Z4/Z8 User GuideVersion 1.0

For U.K. customers only

WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT
This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows: 1) Remove the fuse cover and old fuse. 2) Fit a new fuse which should be a BSAmp A.S.T.A or BSI approved type. 3) Refit the fuse cover. If the AC mains plug fitted to the lead supplied with this equipment is not suitable for your type of AC outlet sockets, it should be changed to an AC mains lead, complete with moulded plug, to the appropriate type. If this is not possible, the plug should be cut off and a correct one fitted to suit the AC outlet. This should be fused at 5 Amps. If a plug without a fuse is used, the fuse at the distribution board should NOT BE GREATER than 5 Amp. PLEASE NOTE: THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE SHOCK HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET ELSEWHERE.
The wires in this mains lead are coloured in accordance with the following code: GREEN and YELLOW BLUE BROWN Earth Neutral Live
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, please proceed as follows: The wire which is coloured GREEN and YELLOW must be connected to the terminal which is marked with the letter E or with the safety earth symbol or coloured GREEN or coloured GREEN and YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
THIS APPARATUS MUST BE EARTHED
Ensure that all the terminals are securely tightened and no loose strands of wire exist. Before replacing the plug cover, make certain the cord grip is clamped over the outer sheath of the lead and not simply over the wires.

FCC WARNING

This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. 21B-En

The Z8 features four 24-bit/96 kHz multi-effects processors (Z4 requires EB4JS option), offering a whole host of FX types, including reverbs, delays, modulation-based FX, dynamics, wah-wah, and pitch shifting. FX can be applied while sampling (see page 27), re-sampling (see page 38), or in Multi mode. In addition to the various FX types, Quick-FX presets such as Power, Swell, and Crisp provide an intuitive way to apply FX. See Using FX on page 78 for information on selecting and editing FX types. When you use Multis, you can adjust FX parameters via the Q-Link control in real time. See Using Q-Link on page 75 for more information.

Loading

Samples, Programs, Multis, Songs, and files can be loaded from hard disks and CD-ROMs. Files can be loaded individually or in groups. See Loading on page 18 for more information.

Saving

Individual Samples, Programs, Multis, Songs, and files can be saved to hard disks and removable media drives. Loaded data, recorded Samples, created or edited Programs and Multis are temporarily kept in the memory of the Z8. When the power to the Z8 is turned off, the data in memory will be lost. Be sure to save important data to hard disks or external storage devices. You can load the data saved on an external storage device in Load mode. See Saving on page 84 for more information.
Chapter 2Front & Rear Panels
2 Front & Rear Panels

Front Panel

Z8 Front Panel 90A B

Z4 Front Panel A B

F GH IJ
1 POWER switch This switch is used to turn on and off the power to the Z8. See Switching On & Off on page 13 for more information. 2 Q-LINK controls Up to eight parameters (four on the Z4) can be assigned to these controls for real-time control. See Using Q-Link on page 75 for more information. 3 SAMPLE button & indicator Pressing this button selects Sample Edit mode, which is used to edit Samples. The SAMPLE button indicator lights up when this mode is selected. See Editing Samples on page 29 for more information.
4 MULTI button & indicator Pressing this button selects Multi mode, in which Multis can be selected, edited, and played. The MULTI button indicator lights up when this mode is selected. This mode is typically used when the Z8 is connected to a MIDI keyboard or MIDI sequencer. Standard MIDI Files (SMF) can also be played in this mode. See Using Multis on page 67 for more information. 5 FX button & indicator Pressing this button selects FX mode, which is used to select and edit the four independent FX processors (optional on the Z4). The FX button indicator lights up when this mode is selected. See Using FX on page 78 for more information. 6 PROGRAM button & indicator Pressing this button selects Program mode, in which Programs can be selected, edited, and played. See Using Programs on page 48 for more information. 7 Display This back-lit 248 by 60 dot LCD (liquid crystal display), together with the illuminated panel buttons, displays the current operating state of the Z8. See Navigating the User Interface on page 14 for more information. 8 MIDI A activity indicator This indicator lights up when MIDI data is received at the MIDI IN A port. 9 MIDI B activity indicator This indicator lights up when MIDI data is received at the MIDI IN B port. 10 CURSOR buttons These buttons are used to select items (parameter) on the display pages. See Navigating the User Interface on page 14 for more information. 11 JOG dial This dial is used to increment or decrement parameter values. Rotating it clockwise increases values; rotating it counterclockwise decreases them. See Navigating the User Interface on page 14 for more information. 12 MAIN VOLUME control This control is used to set the volume of the MAIN OUT and PHONES. 13 USB port (Host) Various USB (Universal Serial Bus) devices can be connected here, including oppy disk drives, hard disk drives, CD-ROM, and removable media drives for additional storage, or USB keyboards for quick name entry. See Connecting USB Devices on page 12 for more information. 14 Q-LINK SETUP button This button selects the Q-LINK SETUP page, which is used to assign parameters to the Q-Link controls. See Using Q-Link on page 75 for more information. 15 CLIPBOARD button The Clipboard can be used as a temporary store while editing Samples, Programs, or Multis, allowing A/B comparisons. See Using the Clipboard on page 16 for more information. 16 PLAY button Pressing the PLAY button plays the currently selected Sample or Program. See Using the PLAY Button on page 15 for more information. 17 RECORD button & indicator Pressing this button selects Record mode, which will light up its indicator. This mode is for sampling sounds. See Recording Samples on page 22 for more information.

5 Press DO IT.

The message Waiting for input signal. appears at the bottom of the page, and **AUTO SAMPLING** appears in place of LEVEL METER.
6 Start the sound source that is to be sampled.
Recording starts automatically when the level of the input signal exceeds the specied threshold, and the message Recording. appears, as shown below. (Recording can also be started by pressing START.)

Sampling with Q-FX

Recording stops automatically after the level of the input signal falls below the specied threshold, and the message Waiting for input signal. appears, as shown below. (Recording can also be stopped by pressing STOP.)
Recording starts and stops automatically each time the input signal exceeds and falls below the specied threshold until you stop it.
7 Press FINISH to end Auto Sampling.
You can record Samples with FX as follows.
1 On the Record page, press Q-FX.
The Quick FX window appears.
2 Select the Mode parameter, and use the JOG dial to select a mode. OFF: No Q-FX. COMMAND: Use Q-FX, as shown. In this mode you can apply one or two Q-FX while
recording mono or stereo Samples.
FX: In this mode you can apply up to four FX while recording mono Samples (top win-
dow); two when recording stereo Samples (bottom window).
3 If you chose COMMAND, select the Q-FX in the 1: and 2: parameters.
The following Q-FX are available.
Q-FX POWER SWELL DISTORT CRISP GROW DRUM MASSIVE DR WHIRL DISTANCE COSMO RUMBL ROBOT UNDERSEA Threshold Rate Depth Depth Tune Tune Rate Wide Rate Time Delay Rate Parameters (10 to +10) Attack Feedback Tone Tone Depth Depth Feedback Shape Depth Depth Depth Depth
4 If you chose FX, use the JOG dial to select the FX and set the Wet|Dry
and Effect parameters, or press EDIT to edit the selected FX processor. See Editing FX on page 81 for more details.
5 Press CLOSE to return to the Record page, and continue recording as nor-
mal. When Q-FX is enabled for recording (i.e., set to COMMAND or FX), a tick appears in the Q-FX button, as shown below.

Editing Samples

6 Editing Samples

About Sample Editing

In Sample Edit mode, you can use the following functions to edit Samples. TRIM: Enables you to play the section of a Sample specied by the Start and End points. EDIT: Includes various editing functions, such as Time Stretch, Pitch Shift, Reverse Section, and Discard Section. Q FX: Applies effects to Sample data to create a new Sample. LOOP: Enables you to create sustained notes or repeated phrases by looping the section of a Sample. REGION: Subdivides a Sample into smaller pieces. B.P.M. Match: Enables you to change the tempo of a Sample in various ways.

Selecting Samples for Editing
You can Samples for editing as follows: 1 Press the SAMPLE button. The SAMPLE button indicator lights up and the Z8 enters Sample mode.
2 Press TRIM to open the following TRIM page.
The Sample name appears in the upper left corner (Sample parameter).
3 Move the cursor to the Sample parameter, then use the JOG dial to select
the Sample (that you want to edit) from memory.
Note: You can select the Sample on the LOOP or REGION page in the same way.
The indicator next to the Sample name indicates the Sample status. LP: The Play mode of the selected Sample is set to Loop. MN, ST:.MN indicates mono Samples, and.ST indicates stereo Samples. New Samples created in Record mode, or Samples that have been edited after being loaded from disk, display an asterisk next to their name.

Chapter 6Editing Samples

Tagging Samples
You can edit multiple Samples simultaneously by tagging them. 1 Select the Sample name in the Sample parameter, then press the SHIFT button. The Function buttons change as shown below.
2 To tag the Sample, press and hold the SHIFT button, then press TAG.
Tagged Samples display a tick next to their name, as shown below.
To untag a Sample, press and hold the SHIFT button, then press TAG again. You can untag all Samples by holding down the SHIFT button and pressing ALL CL.
3 To view tagged Samples, press LIST to open the Tag List window.
You can also tag or untag Samples in the Tag List window. Tagging Samples enables you to edit or delete the tagged Samples simultaneously. When you tag Samples (with an asterisk next to their name) that were newly recorded, or edited after being loaded from the disk, the ( ) mark appears instead of an asterisk.
Selecting a Monitoring Item
The Monitor parameter on the TRIM page enables you to select the item you wish to monitor in Sample mode. Select one of the following options by using the JOG dial: SAMPLE: Enables you to monitor the selected Sample. This is the standard setting. PROG: Enables you to monitor the Program selected in Program mode. MULTI: Enables you to monitor the Multi selected in Multi mode. If you wish to monitor how Samples play in the assigned Programs or Multis, set this parameter to PROG or MULTI.

P>ALL, P>STOP

While any parameter other than St and End is selected, the F6 button engages the P>ALL button function. 1 Press P>ALL to audition the entire Sample. While auditioning is in progress, the START, END, and P>STOP buttons appear, as shown below:
2 Press P>STOP to stop the audition.

START, END

While auditioning the Sample by pressing P>ALL, you can grab the Start and End points of the Sample on the y. 1 Press START at the point you want to set as the Start point, or press END at the point you want to set as the End point. The Start or End point is set.

Setting the Start Point

You can also set the Start point set manually. 1 On the TRIM page, select the St parameter.
2 Use the JOG dial to specify the Start point.
To quickly change the value, press and hold down the SHIFT button, and use the Left or Right CURSOR button to select the desired digit to change. Then use the JOG dial to change the number. In this way, you can make a coarse setting by changing the higher digits, then ne-tune the value by adjusting the units digit.

Setting the End Point

You can set the End point by various methods, depending on the End parameter display options. Note that the End parameter and its value can be selected independently. In Steps 1 and 2 below, you must select the parameter name, not the value. 1 Select End, then use the JOG dial to select one of the following options: End: Displays the End point in points counted from the beginning of the Sample. Length: Displays the length of the section between the Start and End points in points. Time: Displays the length of the section between the Start and End points in hours, minutes, and seconds. Beat: Displays the length of the section between the Start and End points in beats. (Note that this is not supported in Version 1.0 of the software. It will be supported in a future update.)
2 To open the End Display window, press the WINDOW button while the End
parameter display option is selected. In the End Display window, you can adjust the settings for the Time and Beat options.

Sample Edit

The End Display provides the following parameters. Select the desired parameter and use the JOG dial if necessary. Refer to sample tune: This parameter determines whether the Time or Beat value references the Samples tuning setting. Tempo for Beat display: This parameter works with the Beat display option and determines the tempo referenced by the Beat display.

3 Press CLOSE.

The End Display windows closes.
4 Select the End parameter (value), then use the JOG dial to set the End
point value. To quickly change the value, press and hold the SHIFT button, and use the Left or Right CURSOR button to select the desired digit to change. Then use the JOG dial to change the number. In this way, you can make a coarse setting by changing the higher digits, then ne-tune the value by adjusting the units digit.

2 Use the JOG dial to select the effect, then press SELECT.
The Wet|Dry parameter sets the balance between the effect and the direct sound. The Effect parameter species On or Off for each FX.
3 Press EDIT to display the Effect Edit window.
You can audition the processed Sample by pressing >FX. Press EXIT to return to the Quick FX Resampling window. For information on using FX, see Editing FX on page 81.
4 In the Quick FX Resampling window, press DO IT to execute the Quick
FX Resampling function. The KEEP or RETRY window appears. For more information on the KEEP or RETRY window, see Sample Edit on page 33.

Setting Loops

You can create sustained notes or repeated phrases by looping a short Sample or a section of a Sample. 1 Press the SAMPLE button to select Sample mode, then press LOOP to display the LOOP page shown below.
The operation related to the waveform display is the same as on the TRIM page, except that the LOOP page indicates the waveform of the looped section. The display of the looped section differs, depending on whether the Loop function is on or off. Loop is On

Loop is Off

2 Select the Mode parameter, then use the JOG dial to select one of the
following options to determine how the Sample is played: NO LOOP: The Loop function is turned off. The Sample playback is triggered by the Note On message, and stopped by the Note Off message. If the end of the Sample is reached before the Note Off message is received, playback stops. LOOP: The Loop function is turned on. The Sample playback is triggered by the Note On message, and the specied section loops repeatedly until the Note Off message is received. ONE SHOT: The Loop function is turned off. The Sample playback is triggered by the Note On message, and continues until the end of the Sample. The Note Off message will be ignored. This option works well with drum Samples. You can also set the Play mode on the REGION page.
Setting and Fine-tuning the Loop Start & End Points
3 Press the WINDOW button while the Mode parameter is selected.
The Play Mode window appears, enabling you to make detailed settings.
4 Select the parameters and set them as required. Play mode: This is the same as the Mode parameter on the LOOP page. Repeat: This parameter species the number of repeats for loop playback. With the

2 Select the X-fade length and X-fade curve parameters, then use the
JOG dial to set them. X-fade length: Sets the length of the crossfade. X-fade curve: (LINEAR, LOG, SINE) Species the type of the crossfade curve.

3 Press DO IT.

The edit is performed, and the KEEP or RETRY window appears.
You can listen to the Sample without any crossfade by pressing >ORIGI and audition the processed Sample by pressing >NEW. To discard the processed Sample and return to the X-fade loop window, press RETRY. See Sample Edit on page 33 for information on the Assign parameter.

Setting Regions

A section of a Sample can be divided into as many as 32 Regions, as follows. This is useful when you edit phrase Samples. 1 Press the SAMPLE button to enter Sample mode, then press REGION. The REGION page appears (shown below).
Regions are sections into which a Sample is divided. The Start and End points of each region appears as markers in the upper part of the waveform. The selected region is highlighted as shown below.
2 Select the Region parameter, then use the JOG dial to select a Region. 3 In the Region parameter, press the WINDOW button.
The Number of Regions window appears, as shown below.
In the Number of Regions window, you can change the number of regions and adjust for the Regions setting.
4 Select the parameters, then use the JOG dial to set them as required. Refer to: (LOOP, TRIM, SAMPLE) This is used to select the section of the Sample that you want to divide into Regions. When the parameter is set to LOOP, the section between the specied Loop Start and Loop End points is used to create Regions.When it is set to TRIM, the section between the specied Start and End points is used to create Regions. And when it is set to SAMPLE, the entire Sample is used to create Regions. Number of regions: (132) This determines the number of Regions. 5 Press DO IT to set the Regions.
The Number of Regions window closes.
Adjusting Region Start & End Points
You can adjust the Region Start and End points in the same way as the Start and End points on the TRIM and LOOP pages. However, since the Start point of each Region is the same as the End point of the previous Region, adjusting the Start point of the current Region also adjusts the End point of the previous Region. Likewise, adjusting the End point of a Region also adjusts the Start point of the subsequent Region.

Creating Drum Programs

Drum Programs can be created as follows. See page 2 for more information on Drum Programs. 1 Press the PROGRAM button. The PROGRAM button indicator lights up and the MAIN page appears.
4 Select the Type parameter, and then use the JOG dial to select DRUM. 5 Select the New name parameter, and then rotate the JOG dial.
A new Drum Program is created.
Configuring Drum Programs

Conguring Drum Programs

Drum Programs can be congured as follows. 1 Select a Drum Program as explained on page 48.

2 Press ASSIGN.

The ASSIGN page appears, as shown below.
ASSIGN parameters are spread over two pages, which you can toggle between by pressing ASSIGN, or select by using the Right and Left CURSOR buttons.
3 Select the Note parameter, and then use the JOG dial to select the note
to which you want to assign a Sample. The keyboard graphic scrolls across the display as the Note parameter is changed. The arrow next to the Note parameter indicates the selected note. A small square dot appears on keys with Samples assigned to them, as shown in the example above. When a note that is used by the Standard GM (General MIDI) drum kit is selected, the name of the GM drum assigned to that note appears in the upper right corner of the page. For notes that are not used by the GM drum kit, Not Assigned appears.
4 Select the Smpl parameter, then use the JOG dial to select a Sample. 5 Select the parameters and set them as required. LVl: (60.0 to +6.0) This sets the level of each Sample. Pan: (L50MIDR50) This sets the pan position of each Sample. Out: (L/R, L, R, 1/2, 3/4, 5/6, 7/8, 18, MLT) The output of each Sample can be fed to the MAIN OUT, an individual left or right MAIN OUT, a pair of individual outputs (if IB-48P/IB-4ADT installed), or a single individual output (if IB-48P/IB-4ADT installed). When the parameter is set to MLT, if the Program is assigned to a Part in the currently selected Multi, the drum Samples output is fed to the output specied in that Part. Tune: (36.00 to +36.00) This sets the tuning for each Sample in semitone and cent steps. You can use the PLAY button, or a connected MIDI keyboard to audition the changes as you make them. See Conguring Programs on page 49 for information on the MIDI settings necessary to play Programs. 6 Press ASSIGN to select the other ASSIGN page, or use the Right CURSOR

button.

7 Select the parameters and set them as required. Fx: (A, B, C, D, AB, CD, OFF, or MLT) When the parameter is set to MLT, if the Pro-
gram is assigned to a Part in the currently-selected Multi, the settings specied for the Part is applied. If you wish to use the FX with only a certain Note, the FX output follows
the Keygroups setting, not the Parts setting, even if the Program has been assigned to the Part. Select AB or CD to use the FX with stereo inputs. Snd(dB): This sets the FX Send level of each Sample. In addition to assigning a Drum Sample to an FX Send, you must also congure the FX processors to use the FX. See Using FX on page 78 for more information. Mute: (OFF, 164) This is used to add notes to Mute Groups. When a note in a Mute Group is played, any other notes in the same Mute Group are muted. Poly: (164) This sets the maximum number of voices for each note. Pressing the WINDOW button while the Mute parameter is selected opens the Mute Group window, shown below, which lists all of the notes assigned to the Mute Group selected at the top of the Window.

Renaming, Deleting, Copying, Merging, Purging & Converting Programs
Programs can be renamed, deleted, copied, merged, or converted from Keygroup to Drum type Programs and vice versa as follows. You can also purge (i.e., delete) all Samples or Programs in memory that are not assigned to any Programs or Multis. 1 Select a Program as explained on page 48, and with the program name still selected, press the WINDOW button. The Program window appears, as shown below.
2 To rename the selected Program, select the Program name parameter,
and rotate the JOG dial to open the Name window. See Entering Names on page 17 for more information on using the Name window.
3 To delete the selected Program, press DELETE.
The Delete Program window appears. Press DO IT to delete the selected Program, press ALL to delete all Programs in memory, or press TAGGED to delete all tagged Programs in memory.
4 For the other functions, select the Do parameter and select COPY,
MERGE, PURGE SAMPLES, PURGE PROGRAMS, or CONVERT, then press DO IT. If you selected COPY and press DO IT, the Copy Program window appears. Select the New name parameter, and rotate the JOG dial to open the Name window. Enter a name for the new Program, and then press DO IT. If you selected MERGE, the Merge Programs window appears. Use the Source parameter to select the Program that you want to merge with the current program. Select the New name parameter, and rotate the JOG dial to open the Name window. Enter a name for the new Program, and then press DO IT. The settings of the selected Program are used in the newly merged Program. If you merge a Drum Program with a Keygroup Program, the newly merged Program type is determined by the selected Program. If you selected PURGE SAMPLES, the Purge window appears, displaying the number of Samples in memory that are not assigned to any Programs in memory. Press DO IT to delete these Samples. If you selected PURGE PROGRAMS, the Purge window appears, displaying the number of Programs in memory that are not assigned to any Multis in memory. Press DO IT to delete these Programs. If you selected CONVERT, the Convert Program window appears. Select the New name parameter, and rotate the JOG dial to open the Name window. Enter a name for the new Program, and then press DO IT. When a Drum Program is converted to a Keygroup Program, the Sample assigned to each note is assigned to a Keygroup with the Keyspan Lo and Hi parameters set the same as that note. Therefore, the converted Program will play exactly the same. When a Keygroup Program is converted to a Drum Program, each Sample is assigned to the note specied by its Keygroups Lo parameter.

Configuring Program MIDI Options
Conguring Program MIDI Options
The MIDI options for Keygroup and Drum Programs can be congured as follows. 1 Select a Program as explained on page 48, and then press MIDI. The MIDI page appears, as shown below.
2 Select the parameters, and use the JOG dial to set them. Polyphony: (164) This can be used to limit the maximum number of voices that a Pro-
gram can play simultaneously. Reassignment: (QUIET, OLDEST) This determines how voices are reassigned when the limit set by the Polyphony parameter is reached. When set to QUIET, voices are stolen from the quietest notes rst. When set to OLDEST, voices are stolen from the oldest notes rst. Scale: (USER, EVEN-TEMPERED, ORCHESTRAL, WERKMEISTER, 1/5 MEANTONE, 1/4 MEANTONE, JUST, ARABIAN) This selects the keyboard scale. When you press the WINDOW button while the Scale parameter is selected, the Program Scale window opens, as shown below, which allows you to view the selected scale and create your own scale.
To create a custom scale, Use the Scale parameter to select a preset scale, then press ->USER to open the Copy Scale window. Press DO IT to copy that scale to the User Scale. Select the keys and use the JOG dial to set the note intervals as required. Press CLOSE to save your settings as the USER scale. Loudness reduction: This determines the degree of level reduction that is applied when a MIDI Soft Pedal message is received. Attack stretch: This sets the attack time delay for when a MIDI Soft Pedal message is received. Filter close: This determines the degree of Filter closure that is applied when a MIDI Soft Pedal message is received. Pressing the WINDOW button while a parameter other than Scale (or the Program name) is selected opens the MIDI Monitor window, shown below, which indicates MIDI reception activity for the 32 MIDI Channels.

Conguring Pitch Bend

Bend wheel operation for Keygroup and Drum Programs can be congured as follows. 1 Select a Program as explained on page 48, and then press P-BEND. The Pitch Bend page appears, as shown below.
2 Select the parameters, and use the JOG dial to set them. Bend Up/Bend Down: (024) These determine the maximum amount of pitch bend
when the bend wheel is moved fully up and down. Aftertouch: (12 to +12) This determines the maximum amount of pitch bend when aftertouch is applied. Bend Mode: (NORMAL, HELD) This determines how pitch bend is applied. When set to HELD, pitch bend is applied relative to the position of the bend wheel at the time notes are played. However, note pitch is not affected by subsequent bend wheel movements (i.e., the pitch is held). When set to NORMAL, the pitch changes as the bend wheel is moved.

The Part window appears, as shown below.
In addition to creating new Parts, you can delete (DELETE) existing Parts and sort (ARRANG) Parts by MIDI channels from this window.
The Create New Part window appears, as shown below.
5 Use the JOG dial to specify the number of new Parts that you want to create. 6 Press DO IT.
The specied number of Parts are created. More Parts can be created at any time.
7 Select the Part number parameter, then use the JOG dial to select a Part,
as shown in the example below.
8 Select the Program name column, then use the JOG dial to select a Pro-
gram, as shown in the example below.
Only Programs already in memory can be selected. See page 18 for information on loading Programs. You can set the level, pan, output, MIDI Channel, and MIDI Program Change for Parts as follows.
9 Select the parameters for the Part you want to congure, then use the JOG
dial to set them as required. Lvl: (60.0 to +6.0) This parameter sets the output level of the Part. Pan: (L50MIDR50) This parameter sets the pan position of the Part. Out: (L/R, L, R, 1/2, 3/4, 5/6, 7/8, 18) The output of each Part can be fed to the MAIN OUT, an individual left or right MAIN OUT, a pair of individual outputs (if IB-48P/IB-4ADT installed), or a single individual output (if IB-48P/IB-4ADT installed). Ch: (1A16A, 1B16B) When set to 1A16A, the Part will respond to MIDI data on channel 116 of the MIDI IN A port. When set to 1B16B, the Part will respond to MIDI data on channel 116 of the MIDI IN B port. Note that all Parts assigned to the same MIDI Channel will play together. No: (OFF, 1128) This displays the MIDI Program Change number that was assigned to the Parts Program in Program mode.

10 Press TUNE.

The TUNE page appears, as shown below.
11 Select the parameters for the Part you want to congure, then use the JOG
dial to set them as required. Tune: (36.00 to +36.00) This sets the tuning for each Part in semitone and cent steps. Lo > Hi: (C-2 to G8) This sets the keyspan for each Part. Priority: (HOLD, HIGH, NORM, LOW) This sets the voice priority for each Part, which determines how voices are allocated when all voices are being used. Voices are stolen from Parts with a low priority and assigned to Parts with a higher priority. When a MIDI message is received by the Z8, a small square will appear next to any Part number that is set to the same MIDI channel as the message, as shown in the example below.

MIDI receive indicator

Filtering MIDI Data
New Multis, or Multis that have been edited, have an asterisk next to their name if they have not yet been saved. If you want to keep your edited Multis for future use, save them to disk. See Saving on page 84 for more information. The currently selected Part can be muted by pressing MUTE. Press MUTE again to unmute the Part. Multiple Parts can be muted. The MUTE button ashes while the Mute function is active. The letter M appears in the Part number column of Parts that are muted, as shown below.

Conguring Q-Link

Q-Link can be congured as follows. 1 Select a Multi, as explained on page 67.
2 Press the Q-Link button, and then select the ASSIGN page shown below.
The Q-Link ASSIGN page is divided into eight sections, one for each Q-Link control.
3 Select the word Part (or FX), and use the JOG dial to select Part or
FX for the Q-Link control.
4 If you selected Part, select the Part parameter eld and specify the
number of the Part that is to be controlled by the selected Q-Link control. 1128 or ALL: When ALL is selected, the specied parameter becomes effective in all Parts. In the case of FX, you can select an FX processor.
5 Select the parameter of the Q-Link control that you want to congure, as
shown in the example below.

Chapter 9Using Q-Link

6 Use the JOG dial to select a parameter
When Part is selected, you can select parameters that are available to Program modulation sources (e.g., Amplitude, Pan, Cutoff, and so on), EXT 18, or OFF. When EXT 18 is selected, only the modulation destinations (for which EXT 18 are assigned as the source) are affected. In the case of FX, you can select the parameters of the FX type currently assigned to each FX. See Selecting FX Types on page 79 for more information. Press RESET to reset the parameters that are controlled by the selected Q-LINK to their original values. Press RESET ALL to reset the parameters that are controlled by all Q-LINKs to their original values. You can specify how much control the Q-Link controls exert over the assigned parameters on the CHANGE page.

7 Press CHANGE.

The CHANGE page appears, as shown below.
8 Select the Replace/Offset parameter for the Q-Link control that you want
to congure, as shown in the example above.
9 Use the JOG dial to select either of the following options: REPLACE: Adjustments made by using the Q-Link control are absolute, which means that they ignore the parameters original setting. OFFSET: Adjustments made by using the Q-Link control are relative to the parameters original setting. 10 Select the rst range parameter for the Q-Link control that you want to con-
gure, and use the JOG dial to set it, as shown in the example below.
If REPLACE is selected, you can specify the control range from 100 to +100. If the range is set to, for example, 0>50, the minimum position of the Q-Link control (when the control is turned all the way to the left) is 0, while the maximum position (when the control is turned all the way to the right) is 50. With a setting of, for example, 100>0, the minimum position of the Q-Link control is 100, while the maximum position is 0. If OFFSET is selected, you can specify the control range from 100 to +100. If the range is set to, for example, 25>+25, the minimum position of the Q-Link control is 25, while the maximum position is +25. With a setting of, for example, +25>25, the minimum position of the Q-Link control is +25, while the maximum position is 25.

General Utilities

13 General Utilities
This chapter explains the functions available in Utilities mode.
Setting the Master Level, Tuning, SCSI ID & MIDI OUT/THRU
The master level, master tuning, and the Z8s SCSI ID can be set as follows. 1 Press the UTILITIES button. The UTILITIES button indicator lights up and the GLOBAL page appears.
2 Select the parameters, and use the JOG dial to set them as required. Master level: Sets the overall output level. The default value is 12 dB, the reason for this is to prevent output distortion when many hot Samples (i.e., Samples at levels close to 0 dB) are played simultaneously. Master tune: Sets the overall pitch in semitone and cent steps. SCSI self ID: Sets the SCSI ID of the Z8, the default being 6.
Note: Never assign the same SCSI ID to two or more SCSI devices.
MIDI out/thru A & B: These set the function of the MIDI OUT/THRU ports to either MIDI OUT or MIDI THRU.
Setting the Display Contrast, Note Display, Date & Time
The display contrast, note display format, date, and time can be set as follows. The Z8 uses the Date and Time settings to date stamp les when they are saved. 1 Press the UTILITIES button, and then select the DISPLY page shown below.
2 Select the parameters, and use the JOG dial to set them as required. Display contrast: Sets the contrast of the display. Note display: (NOTE NUMBER or NOTE NAME) This determines how note values are displayed on the display pages. When set to NOTE NUMBER, note values are displayed as MIDI note numbers (e.g., 0 to 127). When set to NOTE NAME, they are displayed as names (e.g., C-2 to G8). Date: Sets the date in day, month, and year format. Time: Sets the time in hour, minute, and second format.
Chapter 13General Utilities
Setting the System Clock & Digital Out Sync
The system clock and DIGITAL OUT sync source can be set as follows. 1 Press the UTILITIES button, then select the DIGI page shown below.
2 Select the parameters, and use the JOG dial to set them as required.
System clock This parameter determines the sampling rate and source of the Z8s system clock. 44.1 kHz: Sets the system clock to 44.1 kHz. 48 kHz: Sets the system clock to 48 kHz. 96 kHz: Sets the system clock to 96 kHz. The polyphony is reduced by half. When the JOG dial is rotated, a window appears for you to select the system clock. Select the system clock, and then press DO IT.

UP FRONT - Section 1: Instruments of the Pit

MIXING BOARD

This is a Soundcraft Spirit E12, 12-channel mixer. Larger ensembles may need a 16channel mixer.
The mixing console is the grand central station of all your electronic and amplified devices. It controls the main volume output of all instruments, as well as the signal volume of each individual instrument. Here is where you can really balance the mix to your liking. In addition, most mixing boards allow you to adjust the equalization of each input (treble, bass), as well as any effects processing that may be connected (such as reverb). This is the last stop before the audio signals are sent to the speakers for your audience to hear.
Mixers come in a variety of configurations. The type of mixer you buy will largely depend on how many channels you want to run, and whether you want to process mono or stereo channels (or most likely a combination of both). If you are connecting stereo devices (samplers, keyboards, other sound modules, etc.) into mono mixer channels, its important to reserve two mono channels for each stereo device. Each microphone in your setup will typically only need one mono channel. Be sure there are enough XLR inputs on your mixer if this is how you intend to connect your microphones. Some mixers only contain a limited number of XLR inputs (like Mackies 1202-VLZ which is a 12-channel mixer, but only contains 4 XLR mic inputs). Mackie is well-known for their mixing boards, and you can get a good, low-cost choice with their 1202-VLZ or 1402-VLZ models. Another option would be to check out the Soundcraft Spirit E series, or Yamaha mixers. When shopping for a mixer realize it may be worth some extra expense for added flexibility in the future. Your mixer will be one of the most important elements of your setup.

sample

SOUND MODULES/SAMPLERS
In this rack configuration, you see the Akai Z8 sampler, Lexicon MPX-200 effects processor, and BBE 882 Sonic Maximizer.
Now that you have the ability to amplify acoustic instruments, what about electronic sounds? This is where your sound sources come in. Oftentimes, electronic keyboards will come with a slew of on-board sounds thus making it a sound module. You can also purchase separate modules (usually mountable in a rack configuration without a keyboard) which will offer you more sounds to choose from. Many of these modules are expandable by adding cards containing even more sounds. MIDI (Musical Instrument Digital Interface) will allow all of your modules and controllers (page 74) to communicate, share, and layer sounds. As you can see, the possibilities are endless. 73
To purchase Up Front please visit www.tapspace.com
EXAMPLE DIAGRAM FOR CABLE CONNECTIONS
In order to be successful with an electronic setup in the pit, you need to be organized. This example illustrates how percussion instructor Donnie Christian setup the electronics configuration for the Jonesborough High School pit (Jonesborough, Arkansas). In this case, the mixer is stationed within the pit. This type of diagram can also help you organize how many lengths of each type of cable are needed. Mackie SWA 18 Sub Mackie Main Monitor
(F XLR ) to et (M XLR 50 fe )

Mackie Main Monitor

XLR (M) 50 to XLR fee t (F)

6 Mallet Mics

XLR (M) to XLR (F) 3 feet
2ea 4ea. XLR (. XL F) t R (F o XL ) to R (M XLR ) (M) - 20 f - 30 eet fee t

BBE Sonic Maximizer

t 6f ee
XLR (M) to XLR (F) 20 foot cable
Lexicon MPX-200 multi-effects
XLR Cable TRS Cable MIDI Cable

Mixing Console

Alesis QS8

20 feet

20 f eet

6 feet

Roland XP-30

20 fe et

Mallet Kat

Akai Z8 Sampler 77