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

This is the same as the corresponding command in the File menu. It lets you select and open an existing AN200 File. (See File Menus, Open AN200 File.)

Save AN200 File

This is the same as the corresponding command in the File menu. It lets you save the current AN200 Editor settings as a parameter le for future recall. (See File Menus, Save AN200 File.)

AN200 Editor Setup

This is the same as the corresponding command in the Setup menu. It lets you make various important settings for conguring the AN200 Editor with the AN200. (See Setup Menus, AN200 Editor Setup.)
Setup 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. (See Setup Menus, AN200 Display Option.)
Transmit AN200 Bulk Dump Data
This is the same as the corresponding command in the Setup menu. It lets you transmit the current AN200 Editor settings as MIDI data to the AN200. (See Setup Menus, Transmit AN200 Bulk Dump Data.)
Receive AN200 Bulk Dump Data
This is the same as the corresponding command in the Setup menu. It lets you receive the pattern from a connected AN200. (See Setup Menus, Receive AN200 Bulk Dump Data.)
LCD Display This virtual "LCD" functions just like the display on an actual synthesizer's front panel.
Indicates the current pattern's bank/number as well as its category and name.
Full name of the currently selected parameter. Indicates the currently selected parameter's value or setting. By clicking on this third line, you can also directly change the value by typing it on the computer keyboard. (See Computer Keyboard.)
PATTERN Button Pressing the PATTERN button calls up the AN200 Pattern List dialog box, allowing you to select the desired pattern bank and pattern. It also allows you to reorganize the patterns of a selected bank, as well as initialize a pattern --- in other words, this resets all parameters to their normal values, giving you a "blank slate" pattern to work with.

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].
Computer keyboard shortcuts: Moving around the panel
Pressing the arrow keys by themselves lets you select parameters by moving around the panel in the respective direction (up, down, left, right).

Rapidly adjusting values

You can also use the arrow keys to adjust the parameter values. Select a parameter then simultaneously hold down [shift] on the computer keyboard and press or hold one of the arrow keys. The up or right keys increase the value while the down or left keys decrease it. Holding down [shift] and the appropriate arrow key rapidly increases or decreases the value. The Page Up and Page Down keys on the computer keyboard can also be used. Press Page Up to increase the value, and Page Down to decrease it. Hold down the appropriate button to rapidly increase or decrease the value.

Value charts

A few parameters (such as VCF Velocity) have pop-up "value charts," from which you can select the desired value. Simply click on the parameter's button, highlight the desired value, then click on the value.

Initialize

If you need to initialize a specic parameter to its default value, you can quickly call up a pop-up menu for this by clicking pressing control key on the appropriate parameter control in the display. For example, if you've changed the LFO 1 Speed setting and want to restore the parameter to its original value, move the cursor to the LFO 1 SPEED knob and click pressing control key.
Click on "Init" to restore the original setting or value of the parameter. "Init" will be ghosted and unavailable if no edits have been made to the selected parameter. Initialize is completely independent for each parameter.

I AN200 Parameters..

The various parameters are arranged in "blocks" according to their general functions. These correspond to the basic modules of sound generation or control in the AN200.

DETAIL Page (Control Matrix Parameters)

FREE EG

The 4-track Free EG lets you record complex control movements, in order to "hand draw" lter, resonance, LFO and many other available parameters over time---and have them play back automatically by simply playing a pattern. A variety of drawing and editing tools are available for creating unique, continuous parameter changes that would be impossible to achieve with conventional EGs. Up to four different parameters can be controlled independently, each recorded into its own Free EG track. Ideal for those times when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an incredibly complex, completely unique pattern. The display windows (1 - 4) indicate the parameters controlled by each Free EG track.
DETAIL Page (Free EG Parameters)
STEP SEQ. (Step Sequencer) Block
The Step Sequencer block features four basic controls for the Step Sequencer --- a powerful functions that let you trigger complex Sequences in real time, at the press of a key. For more information, see the Step Sequencer DETAIL Page.
DETAIL Page (Step Sequencer Parameters) TEMPO Range: 20.0 - 300.0 bpm (beats per minute)
This determines the speed of the Step Sequencer. If you want the clock of an external MIDI sequencer or drum machine to control the tempo of the AN200's Step Sequencer, set the Tempo to "MIDI" so that the two devices will play in synchronization with each other.
When the Free EG LENGTH is set so that the Free EG synchronizes with Tempo, this Tempo setting affects the speed of the Free EG.

[PLAY]/[STOP] buttons

Click the [PLAY] button to start the Sequence. The Sequence repeats (loops) until you click the [STOP] button to stop it.

LFO Parameter Blocks

The LFO parameters allow you to create a wide variety of modulation effects, using a low frequency signal to regularly change the pitch, volume or timbre of the pattern. The LFO can be used to make the sound warmer and more natural, or can be used to produce wild special effects.
LFO 1 and LFO 2 can also be used as control sources (in PWM Source, Sync Pitch Control Source, FM Source, etc.), giving you even greater editing exibility.

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
The Multi Saw wave combines multiple saw waves. The levels of these individual waves are mixed together. This parameter determines the difference in volume among the waves. A value of "0" results in the output of the basic wave (the wave at normal pitch), while a value of "127" results in all waves having the same volume. This parameter is available only when SYNC is set to "off" and the VCO 1 WAVE is set to "Multi Saw."
VCO 2 WAVE Settings: Saw, Pulse, Saw 2, Mix, Triangle, Sine
The Sine wave (in italics above) can only be selected by using the DATA DEC/INC buttons. This determines the waveform for the VCO 1 oscillator.

Triangle

This is a conventional triangle wave. When Triangle is selected, all of the VCO 2 PWM parameters are unavailable, and are replaced with the X-MOD parameters.
This is a conventional sine wave. When Sine is selected, all of the VCO 2 PWM parameters are unavailable, and are replaced with the X-MOD parameters.
VCO 2 PITCH VCO 2 FINE VCO 2 EDGE
These parameters are the same as those of VCO 1.
When the VCO 2 Wave is set to "Triangle" or "Sine," the VCO 2 EDGE parameter has no effect.
VCO 2 PWM (Pulse Width Modulation) Parameters
The PWM parameters are not available when the VCO 2 WAVE is set to "Triangle" or "Sine."

VCO 2 PWM SRC (Pulse Width Modulation Source) Settings: Fixed, PEG, FEG, LFO 1, LFO 2, LFO 2 Phase, LFO 2 Fast, VCO 1
With the exception of "VCO 1" (VCO 2 cannot be used to modulate itself!), these settings are the same as those of VCO 1 PWM SRC.
VCO 2 PWM DEPTH (Pulse Width Modulation Depth) VCO 2 PWM PW (Pulse Width)
When the VCO 2 Wave is set to "Triangle" or "Sine," the VCO 2 PWM PW parameter has no effect.

X-MOD Parameters

The X-MOD (cross-modulation) parameters are available only when the VCO 2 WAVE is set to "Triangle" or "Sine." Whereas the PWM parameters use a source to modulate the pulse width of the oscillator, X-MOD is similar to FM in that it modulates the frequency of the oscillator, generating a complex set of harmonics. The control source for the Depth of the modulation can be selected from: PEG, FEG, LFO 1, or LFO 2. The actual modulator for cross-modulation is xed to VCO1.
The harmonics that X-MOD generates are different from those of FM because of the method used: FM modulates in a logarithmic fashion, while X-MOD modulates in a linear fashion.
X-MOD SRC (Cross-modulation Depth Control Source) Settings: Fixed, PEG, FEG, LFO 1, LFO 2
This determines the source wave which changes the Cross Modulation Depth over time. When this is set to "Fixed," there is no change in modulation depth over time. This parameter is available only when the VCO 2 WAVE is set to "Triangle" or "Sine."
X-MOD DEPTH Range: -64. +63
This determines the amount of depth of the cross-modulation of the VCO 2. Higher (positive) values produce a deeper modulation of the frequency. This parameter is available only when the VCO 2 WAVE is set to "Triangle" or "Sine."

VCA Block

The VCA parameters give you control the overall volume or level of the AN200 pattern.
VELOCITY (VCA Velocity Sensitivity) Range: -64. +63
This determines how the VCA (pattern level) responds to key velocity. For positive values, playing the keys with greater strength results in higher volume. For negative values, the relationship is inverse: a softer key touch results in a higher volume. A setting of "0" results in no change in volume 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.

VOLUME Range: 0. 127

The VOLUME setting determines the overall output level from the VCA before the signal passes to the Effect block.

AEG (Amplitude Envelope Generator) Parameters
The AEG parameters allow you to shape the sound of the AN200 pattern. In other words, it lets you set how the level of the pattern changes over time.
AEG ATTACK (Amplitude EG Attack Time) Range: 0. 127
This determines the Attack Time of the AEG, or how long it takes for the sound to reach full volume when a note is played. Higher values produce a longer Attack time. (See illustration below.)
AEG DECAY (Amplitude EG Decay Time) Range: 0. 127
This determines the Decay Time of the EG, or how rapidly the sound dies out (or goes down to the Sustain Level) as a note is held. Higher values produce a longer Decay time. (See illustration below.)
AEG SUSTAIN (Amplitude EG Sustain Level) Range: 0. 127
This determines the level of sustain of the AEG, which is the level at which the volume will be maintained as long as the key is held. Higher values increase the Sustain level. (See illustration below.)
AEG RELEASE (Amplitude EG Release Time) Range: 0. 127
This determines the Release Time of the AEG, or how long the sound sustains after a note is released. Higher values increase the Release time. (See illustration below.)
DIST (Distortion) / EQ Block
The Distortion and EQ parameters give you further sonic control over the AN200 pattern, letting you apply and adjust distortion, and make detailed equalization settings.
DIST / EQ DETAIL Page DIST DRIVE (Distortion Drive) Range: 0. 100
This determines the amount of distortion "drive" for the guitar amplier simulation effect block. The higher the value, the greater the degree of distortion in the sound.
DIST DRY/WET (Distortion Dry/Wet Balance) Range: D63>W. D=W. D<63
This determines the level balance of the unprocessed (dry) original sound of the pattern, and the distortion processed (wet) sound. A setting of D=W results in an equal balance of dry and wet sound. (In the display, "D" indicates "dry," and "W" indicates "wet.")
EQ LO (Low Frequency Gain) Range: -12. +12 (dB)
This determines the gain or level of the low frequency band. Positive values boost the level of the frequency and negative values attenuate it. (The specic frequency to be adjusted can be set with the Low Freq. parameter in the DETAIL page.)
EQ MID (Mid Frequency Gain) Range: -12. +12 (dB)
This determines the gain or level of the mid frequency band. Positive values boost the level of the frequency and negative values attenuate it. (The specic frequency to be adjusted can be set with the Mid Freq. parameter in the DETAIL page.)

This is used with Pattern Name below to give a custom name to your edited pattern. The category is a two-letter code that indicates the basic instrument type of the pattern (see chart below). Specifying the category makes it easier to recognize the application or use of each particular pattern; it also makes it easy to organize your patterns according to their character or application. Set this to "0: --" if you wish to leave the category blank. For a complete list of the category abbreviations and their descriptions, see the Pattern List in the AN200 Owner's Manual.

Category List

0: 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: 22: -Pf Cp Or Gt Ba St En Br Rd Pi Ld Pd Fx Et Pc Se Dr Sc Vo Co Wv Sq No category Piano Chromatic Percussion Organ Guitar Bass Strings/Orchestral Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effect Ethnic Percussive Sound Effect Drums Synth Comp Vocal Combination Material Wave Sequence

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.

The Sync Pitch Modulation Switch setting determines which oscillator (master, slave, or both) is modulated by the LFO 1 or LFO 2. Depth rate is determined by the LFO1/LFO2 VCO1 setting. This parameter is effective when the SYNC MODE is set to VCO1 Master > Slave.

EQ Parameters

Low Freq. (Low Frequency) Range: 32 Hz. 2.0 kHz
This determines the frequency which is boosted or cut with the EQ LO parameter in the main control panel.
High Freq. (High Frequency) Range: 500 Hz. 16.0 kHz
This determines the frequency which is boosted or cut with the EQ HI parameter in the main control panel.
Mid Freq. (Mid Frequency) Range: 100 Hz. 10.0 kHz
This determines the frequency which is boosted or cut with the EQ MID parameter in the main control panel.
Mid Resonance Range: 1.0. 12.0
This determines the width of the frequency band which is boosted or cut with the EQ MID parameter in the main panel. The central frequency is set with the Mid Frequency parameter (above). Higher values result in a narrower band width.

FM Parameters

Algorithm Settings: Both, Master, Slave
This determines how the two VCO1 oscillators (master and slave) are connected in relation to the FM signal. There are three types of connections, or "algorithms," as shown in the diagrams below.
FM is applied to both master and Slave oscillators.

Master

FM is applied to the master oscillator.
FM is applied to the slave oscillator. When this is set to "Slave," the overall pitch is determined by the Sync Pitch setting. This allows you to set the correct pitch for the overall sound, even when the FM Depth is set to extreme values. This parameter is effective when the SYNC MODE is set to "VCO1 Master > Slave."
Src1 (FM Depth Ctrl) Settings: Fixed, PEG, FEG, LFO1, LFO2
This determines the modulation source which controls the FM Depth. When this is set to "Fixed," there is no change in modulation over time.
Src2 (Modulator) Settings: VCO2 Frequency, VCO1, VCO1 Sub Osc. (sub oscillator), PEG, FEG, LFO1, LFO2, VCO2 Output
This determines the source wave which modulates the VCO1 wave.
For the most part, the above settings should be self-explanatory. If necessary, refer to the relevant sections (for example, VCO1, PEG, FEG, LFO1/2). The other settings are explained below. VCO2 Frequency : VCO1 Sub Osc. : VCO2 Output : This modulation uses a sine wave which is set to the same frequency as that of the VCO 2s pitch. This modulation uses a wave of either half or double the frequency of the VCO 1 (depending on the selected VCO 1 waveform). This uses the actual VCO 2 output waveform for modulation, resulting in an FM synthesis-like sound.

Output Gain

Settings: +0 dB, +6 dB, +12 dB
This determines the overall level gain of the output signal of the selected pattern. Use this parameter together with the hardware VOLUME control on the tone generator to set the desired pattern level.
Be careful when using the higher settings, since you may inadvertently damage the connected audio equipment (and your ears!) if the pattern is too loud.
Ctrl (Control) Matrix Parameter Tab
I Ctrl (Control) Matrix Parameter Tab..
Many of the AN200's parameters can be controlled in real time. The Control Matrix provides an extraordinarily comprehensive and exible way to control these parameters. Up to 15 different controllers can be used simultaneously to control 15 separate parameters. The particular physical controllers used depend on the connected MIDI instrument. Among the more commonly used controllers are: Velocity, Modulation Wheel, After Touch, and Foot Controller. Since any of the MIDI Control Change numbers can be used for control sources, you can set up highly complex routings. The Control Matrix settings determine which "source" (i.e., MIDI Control Change numbers, Modulation Wheel, Foot Controller, etc.) is used to control which AN200 "destination" parameter (i.e., VCF Cutoff, Resonance, FEG Depth, etc.). This gives you the freedom to congure a completely different set of sources and destination parameters for each pattern. You can, for example, congure the AN1x to use After Touch to apply vibrato, or the Modulation Wheel to change the resonance while you play, determine the range for both Pitch Bend up and down, and much more. The Control Matrix provides 15 sets of control setup parameters. The Depth of the controller effect can also be set independently for each of the 15 sets.
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

PITCH Bank (Rhythm tracks only) Range: -64. +24
This bank of 16 virtual "knobs" lets you set the pitch for each step of the Step Sequencer pattern. To set the pitch, adjust the parameter normally by "turning" the appropriate knob, or move the cursor to the value window above the knob and use the right/left mouse buttons to step up or down through the available, or enter the value directly from the computer keyboard.

Step Mute buttons

These determine whether the individual step of the track is on (sounded) or off (muted).

File Menus

When the AN200 Editor is active and selected, the following functions appear in the File menu: New Open AN200 File Save AN200 File Save AN200 File As
These are used for creating, saving, and opening your original AN200 Files. Using the Save (or Save As) command here saves all 128 User patterns to a selected AN200 File. (The special.ANS extension allows you to easily organize the les.) By keeping a library of your original patterns as AN200 Files, you can easily call up the settings you need (with the Open command) and quickly transmit them to your tone generator/sound card.
Before saving a set of User patterns as an AN200 File, make sure to store the pattern currently being edited. If a pattern is not properly stored, it will not be contained in the AN200 File data.
Use this function to create a new AN200 File. If you've edited the current settings of the AN200 Editor at all, the display then prompts you to store the pattern. (See Storing an AN200 Pattern.) Creating a new AN200 File cancels the current panel settings and resets all parameters to their normal values. Creating a new AN200 File resets the User Patterns back to the defaults, the same data as those when the power is turned on.
See AN200 Librarian information on initializing the User Pattern.
This operation loads a new le of User Pattern into only the User pattern memory of the AN200 Editor. If you want to play with these Patterns separate from the AN200 Editor, you should transmit the User Pattern. (Refer to Transmit AN200 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.

Keep in mind that this operation stores your pattern data only into the User pattern memory of the AN200 Editor and sends the current patterns bulk data to the AN200. The current pattern bulk data will be lost if you select another pattern on the panel of the AN200. If you want to select a pattern on the panel of the AN200, you should rst transmit the User Pattern. (Refer to Transmit AN200 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.

Edit Menus /

AN200 Pattern List
In the AN200 Pattern List dialog box you can:
Select a pattern from the Preset 1, Preset 2, User pattern banks for editing. Initialize a User pattern to the default settings. Copy or swap patterns in the User pattern banks.
"AN200 Pattern List" can also be selected from the master menu by clicking on any inactive part of the window pressing control key, or by clicking on the PATTERN button.
Preset 1, Preset 2, User Buttons
Click on one of these to select the desired pattern bank: Preset 1, Preset 2, or User.

Pattern List Combo Box

Select a pattern by clicking on the desired pattern name in the list. Copying a pattern to another pattern location 1) Set Drag Mode to "Copy." 2) Click the desired pattern and drag it to the desired location. Keep in mind that this replaces (and erases) the pattern at the location. Swapping the location of two patterns 1) Set Drag Mode to "Swap." 2) Click the desired pattern and drag it to the pattern you wish to swap it with. This simply moves the pattern to the selected location; it does not affect the actual data. Copy and Swap operations can also be executed from the AN200 Librarian dialog box.

Pattern Init

Click this to initialize the selected pattern to its default parameter values. This gives you a "blank slate" from which to create a new pattern.

AN200 Librarian

Drag Mode
In the Pattern List combo box, a pattern can be dragged to another pattern location. This setting determines the result of that operation: whether the pattern is copied to the new location, or swapped with the pattern at the new location.
The Pattern Init and Drag Mode functions are only effective when the User pattern bank is selected.
The Librarian dialog box gives you a set of convenient, easy-to-use tools for organizing the User patterns of your AN200 Files.
The Source box shows User patterns contained in the opened AN200 File (see Open AN200 File below). The Destination box contains the set of User patterns currently in the AN200 Editor, and represents the new AN200 File to be created. First copy the desired patterns from the Source to the Destination, then exit the Librarian and save the new set of patterns as a AN200 File. You can open different AN200 Files one by one, and freely copy the desired patterns to the Destination before saving.

Transmit AN200 Bulk Dump Start
First, click this button to start transmission of the data. Then start transmitting the bulk data.
Click this to exit from the dialog box once all data has been transmitted.
"Transmit AN200 Bulk Dump Data" can also be selected from the toolbar.
This is used for importing AN pattern data from the AN200. All current settings will be replaced by the received data.
Receive Method 1 (Pattern/Voice)
When this is selected, only the data for one pattern/voice will be received. This data is loaded into the edit buffer (temporary memory storage).
Make sure to store the received pattern/voice after executing this operation. Otherwise the data will be lost upon selecting a different pattern/voice.
All User (Patterns/Voices)
When this is selected, the data for 128 User patterns/voices will be received.

Select Model AN200

Click this when receiving data from the AN200.
Click this when receiving data from the AN1x.
Receive AN200 Bulk Dump Start
First, click this button to start reception of the data. Then start transmitting the bulk data from AN200. The various data types that can be sent/received are abbreviated on the AN1x as follows: 1 Pattern : All User Patterns : 1 ptn all ptn*
The progress bar indicates how much data has been received. When the bar is completely lled, all data has been received.
Click this to exit from the dialog box once all data has been received.
Make sure that the MIDI OUT jack of the AN1x is properly connected to the computer/interface MIDI IN jack, and that all settings are appropriate both on the AN1x and on the XGworks software.