

x Select the desired folder, type in the le name, and click Save.
Calling Up data from an AN200 File (Open)
Once youve saved a set of User patterns and to one or more AN200 Files (see Saving Patterns), you can instantly call up the desired patterns with this command. To create a new AN200 File, use the New command.
z Select Open AN200 File.
Click "File" on the menu bar, then select "Open AN200 File." Open AN200 File is also available on the toolbar.
x Select the desired folder and le name, then click Open.
Keep in mind that this operation loads the User pattern data only into the User pattern memory of the AN200 Editor. After opening a le, if you want to play these Patterns on the AN200 separate from the AN200 Editor, you should transmit the User pattern data. (Refer to Transmit AN Bulk Dump Data.) There is no need to transmit AN200 Bulk Dump Data if you select a pattern in the Pattern List of the AN200 Editor, since the current pattern bulk data is sent with that operation.

Parameters

Most of the AN200 Editor parameters for editing the AN200 patterns are contained in the virtual "main control panel" screen. From this main panel, you can also jump to other windows for controlling additional AN200 functions (such as the Control Matrix, Free EG, and Step Sequencer).

AN200 Editor Main Window

This is the main control panel for the AN200 Editor, and is comprised of the virtual "panel" controls, the toolbar (at the top), and the virtual "LCD display" at the bottom. The master menu (which includes AN200 Pattern List, Store, and the Display Option) can also be selected from the main screen by clicking pressing control key any inactive part of the front panel. To jump to explanations for the desired parameter, click on the appropriate block in the illustration below. Main Screen
Master Menu Click while pressing control key in an inactive area to call up the master menu.

Parameters /

Toolbar The toolbar gives you quick access to some important functions and controls. These buttons let you easily execute the desired function without having to select a menu or leave the AN200 Editor window.

Open AN200 File

STORE Button Pressing the STORE button calls up the AN200 Store dialog box, allowing you to store the desired pattern to the User bank. It also lets you enter a name and category abbreviation for the pattern.
To name the pattern, click on the Pattern Name box, and type in the desired name. To specify a category, click the Category combo box, and click the desired category abbreviation. (The "0: ---" setting indicates no category.) To store the newly named pattern, click "Store." For a complete list of available patterns and descriptions of the category abbreviations, see the Pattern List in the AN200 Owner's Manual.
I Setting and Changing Parameter Values.

For panel knobs:

Click on the knob and drag horizontally or vertically as desired. Dragging to the left or down decreases the value, and dragging right or up increases it. The knob "rotates" as you drag it, and the parameter value (shown just above each knob) changes accordingly. Any parameter changes are output as MIDI data, both to the AN200 and the XGworks sequencer. Operation of the knobs can also be set so that moving the mouse in a circular direction -- as if you were actually rotating the knob --- changes the parameter value. (See Parameter Knob Operation.)
The panel knob operation can be changed to let you "rotate" the knob, instead of moving it horizontally or vertically. (See the Others tab in AN200 Editor Setup.)

For buttons:

Simply click on the desired button to turn on/off or to select the appropriate setting. On/ off buttons (such as UNISON) have virtual "lamps" that light when the function is on.

Combo boxes

For combo boxes (such as Control Source in the Control Matrix Parameter tab), click the down arrow to expand the box, then highlight the desired setting.
DATA DEC (Decrease) and INC (Increase) buttons
Click on the desired parameter, then click either of these buttons to decrease the value/ setting (DEC) or increase it (INC). In some cases (e.g., VCO 1 WAVE), these buttons can be used to select values/settings that are not otherwise available.

Computer keyboard

All of the value parameters in the main control panel can be directly changed by typing in the appropriate numbers from the computer keyboard. Click on the desired parameter, then click the third (bottom) line in the virtual LCD and type in the desired value. Press [enter] to enter the value. A few parameters (such as Unison Detune and LFO 1 Delay in the Detail Parameters tab) can be directly changed by clicking on the desired parameter, then typing in the desired value and pressing [ENTER].

VELOCITY (FEG Velocity Sensitivity) Range: -64. +63
This determines how the lter EG responds to key velocity. For positive values, playing the keys with greater strength results in a wider, more dynamic lter EG (greater lter changes). For negative values, the relationship is inverse: a softer key touch results in a wider, more dynamic lter EG. A setting of "0" results in no change of the lter by playing strength. To set this, click the VELOCITY button and highlight the desired value in the pop-up chart. When a value other than "0" is set, the VELOCITY lamp lights.
HPF (HPF Cutoff) Range: 0. 127
This determines the cutoff frequency of the High Pass Filter (-6 dB/Oct). Frequencies above the setting are passed while those below are cut off. Higher values increase the HPF Cutoff frequency, resulting in a brighter sound. To set this, click the HPF button and highlight the desired value in the pop-up chart. When a value other than "0" is set, the HPF lamp lights.
This High Pass Filter is applied to the signal after the mixer, and is different than the one available in the VCF Type parameter.
TYPE (VCF Filter Type) Settings: LPF24, LPF18, LPF12, BPF, HPF12, BEF
When "LPF18" is selected, both the LPF24 and LPF12 lamps light together.
This determines the type of lter used by the VCF. The VCF passes only a specied range of frequencies while cutting off the rest, to give you versatile control over the timbre. The six lter types are described below.

LPF24, LPF18, LPF12

The Low Pass Filter passes only those frequencies below the specied cutoff point. Cutoff curves of 24dB/octave (LPF24), 18dB/octave (LPF18) and 12dB/octave (LPF12) can be selected.
The Band Pass Filter passes only those frequencies in the specied range, with a cutoff curve of 12dB/octave.
The High Pass Filter passes only those frequencies above the specied cutoff point, with a cutoff curve of 12dB/octave.
The Band Eliminate Filter passes only those frequencies outside the specied frequency range. The Resonance setting (below) determines the eliminated range.
The lters listed above apply to the signal output from the HPF located between the Mixer and VCA. For more information about the signal path, see AN200 Display Option.
CUTOFF (VCF Cutoff Frequency) Range: 0. 127
This determines the cutoff frequency of the VCF (lter). For example, when the lter type is set to Low Pass Filter, the VCF mutes all frequencies higher than the cutoff point and "passes" the lower frequencies. Lower cutoff values create a deeper, more rounded tone, while higher values create a brighter tone.
RES. (VCF Resonance) Range: -12. +102
This determines the amount of resonance boost, or emphasis of harmonics near the cutoff frequency. Higher values produce a higher resonant peak (producing sharper high tones), while lower values produce a relatively at response. A setting of "0" applies no resonance.

KEY TRK (VCF Keyboard Tracking) Range: -32. +63
This determines the degree to which the VCF "tracks" or follows the keyboard. In other words, the higher the notes played on the keyboard, the more the cutoff frequency is raised (or lowered). When Keyboard Tracking is applied, the cutoff range shifts accordingly at every note, with C3 as the base. Positive values will cause higher notes to have a higher cutoff point. Negative values cause higher notes to have a lower cutoff frequency. A value setting of "0" results in no key tracking.
When this is set to "+32," the change in the cutoff frequency matches (or is directly proportional) with the change in the keyboard notes.
FEG (Filter EG) Parameters
The FEG parameters determine how the timbre of the pattern changes over time. This lets you produce subtle or pronounced lter effects (such as wah, for example). The EG DEPTH parameter (in the VCF block) must be set to a proper level for the FEG parameters to have an effect on the sound.
The FEG can also be used as a control (in PWM Source, Sync Pitch Control Source, FM Source, etc.), giving you even greater sound-shaping exibility.
DEPTH (Filter EG Depth) Range: -128. +127
This determines the range of movement of the cutoff frequency. This must be set to a proper level for the FEG parameters (Attack, Decay, Sustain, and Release) to have an effect on the sound. Positive values increase the Filter EG Depth. Negative values reverse the shape of the envelope.
ATTACK (Filter EG Attack Time) Range: 0. 127
This determines the attack time of the FEG, which is the time it takes for the signal to reach its maximum cutoff frequency level after a key is pressed (key on). Higher values produce a longer Attack time. (See illustration below.)
DECAY (Filter EG Decay Time) Range: 0. 127
This determines the decay time of the FEG, which is the time it takes for the signal to reach its sustain level from the maximum level while a key is held. Higher values produce a longer Decay time. (See illustration below.)
SUSTAIN (Filter EG Sustain Level) Range: 0. 127
This determines the level of sustain of the FEG, which is the xed level of the cutoff frequency maintained as long as the key is held. Higher values increase the Sustain level. (See illustration below.)
RELEASE (Filter EG Release Time) Range: 0. 127
This determines the release time of the FEG, which is the time it takes for the lter to reach its initial level after a key is released (key off). Higher values increase the Release time. (See illustration below.)

SYNC Block

The AN200 features two oscillator sections: VCO 1 and VCO 2. As on conventional analog synthesizers, the Sync block lets you synchronize the two waveforms to create a more complex sound, with more harmonics. However, the AN200 takes the sonic possibilities even further. Since the VCO 1 oscillator itself actually contains two separate oscillators, these two "internal" oscillators can be synchronized and then layered with VCO 2 to produce sounds of even greater complexity. (For more about the VCOs and Oscillator Sync, see the AN200 Owners Manual.) To see an indication of the Oscillator Sync path, enable the Oscillator Sync Routing in the Display Option window.

MODE Settings: Off, VCO 1 Master > Slave (VCO 1 master into slave), VCO 2 > 1 (VCO 2 into VCO 1)
This determines the on/off status of Sync, as well as its mode. When this is set to "VCO 1 Master > Slave," the two VCO 1 oscillators are separated inside of the VCO1 and synchronized, with one designated as the controlling "master" and the other the "slave." When this is set to "VCO 2>1," the VCO 1 is synchronized to VCO 2, with the VCO 2 designated as the "master."
The Master oscillator determines the overall pitch of the sound, and the Slave oscillator controls the tone by adding harmonics.
SRC (Sync Pitch Control Source) Settings: Fixed, PEG, FEG, LFO1, LFO2
The Sync Pitch Control Source setting determines the source which applies the modulation over time to the slave oscillator. When this is set to "Fixed," there is no change in modulation over time.
DEPTH (Sync Pitch Control Depth) Range: -64. +63
This determines the amount of depth of control from the Sync Control Pitch Source (determined by the Sync Pitch Control Source setting above) over time. Higher values increase the Depth. When Sync Mode is set to Off, this parameter has no effect.

FM Block

The Frequency Modulation (FM) function gives you additional modulation control over the sound, letting you apply the FM signal (called the "modulator") to the VCO 1 (here called the "carrier"), letting you dramatically change the harmonic complexity of the sound. In the FM block, the Depth of the modulation can be controlled; however, additional detailed parameters are available in the Details page. The lamps (VCO 2, VCO 1, OTHER) indicate the modulator (source) for the FM signal, determined in the Src2 parameter. To see an indication of the FM modulation path, enable the FM Routing in the Display Option window.
FM DETAIL Page DEPTH Range: -64. +63
This determines the amount of modulation created by the FM function. Higher values result in greater modulation depth. Although the overall sound depends on the setting of the FM parameters in the Details page, higher Depth values generally result in a more clangorous sound.
This parameter differs from that in FM Synthesis (such as used by DX-series synthesizers). Extreme settings will change the pitch of the pattern.
When the VCO1 Wave is set to "Multi Saw," the Depth setting has no effect.

MIXER Block

As its name implies, the Mixer module lets you control the levels of the various sound sources of the AN200.
VCO 1 (VCO 1 Level) Range: 0. 127
This determines the balance of the VCO 1 level in relation to the VCO 2, Ring Modulator, Feedback, and Noise levels. Higher values result in a higher VCO 1 level. When not using VCO1, set the value to "0."

Saw (Sawtooth)

The Saw (sawtooth) wave derives its name from its shape, and is used to create a trumpet or violin sound. Since it contains all harmonics in the spectrum, it produces a full, rich sound. When used with the Pulse Width function, increasing the even harmonics can raise the pitch to a maximum of a full octave.
The Pulse wave is used to make woodwind (clarinet-type) sounds. Its spectrum is similar to a sawtooth wave, but since every second (even-numbered) harmonic is missing, the waveform contains only odd-numbered harmonics when Pulse Width is set to "64".

Saw2 (Sawtooth2)

The spectrum of the Saw2 wave is created by a sawtooth wave combined with a pulse wave, and therefore is slightly different than the Saw wave. When the Pulse Width is set to 64, the shape of the wave is the same as Saw. Even if you increase the evennumbered harmonics by the Pulse Width, the basic pitch remains the same.
The mix wave is formed by a combination of saw and pulse waves.

Multi Saw

This wave behaves like multiple saw waves combined together with their pitches detuned from each other. When Multi Saw is selected, all of the VCO 1 PWM parameters are unavailable, and are replaced with special VCO 1 Detune and Mix parameters.

Inner1, Inner2, Inner3

When SYNC is set to "on," three "inner" waves are available. This wave is effective when used with Pulse Width.

Square

Basically, this is the same as a Pulse wave. Changing the Pulse Width does not alter the width of the wave (this is maintained at 50%), but instead changes its shape slightly, making it more complex.
This produces random uctuations in sound, equally across the entire spectrum, resulting in noise, or a "hissing" sound.
Using Oscillator Sync Pitch to control the Noise wave over time results in a unique nonpitched sound in which the harmonics are shifted.
VCO 1 PITCH (Pitch Coarse) Range: -64. +63

This determines the pitch of the VCO 1 in semitones. A value of "0" is normal pitch.
VCO 1 FINE Range: -50. +50
This determines the pitch of the VCO 1 in 1-cent steps over a range of 100 cents, or one semitone.
VCO 1 SYNC PITCH Range: -64. +63
This determines the pitch of the slave oscillator in semitones, available only when Sync Mode is set to on. This lets you create a difference in pitch between master and slave oscillators and control the resulting harmonic interval. At the "0" setting, the pitch is the same as the master oscillator. Higher values increase the interval, and negative values result in a softer sound.
To achieve a discernible result, make sure the VCO 1 Level (in the MIXER block) is turned up high enough.

VCO 1 EDGE Range: 0. 127

This determines the sharpness or smoothness of the edge of the VCO1 wave. Higher values produce a sharper wave, resulting in a harsher sound. Lower values produce a rounder wave, resulting in a softer sound. A value of "0" results in a sine wave.
VCO 1 PWM (Pulse Width Modulation) Parameters
The PWM parameters are not available when Sync Mode is set to "off" and the VCO 1 WAVE is set to "Multi Saw."
VCO 1 PWM SRC (Pulse Width Modulation Source) Settings: Fixed, PEG, FEG, LFO 1, LFO 2, LFO 2 Phase, LFO 2 Fast, VCO 2
This determines the source wave which changes the VCO1's pulse width over time, thus determining the behavior of the pulse width. When this is set to "Fixed," there is no change in modulation over time.
VCO 1 PWM DEPTH (Pulse Width Modulation Depth) Range: -64. +63
This determines the amount of depth of the pulse width modulation of the VCO 1, based on the PWM Source wave parameter (above). Higher (positive) values produce a deeper modulation.
VCO 1 PWM PW (Pulse Width) Range: 0. 64. 127
This determines the width of the VCO 1 pulse wave. Higher (positive) values produce more harmonics, resulting in a fatter sound. In general, pulse width is used to control the pulse wave; however, the AN200 can use PW with other waves as well, for a wider possible variety of sounds than usual.
VCO 1 Detune (Multi Saw wave only) Range: 0. 127
The Multi Saw wave combines multiple saw waves. Each of these individual waves can be detuned with respect to the others. This parameter determines the amount of pitch difference among the waves. Higher values produce a greater amount of detuning. This parameter is available only when SYNC is set to "off" and the VCO 1 WAVE is set to "Multi Saw."
VCO 1 Mix (Multi Saw wave only) Range: 0. 127

Pattern Name

This is used with Category above to give a custom name to your edited pattern. Click on the box and type in the desired pattern name from the computer keyboard.
Clicking while pressing control key on the box calls up a set of basic text editing functions (Undo, Cut, Copy, Paste, Delete, Select All), along with the indicated keyboard shortcuts.
Unison Detune Range: 1. 32
When the UNISON switch is on, multiple sounds are played, with the pitch of each sound slightly detuned. Unison Detune adjusts the detuning of the VCO pitch in ne increments, letting you create an even thicker Unison sound by applying higher settings; however, be careful not to apply too much or you'll change the basic pitch of the pattern.
You can also adjust the value of this parameter with the left and right mouse buttons. Click on the parameter box, then click the left button to decrease the value, or the right button to increase it.
Portamento Mode Settings:
When Key Mode is set to "POLY": Normal: Normal portamento play. Sustain Key: With this setting, the Hold tone (by a sustain pedal) is specied as the starting pitch of the portamento. When Key Mode is set to "MONO" or "LEGATO": Full Time: Portamento is always enabled. Fingered: Portamento is only enabled by legato performance. This determines the characteristics of the portamento (sometimes called glissando), or how the tone glides from one tone to the next through all the intermediate pitches, when the Portamento Time is set to a value other than "0". Available parameters depend on the Key Mode setting. If the Portamento Time parameter is set to "0", Portamento will have no effect.

Distortion Parameters

The Distortion effect lets you create a wide variety of distortion sounds, from subtle, warm overdrive-type sounds to very heavy, metallic distortion.
Keep in mind that many of these parameters (as well as the ones on the main control panel) are interrelated, and you may not hear any distortion effect unless they are set to appropriate values. This is especially true of Drive, Dry/Wet Balance, and Output Level.
Guitar Amp. Type Settings: Off, Stack, Combo, Tube
This determines the type of guitar amplier simulated by the Distortion effect. Each produces a slightly different distortion sound, recreating the characteristics of an actual amplier. "Stack" simulates a separate amp and speaker setup, "Combo" simulates a single cabinet transistor amp and speaker, and "Tube" simulates a single cabinet tube amp and speaker. When this is set to "Off," some of the guitar amplier simulation effect is cancelled (however, Distortion Drive and LPF are still applied to the sound).

Ctrl (Control) Source Settings: Off, CC No., After Touch, Pitch Bend, Key Track, Velocity, Key Random, Mod Wheel, Foot Vol, Foot Ctrl, Foot Sw, Ribbon X, Ribbon Z, AN AC 1 8
This determines which MIDI controller is assigned to control the corresponding Parameter. You can set the source by Control Change number or by controller name, as described below. Special Key Track and Key Random controllers are included for added exibility.

No controller assigned.

CC No. 1, 2, 4, 6, 11 14, 20, 21, 23, 24 27, 30, 32, 33, 36 38, 40 47, 52 56, 58, 60 67, 69, 70, 76 79, 84 87, 90 95
Selects the Source controller according to Control Change number, when received by incoming MIDI messages. (Unavailable Control Change numbers are "ghosted.")

After Touch

For controlling with keyboard After Touch.

Pitch Bend

For controlling with a Pitch Bend wheel.

Key Track

For controlling with note number messages generated by pressing the keys. Higher keys result in higher controller values.

Velocity

For controlling with keyboard velocity, or the strength with which you strike the keys.

Key Random

For this setting, a random note number messages is automatically generated for each key you press, or for each MIDI note message received.

Mod Wheel

For controlling with the Modulation Wheel, and/or by incoming MIDI messages of Control Change number 1.

Foot Volume

For controlling with a connected Foot Volume controller, and/or by incoming MIDI messages of Control Change number 7.

Foot Control

For controlling with a connected foot controller, and/or by incoming MIDI messages of Control Change number 4.

Footswitch

For controlling with a connected Footswitch, and/or by incoming MIDI messages of Control Change number 64.
Ribbon Controller-X (for AN1x data compatibility)
For controlling with X-axis motion on a ribbon controller (left-right), and/or by incoming MIDI messages of Control Change number 13. When Ribbon Controller-X is used, the control change (default of 13) is treated as a "Center-Base-Controller" (center = 64).
Ribbon Controller-Z (for AN1x data compatibility)
For controlling with Z-axis motion on a ribbon controller (push-release), and/or by incoming MIDI messages of Control Change number 12.

AN AC 1 - 8

For controlling with a specied Assignable Controller. (Refer to the instructions on using Assignable Controllers in the owner's manual of your particular tone generator.
The available Source for assignment may differ, depending on the selected Parameter. For details of available parameters, see the table of Control Matrix parameters in the AN200 Owner's Manual. You cannot assign the same Source controller and Parameter to more than one set. If you attempt to do so, lower-numbered sets will take priority. The control change numbers for AN AC 1-4 can be set with the AN Native parameters (on the panel of the AN200). Each Preset Pattern has four pre-assigned control change numbers using this function (refer to the AN Pattern List in the AN200 Owners Manual). The Control Change numbers for the Mod Wheel, Foot Volume, Foot Control, Footswitch, Ribbon Controller-X, Ribbon Controller-Z and AN AC 5-8 can be set from the AN1x System Parameters (refer to the MIDI Data Format section in the AN200 Owners Manual).

MIDI in Notes

The Free EG is triggered by a note on message from a connected MIDI instrument or sequencer.

All Notes

The Free EG is triggered by either a Note On message from a connected MIDI instrument or sequencer, or from the rst recorded Step of the Step Sequencer.

Seq Start

The Free EG is triggered by the start of the Step Sequencer.
LOOP TYPE Settings: Off, Forward, Forward Half, Alternate, Alternate Half
This determines the type of loop for play of the Free EG sequence, as described below.
The Free EG sequence plays once but does not loop. The parameter settings at the end of the Free EG sequence remain in effect.

Forward

The Free EG sequence loops from start to end.

Forward Half

The Free EG sequence loops from the middle to the end.

Alternate

The Free EG sequence loops from start to end, then end to start.

Alternate Half

The Free EG sequence loops from middle to end, then end to middle.
TEMPO Range: 20 - 300 bpm (beats per minute)
This determines the tempo or speed at which the selected Free EG track plays back.
The Tempo setting also affects the Step Sequencer patterns.

Edit Tools

The toolbar at the left of the Free EG window contains the Edit tools. They are divided into two basic types: the Drawing tools (which include special wave tools) and the Transform tools.
Using the Drawing Tools 1) Click on the desired Drawing tool.
For details on each tool, refer to the descriptions in step #2 below.
2) Hold down the left mouse button at the desired start point, and simultaneously drag the mouse to draw the curve. Release the button to stop drawing.
For the pencil tool, the curve is immediately changed. For the other tools, a "ghost" curve temporarily appears (along with the original one) while you are drawing to indicate the new curve. Release the mouse button, and after a slight pause, the newly drawn curve replaces the old one. However, for any area left undrawn, the original curve remains.

Setup Menus

When the AN200 Editor is active and selected, the following functions appear in the Setup menu: AN200 Editor Setup AN200 Display Option Transmit AN200 Bulk Dump Data Receive AN200 Bulk Dump Data
This window lets you make a variety of basic and detailed settings for the AN200 Editor. These are contained in two tabs: MIDI and Others.
"AN200 Editor Setup" can also be selected from the toolbar.

MIDI Tab

MIDI CH (Channel) Range: 1. 16
This determines which MIDI channel is used for sending AN200 Editor data. Set this to match the receive channel for the Part you wish to control.

Setup Menus /

Device No. (Number) Range: 1. 16
This determines which tone generator the AN200 Editor will send data to. This should be set to same number as the Device Number of the tone generator/sound card to which the AN200 is installed. If you have multiple tone generators in your MIDI setup and each is set to a different Device Number, this parameter lets you select which tone generator will be affected by the AN200 Editor. If you are using only one tone generator, this should be set to "1."

Output when edited

When this is checked, any edits that you make with the AN200 Editor are instantly and automatically transmitted to the AN200. This ensures that you can audition edits as soon as you make them.
Click this to apply all the settings youve made in the three tabs.
Click this to return to the main AN200 Editor window without changing any of the settings.

Others Tab

Parameter Knob Operation Rotate
When this is selected, the parameter values (of the panel "knobs") are changed by moving the mouse in a circular direction.

Up/down or left/right

When this is selected, the parameter values (of the panel "knobs") are changed by moving the mouse vertically or horizontally.

AN200 Display Option

This convenient feature lets you change the display of the main control panel to indicate the current status of certain signal routings within the AN200. When one of the options is enabled (a check mark appears), color-coded highlights, arrows and lines appear to show how the relevant blocks and parameters affect each other. Any or all of the three options below can be enabled.