Other uses of the numeric key pad
In step recording mode, the numeric keys specify the note value printed above each key. For example key 1 will enter a whole note and key 6 will enter a 32nd note. Details will be explained in the section on step recording. In jobs where you are required to set parameters and execute, you will execute the specified job by pressing the ENTER button. Details will be explained when necessary.

HOW TO USE THE SEQUENCER

This section is a step by step explanation of how to create a song using the SY77s built-in sequencer. By using the sequencer in conjunction with Multi mode, you can create songs of up to 16 independent parts.
Contents of this section How the sequencer controls the tone generator Set up a multi Create rhythm patterns Place the patterns in the pattern track Realtime recording Punch-in recording Song editing Using a song edit job Saving your sequence to disk

page 50

How the sequencer controls the tone generator
Although the SY77s tone generator and sequencer are contained in the same unit, these two are independent. When the tone generator is in Multi mode, each channel of the multi can be played by a different track of musical data from the sequencer.
The tone generator and sequencer are independent
The SY77 can be divided into two sections; the tone generator that produce sound, and the sequencer that records and plays back data such as notes and controller movements to control sound. The sequencer is completely independent of the tone generator, and has its own set of control buttons. This allows you to start or stop, record or playback at any time even while editing a voice or multi. It is especially helpful to edit a voice while it is being played by a sequencer pattern, or to make adjustments to the volume balances or pan settings of a multi while listening to the song playback. The sequencer will record data from the SY77s keyboard and also from MIDI IN, and will playback data to the SY77s tone generator and also transmit it from MIDI OUT. The tone generator will produce sound in response to data from the sequencer and also from MIDI IN.
Depending on whether the SONG or the PATTERN button was last pressed, the sequencer will record and playback data either in Song mode or in Pattern mode. Depending on whether the VOICE or the MULTI button was last pressed, the tone generator will produce sound either in Voice mode or in Multi mode. This means that the sequencer and tone generator can work together in four possible ways as shown in the following table.
Sequencer Mode Transmits SONG 16 channels SONG 16 channels PATTERN 1 channel PATTERN 1 channel

Using a song edit job

Song edit jobs allow you to make overall changes in specified measures of a track, and to copy, erase, delete, insert, or apply other operations to entire measures
When to use a song edit job
As explained in the previous section, song edit mode allows you to modify, insert, or delete individual events of tracks 1-15. This gives you very precise control over individual data events, but it is often useful to use a Song Edit Job to make overall changes that apply to all the data in one or more entire measures. Sixteen different song edit jobs are provided, allowing you to modify the data of specified measures in various ways. You can also copy, erase, delete, insert, etc. entire measures. In this example, we will use a song edit job to transpose the notes in measures 17-32 of track 3 an octave up. From the song play display, press

Select the song edit job

(Job) to get the Song Edit Job display.
(05) to select the 05:Transps (transpose) job.
Set parameters and execute the job
Now we will specify the track to be affected, the area of measures, and the amount by which the data will be transposed. 1. Press memory select button 3 to select track 3. 2. Set the Top Measure =017 and the Last Measure =032. 3. Set the Interval =+12 (one octave up). After setting the parameters, press ENTER. The bottom line of the LCD will ask Are you sure ?. Press +1 /YES and the job will be executed. Press EXIT twice to leave song edit mode and return to song play mode. Press RUN to playback the song, and notice that measures 17-32 of track 3 play an octave higher than measures 1-16.
Saving your sequence to disk
Since the sequencer memory can contain only one song, you will need to save the song to disk before creating another song. It is also a good idea to periodically save your work so as not to accidentally lose important data.

Enter disk utility mode

Press UTILITY to enter utility mode, make sure that a floppy disk of the correct type (3.5" 2DD) is inserted into the disk drive, and press F4 (Disk) to select disk utility mode.

Format a new disk

Before a disk can be used it must be formatted to accept SY77 data. If the disk currently inserted into the disk drive has never before been used to store SY77 data, you must format it. Formatting the disk will erase all the data on the disk. Be careful not to accidentally format a disk which contains valuable data. If the currently inserted disk has already been formatted, skip to the next step. To format the disk, select 03:Format Disk (JUMP #818). The following display will appear.

Other wave data settings

Name and store your new drum voice

VOICE PLAY MODE

You will normally play the SY77 in voice play mode. In voice play mode you can do the following things.

l l l l l

Select voices from preset, internal, or card memory. View a directory of the 16 voices in the currently selected bank of internal, card, or preset memory. Copy the currently selected voice to any internal or card memory. View the controller assignments for the currently selected voice. Send a program change to an external device.

Voice select

Press VOICE to enter voice play mode. The following LCD will appear.

JUMP #100

VOICE This indicates that you are in Voice Play mode. Voice memory (I, C, P1, P2): This indicates the voice memory; Internal, Card, Preset 1, or Preset 2. Bank (A-D): This indicates the voice memory bank. Voice number in individual bank (1-16): This indicates the number of the voice in the bank. Voice number in banks A-D (1-64): This indicates the voice as a number between 1 (voice 1 of bank A) to 64 (voice 16 of bank D). Transmit channel (1-16): This indicates the transmit channel you selected in MIDI Utility 1. Channel set (JUMP #807). The SY77 keyboard will transmit from MIDI OUT on this channel. Voice name: The voice name is displayed in large characters.
Voice mode: This indicates the type and number of elements used by this voice. For details refer to Voice Edit mode, Voice Mode Select. Effect settings: This area indicates the effect mode (off, 1-3) and type of effect selected by this voice for each of the four DSP units; Modulation 1 and 2, and Reverb 1 and 2. For details refer to Voice Edit mode, Common Data job 10. Effect set. Refer to the following section Send program change. Refer to the following section Voice directory. Refer to the following section Controller view. To select a voice use the following procedure. The voice will not actually change until you specify the voice number 1-16. If you want to play a different voice in the same bank, simply specify a different number 1-16. 1. Select the voice memory; INTERNAL, CARD (only if a card is inserted into the DATA slot), PRESET 1, or PRESET 2. The selected LED will blink. 2. Select a bank A, B, C, or D. The selected LED will blink. 3. Select a voice 1-16. The selected LED will light, and the LCD display will show the newly selected voice name.

Voice directory

Summary: This function allows you select voices while viewing a directory of the sixteen voices in the currently selected voice bank. Procedure: From: voice play mode (JUMP #100) Select: F8 (Dir) (JUMP #101) Specify: one of the displayed voices To quit: and return to the voice play display press EXIT.

JUMP #101

The first seven characters of each ten-character voice name will be displayed. When you select a different voice memory (internal, card, preset 1, or preset 2) and voice bank (A-D) the sixteen voices in the newly selected bank will be displayed. In addition to the usual methods of selecting a voice, you can also use the arrow keys to select a voice. When the voice directory is displayed, pressing a memory select button or bank select button will immediately select a voice.
Pressing F1-F8 (01)-(08) will select a voice 1-8 from the displayed voice bank. Holding SHIFT and pressing F1-F8 (09)-(16) will select a voice 916 from the displayed voice bank.
To return to the voice play display with the single voice name displayed in large characters press EXIT.

Copy voice

Summary: Anytime in voice play mode you can copy the currently selected voice to another voice memory. Procedure: From: voice play mode (JUMP #100) Press: COPY Specify: the destination to which the voice will be copied. To execute: the copy operation press F8 (Go). To quit: without executing press EXIT. The names of the sixteen voices in the currently selected bank of Internal or Card memory are displayed as explained in Voice Directory. Press INTERNAL or CARD, press a bank button A-D, and press a memory select button 1-16 to specify the copy destination. After specifying the copy destination press F8 (Go). You will be asked Are you sure? If you are sure you want to copy the voice, press YES and the data will be copied. To quit without copying press

Controller view

Summary: This function allows you to view the controller assignments for the voice as a reminder of how the voice can be controlled. Procedure: From: voice play (JUMP #100) Select: F7 (Ctrl) (JUMP #102) To quit: and return to voice play mode press

JUMP #102

Parameter: The left side of each column displays the parameter which is being controlled. The actual effect that a controller will have on the parameter to which it is assigned will depend on
the depth that is specified for each controller assignment as explained in Voice Common job 12. Controller. Controller: The right side of each column displays the controller which is assigned to control each parameter. The range is not displayed. - will be displayed to indicate a controller which the SY77 itself does not have, or to indicate that the parameters depth has been set in such a way that the controller has no effect. (Refer to Voice Common, Controller Set.) Pitch Bend Range: This area shows the range over which the PITCH wheel can raise or lower the pitch, and the maximum pitch change that will result when you press down on the keyboard after playing a note (After-touch). This function allows you to only view the controller assignments. To edit them, refer to Voice Common job 12. Controller. 85

Send program change

Summary: Anytime in voice play mode you can transmit a program change message from MIDI OUT without affecting the SY77s own tone generator. This allows you to switch a tone generator module connected to the SY77 MIDI OUT to another memory without changing the SY77s own memory. Procedure: From: voice play mode (JUMP #100) Select: F1 (Send) Specify: a program change number 1-128 To transmit: the program change press ENTER. To quit: without. sending a program change press EXIT. 1. Use the numeric key pad to enter a one two or three digit number 1-128. 2. Press ENTER and a program change message of the specified number will be transmitted on the Kyb Trans Ch (keyboard transmit channel) specified in MIDI Utility job 1. Channel set (JUMP #807). The LCD will show the transmitted number; e.g., Completed ! PC No.=128. If you enter a number below 1 it will be transmitted as 1. If you enter a number above 128 it will be transmitted as 128. In addition to the program change message transmitted by this function, a program change message will be transmitted every time you select a SY77 voice or multi unless Utility mode MIDI Utility 2. Program change (JUMP #808) has been turned off.

VOICE EDIT MODE

This section explains the details of all Voice Edit parameters.

Contents of this section

Voice mode select Common data AFM element data AWM element data Drum set data
The organization of Voice Edit mode will depend on whether the voice is a Normal voice or a Drum voice.
Specify the Voice Mode 1. 1FM mono 2. 2FM mono 3. 4FM mono 4. 1FM poly 5. 2FM poly 6. 1PCM poly 7. 2PCM poly 8. 4PCM poly 9. 1FM&PCM poly 10. 2FM&2PCM poly 11. Drum set
Common data edit job directory 1. Element level 2. Element detune 3. Element note shift 4. Element note limit 5. Element velocity limit 6. Element dynamic pan 7. Output select 8. Random pitch 9. Portamento 10. Effect set 11. Micro tuning set 12. Controller set 13. Voice name. 15. Initialize voice 16. Recall voice
AFM element edit job directory 1. 2. 3. 4. 5. 6. 7. 8. Algorithm Oscillator AFM EG AFM operator output AFM sensitivity AFM LFO AFM pitch EG AFM filter
. 15. initialize FM element 16. Recall FM element

Compare

When you are in edit mode but have have not yet modified the data, a small square is displayed at the left of the voice number to indicate that the voice has not yet been edited. If the data is edited in any way, this will change to a inverse "E". If you want to see and hear the original data press EDIT (COMPARE) and the inverse "E" will change to a "C" indicating that you are in compare mode. To return to edit mode press EDIT (COMPARE) once again and the "C" will change back to an "E". Note: The Compare function is not available in the job directory displays, nor while editing Dynamic Pan or Micro Tuning. If the Voice Mode has been changed, the Compare function will not be available. While comparing, it is not possible to modify parameter values. (However there are some exceptions.) If you compare while editing a card voice, a card error will cancel compare after displaying an error message. While comparing, EXIT, mode select, page, cursor, JUMP, COPY, and some ofF1-F8 will not function.

Voice mode select

Summary: The voice mode setting determines whether a voice will consist of one two or four AWM or AFM elements (modes 1-10), or 61 AWM waves (mode 11). Procedure: From: the top level of voice edit mode (JUMP #200, #201, #230, #256) Press: F1 (Mode) to get the following display (JUMP #200) Specify: the desired voice mode. 08: 4AWM poly: The voice consists of four AWM elements. (See note) 09: 1AFM&1AWM: The voice consists of one AFM and one AWM element. 10: 2AFM&2AWM: The voice consists of two AFM and two AWM elements. (See note) 11: Drum Set: The voice consists of sixty-one AWM samples. Mono modes (1-3): Voices which use modes 1-3 are monophonic. Only one note can be produced at a time. If a note is played while the previous note is still sounding, the previous note will be cut off. Mono mode is useful when simulating instruments that naturally produce only one note at a time. Mono mode also allows you to use a special type of Portamento; fingered Portamento. For details refer to Voice Common 9. Portamento. Polyphonic modes (4-10): Voices which use modes 4-10 are polyphonic, and will allow you to play chords of as many notes as can be produced by the SY77's tone generator. The AWM and AFM tone generators can each produce up to 16 simultaneous notes. For some voice modes more than one element may be sounded by a single key, and this will correspondingly reduce the number of simultaneous notes you can play. Drum Set mode (II): Drum set voices use only the AWM tone generator, and up to 16 AWM samples can be sounded simultaneously. Note: Four-element voices (modes 3, 8, and 10) can be stored only in bank D.
This area shows the number (1, 2, or 4) and type (AWM or AFM) of elements in the selected voice mode. Move the cursor to the desired voice mode 1-11. The selected voice mode will become effective immediately. 01: 1AFM mono: The voice consists of one AFM element. 02: 2AFM mono: The voice consists of two AFM elements. 03: 4AFM mono: The voice consists of four AFM elements. (See note) 04: 1AFM poly: The voice consists of one AFM element. 05: 2AFM poly: The voice consists of two AFM elements. 06: 1AWM poly: The voice consists of one AWM element. 07: 2AWM poly: The voice consists of two AWM elements.

Common data

COMMON DATA
Common data job directory

JUMP #201

Summary: This job directory shows the jobs containing data that affects all elements in the voice. Procedure: From: the top level of voice edit mode When: editing a normal voice Press: F2 (Corn) (JUMP #201) Select: the desired job
This area shows the number (1, 2, or 4) and type (AWM or AFM) of elements in the selected voice mode. Move the cursor in this area to select a job. 01: ElemLvl (Element level): Total voice volume, and element level 02: ElemDtn (Element detune): Pine tuning for each element 03: NtShft (Note shift): Transpose each element

10.4 (F1) Reverb effect 1 set (Data)

JUMP #217

Summary: Select an effect type for Reverb effect 1, and set the effect balance and output level. This explanation also applies to reverb effect 2. Procedure: From: Effect Set job directory (JUMP #211) Select: 04:Reverb Effect 1 Set Press: Fl (Data) (JUMP #217) Specify: the effect type, effect balance, and output level
VOICE EDIT MODE Effect Type: Forty types of effects can be selected for the reverb effect unit. Refer to the list of reverb-type effects in the following section 10.4 (F2). Effect Balance (0.100%): This determines the balance of processed and unprocessed sound. At a setting of 0% the output of the effect unit will be only unprocessed sound, and at a setting of 100% the output of the effect unit will be only processed sound. Output Level (0.100%): This determines the volume level of the effect output. At a setting of 0% the effect unit will output no sound, and at a setting of 100% the output of the effect unit will be at full volume. To set the parameters of the selected Effect Type, press F2 (Parm). (See the following section 10.4 (F2).)
Remarks: Reverb effects l:Rev.Hall to 34:Distortion are mono-in stereo-out. In other words, the incoming stereo signal from the element Dynamic Pan is combined into a mono signal and processed to create a stereo effect. Reverb effects 35:Ind.Delay to 40:Ind.Rev&Delay are stereo-in stereo-out, with independently settable parameters for left and right. Note: Changing the Effect Type will initialize the Parameter settings of F2 (Parm).
10.4 (F2) Reverb effect 1 set (Parameters)

JUMP #218

Summary: Set effect parameters of the effect type selected for reverb effect 1. This explanation also applies to reverb effect 2. Procedure: From: Effect Set job directory (JUMP #211) Select: 04:Modulation Effect 1 Set Press: F2 (Parm) (JUMP #218) Specify: parameter settings for the selected effect
1:Reverb Hall, 2:Reverb Room, 3:Reverb Plate, 4:Reverb Church,5:Reverb Club, 6:Reverb Stage, 7:Reverb Bath Room, 8:Reverb Metal Reverb Time (0.3.10.0 sec) L.P.F. (1.25.12 KHz, Through) Initial Delay (0.1.50 ms) 9:Single Delay Delay Time (0.1.300 ms) FB Delay Time (0.1.300 ms) Feedback Gain (0.99%) 10:Delay L,R, Lch Delay Time (0.1.300 ms) Rch Delay Time (0.1.300 ms) Feedback Gain (0.99%) 11:Stereo Echo Lch Delay Time (0.1.152 ms) Rch Delay Time (0.1.152 ms) Feedback Gain (0.99%) 12:Doubler 1 Delay Time (0.1.50 ms) H.P.F. (Thru, 160.1000 Hz) L.P.F. (1.25.12 KHz, Thru)

Output Level (0.127): The output level of the operator BP1-4 (Breakpoint 1-4): Note (C-2.G-8) and Offset (-127.#127) of each Break Point determine how the output level of each operator will
VOICE EDIT MODE vary across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter the new note setting. Output Level: This sets the output level of each operator. The output level of a carrier operator will affect the volume, and the output level of a modulator operator will affect the tone. Remember that the input levels of each operator input In1 and In2 can also be adjusted as explained in 1. ( F 3 ) Algorithm (Input level) (JUMP #233). Even if the output level of an operator is raised, it will have no effect on another operator to which it is connected if the corresponding input level of the operator is set at 0. Break Point: The operator output level can be made to vary depending on the note that is played. On most acoustic instruments, notes differ in volume and tone depending on the range in which they are played. For example the low notes of a piano are more tonally complex and louder than the high notes. Use the four break points to specify how the operator output level will be adjusted across the keyboard.
Offset (-127.+127) determines the output level adjustment for each of the four points specified by Note. The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points. The following diagram shows how the operator output level would be adjusted across the keyboard for the settings shown in the above LCD.
Each offset is added to the overall operator output level of 80. For example the offset at break point 1 (E1) is -4, so the resulting operator output level at E1 is 76. The resulting operator output level is limited to the range of 0. 127.
4. (F2) AFM operator output (All)

JUMP #242

Summary: Set operator output level while viewing output levels for all operators. (Output scaling cannot be set in this job.) Procedure: From: AFM Element job directory (JUMP #230) Select: job 04:Output and press (JUMP #242) F2 (All) Specify: the output level of each operator
Output Level OP1-OP6 (0.127): Set the output level of each operator. This is the same setting as explained in of the previous section 4. (F1) AFM operator output. The difference is that here you can view and set the output level for all six operators at once. However break point Levels and Offsets cannot be set here. Remarks: Refer to 4. ( F 1 ) AFM operator output for details. Note: In algorithms with two or more carriers, some Velocity Sensitivity settings may cause distortion. In this case, reduce carrier levels.

P Mod Depth (0.127): Pitch Modulation Depth determines how much the LFO will affect the pitch of the operators. For this setting to have an effect, the PModSens (pitch modulation sensitivity) of an operator must be set above 0. Refer to 5. AFM sensitivity. Wave (triangle, saw down, saw up, square, sine, sample&hold): This selects the wave (shape of modulation) produced by the Main LFO. The selected wave is graphically displayed in the LCD. When sample&hold is selected, the LFO will produce a control signal whose level will change randomly at intervals of time determined by the Speed setting. Speed (0.99): The speed of the LFO modulation. Higher settings result in faster modulation. Delay (0.99): The time delay before the LFO modulation begins. Init Phase (0.99): Initial Phase determines the point of the waveform from which the LFO will begin when a key is pressed. The LFO waveform always starts over again from this initial phase point when each note is played. An initial phase setting of 0.99 corresponds to a phase of 0.360 degrees. A Mod Depth (0.127): Amplitude Modulation Depth determines how much the LFO will affect the output level (amplitude) of the operators. For this setting to have an effect, the AModSens (amplitude modulation sensitivity) of an operator must be set above 0. Refer to 5. AFM sensitivity.
F Mod Depth (0.127): Filter Modulation Depth determines how much the LFO will affect the cutoff frequency of the filter. For this setting to have an effect, the Ctrl setting of a filter must be set to "LFO", and the LFO Cutoff Sens setting must not be 0. Refer to 8. ( F 1 ) AFM filter (Cutoff frequency).

6. (F2) AFM LFO (Sub)

JUMP #245
Summary: The Sub LFO is completely independent of the Main LFO, but can be used only to create vibrato (pitch modulation). This will apply equally to all operators, and is not affected by pitch modulation sensitivity. Procedure: From: AFM Element job directory (JUMP #230) Select: job 06:LFO and press (JUMP #245) F2 (Sub) Specify: parameters for the sub LFO
Mode (delay, decay): When this is is set to "delay", the Sub LFO will begin after the time delay specified by Time. When this is set to "decay", the Sub LFO will begin fading out after the time specified by Time. Wave (triangle, saw down, square, sample& hold): The wave produced by the Sub LFO.
VOICE EDIT MODE Speed (0.99): The speed of the LFO modulation. Higher settings result in faster modulation. The speed of the sample&hold wave will be faster than the other waves. Time (0.99): The time length used for Sub LFO delay or decay. P Mod Depth (0.127): The depth of pitch modulation produced by the Sub LFO. Wave: The following four waveforms can be selected for the Sub LFO. Mode and Time: The mode and time settings work together to determine how the Sub LFO will begin or end. When Mode=delay the Sub LFO will begin after the time delay specified by Time. When Mode=decay the Sub LFO will affect the sound beginning immediately from when the key is pressed, but will gradually die out after the time delay specified by Time.

Extremely high settings of filter resonance will make the filter oscillate so that it produces a pitch of its own. This is a technique often used on analog synthesizers of the past. Ctrl = LFO: When Ctrl is set to LFO, the filter will be controlled both by the Main LFO and by the controller which has been assigned to Filter Cutoff Depth. (Refer to Voice common data 12. (F4) Controller.) Key velocity will shift the cutoff frequency.
Note: When Ctrl=EG or Ctrl=EG-VA, the effect of the controller on the cutoff frequency will be fixed when the note is played. Moving the controller after playing the note will have no effect.
APM ELEMENT DATA / AFM FILTER

8.2 Cutoff scaling

Summary: The cutoff frequency of each filter can be adjusted across the keyboard. Procedure: From: APM element job (JUMP #248) directory 8. AFM filter Select: 02:Cutoff Scaling filter 1 press Fl (Fitl) (JUMP #250) filter 2 press F2 (Filt2) (JUMP #251) Specify: filter scaling parameters
VOICE EDIT MODE This indicates the type of the filter being edited, and its cutoff frequency. The cutoff frequency can be modified from this job, but to modify the type of filter you must use job 8.1 Filter cutoff. BP1-4 (Break Point): Note (C-2.G-8) and Offset (-127.+127) of each Break Point determine how the cutoff frequency level of the filter will vary across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter the new note setting. Break Point: The filter cutoff frequency can be made to vary depending on the note that is played. On most acoustic instruments, notes differ in tone depending on the range in which they are played. Use the four break points to specify how the filter cutoff frequency will be adjusted across the keyboard. Offset (-127.+127) determines how the cutoff frequency will be adjusted at each of the four points specified by Note (C-2.G-8). The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points. The following diagram shows how the filter cutoff frequency would be adjusted across the keyboard.
The offset at each break point is added to the cutoff frequency of 80. For example the offset at break point 1 (El) is -4, so the resulting cutoff frequency at E1 is 76. The resulting cutoff frequency is limited to the range of 0.127.

8.3 Cutoff EG

Summary: The cutoff frequency of each filter can be moved over time by its own EG to make the tone change. Procedure: From: AFM element job directory (JUMP #248) 8. AFM filter Select: 03:CutoffEG filter 1 rates press (JUMP #252) Fl (Fitl), F3 (Rate) filter 1 levels press (JUMP #253) Fl (Pitl), F4 (Lvl) filter 2 rates press (JUMP #254) F2 (Flt2), F3 (Rate) filter 2 levels press (JUMP #255)

After reaching L3 the level will decrease at the rate R4, but when you release the note the level will begin decreasing at me rate RR.
If R4=0 and you continue holding a note, after the level reaches L3 it will stay at L3 as long as you hold the note. When you release the note, the level will decrease at the rate of RR to a level of 0.

3. AWM output

Summary: The Element Level of an AWM element can be adjusted across the keyboard. Procedure; From: AWM Element job (JUMP #256) directory Select: job 03:0utput. (JUMP #259) Specify: the output level scaling
VOICE EDIT MODE Break Point 1-4 (BP1-4): Note (C-2.G8) and Offset (-127.+127) of each break point determine how the level specified in Voice common data, 1. AWM element level (JUMP #202) will be adjusted across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter it as the new note setting. The keyboard level scaling is graphically displayed. Break Point: The AWM Element Level can be adjusted according to the note that is played. On most acoustic instruments, notes differ in volume and tone depending on the range in which they are played. For example the low notes of a piano are louder than the high notes. Use the four break points to specify how the AWM element level will be adjusted across the keyboard. Offset (-127.+127) determines the output level adjustment for each of the four points specified by Note (C-2.G8). The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points. The following diagram shows how the AWM element level would be adjusted across the keyboard for the settings shown in the above LCD.
Each offset is added to the element level (80 in this example). For example the offset at break point 1 (El) is -4, so the resulting element level at El is 76. The resulting element level is limited to the range of 0. 127.

4. AWM sensitivity

Summary: These settings determine how the AWM element will be affected by key-on velocity and by the LFO. Procedure: From: AWM Element job (JUMP #256) directory Select: job 04:Sensitv (JUMP #260) Specify: sensitivity to velocity and modulation
Velocity Sensitivity (-7.+7): This determines how the output level of the AWM element will be affected by key-on velocity. For positive settings (+1.+7) the output level will increase as you play more strongly. For negative settings (-1.-7) the output level will decrease as you play more strongly. For negative settings to have an effect the element level must be lowered.

5. Voice static pan

Summary: Specify the stereo position for the voice played by each channel of the multi. Procedure: From: multi job directory (JUMP #400) Select: job 05:St-Pan Specify: the static pan position for each channel for channels 1-8 press (JUMP #408) Fl (1-8) for channels 9-16 press (JUMP #409) F2 (9-16)
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
MULTI EDIT MODE Voice Static Pan (VC or -31.+31 = left.right): Set the static pan position for each voice played by the sixteen channels of the multi. The static pan setting for each voice is displayed as a horizontal bar graph. It is also possible to select "VC", when the voice will use its own pan data. If "VC" is not selected, the pan data of the voice will be ignored and the static pan setting you specify here will be used. If "VC" is not selected for a drum voice, all the drum sounds will be panned to the same pan position -31.+31 you specify here. Holding SHIFT and pressing F1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether F1 or F2 has been pressed.
6. Voice output group select
Summary: Each voice can be sent from either or both output groups, to determine how the voice will be processed through the effect units. Procedure: From: multi job directory (JUMP #400) Select: job 06:OutSel Specify: the output group for each channel for channels 1-8 press (JUMP #410) Fl (1-8) for channels 9-16 press (JUMP #411) F2 (9-16) Multi edit settings cannot determine the output group for a multi channel that plays a drum voice, and the cursor cannot be moved to these voices. The display will show "Output = drum", and the drum voice data will determine which output group is used by each drum sound. Refer to Drum set data, 2. Wave data set (JUMP #274). Holding SHIFT and pressing P1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether Fl or F2 has been pressed. Output: The selected Output Group(s) will determine how the voice is processed by the effect units as you specify in 7. Effect set. If the output group is "Off" the voice will not be processed through the effect units. The unprocessed sound of the voice will be heard if the Stereo Mix of the effect unit is turned on.

Channel 1

Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located. Output (off, grp1, grp2, both): Each voice played by a multi is independently panned according to the setting of 5. Voice static pan, and this stereo output of each voice is sent to the DSP effects unit via Output Group 1 or 2. The output group setting of the voice itself will be ignored unless this is set "off".

Before Measure Pattern 3 Pattern 5
After Measure Pattern 3 Pattern 5

2. Get pattern

JUMP #702
Summary: Copy data from specified measures of a track 1-15 into a pattern. Procedure: From: the pattern edit job (JUMP #700) directory Select: 02:Get Pattern. (JUMP #702) Specify: the source track and the measures from which to copy the data, and specify the destination pattern into which to copy the data. To execute: the operation press ENTER. To quit: without executing press EXIT.
maximum length of a pattern is 32 measures, the last measure can be no more than 32 measures after than the top measure. Also, it is not possible to select measures which contain differing time signatures. Destination (Pattern 01.99): Specify the pattern into which the data will be copied. The previous data in the destination pattern will be lost. Example: For settings of "Source = track 2 measures 2-3, Destination = pattern 5", the result would be as follows.
Before Measure Track 2 Pattern 5
Source (Track 01.15, Top Measure 001.???, Last Measure 001.???): Specify the track and measures from which to copy the data. Since the
Measure Track 2 Pattern 5

3. Put pattern

JUMP #703
Summary: Copy data from a pattern into specified measures of a track. Procedure: From: the pattern edit job (JUMP #700) directory Select: 03:Put Pattern. (JUMP #703) Specify: the source pattern, and specify the destination track and measure at which to copy the data from the pattern. To execute: the operation press ENTER. To quit: without executing press EXIT.
Source (Pattern 01.99): Specify the pattern from which the data will be copied. Destination (Track 01.15, Top Measure 001.???): Specify the track and measures to which the data will be copied. Put (1.99): Specify the number of times that the data will be copied from the pattern. Example: For settings of "Source = pattern 5, Destination = track 2, measure 4, Put Time = 2" the result would be as follows.
Before Measure Track 2 Pattern 5 After

4. Put chain pattern

JUMP #704
Summary: Copy the data of all patterns used by track 16 (the pattern track) into a specified track 1-15. Procedure: From: the pattern edit job (JUMP #700) directory Select: 04:Put Chain Pattern (JUMP #704) Specify: the destination track To execute: the operation press ENTER. To quit: without executing press EXIT.

KB-BRSE

K E Y B OA R D S - B R S E G E B R AU C H T P R E I S E A K T U E L L S TA N D : 2. AU L II L A n g a b e n n h n e e e w wh r r 9 J PR Angabe o ohn G Ge h
Unverbindliche Preisempfehlung in DM Unverbindliche Preisempfehlung in DM Gebrauchtmarktpreis Gebrauchtmarktpreis in
Preview/Test in Ausgabe Synthesizer von Gestern/Love the Machines Keyboards-Galerie

360 Systems

Midibass 06/97; 07/99 01/03 02/03 01/03 02/00
1040 ST mit Monitor Falcon 030 Mega ST 2/200 +++++ 01/98 02/03 04/99 09/96 06/97 01/03 11/97; 05/98 05/98 SvG 11/92; Gal 12/01 07/97 02/03 04/96 07/99 09/96

Access

Virus A Virus B Virus C Virus Indigo Virus Kb Virus Rack

Audio-Technica

AT 4047

Banana

614 CD 3000 /i CD 3000 XL DPS 12 DPS 16 DR 16 DR 4d DR 4vr DR 8 EB-16 MFC 42 MPC 2000 MPC 2000 XL MPC 3000 MPC 4000 MPC 60 /II MX 1000 MX 73 MX 76 Remix 16 S 01 S 1000 S 1000 PB S 1100 S 20 S 2000 S 2800 /i S 3000 /i S 3000 XL S 3200 S 5000 S 6000 S 612 S 700 S 900 S 950 SG 01p SG 01r VX 600 VX 90 X 7000 XR 10 Z4 Z8 +++++ ++ +++ 10/93 01/97 03/98 11/00 09/93 07/96 03/95 02/97; 04/97 11/99 10/94 04/92; LtM 07/02 03/92 11/86 08/89 04/97 03/93 11/88; Gal 04/02 01/91 12/97 11/95 03/93 05/93 01/96 01/96 02/99 07/99 06/85 06/86 01/92

Behringer

Cybermix DDX 3216 DSP 8000 Ultracurve Modulizer Pro DSP 1200P MX 1602 / A MX 1602 A MX 1604 A MX 1804X MX 2004 / A MX 2004 A MX 2442 / A MX 2642 MX 2642 / A MX 2642 A MX 2802 MX 3282 /A MX 602 A MX-8000 Eurodesk MX-9000 Eurodesk Virtualizer DSP 1000

++++ +++ ++ + ++ -

BR-1180 CD BX-16 DR-110 DR-202 DR-5 DR-550 /MK-II DR-660 DR-770 DS-330 SE-50 SE-70 SP-202 SX-700 VF-1 VT-1 02/03 12/98 +++ + ++++

+++++

Braintec

Transistorbass 3

01/90 AP22-S AZ-1 CTK 631 CTK-571 CTK-671 CZ-1 CZ-1000 CZ-101 CZ-3000 CZ-5000 FZ-1 FZ-10M LK-40 LK-50 LK-65 LK-80 MZ-2000 RZ-1 VZ-1 VZ-10M WK-1600 09/86
C 1000 S / MkII C 2000 B C 3000 C 3000 /B C 4000 /B C 414 B-ULS C 900 Solitube 07/00 06/99 02/03

++ ++++

Alesis GmbH
ADAT ADAT LX-20 ADAT XT20 Andromeda D-4 HR 16 Masterlink MidiVerb II MidiVerb IV NanoVerb QS 6 QS 7 QS R QuadraSynth S4 /Plus QuadraSynth S5 /Plus Piano QuadraVerb /+ QuadraVerb Q2 SR 16 Studio 12R Wedge 09/92 01/99 04/98 01/01; 07/01 12/92 03/88; LtM 09/00 12/00 07/87 03/95 09/96 02/96 03/97 09/97 05/94 05/94 11/89 10/94 12/97 02/99 SvG 07/98 SvG 12/87; Gal 09/01 SvG 02/92; Gal 04/02 07/90 04/99

Charlie Lab

Digitar

Clavia

Micro Modular Nord Electro V2.0 Nord Lead Nord Lead II Nord Lead III Nord Modular Nord Modular Rack Nord Rack Nord Rack II

Antares

Auto Tune ATR-1

Finale Allegro (d)

KEYBOARDS 09/03
2600 Axxe Odyssey Omni Pro /DGX Pro Soloist

Control Synthesis

Deep Bass 9

Creamware

A 16 A 16 Ultra ELEKTRA Luna 2496 I/Obox Luna II PCI Card PowerPulsar `Classic20` PowerSampler Pulsar Pulsar II Pulsar SRB
MultiVerb ProVerb /200 Quadra/FX SGE
Angebote Preview/Test in Ausgabe Synthesizer von Gestern/Love the Preview/ Machines Test in Ausgabe Keyboards-Galerie
09/96 09/96 09/96 05/95 03/98 12/92 12/97 12/99 07/96 03/95 07/86; SvG 09/97 SvG 09/97; Gal 02/02 09/86; SvG 09/97 SvG 09/97 10/85; SvG 09/97 04/87 03/86; LtM 08/99 04/88; SvG 09/96 05/89; SvG 09/96 08/98; 02/99 11/00 08/99
Unverbindliche Preisempfehlung in

Gebrauchtmarktpreis in

niedrigstes Angebot

hchstes Angebot

Modell

Modell Modell

K E Y B OA R D S - B R S E
G E B R AU C H T P R E I S E A K T U E L L

SvG 04/94; Gal 05/01 03/87 03/87 01/03 12/88 12/88 12/88 02/98; 06/98 02/98; 06/98 06/98 09/86 11/98; 01/99 08/85 12/96 11/98 09/92 01/03

TerraTec

DMX 6-Fire 24/96 EWS 64 XL EWS 64 XXL EWS 88 D EWS 88 MT EWX 2496 02/03 02/98 07/98; 02/98 10/99

TL Audio

5050 Ivory

Vermona

Perfourmer

Waldorf

4-Pole Attack VST Micro Q Micro-Q Lite MicroWave MicroWave II MicroWave PC MicroWave XT MicroWave XT (30) Microwave XTk-30 Pulse Pulse Plus Q Q (32) Q+ Q-Rack Q-Rack (32) Wave

+++++ -

CPF 1 Pegasus Pegasus Expander +++ 11/92 08/93

Will Systems

MAB 303 + + 05/96 09/98 03/96 01/98 01/03 07/97; 09/97 05/00 06/97; 08/97 02/03 01/03 12/95 11/93 05/96
01 V 02 R 03 D 9000 Pro A 3000 A 4000 A 5000 AN 1x AN-200 AW 2816 /HD AW 4416 AW16G CBX D3 CBX D5 CBX K1 XG CD8AD CD8AES CD8AT CD8CS CLP-860 CLP-910 CLP-920 CLP-950 CLP-970 CP 70B /M CP 80 CS 01 /II CS 15

+++++ ++++ ++ +++++ +

KEYBOARDS 06/03
06/90 06/92 10/89 12/84 11/87 04/89 03/98; 12/98 Gal 11/00 12/85 04/88 07/85 01/88 02/94 01/98 08/99 03/95 01/93 12/95 08/86 09/94 04/94 11/89 04/93 11/94 10/96 05/87 10/91 01/96; 02/96 01/98 09/00 10/95 05/85 09/86 03/88
QX 5 /FD QX 7 QY 10 QY 20 QY 300 QY 70 QY 700 R 100 R 1000 REV 100 REV 5 REV 500 REV 7 REX 50 RM 1x RM 50 RS7000 RX 11 RX 120 RX 15 RX 17 RX 21 /L RX 5 RX 7 RX 8 RY 10 RY 20 RY 30 S 03 S-30 S-80 SK 30 SPX 1000 SPX 50D SPX 90 /II SPX 900 SPX 990 SREV SU 10 SU 200 SU 700 SY 22 SY 35 SY 55 SY 77 SY 85 SY 99 TF 1 TG 100 TG 300 TG 33 TG 500 TG 55 TG 77 TQ 5 TX 16W TX 1P TX 7 TX 802 TX 816 TX 81Z V 50 VL 1 VL 70-m W5 W7 WX 5 YPP-15 YPP-35 YS 100 YS 200
+++++ ++ 03/87 07/85 04/91 12/92 04/98 12/96 01/89 09/95 09/85 03/99 09/92 01/03 02/85 08/88 01/86 07/87; LtM 08/01 11/88 06/89 06/92 12/94 05/91; LtM 10/00 01/03 03/00

++ 0 0

MRT-3 RFX-1000 RFX-2000 RFX-300 RhythmTrak.234 SampleTrak ST-224 Studio 1204 03/91 04/93 10/00 05/98 03/99 11/96
04/86 06/93 05/96 08/00 05/99 05/90 08/92 05/90 02/90 10/92 08/91 05/92 07/94 01/91 12/92 04/90 10/90 03/88 05/88 07/85 09/87 03/85 05/87 05/89 08/96; 12/96 12/94 01/89