Percussion

The percussion adds a percussive sound to the attack segment of the organ sound. On/Off Use this parameter to turn percussion on or off. Foot Use this parameter to select a percussion register. 4 22/3 Percussion added to the 4 foot. Percussion added to the 22/3 foot.
Mode (Percussion Mode) This parameters lets you decide if the percussion sound has to be triggered on the rst note of a group of held notes, or to all notes. All 1st The percussive attack is played on all notes of a chord. The percussive attack is played only on the rst note of a chord or a group of held notes. Release all notes to trigger the percussion again.
Volume (Percussion Volume) Level of the percussive sound. 099 Level.
Length (Percussion Length) Decay speed of the percussive sound. To change the settings, touch a foot and use TEMPO/VALUE controls to change its value. Each foot refers to the pipe length in a pipe organ, in which the sound is produced by pipes of different length. Longer pipes mean a lower sound; therefore, the 16 drawbar produces the lowest pitched sound, while the 1 drawbar produces the highest pitched sound. 099 Decay time.

Atk Noise (Attack Noise)

On/Off Turns the noise component of the percussive attack on of off. Volume Level of the attack noise (from 0 to 7).

Wave (Drawbar Wave)

Waveshape of the drawbars. Mellow Hard A mellow-sounding synthetic wave. A harder-sounding synthetic wave.

Edit menu

From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections. When in the menu, select an edit section, or press EXIT or SOUND to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item. When in an edit page, press EXIT or the SOUND button to return to the main page of the Sound operating mode. When an ordinary Sound is selected:

Edit page structure

All edit pages share some basic elements.
Operating mode Edit section Page menu icon Selected oscillator

AMS (Alternate Modulation Source) This parameter selects the source that will modulate the pitch of the selected oscillator. See AMS (Alternate Modulation Source) list on page 29. Intensity This parameter species the depth and direction of the effect produced by AMS. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave. For example, if you set AMS to After Touch and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative () value. The range is a maximum of one octave. -12.00+12.00 Parameter value.
Pitch Slope Normally you will leave this parameter at +1.0. Positive (+) values will cause the pitch to rise as you play higher notes, and negative () values will cause the pitch to fall as you play higher notes. With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play. The diagram shows how the Pitch Slope and pitch are related:

Pitch +2 +1 2oct

Pitch EG
The Pitch EG (Envelope Generator) is unique to all oscillators.

Velocity Intensity

This parameter species the depth and direction of the modulation that the pitch EG specied on Pitch: Pitch EG will apply to the pitch. With a setting of 12.00, the pitch will change a maximum of 1 octave. -12.00+12.00 Parameter value. Pitch EG AMS (Alternate Modulation Source)

1oct 1oct

This parameter selects the source that will modulate the pitch EG of the selected oscillator. See AMS (Alternate Modulation Source) list on page 29). Pitch EG Intensity

1 C4 C5

-1.0+2.0 JS (+X)

Pitch slope value.

This parameter species how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change. For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch. -60+12 JS (X) This parameter species how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change. For example, if you set this to -60 and move the joystick all the way to the left, the pitch will fall ve octaves below the original Maximum pitch change in semitones.

At (Attack Time Swing) This parameter species the direction in which AMS1/2 will affect the attack time. With positive (+) values of Intensity, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to will allow AMS to shorten the time. With a setting of 0 there will be no change. Dc (Decay Time Swing) This parameter species the direction in which AMS1/2 will affect the decay time. With positive (+) values of Intensity, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to will allow AMS to shorten the time. With a setting of 0 there will be no change. Sl (Slope Time Swing) This parameter species the direction in which AMS1/2 will affect the slope time. With positive (+) values of Intensity, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to will allow AMS to shorten the time. With a setting of 0 there will be no change. Rl (Release Time Swing) This parameter species the direction in which AMS1/2 will affect the release time. With positive (+) values of Intensity, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to will allow AMS to shorten the time. With a setting of 0 there will be no change.

Amp: Amp Level/Pan

These parameters control the volume and pan of the selected oscillator.

Amp: Amp Mod

These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume.
Amp Level Volume of the selected oscillator. Note: The volume of a Sound can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel is used for control. 0127 Pan Pan (stereo position) of the selected oscillator. Volume level.
These parameters let you use keyboard tracking to adjust the volume of the selected oscillator. Use the Key and Ramp parameters to specify how the volume will be affected by the keyboard location that you play. Key Low/High These settings specify the note number at which keyboard tracking will begin to apply. The volume will not change between Key Low and Key High. Keyboard tracking will apply to the range below the specied Low note number, and above the specied Highy note number. C1G9 Lowest/Highest note in the range.

Square wave Sine wave Guitar vibrato
Frequency Set the LFO frequency. A setting of 99 is the fastest. 0099 Offset This parameter species the central value of the LFO waveform. For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When Waveform is set to Guitar, the modulation will occur only in the positive (+) direction even if you set Offset to 0. Here are offset settings and pitch change produced by vibrato:
Pitch offset = 99 offset = 0 offset = +99

Frequency rate.

Pitch at note-on

Offset value.

LFO: LFO2
Key Sync This parameter species if the LFO is synchronized to key strokes. On Off The LFO will start each time you play a note, and an independent LFO will operate for each note. The LFO effect that was started by the rst-played note will continue to be applied to each newlyplayed note. (In this case, Delay and Fade will be applied only to the LFO when it is rst started).
AMS2 (Alternate Modulation Source2) Intensity (AMS2 Intensity) Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 (see above AMS1 (Alternate Modulation Source1) and Intensity (AMS1 Intensity)).
Frequency MIDI/Tempo Sync
MIDI/Tempo Sync This parameter enables/disables the LFO synchronization with Sequencer 1 Tempo. On The LFO frequency will synchronize to the tempo (MIDI Clock) of Sequencer 1. In this case, the values you specied for Frequency (see page 24) and Frequency Modulation (see page 25) will be ignored.
Fade This parameter species the time from when the LFO begins to apply until it reaches the maximum amplitude. When Key Sync. is Off, the fade will apply only when the LFO is rst started. Here is how Fade affects the LFO (when Key Sync is On):

Note-on Fade Note-off

Base Note When MIDI/Tempo Sync is On, these parameters set a note length relative to (Tempo) and the multiple (Times) that will be applied to it. These parameters will determine the frequency of the LFO1. For example if Base Note is (quarter note) and Times is 04, the LFO will perform one cycle every four beats. Even if you change the (Tempo) setting of Sequencer 1, the LFO will always perform one cycle every four beats.

Sample2

Sample3

Sample4

Sample5

A multisample, a program and MIDI Groove data will be created automatically
Saving. After the slicing, you can select the Write command from the page menu, to save the Sound based on sliced samples, and the MIDI Groove containing the corresponding MIDI sequence. The Sound will be saved to the selected location in the User area of the internal memory. You will be able to select it as an ordinary Sound, and assign it to the Drum or Percussion track of a Style. The Multisample will be automatically saved to the next free available location. Samples will be permanently saved to the PCM folder on the internal SSD memory. They can be automatically loaded when turning the instrument on, by checking the PCM Autoload option in Media mode (see page 258 in the Users Manual). The MIDI Groove will be temporarily saved to the SSD memory, and will be available only when using the Import function of the Style Record mode (see Import: Import Groove on page 134 of the Users Manual). Warning: All MIDI Grooves will be delete each time the Pa800 is turned off.

Play in Style Play mode

Generated MIDI Groove
Note: Sliced samples and MIDI data are saved with a Write operation.
Ex.2 - Varying the grooves tempo

150BPM

Played closer together, but pitch is unchanged
Played further apart, but pitch is unchanged
Note: To vary the grooves tempo, you must rst import the generated MIDI data into the Percussion track (Import function of the Style Record mode), and assign the new generated Sound to the Percussion track. Gaps between sliced samples, when slowing down the tempo, can be automatically lled by the Extend function, smoothing each samples tail.
Ex.3 - Recombining MIDI notes and samples

Metronome Information

Meter Use this parameter to specify the Meter of the original sample. Measures

Edit the MIDI data

Use this parameter to specify the number of measures of the original sample. Usually, you will load a groove 1 or 2-measures long. BPM This parameter species the tempo (in Beats Per Minute) of the original sample. Pa800 automatically calculates this value based on the Start, End (see page 34), Meter and Measures parameters. The BPM can be only adjusted to values lower than the one automatically calculated. This can be useful, for example, when the actual sample is shorter than the entered Meter and Measures values.

Meas.1 Meas.2

Note: To recombine notes inside the generated MIDI sequence, you must rst import the MIDI data in Style Record mode, by using the Import function. Then, use the Event Edit to change the note order.

Sample diagram

This diagram shows the sample waveform and the slices. Here is how the sample diagram appears before the Slice:

021: Bass Amp Model

This simulates a bass amp.
022: Bass Amp+Cabinet (Bass Amp Model+Cabinet)
This simulates a bass amp and speaker cabinet.

Bass Amp Model

Bass Amp Model1
Selects the amplier type LA STUDIO JAZZ An amp that is typical of the LA sound. A combo amp favored by jazz bassists. a

Amp Type

An amp distinctive for its eyeGOLD PANEL catching gold panel and clean sound. SCOOPED VALVE2 VALVE CLASSIC An amp typical of 80s sounds. A tube amp suitable for rock. A tube amp with the ULTRA LO switch turned ON. A tube amp whose basic character changes according to the setting of the value dial. Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the mid-frequency range Sets the treble (high range) level Sets the presence (highfrequency tone) Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source e f c d
LA STUDIO, JAZZ , GOLD PANEL, Selects the type of the amplier SCOOPED, VALVE2, VALVE, CLASSIC 0.100 Off.Tempo 100.+100 0.100 0.100 0.4 0.100 0.100 Off, On Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the mid-frequency range Sets the treble (high range) level Sets the presence (highfrequency tone) Switches the cabinet simulator on/off
Volume b Src Amt Bass Middle Mid Range Treble Presence
Volume b Src Amt c d e f Bass Middle Mid Range Treble Presence FX Amount g Src Amt
0.100 Off.Tempo 100.+100 0.100 0.100 0.4 0.100 0.100 0.100 Off.Tempo 100.+100

g Cabinet Simulater

LA - 4x10, MODERN 4x10, METAL 4x10, CLASSIC 8x10, UK - 4x12, h Cabinet Type STUDIO Selects the cabinet type 1x15, JAZZ - 1x15, VOX AC100 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 FX Amount i Src Amt 0.100 Off.Tempo 100.+100 Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source
a: Amp Type h: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets:
Amp Type LA STUDIO JAZZ GOLD PANEL SCOOPED VALVE2 VALVE CLASSIC Cabinet Type LA - 4x10, LA - 1x18 JAZZ - 1x15 MODERN - 4x10 METAL - 4x10 CLASSIC - 8x10 CLASSIC - 8x10 COMBI - 1x12 & 1x18

g: High Damp [%]

This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics.
034: St. Env. Flanger (Stereo Envelope Flanger)
This Flanger uses an envelope generator for modulation. You will obtain the same pattern of anging each time you play. You can also control the Flanger directly using the modulation source.

035: Stereo Phaser

This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

Phaser

Resonance High Damp

Flanger Phaser

Feedback Right High Damp
D-mod EG Attack/Decay EG Sweep Mode
a L Dly Bottom 0.0.50.0 [msec] L Dly Top [msec] 0.0.50.0 Sets the lower limit of the leftchannel delay time Sets the upper limit of the leftchannel delay time Sets the lower limit of the rightchannel delay time Sets the upper limit of the rightchannel delay time Determines whether the anger is controlled by the envelope generator or by the modulation source Selects the modulation source that triggers the EG (when Sweep Mode = EG), or the modulation source that causes the anger to sweep (when Sweep Mode = Dmod) Sets the EG attack speed Sets the EG decay speed Sets the feedback amount Sets the feedback damping amount in the high range Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source f e c

LFO Waveform LFO Shape

Triangle, Sine Selects the LFO Waveform 100.+100 180.+180 0.02.20.00 Off.Tempo 20.00. +20.00 Off, On MIDI, 40.00. 300.00. x1.x32 0.100 Off.Tempo 100.+100 0.100 Off.Tempo 100.+100 100.+100 0.100 -100.0.100 Off.Tempo 100.+100 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the frequency to which the effect is applied Selects the modulation source for the LFO modulation Sets the modulation amount of the LFO modulation Sets the depth of LFO modulation Selects the modulation source for the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the resonance amount Sets the resonance damping amount in the high range Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source

LFO d Frequency Mod LFO Frequency [Hz] e Src Amt MIDI Sync

Gate1 Signal

Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Frequency[Hz]=1.0 Amount=+3.0 Note On All Note Off LFO Frequency =1.0+3.0=4.0Hz LFO Frequency =1.0Hz
Fade-In Rate Fade-In Dealy
BPM Base Note Times Depth
039: St. Auto Fade Mod. (Stereo Auto Fade Modulatiom)
This stereo chorus/anger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.

040: 2Voice Resonator

This effect resonates the input signal at a specied pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left High Damp Trim

Resonator

Resonance
Right LFO Phase LFO: Tri / Sine
Invert: On/Off Pitch, Fine [cents] Control Mode

Manual

LFO Shape LFO Frequency FX Amt
Control Mode a LFO/D-mod Invert LFO Frequency [Hz] D-mod Src
Manual, LFO, Switches the controls of D-mod resonance intensity Off, On Reverses the Voice 1 and 2 control when LFO/D-mod is selected Sets the speed of the LFO Selects the modulation source that controls resonance intensity When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the amount of resonance intensity control via LFO/D-mod Sets the input level at the resonator Sets the voice1 Pitch for resonance Fine-adjusts the voice 1 pitch for resonance Sets the Voice1 output level Sets the intensity of resonance when Control Mode = Manual Sets the damping amount of resonant sound in the high range Sets the Voice1 stereo image Sets the voice 2 Pitch for resonance Fine-adjusts the voice 2 pitch for resonance Sets the Voice2 output level Sets the intensity of resonance when Control Mode = Manual Sets the damping amount of resonant sound in the high range Sets the Voice2 stereo image Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source

AUTOFADE Src a

Selects the modulation source that starts AutoFade Sets the fade-in delay time Sets the rate of fade-in Switches between D-mod and AUTOFADE for the LFO frequency modulation Switches between D-mod and AUTOFADE for the effect balance modulation b
Fade-In Delay 00.2000 [msec] Rate LFO Frequency Mod 1.100 D-mod, AUTOFADE
b Wet/Dry Mod D-mod, AUTOFADE LFO Waveform LFO Shape d LFO Phase [degree] LFO Frequency [Hz] e Src Amt L Delay Time [msec]

MIDI Sync

Off, On MIDI, 40.00. 300.00. x1.x32 100.+100 0.100 C0.B8 50.+50 0.100 100.+100 0.100 L6.L1, C, R1.R6 C0.B8 50.+50 0.100 100.+100 0.100 L6.L1, C, R1.R6 0.100 Off.Tempo 100.+100

0.100 Off.Tempo

Sets the duration of the grain Selects the source that will modulate the duration of the grain Sets the amount by which the grain duration will be modulated Selects the modulation source that will reset the LFO Sets the frequency at which the grain will be switched Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source e d c a LFO Waveform LFO Shape b LFO Phase [degree] LFO Frequency [Hz] Src Amt MIDI Sync
Triangle, Sine, Vintage, Up, Down 100.+100 180.+180 0.02.20.00 Off.Tempo 20.00. +20.00 Off, On MIDI, 40.00. 300.00. x1.x32 0.100 Off.Tempo 100.+100 0.100 Off.Tempo 100.+100
Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source
100.+100 Off.Tempo 0.02.20.00 Off.Tempo 20.00. +20.00 Off, On MIDI, 40.00. 300.00. x1.x32 0.100 Off.Tempo 100.+100
BPM Base Note Times Depth Src Amt FX Amount
a: Duration c: LFO Sample Cycle [Hz]
Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously.
Sample Cycle / Duration Sample Cycle Duration

a: LFO Waveform

This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar-amp tremolo.

Tremolo - LFO Waveform

Triangle

Vintage

b: LFO Phase [degree]
This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right.
045: St. Env. Tremolo (Stereo Envelope Tremolo)
This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that becomes deeper and faster as the input gets more quiet.

046: Stereo Auto Pan

The effect is off when a value of the modulation source specied in the Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher. The LFO is triggered and reset to the L LFO Phase and R LFO Phase settings when the value changes from 63 or smaller to 64 or higher.
The Offset parameter species the value for the Control Target parameter (that is set to None), expressed as the ratio relative to the parameter value (the FX Amount value with Control Target=Output level, or the Feedback value with Control Target=Feedback). When Polarity is positive, the Control Target value is obtained by multiplying the parameter value by the Offset value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold. When Polarity is negative, Control Target value equals the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by the Offset value if the level exceeds the threshold. The Attack and Release parameters specify attack time and release time of delay level control.

Level Dynamic Delay

059: St. Dynamic Delay (Stereo Dynamic Delay)
This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.
Dry Threshold Release Attack
Right FB Out Attack, Release Threshold Control Target
Wet Target=Output Level Polarity= ()

(Ducking Delay)

Delay Time

Control Target Polarity

None, Out, FB +, 0.100 0.100 1.100 1.100 0.0.1360.0
Selects from no control, output, and feedback Reverses level control Sets the level to which the effect is applied Sets the offset of level control Sets the attack time of level control Sets the release time of level control Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source
Wet Target=Output Level Polarity= (+) Time

Threshold Offset Attack

d Release e f L Delay Time [msec]
R Delay Time 0.0.1360.0 [msec] 100.+100 0.100 0.100 100.+100 0.100 Off.Tempo 100.+100 High Damp [%] Low Damp [%] Spread FX Amount

0.02.20.00 0.100 Off, On

[D]Tap1 0.0.1360.0 Sets the Tap1 delay time Time [msec] Tap1 Level 0.100 Sets the Tap1 output level
[D]Tap2 Time [msec] 0.0.1360.0 Sets the Tap2 delay time Feedback (Tap2) 100.+100 Sets the Tap2 feedback amount 0.100 Sets the damping amount in the high range Sets the multitap delay effect balance Selects the Wet/Dry modulation source for the multitap delay
Dry, 1 : 99.99 : 1, Sets the wah effect balance Wet Off.Tempo 100.+100 Selects the Wet/Dry modulation source for the wah Sets the Wet/Dry modulation amount for the wah

h [D]High Damp [%]

[D]Mt.Dela 0.100 y Wet/Dry i Src Off.Temp o
Comp Wah, Wah Switches the order of the compressor and wah Comp 0.100 Off.Tempo 100.+100 Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source
Sets the Wet/Dry 100.+100 modulation amount for the multitap delay Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47
FX Amount 0.100 j Src Amt Off.Temp o
100.+100 Amount of modulation source
083: Comp - Amp Sim (Compressor - Amp Simulation)
This effect combines a mono compressor and an amp simulation. You can change the order of the effects.
084: Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain)
This effect combines a mono compressor and an overdrive/highgain distortion. You can change the order of the effects.

Amp Simulation

Overdrive / Hi-Gain

3 Band PEQ

Amp Simulation Filter
Output Level FX Amt Mode: Overdrive / Hi-Gain Drive

Right Envelope - Control

COMPRESSOR a b c d [C] Sensitivity [C]Attack [C]EQ Trim [C]Pre LEQ Gain [dB] 1.100 1.100 0.100 15.+15 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ
COMPRESSOR a b [C] Sensitivity [C]Attack 1.100 1.100 Sets the sensitivity Sets the attack level Sets the compressor output level Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2

The effect is off when a value for the modulation source specied for the Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

c: Tone d: Mid Shape

These parameters control the tonal quality of the effect sound.

e: Tune

Since this effect simulates the resonance of the strings, the sound varies depending on the pitch. If you have changed tuning using the Master Tuning (Global > General Controls > Basic), adjust this parameter value.
111: OD/HyperGain Wah (Overdrive/Hyper Gain Wah)
This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect.
112: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ)
This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a fourband equalizer. By using this in conjunction with 019: St. Guitar Cabinet (Stereo Guitar Cabinet) on page 61, you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.
Mode: Overdrive / Hyper-Gain Drive 3 Band EQ Amp Simulation Driver Output Level Direct Mix
Wah Src a Sw Wah Sweep Range b Wah Sweep Src Drive Mode Drive d Pre Low-cut
Off, On Off.Tempo Toggle, Moment 10.+10 Off.Tempo Overdrive, Hyper-Gain 1.120 0.10
Switches Wah on/off Selects the modulation source that switches the Wah on and off Selects the switching mode for the modulation source that switches the Wah on and off Sets the range of Wah Selects the modulation source that controls the Wah Switches between overdrive and hi-gain distortion Sets the degree of distortion Sets the low range cut amount of the distortion input Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2 Sets the amount of the dry sound mixed to the distortion Switches the speaker simulation on/off Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source f e d Presence c b a

Pitch Shift [1/ 24.+24 2tone] b Src Amt Fine [cents] c Amt d L Delay [msec] e R Delay [msec] Feedback f High Damp [%] Feedback Position g Spread Input Level Dmod [%] Src FX Amount i Src Amt 100.+100 100.+100 Off.Tempo 0.100 Off.Tempo 100.+100 100.+100 0.2000 0.2000 100.+100 0.100 Pre, Post Off.Tempo 24.+24 100.+100
Pitch Shift [1/ 24.+24 2tone] b Src Amt Fine [cents] Off.Tempo 24.+24 100.+100
100.+100 MIDI, 40.00. 300.00
d Time Over? L ---, OVER!

R L Delay Base Note

x1.x32 Pre, Post 100.+100 100.+100 0.100 100.+100 Off.Tempo 0.100 Off.Tempo 100.+100

a: L/R Pitch

When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered.
118: Rotary SpeakerOD (Rotary Speaker Overdrive)
This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.
This parameter determines how to switch on/off the overdrive via a modulation source. When Sw = Toggle, overdrive is turned on/off each time the pedal or joystick is operated.
Overdrive will be switched on/off each time the value of the modulation source exceeds 64.
When Sw = Moment, overdrive is applied only when you press the pedal or operate the joystick.
Only when the value for the modulation source is 64 or higher, the overdrive effect is applied.

Overdrive

119: L/C/R Long Delay
This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maximum of 5,460msec for the delay time.

D D-mod D-mod D-mod

On/Off Mode Switch: Rotate/Stop Speed Switch: Slow/Fast Manual Speed Control
Overdrive Src a Sw Overdrive Gain Overdrive Level Overdrive Tone Speaker Simulator
Off, On Off.Tempo Toggle, Moment 0.100 0.100 0.15 Off, On
Switches overdrive on/off Selects a modulation source to switch overdrive on/off Sets the switch mode for overdrive on/off modulation
Determines the degree of distortion Sets the overdrive output level Sets the tonal quality of the overdrive Switches the speaker simulation on/off Switches between speaker rotation and stop Selects a modulation source for Rotate/Stop Sets the switch mode for Rotate/Stop modulation Switches the speaker rotation speed between slow and fast Selects a modulation source for Slow/Fast Sets the switch mode for Slow/ Fast modulation Sets the volume balance between the high-range horn and low-range rotor Sets a modulation source for direct control of rotation speed Sets how quickly the horn rotation speed changes Adjusts the (high-frequency) horn rotation speed. Standard value is 1.00. Stop stops the rotation Sets how quickly the rotor speed changes Adjusts the (low-frequency) rotor rotation speed. Standard value is 1.0. Stop stops the rotation Distance between the microphone and rotary speaker Angle of left and right microphones Amount of FX added to the direct signal Table , Dynamic Modulation sources, on page 47 Amount of modulation source h f a

Importing/exporting Styles as SMF separated by Markers (Pa2X/Pa800)
This document explains how to import/export Styles as Standard Midi Files (SMF from now on) separated by Markers, on a Pa2X/Pa800 with Operative System version 2.0 or higher. Note: Tracks/MIDI Channels other than the above mentioned are ignored during the import procedure. For a list of MIDI events supported during the import operations, please check the Users Manual. If any, the following events are stripped off and automatically transferred to the Style Element header during the import procedure: Time signature (this event is mandatory) Control Change bundle #00-32 (Bank Select MSB/LSB) Program Change Control Change #11 (Expression)
What is an SMF separated by Markers?
In our case, an SMF separated by Markers it is a single SMF containing all the Chord Variations (Variation 1, Variation 2, etc.) each one separated by a Marker (something we know about, as they are also used in Song Play mode). Instead of having to import or export a different SMF for each Chord Variation, as we had to do before the release of OS 2.0, now we can import or export a single SMF for all the Chord Variations in a single pass. This indeed looks faster and more reliable. The relevant procedures can be found in Style Record mode: Import SMF: Select the SMF le to be loaded, then keep the SHIFT button pressed and touch the Execute button in the display to load it. While creating a new Style, we suggest to check the Initialize box. Do not check it if the SMF you are loading was previously exported from a Style to be edited; in this case, it is very important to keep all the previous settings. Export SMF: Keep the SHIFT button pressed and touch the Execute button in the display to select the le destination and export the Style as an SMF separated by Markers.
Control Change 00, Control Change 32 and Program Change messages must be placed at the very beginning of each Chord Variation (tick 0). Whenever they are not saved in the SMF, Program Change, Control Change 00, 11 and 32, can be still programmed in Style Record mode, by using the edit features available. Warning: Pa2X/Pa800 can only handle SMF format 0 (Zero). If you are in trouble importing your le, maybe your sequencer (or DAW) is exporting using a different format. Please refer to the softwares users manual. The naming structure for the Markers inside the SMF is EnCVn, whose single components are shown in the following table:
Component E n CV n Meaning Style Element (v = variation, i = intro, f = ll, e = ending) Style Element number (1~4 for variations, 1~2 for all other style elements) Chord Variation (cv = chord variation no other choices allowed) Chord Variation number [1~6 for Variations, 1~2 for all others]
Importing an SMF separated by Markers into a Style
Importing an SMF separated by Markers is very similar to importing a single SMF into single Chord Variations. This procedure is described in the Users Manual. However, in this case you can import all Chord Variations in a single pass. Style Tracks and MIDI Channels must be lined as follows, as per Korgs standard Style format denition:
Style Track Bass Drum Percussion Accompaniment 1 Accompaniment 2 Accompaniment 3 Accompaniment 4 Accompaniment 5 MIDI Channel 15 16
Warning: It is mandatory not to use capital letters in Marker names. Some examples of valid names: i1cv2 = Intro1 Chord Variation 2 v4cv3 = Variation 4 Chord Variation 3 Examples of non accepted names: V1cv2, v1CV2, intro i1cv2, v1cv1 chorus The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF.
Below you can nd a screenshot of a test le created in Steinberg Cubase, just as an example of how a SMF separated by Markers can look like. Considering analogies between actual workstations, it will not look much different in other applications like Logic, Digital Performer, Pro Tools or Sonar.
Exporting a Style as an SMF separated by Markers
Exporting an SMF separated by Markers is very similar to exporting a single Chord Variations as an SMF. This procedure is described in the Users Manual. However, in this case you can export all Chord Variations in a single pass. This operation creates, in the selected device, an SMF format 0 (Zero), containing all the MIDI data included in the selected Style, with each Chord Variation starting from a different Marker (named as per the naming convention explained in the Import section above).
Each Chord Variation will include, at the very beginning (tick 0), the following informations: Time signature Control Change bundle #00-32 (Bank Select MSB/LSB) Program Change Control Change #11 (Expression)
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