Kscl (Send key scaling)

Range: -7 +7 Controls: [CS8], [-1] [+1], Dial Allows the send level for the selected layer to be varied across the entire pitch range (i.e. keyboard range). Plus (+) settings produce a higher send level for the low notes and a lower send level for the high notes. The maximum +7 setting produces the greatest send level variation across the pitch range. Minus (-) settings produce the opposite effect a lower low-note send level and higher high-note send level. A setting of +0 results in no send level variation.
3: LAYER DRY OUTPUT SELECT
[PERFORMANCE] [EFFECT EDIT] [MENU] 3:Layer Dry Out Select [ENTER/YES]
These parameters determine turn the dry lines (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2.
OUTPUT`Select`<InitVce`>`Dry1`Dry2` ``Layer=A(A1)`````````````on```on
Range: off, on Controls: [CS6], [-1] [+1], Dial Turns the dry line bypassing the EFFECT 1 signal processor on or off. When this parameter is turned off, the WET:DRY BALANCE parameters (page 42) have no effect.
Range: off, on Controls: [CS7], [-1] [+1], Dial Turns the dry line bypassing the EFFECT 2 signal processor on or off. When this parameter is turned off, the WET:DRY BALANCE parameters (page 42) have no effect.

4: OUTPUT LEVEL

[PERFORMANCE] [EFFECT EDIT] [MENU] 4:Output Level [ENTER/YES]
Depending on the selected effects the SY85 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--`EF2(casc)=``--``100%
1a, 1b, 2a, and 2b (Effect output levels)
Range: Controls: [CS3], [CS4], [CS7], [CS8], [-1] [+1], Dial The [CS3] and [CS4] sliders adjust the output levels of the effect 1 1a and 1b stages, respectively, while the [CS7] and [CS8] sliders adjust the output levels of the effect 2 2a and 2b stages. A setting of 0 turns output from the corresponding effect stage off, while a setting of 100 produces maximum output level. If the selected effect is a single type, then only the 1a or 2a output level is available. If it is a cascade type, then only the 1b or 2b output level is available. Both the 1a and 1b or 2a and 2b levels are available only if the selected effect is a dual type. The type of the effects currently selected for the effect 1 and effect 2 processors are shown in parentheses on the bottom line of the display. See page 254 for details on the effect stages and the SY85 effect system in general. If a controller is assigned to any of the output level parameters (page 45), an inverse c will appear to the right of the parameter.

5: WET:DRY BALANCE

[PERFORMANCE] [EFFECT EDIT] [MENU] 5:Wet:Dry Balance [ENTER/YES]
The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.

Rndm (Random pitch)

Range: Controls: [CS7], [-1] [+1], Dial Sets the amount of random pitch variation produced each time a note is played. When this parameter is set to a value other than 0, the pitch changes randomly each time a note is played. The random pitch change is applied independently to each note in a chord. A setting of 7 produces the greatest amount of random pitch change. This function is ideal for simulating the sound of instruments like the clavichord, string sections or other ensembles in which the pitch of each note is rarely in perfect tune with the others.

Rvs (Reverse)

Range: off, on Controls: [CS8], [-1] [+1], Dial When this parameter is turned on, the selected wave is played in reverse. When Rvs is on, the pitch EG Loop parameter described on page 75 is automatically turned off.

1: AEG LEVEL & RATE

[VOICE] [EDIT] [MENU] 2:Amlitude EG [ENTER/YES] [ENTER/YES] [MENU] 1:Level&Rate [ENTER/YES]
The SY85s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility. Next to the fundamental waveform used, the amplitude envelope is one of the most important factors determining the overall sound of a voice.
AEG````R1```R2```L2```R3```L3```R4```RR` `atk`` 63``63````0` `63```63```0` `50
Atk/Hld (Amplitude EG attack/hold mode)
Range: atk, hold Controls: [CS1], [-1] [+1], Dial The Atk and Hld mode settings affect the initial attack of the sound, determining how the amplitude envelope begins. In the Atk mode, the envelope begins from zero level, reaching the maximum AWM level at a rate determined by the R1 (Rate 1) parameter. In this mode there will always be a slight delay between the initiation of a note and maximum level.
R1 RR, L2 L3 (Rates & levels)
Range: Controls: [CS2] [CS8], [-1] [+1], Dial The following diagrams illustrate how the AEG rate and level parameters determine the overall shape of the amplitude envelope.

q Atk Mode

2:Amplitude EG
The envelope begins at zero level, reaches maximum level at the rate determined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves on to L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate 4) if the note is held the entire time. If the note is released before the end of the envelope described above, then the sound decays to zero level from the point at which the note is released at the rate determined by the RR (Release Rate) parameter.

q Hld Mode

If the hold mode is selected, the envelope begins immediately from maximum AWM level, allowing the fast attack transients of waveforms to pass unaffected. In this case the R1 parameter is replaced by the HT (Hold Time) parameter. The HT parameter determines the length of time between the beginning of the envelope and the point at which the envelope begins to move towards L2 (Level 2) at R2 (Rate 2), as shown below.

00:-------01:Piano 02:Brass 03:SfzBrass 04:SynBrass 05:StFast 06:StSlw/Pd 07:E.Bass 08:SynBass1 09:SynBass2 10:Organ 11:Guitar 12:Pluck1 13:Pluck2 14:SynPad 15:SynComp 16:Percusiv 17:S.Ideal1 18:S.Ideal2 19:S.Ideal3 20:S.Ideal4 21:Init Full-edit envelope Acoustic piano Brass Sforzando brass Synthesizer brass Fast-attack strings Slow-attack strings (pad) Electric bass Synthesizer bass 1 Synthesizer bass 2 Organ Guitar Plucked instrument 1 Pluched instrument 2 Synthesizer pad Synthesizer comping (backing) Percussive Sound envelope 1 Sound envelope 2 Sound envelope 3 Sound envelope 4 Initialized envelope

Atk (Attack rate)

Range: Controls: [CS5], [-1] [+1], Dial Sets the attack rate for the selected envelope. 63 produces the fastest attack, while 0 produces the slowest attack.

Sus (Sustain level)

Range: Controls: [CS6], [-1] [+1], Dial Sets the sustain level for the selected envelope.

Rel (Release rate)

Range: Controls: [CS7], [-1] [+1], Dial Sets the release rate for the selected envelope.
Velo (Velocity sensitivity)
Range: -7 +7 Controls: [CS8], [-1] [+1], Dial Determines how the output level of the current voice changes in response to velocity changes (e.g. keyboard dynamics). Plus + settings produce higher output level in response to higher velocity values i.e. the harder a key is played, the louder the sound. The maximum setting of +7 produces the maximum level variation in response to velocity changes. Minus - settings produce the opposite effect: lower level in response to higher velocity. A setting of +0 results in no level variation.

3: FILTER

[VOICE] [QUICK EDIT] [MENU] 3:Filter [ENTER/YES]
The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 65.
QED`FILTER)Type```````````Coff`Reso``Vel `````````````0:--------```---```--```+0`
Range: Controls: [CS3], [-1] [+1], Dial Selects either the filter defined by the current filter parameter settings (page 65), or one of 15 preset filter types for the current voice. The filter types are: Quick Edit Filter Types
0:-------1:VeloSoft 2:VeloWide 3:VeloHard 4:VeloReso 5:SynBass1 6:SynBass2 7:SynBras1 8:SynBras2 9:Sweep 10:SlowAtak 11:LPF_Init 12:HPF_Init 13:BPF_Init 14:BEF_Init 15:Thru Full-edit filter Velocity sensitive, soft response Velocity sensitive, wide response Velocity sensitive, hard response Velocity sensitive, resonant Synthesizer bass 1 Synthesizer bass 2 Synthesizer brass 1 Synthesizer brass 2 Sweep-frequency filter Slow-attack filter Initialized LPF Initialized HPF Initialized BP Initialized BEF No filter

3: OUTPUT LEVEL

[VOICE] [EFFECT EDIT] [MENU] 3:Output Level [ENTER/YES]
EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--``EF2(sngl)=100%``--`
Range: Controls: [CS3], [CS4], [CS7], [CS8], [-1] [+1], Dial The [CS3] and [CS4] sliders adjust the output levels of the effect 1 1a and 1b stages, respectively, while the [CS7] and [CS8] sliders adjust the output levels of the effect 2 2a and 2b stages. A setting of 0 turns output from the corresponding effect stage off, while a setting of 100 produces maximum output level. If the selected effect is a single type, then only the 1a or 2a output level is available. If it is a cascade type, then only the 1b or 2b output level is available. Both the 1a and 1b or 2a and 2b levels are available only if the selected effect is a dual type. The type of the effects currently selected for the effect 1 and effect 2 processors are shown in parentheses on the bottom line of the display. See page 254 for details on the effect stages and the SY85 effect system in general. If a controller is assigned to any of the output level parameters (page 110), an inverse c will appear to the right of the parameter.
4: EFFECT 1 PARAMETERS 5: EFFECT 2 PARAMETERS
[VOICE] [EFFECT EDIT] [MENU] 4:EF1 Parameter [ENTER/YES] 5:EF2 Parameter [ENTER/YES]
EF1`PARAM`<Rev.Stage1>```)Init`Dly`[ms]( `2.5``1.0```10````0```16````4```45``1.0

6: CONTROL PARAMETERS

[VOICE] [EFFECT EDIT] [MENU] 6:Control Parameter [ENTER/YES]
EF`CTRL)````````(`Min``Max``Additional` ``CS1`:`0ff````````0%`100%`000:off

7: EFFECT LFO

[VOICE] [EFFECT EDIT] [MENU] 7:Control LFO [ENTER/YES]
EF`CTRL`LFO``Waveform````Speed````Delay` ```````````````tri````````0````````0`
tri = Triangle up = Upward sawtooth sin = Sine dwn = Downward sawtooth squ = Square S/H = Sample and hold 1tm = Upward 1-shot
If a controller is assigned to the Wave parameter (page 110), an inverse c will appear to the right of the parameter.
Range: Controls: [CS6], [-1] [+1], Dial Sets the speed of the effect LFO. 0 is the slowest Speed setting, producing an LFO speed of approximately 0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz. If a controller is assigned to the Speed parameter (page 110), an inverse c will appear to the right of the parameter.
Range: Controls: [CS8], [-1] [+1], Dial Sets the delay time between the beginning of a note and the beginning of effect LFO operation for the selected element. The minimum setting 0 results in no delay, while the maximum setting of 99 produces a delay of approximately 2.66 seconds before the LFO begins operation (5.3 seconds before it reaches maximum depth). If a controller is assigned to the Delay parameter (page 110), an inverse c will appear to the right of the parameter.

EF`Send`<BD6`````>``Switch`````Levl`VelS ``Key=`C1````````````1./-`2./-``127```+0
Range: C1 C5 Controls: [CS2], [-1] [+1], Dial, Keyboard Selects the drum key (C1 C5) for which the send select and level parameters are to be adjusted. Use either the [CS2] slider or the keyboard to enter the key number.
Range: See text below Controls: [CS5]/[CS6], [-1] [+1], Dial Determines to which of the EFFECT 1 and EFFECT 2 effect stages the output from the current layer is sent. Each time the [F5] or [F6] function key is pressed, the cursor alternately moves to the corresponding a or b parameter. The [-1] and [+1] keys can then be used to turn the stage on (a or b) or off (.). The [CS5] and [CS6] sliders select the following settings in sequence: CS5 (EFFECT 1)

CS6 (EFFECT 2)

If a single type effect is selected then only stage a can be selected. If a cascade type effect is selected, then only stage b can be selected. If a dual type effect is selected, then both stages a and b can be selected. An effect stage that cannot be selected is represented by - on the display.
Range: Controls: [CS7], [-1] [+1], Dial This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of 0 results in no effect, leaving only the dry sound of the voice. The maximum setting of 127 produces the maximum amount of effect.
Range: -7 +7 Controls: [CS8], [-1] [+1], Dial Determines how the send level from the selected drum key is affected by velocity changes (e.g. keyboard dynamics). Plus + settings produce higher send levels in response to higher velocity values i.e. the harder a key is played, the higher the send level, and therefore the deeper the effect. The maximum setting of +7 produces the maximum level variation in response to velocity changes. Minus - settings produce the opposite effect: lower send level in response to higher velocity. A setting of +0 results in no send level variation.

3: KEY DRY OUTPUT SELECT

[VOICE] [EFFECT EDIT] [MENU] 3:Key Dry Out Select [ENTER/YES]
OUTPUT`Select`<BD6`````>`Dry1`Dry2``` ``Key=`C1``````````````````on```on``
Range: C1 C5 Controls: [CS2], GROUP [A] [D], [-1] [+1], Dial Selects the key to be edited. The name of the voice assigned to the selected key is shown between parentheses on the upper line of the display.
Range: off, on Controls: [CS6], [-1] [+1], Dial Turns the dry line bypassing the EFFECT 1 signal processor on or off. When this parameter is turned off, the WET:DRY BALANCE parameters (page 133) have no effect.
Range: off, on Controls: [CS7], [-1] [+1], Dial Turns the dry line bypassing the EFFECT 2 signal processor on or off. When this parameter is turned off, the WET:DRY BALANCE parameters (page 133) have no effect.

[VOICE] [EFFECT EDIT] [MENU] 6:Mix Level [ENTER/YES]
EF`Mix`Level```EF2``Insert`1b```2a```2b` ````````````````--`````````--```--```--`
Range: Controls: [CS4], [-1] [+1], Dial Mixes the output of the EFFECT 2 processor with that of the EFFECT 1 processor. This parameter can only be used with the serial effect mode is selected. If any other mode is selected (off or para), --- appears on the display in place of the value. If a controller is assigned to the EF2 Mix parameter (page 136), an inverse c will appear to the right of the parameter.
Send 1b, 2a, 2b (Send level)
Range: Controls: [CS6], [CS7], [CS8], [-1] [+1], Dial These parameters mix the dry signal sent to the corresponding effect stage with the output of the preceding effect stage. The higher the value the greater mix level. If the current effect configuration does not allow one of these mix parameters, -- will appear in place of the mix level parameter. If a controller is assigned to the one of these parameters (page 136), an inverse c will appear to the right of the parameter.
[VOICE] [EFFECT EDIT] [MENU] 7:EF1 Parameter [ENTER/YES] 8:EF2 Parameter [ENTER/YES]
EF1`PARAM`<Rev.Room1`>```)Rev.Time``[s]( `1.2``0.8````8````0```50````4```68``5.6
[VOICE] [EFFECT EDIT] [MENU] 2:Key Param2 [ENTER/YES]
EF`CTRL)````````(`Min``Max``Additional` ``CS1`:`Out1`Wet```0%``40%`000:off
[VOICE] [EFFECT EDIT] [MENU] 10:Control LFO [ENTER/YES]
If a controller is assigned to the Wave parameter (page 136), an inverse c will appear to the right of the parameter.
Range: Controls: [CS6], [-1] [+1], Dial Sets the speed of the effect LFO. 0 is the slowest speed setting, producing an LFO speed of approximately 0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz. If a controller is assigned to the Speed parameter (page 136), an inverse c will appear to the right of the parameter.
Range: Controls: [CS8], [-1] [+1], Dial Sets the delay time between the beginning of a note and the beginning of effect LFO operation for the selected element. The minimum setting 0 results in no delay, while the maximum setting of 99 produces a delay of approximately 2.66 seconds before the effect LFO begins operation. If a controller is assigned to the Delay parameter (page 136), an inverse c will appear to the right of the parameter.

3: CLEAR RHYTHM TRACK

[SONG] [1] [SONG JOB] [MENU] 3:Clear Rhythm Track [ENTER/YES]
Deletes all data from the rhythm track. This job appears in place of the MEMORY STATUS job, described on the previous page, when the rhtyhm track (track 9) is selected.
SONG`JOB`Clear`Rhythm`Track
Press [ENTER/YES] to begin the delete procedure. The following confirmation display will appear:
SONG`JOB`Clear`Rhythm`Track Are`you`sure`?
Press [ENTER/YES] again to confirm that you want to go ahead with the delete operation, or press [EXIT/NO] to cancel. When the rhythm track has been deleted, Completed! will appear briefly on the display.

RHYTHM TRACK SONG JOB

4: TRACK MIXDOWN
[SONG] [A]~[H] [SONG JOB] [MENU] 4:Track Mixdown [ENTER/YES]
Combines the data from two different tracks and copies the result to a third track. This job is not available when the rhythm track (track 9) is selected.
SONG`JOB`Track`Mixdown````From``````To`` ``````````````````````````TR1+`TR1`TR1`
From (From track 1 + track 2)
Range: Controls: [CS6], [CS7], [-1] [+1], Dial
Range: Controls: [CS8], [-1] [+1], Dial Use the [CS6] slider to select the first From (source) track and the [CS7] slider to select the second source track. The data from the first and second source tracks will be combined and copied to the To (destination) track, selected by the [CS8] slider. Press [ENTER/YES] to begin the mixdown procedure. The following confirmation display will appear:
SONG`JOB`Track`Mixdown````From``````To`` Are`you`sure`?````````````TR1+`TR1`TR1`
Press [ENTER/YES] again to confirm that you want to go ahead with the mixdown operation (which will overwrite all data in the To track), or press [EXIT/NO] to cancel. When the data has been mixed and copied, Completed! will appear briefly on the display. The mixdown function is most useful when you want to record more than 8 individual parts. Successfully recorded parts can be combined using this function, thus opening up more tracks for further recording. The data in the source tracks is not erased during a mixdown operation. Please note that if both source tracks are set to the same track number, the data from that track will simply be copied to the destination track.

PTN`JOB`Clear`Pattern`````Are`you`sure`? [PTN]`ALL``KEY`<Funk1``V>`I00w``````````
Press [ENTER/YES] again to confirm that you want to go ahead with the clear operation, or press [EXIT/NO] to cancel. When the specified data has been cleared, Completed! will appear briefly on the display.

3: INSTRUMENT CHANGE

[PATTERN] [JOB] [MENU] 3:Inst Change [ENTER/YES]
Allows a specified instrument (key) in one or all patterns to be changed to any other. This makes it possible to change all occurences of one instrument to a different instrument in one easy step.
PTN`JOB`Inst`Change```````Ptn``From``To` [PTN]`ALL``````<Funk1``V>`I00```C1```C1`

PTN, ALL

Range: PTN, ALL Controls: [F1], [F2]
Range: C1 C6 Controls: [CS7], [-1] [+1], Dial, Keyboard
Range: C1 C6 Controls: [CS8], [-1] [+1], Dial, Keyboard Press [F1] if you want to change an instrument in one pattern, or [F2] if you want to change an instrument in all patterns. If you select PTN, the current pattern name is shown between parentheses on the lower display line and [CS6] can be used to select the pattern in which an instrument is to be changed. Use [CS7] (From) to select the key corresponding to the instrument to be changed, and [CS8] (To) to select the key corresponding to the new instrument. The From and To keys can also be directly specified via the keyboard when the cursor is located at the corresponding parameter. Press [ENTER/YES] to begin the instrument change procedure. The following confirmation display will appear:
PTN`JOB`Inst`Change```````Are`you`sure`? [PTN]`ALL``````<Funk1``V>`I00```C1```C1`
Press [ENTER/YES] again to confirm that you want to go ahead with the instrument change operation, or press [EXIT/NO] to cancel. When the instrument has been changed, Completed! will appear briefly on the display, then the display will return to the pattern play mode.

4: VELOCITY MODIFY

[PATTERN] [JOB] [MENU] 4:Velocity Modify [ENTER/YES]
Inceases or decreases the velocity values of all occurences of the specified instrument (key) in the specified pattern or all patterns.

PTN`JOB`Velocity`````Ptn``Key``Rate`Ofst [PTN]`ALL`<Funk1``V>`I00```C1``000%``+0`
Range: Controls: [CS5], [-1] [+1], Dial
Range: C1 C6 Controls: [CS6], [-1] [+1], Dial, Keyboard
Range: -99 +99 Controls: [CS8], [-1] [+1], Dial Press [F1] if you want to modify the velocity values of an instrument in one pattern, or [F2] if you want to modify the velocity values of an instrument in all patterns. If you select PTN, the current pattern name is shown between parentheses on the lower display line and [CS5] can be used to select the pattern in which the velocity values are to be modified. Use [CS6] to select the instrument (key) for which the velocity values are to be modified. Use [CS7] to set the ratio between the lower and higher velocity values (a setting of 100% maintains the original relationship between the notes, lower values produce a narrower dynamic range, and higher values produce a broader dynamic range). Use [CS8] to specify the amount of offset (- settings reduce the velocity while + settings increase the velocity). Press [ENTER/YES] to begin the velocity modify procedure. The following confirmation display will appear:
PTN`JOB`Velocity`````ptn``Are`you`sure`? [PTN]`ALL`<Funk1``V>`I00```C1``000%``+0`
Press [ENTER/YES] again to confirm that you want to go ahead with the velocity modify operation, or press [EXIT/NO] to cancel. When the velocity data has been modified, Completed! will appear briefly on the display, then the display will return to the pattern play mode.

PATTERN NAME

[PATTERN] [NAME]
This function can be used to assign a name of up to 8 characters to the current pattern.
Pattern`Name`````````````I00`:"Funk1``V" [CLR][UPR][LWR][SPC]````````````[]``[]
Range: See character list, below Controls: GROUP, PROGRAM, [CS1] [CS8], [-1] [+1], Dial Assigns a name of up to 8 characters to the current pattern. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right. Use the GROUP and PROGRAM keys to input a character at the cursor position. Each GROUP or PROGRAM key selects the three characters printed above it in sequence. It is also possible to use the [-1] and [+1] keys or dial to scroll through the available characters (see list below). The sliders, [CS1] through [CS8], independently select characters for the corresponding character position: [CS1] selects the first character, [CS2] selects the second character, and so on. The first four function keys also perform important functions: [F1] clears the entire name, [F2] selects upper-case characters for GROUP and PROGRAM key entry, [F3] selects lower-case characters for GROUP and PROGRAM key entry, and [F4] inserts a space at the cursor position. GROUP key

Low/High (Low and high limits)
Range: C-2 C8 Controls: [CS4]/[CS5], [-1] [+1], Dial, Keyboard These parameters specify the lowest and highest notes on the keyboard on which the selected sample will sound. In addition to the [CS4] and [CS5] sliders, the low and high limits can be specified by pressing the appropriate keys on the keyboard if the cursor is located below the corresponding parameter. If Low is set to C1 and High is set to C3, for example, then the current sample will sound only when keys between (and including) C1 and C3 are played.

Sample

Range: Controls: [CS8], [-1] [+1], Dial Selects the sample to be mapped using the Org, Low, and High parameters. The memory area in which the selected sample resides is shown on the upper display line (Volatile or Non-vol.), and an inverted key symbol appears to the right of sample numbers that correspond to copy-protected samples.

q 2: SAMPLE DATA

If not already selected, press the PAGE [ ] key to select this screen. These functions allow the volume, pitch, and loop characteristics of each sample assigned to the waveform to be set individually. If more than one sample is assigned, start by selecting the sample you want to edit via the Sample parameter, then use the Vol, Pitch, Loop, and Typ parameters to edit the specified sample.
SMPL`Data``Vol`Pitch`Loop`Typ`---------```````````---`-----`----`---`Sample=--`

Vol (Volume)

Range: Controls: [CS3], [-1] [+1], Dial Sets the volume of the selected sample. A setting of 0 produces minimum volume (almost no sound), and a setting of 127 produces maximum volume. Use this parameter to balance the levels of the different samples used in a waveform.
Range: -4158 +5376 Controls: [CS4], [-1] [+1], Dial Fine-tunes the pitch of the selected range over a wide range. Minus (-) settings decrease the pitch of the sample while plus (+) settings raise the pitch of the sample. Each increment corresponds to a pitch change of approximately 1.7 cents (a cent is one-hundredth of a semitone).
Range: FOne, FLp, BOne, BLp Controls: [CS5], [-1] [+1], Dial Selects the type of loop to be used for playback of the selected sample. The settings are:
FOne = Forward one-shot. The sample is played in the normal forward direction and is not looped (i.e. the sound stops a the end of the sample). FLp = Forward loop. The sample is played in the normal forward direction and is looped (repeated) as long as the key is held.
BOne = Backward one-shot. The sample is played backward and is not looped (i.e. the sound stops at the beginning of the sample). BLp = Backward loop. The sample is played backward and is looped (repeated) as long as the key is held.

Typ (Loop type)

Range: Nrm, Alt Controls: [CS6], [-1] [+1], Dial This parameter is only available when either the FLp or BLp loop type is selected (see Loop, above). When set to Nrm (normal), the sample is repeatedly looped in either the forward or reverse direction, as specified by the Loop parameter. If Alt (alternate) is selected, the sample is alternately played forward and backward.

Range: Controls: [CS8], [-1] [+1], Dial Selects the sample to be edited using the Vol, Pitch, Loop, and Typ parameters. The memory area in which the selected sample resides is shown on the upper display line (Volatile or Non-vol.), and an inverted key symbol appears to the right of sample numbers that correspond to copy-protected samples.

WAVE INITIALIZE

[SHIFT]+[UTILITY] [SEQ SETUP]
This function erases and initializes all wave memory, the specified type of wave memory, or a single specified sample.
WAVE`Initialize`````Wave`Mem`Allocation` `Volatile`Mem.````````Nonvol.``Mem`=off

Mem (Memory type)

Range: Volatile, Non-vol., all Controls: [CS2], [-1] [+1], Dial Use [CS2] to select either the volatile wave memory (Volatile Mem.), non-volatile wave memory (Non-vol. Mem.), or all wave memory to be cleared. See Wave Memory Expansion on page 285 for additional information.

Wave Mem Allocation

Range: 0 63, off Controls: [CS8], [-1] [+1], Dial All numbers from the number specified here to 63 are allocated for use as non-volatile waveform and sample numbers. Press [ENTER/YES] to begin the wave initialize procedure. The following confirmation display will appear:
WAVE`Initialize`````Wave``Are`you`sure`? `Volatile`Mem.````````Nonvol.``Mem`=off
Press [ENTER/YES] again to confirm that you want to go ahead with the initialize operation, or press [EXIT/NO] to cancel. When the specified wave memory has been initialized, Completed! will appear briefly on the display.

INITIALIZE

1: SAMPLE DUMP RECEIVE
[SHIFT]+[UTILITY] [MIDI] [MENU] 1:Receive [ENTER/YES]
This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the external MIDI device, since the SY85 transmits a sample dump request message to initiate transmission by the external device.
MIDI`SAMPLE`DUMP`Receive````````To`````` `````Sample=00`````````````Volatile`Mem.
Range: Controls: [CS3], [-1] [+1], Dial
Range: Volatile, Non-vol. Controls: [CS7], [-1] [+1], Dial Use [CS3] to select the number of the sample to be received from the transmitting device, and [CS7] to select the type of memory in which the data is to be stored (see Wave Memory Expansion on page 285 for additional information about the memory types). When ready to receive the data, press the [ENTER/YES] key. This initiates transmission of a sample dump request message, then the SY85 waits for the sample dump data. The received data is appended to the sample data previously residing in the SY85 memory. The [EXIT/NO] key can be used to cancel reception at any time.

HPF [kHz] Enhance [%] Exc Level [%] Init Dly [ms] Rev. Time [s] High Init Dly [ms] LPF [kHz]
500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 50.0ms 0.3 ~ 30.0s 0.1 ~ 1.~ 200ms 1.0 ~ 16.0kHz, thru

69 : Dist & Rev No.

70 : Pan & Rev RANGE
0 ~ 100% 315Hz ~ 6.3kHz -12 ~ +12dB -12 ~ +12dB 0.3 ~ 30.0s 0.1 ~ 1.~ 200ms 1.0 ~ 16.0kHz, thru
Dist. Level [%] Mid. Freq [kHz] Mid. Gain [dB] Trbl Gain [dB] Rev. Time [s] High Init Dly [ms] LPF [kHz]
Pan Type Speed Fade In [%] L/R Depth [%] Rev. Time [s] High Init Dly [ms] LPF [kHz]
LR, RL, L<>R 1 ~ 52 -100 ~ +100% 0 ~ 100% 0.3 ~ 30.0s 0.1 ~ 1.~ 150ms 1.0 ~ 16.0kHz, thru

71 : Dly & Rev No.

72 : Dly & Dly RANGE
0 ~ 0 ~ -99 0.3 0.~ 0 ~ 1.0 400ms 400ms ~ +99% ~ 30.0s ~ 1.100% ~ 16.0kHz, thru
Lch Dly [ms] Rch Dly [ms] FB Gain [%] Rev. Time [s] High Diffusion ER/Rev Bal [%] LPF [kHz]
Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [%] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB] 0 ~ 0 ~ -99 -~ 0 ~ -99 -12
340ms 340ms ~ +99% ~ +12dB 340ms 340ms ~ +99% ~ +12dB

73 : Flg & Dly No.

74 : Cho & Dly RANGE
0.~ 0.~ 0 ~ 0 ~ -99 -12 ~ 40.0Hz 100% ~ 30.0ms 99% 600ms 600ms ~ +99% ~ +12dB
Mod. Freq [Hz] Mod. Depth [ms] Mod. Dly [ms] Mod. FB Gain [%] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB]
Mod. Freq [Hz] PM Depth [%] AM Depth [%] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB] 0.~ 0 ~ -~ 0 ~ -99 -12
~ 40.0Hz 100% 100% ~ +12dB 600ms 600ms ~ +99% ~ +12dB

75 : Sym & Dly No.

76 : Pha & Dly RANGE
0.~ -~ 0 ~ -99 -12 ~ 40.0Hz 100% ~ +12dB 600ms 600ms ~ +99% ~ +12dB
Mod. Freq [Hz] Mod. Depth [%] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB]
Mod. Freq [Hz] Mod Depth [%] Mod Dly [ms] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB] 0.~ 0.1 -~ 0 ~ -99 -12
~ 40.0Hz 100% ~ 5.0ms ~ +12dB 600ms 600ms ~ +99% ~ +12dB

77 : Pit & Dly No.

78 : Exc & Dly (Aural Exciter*) RANGE
-24 ~ +24 -100 ~ +100 -24 ~ +24 -100 ~ +~ 600ms 0 ~ 600ms -99 ~ +99% -12 ~ +12dB
L Pitch L Fine R Pitch R Fine Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB]
HPF [kHz] Enhance [%] Exc Level [%] Init Dly [ms] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB]
500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 80.0ms 0 ~ 600ms 0 ~ 600ms -99 ~ +99% -12 ~ +12dB

79 : Dist & Dly No.

80 : Pan & Dly RANGE
0 ~ 100% 315Hz ~ 6.3kHz -12 ~ +12dB -12 ~ +12dB 0 ~ 680ms 0 ~ 680ms -99 ~ +99% -12 ~ +12dB
Dist. Level [%] Mid. Freq [kHz] Mid. Gain [dB] Trbl Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] High Gain [dB]

off verylong off off off off off norm long norm long off off off off
off verylong off off verylong off off verylong off off off off long norm norm off off off
off verylong off off off norm long off off
off verylong off off verylong off off verylong off off verylong off off verylong off off norm off
off verylong off off off 1 norm norm

verylong

off off off off off
P172 HH Pedal 127 P173 HH light 127
Key Parameters Note F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 Effect Effect 1 Waveform P174 HH mid Vol. 127 Nsft +0 +0 +0 +0 +0 +0 +0 -7 -5 -1 +1 +4 +0 -3 +0 +0 -3 +0 +0 -24 / Tune +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 / Pan +0 +0 +0 +0 +0 +0 +0 -20 -10 +0 +10 +20 -10 +10 +0 +0 +0 -15 +0 +0 AltG Gate
verylong verylong verylong verylong
Effect Send Rvs off off off off EF1 a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b EF2 a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b Lvel VelS DryOut +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +2
P175 HH heavy 127 P180 HHopAnlg 127 P181 HHclAnlg 127 P176 Crash P177 Ride 127 127
off verylong off off verylong off off verylong off off short off off short off off short off off short off off short off off norm off off verylong off off verylong off off verylong off 5
P178 RideBell 127 P179 AnlgTom P179 AnlgTom P179 AnlgTom P179 AnlgTom P179 AnlgTom 127
P192 AnaConga 127 P192 AnaConga 127 P193 Clap P195 AnaCwbl P194 Clave 127
P183 RezClick 127 P198 Tmbrine P122 SynBs9 Mode Type: off 47 :
off verylong off off verylong off off short off
Dist Dly Output Level b P3 +8 P4 +2 P100% PWet : Dry 70 : 30 P7 +30 P8 0
Output Level a Param. P1 Effect P2 2.5
Type: 50 : EQ Rev1 Output Level a Output Level b +12 PP4 +6 P5 1.3 100% P6 0.8 Wet : Dry 40 : 60 PP8 18
Param. P1 Mix Level Control 1 Control 2 EF2
Insert 1b Out2 wet EF1 prm8 tri Min Min

0 Speed

Insert 2a Max Max 0 Additional Additional

Parameter Parameter

q INITIAL DRUM VOICE DR GMIDI
Voice Name DR GMIDI Total Level Key Parameters Note C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 Waveform P151 BD1 P168 SDside P160 SD2 P193 Clap P166 SD8 P169 Tom1 P174 HH mid P169 Tom1 Vol. Nsft +0 +2 +0 +1 +1 -8 +1 -6 +0 -3 +2 +2 +7 +0 +12 +0 -4 +0 -2 -8 +0 +0 +0 -2 +3 -2 +0 +5 +0 Tune +3 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 -14 +0 -2 -14 +0 +0 Pan +0 +0 +0 +0 +0 -18 +0 -16 +0 -12 +0 -6 +3 -10 +10 +0 +15 +0 +0 +15 +15 +0 +0 +0 +0 +0 +0 +0 +0 AltG Gate Rvs EF1 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b 127 Vol Lo Limit Effect Send EF2 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Lvel 127 VelS DryOut +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +2 0

PRO SOLO

Single channel MIDI-CV converter

Operating manual

INTRODUCTION
Congratulations on your purchase. The PRO SOLO is much more than just a MIDI
to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties.

CONNECTIONS

To the MIDI In of your other MIDI keyboard

MIDI out

keyboard/computer

MIDI Master

Filter, Gate, CV Analogue synth

MIDI In

MIDI Thru
AUX, Gate, CV 9-15V external power adapter
MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here.
MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cutoff from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9-15V DC Plug your power adapter into here. The converter will take an adapter with a range of 915V. The voltage supplied determines the maximum gate voltage that can be obtained. We recommend the Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is regulated and is in the range of 9-15 volts.
WARNING - Do not use an adaptor with an output voltage higher than 15V, and the SOLO must not share an adaptor with any other device. Failure to observe this will invalidate your warranty, and will probably damage the other device, the PRO-SOLO and/or the power supply.

EDITING THE PRO SOLO

Switching On
When the PRO SOLO is switched on, the words KENTON PRO SOLO scroll across the display.

The Display

There are 3 digits on the 7-segment display. The 1st digit shows which parameter is ready for editing. The right-hand, 2nd & 3rd digits will then display what the value of the parameter is. There are also 3 red dots which you may see appear. The 1st dot when lit indicates the SELECT button is in reverse operation (see below), the middle dot when lit indicates the current value displayed is a negative number, and the 3rd dot will light when ever the PRO SOLO`s gate is on (key pressed down); negative value Gate on

SELECT steps backwards

Stepping Through Parameters
Each parameter is accessed using the SELECT button. There are 20 parameters in the menu, listed in the next section `Parameters`. Press the SELECT button to get to the parameter in question, then use the INCrement (+) and DECrement (-) buttons to edit the value. If you press and hold the SELECT button for more than 1 second, you can step through the parameters in the opposite direction. A red LED dot will light up to indicate this. If the SELECT button is pressed and held for 1 second again, the direction will return to normal and the red LED dot will disappear.

Displaying values above 99
When displaying values from 0 to 99, you will see the digits as you would expect. When displaying values above 99, the following format is used :a dash " - " at the bottom of the left-hand display = 100+ a dash " - " in the middle of the left-hand display = 110+ a dash " - " at the top of the left-hand display = 120+ No values above 127 are used.

Speeding up editing

If you press and hold the INC key, then also hold the DEC key, the value will increase faster. If you press and hold the DEC key then also hold the INC key, the value will decrease faster.

Storing Set-ups

The set-ups can be stored in non-volatile memory. To do this, press & hold the SELECT button (for approx. 6 seconds) till the display reads `st` (store).

PARAMETERS

Below is a list of parameters available to edit. The letters in square brackets show (where applicable) what will be displayed in the parameter 7-segment LED.

Menu number

Parameter (default)
MIDI receive channel (default :1)
Range 1 to 16 - Sets the MIDI receive channel.
Portamento time (default :98)
Range 0 to 127 - Sets the portamento (glide or slide) time. This can also be adjusted in real time over MIDI using controller #5 (portamento time). Please note that 0 does not mean portamento off - to turn portamento off (if it is on) set portamento controller (7) to off.

LFO speed (default :80)

Range 0 to 127 - Sets the speed of the LFO. This can also be adjusted in real time over MIDI using controller #18 (general purpose controller #3)
LFO waveshape (default :TR)
- Sets the LFO waveshape. All waveshapes modulate CV and/or Aux any value between 0 to a positive value, except triangle, which modulates positive and negative. The waveshapes can be changed in real time using controller #19 (general purpose controller #4) The following may be selected; (the downward arrow () indicates the trigger point when in MIDI sync mode).

Triangle

Sawtooth down PulseWidth 20% PulseWidth 40% Sample + Hold

[SD] [20] [40] [SH]

Sawtooth up

[SU] [10] [30] [50]

PulseWidth 10% PulseWidth 30% Square (Pseudo random)
(actually a new S/H level for each trigger)

LFO MIDI SYNC

(default: off)
Range, off [of], 1 to 96 - Allows the LFO waveform to be synchronised to MIDI clock, with a variable divide ratio. The LFO waveform will automatically adjust its length so that it will start at the beginning of a bar, and last for whatever musical time it is set for (see below for divide ratios). A divide ratio can be set, so the LFO only retriggers every so many MIDI clock messages; If set to 1, there will be 1 cycle of the LFO for every 1 MIDI clock. (i.e. 24 cycles per quarter note). If set to 24, there will be 1 cycle of the LFO for every 24 MIDI clocks. (i.e. 1 cycle of the LFO per quarter note). Note; MIDI sends 24 clocks per quarter note. Below is a table of values you can set the divide ratio to to obtain LFO cycles of various musical lengths: Note type; Divide ratio; Semibreve 96 Minim 48 Crotchets 24 Crotchet triplets 16 Quavers 12 Quaver triplets 8 Semiquavers 6 Semiquaver triplets 4 Demisemiquavers 3 Demisemiquaver triplets 2
LFO to CV controller number (default: 1)
The following can be selected; Off [Of] Pitch bend [Pb] Velocity [VL] Aftertouch [Af] MIDI controllers 0 to 120
LFO to AUX controller (default: 17)
- Sets which Controller will control the LFO depth applied to the auxiliary. The following can be selected; Off [Of] Pitch bend [Pb] Velocity [VL] Aftertouch [Af] MIDI controllers 0 to 120
Portamento controller number (default: 65)
- Sets which MIDI controller will turn on/off the portamento function. The following can be selected; On Off Program change MIDI controllers [on] [of] [PC] #0 to 120 always on always off program 1=on program 2=off values above midway=on, below midway=off
The standard MIDI controller for portamento on/off is 65 which is the default, but with this command , the PRO SOLO allows you to use another controller or a program change or direct control if you wish.
AUX controller number (default: 16)
- Sets which MIDI controller will control the auxiliary output. The following can be selected; Trig Pulse Off Pitch bend Velocity Aftertouch MIDI controllers [tr] [Of] [Pb] [VL] [Af] 0-120
If trig pulse is selected, the aux output will send a short trigger pulse whenever a valid new MIDI note is received this can be used to drive the envelope generator on synths that require a separate trigger for this. (Only usually needed by the Arp 2600 and a few modulars)

AUX minimum value (default: 0)
Range -27 to +100 - Sets the level for the Auxiliary output when the MIDI controller source is at its minimum.
AUX maximum value (default: 100)
Range -27 to +100 - Sets the level for the Auxiliary output when the MIDI controller source is at its maximum.
AUX reset value (default: 0)
Range -27 to +100 - Sets the level the Auxiliary output will reset to when the PRO SOLO is powered on and when it receives a controller reset MIDI command. Note that minimum can be set above maximum so that the controller works backwards.
Pitchbend range (default: 2)
Range 0 to 12 semitones. - The pitch bend range can be changed in semitone steps.

Transpose (default: 0)

Range -24 to +24 - Changing this will transpose the mono-synth in semi-tone steps. If your synth does not play C when you play a MIDI C (note#36) use this to make it as near as possible.

Fine tune (default: 0)

Range -127 to +127 - Fine tunes the mono-synth.

Scale (default: 0)

Range -127 to +127 - This is used to tune in the octave scaling of your analogue synth. Will only need adjusting if your synth sounds out of tune as you play further up the keyboard (see `Tuning in Your Analogue Synth`). - Check whether CV select has been set correctly (see `i` below). nb: C (MIDI note#36) will not move (assuming transpose is not in operation) so get that in tune first then tune the octave above using this parameter.
Multiple trigger (default: on)
Range on [on] / off [of] - If set to on (multiple trigger mode), a new valid note will briefly turn off the gate to retrigger the envelope generators of the mono-synth. If turned off (normal trigger mode), the gate stays on when a new note is played.
Note priority (default: new)
The following can be selected; Low note priority [lo] High note priority [hi] New note priority [nn] - Sets the note priority for the converter. If set to "lo" then the lowest valid note played takes precedence. If set to "hi" then the highest valid note played takes precedence. If set to "nn" then the newest valid note played takes precedence. The PRO-SOLO has a note buffer memory so that trill effects can be achieved.
CV / Hz/V select (default: CV)
- Generally speaking, this must be set to V/oct [CV] if you are connecting Roland, SCI, Octave, Oberheim or Moog synthesizers. Set it to Hz/V [Hz] if you are using either Yamaha or Korg mono-synths (except the MONOPOLY which is volt per octave).
Gate type select (default: G-)
- you can select the following types for the GATE output; Gate V-Trig low (+5v) Gate V-Trig high [g, middle LED bar] [g, upper LED bar]

Gate is the most common signal used for telling a synth when to play its note. The high level Gate is suitable for most synths, such as Roland, SCI, ARP, Oberheim. The low level gate may be needed for synths that require a lower gate voltage. S-trig no pull-up [S, lower LED bar]
This would be used for most Moogs & Korgs, and some Yamaha synths instead of the Gate output. S-trig low pull-up S-trig high pull-up [S, middle LED bar] [S, upper LED bar]
These would be used on some of the Yamaha CS range of synths instead of the Gate output. Note that the high gate or s-trig pullup voltage depends on the mains adaptor being used and is approximately half a volt less than the adaptor output - ie when using a 12 volt adaptor, the gate or s-trig voltage would be around 11.5 volts. You can use an adaptor with an output of up to +15 volts - which will give you a maximum gate voltage of +14.5 volts.
USING SUSTAIN PEDAL WITH THE PRO-SOLO
The PRO SOLO will always respond to controller 64 (sustain pedal) with no adjustment necessary.
RESETTING THE PRO SOLO TO FACTORY DEFAULTS
If you wish to reset your PRO-SOLO you can do so by turning the unit on whilst holding down all three push buttons. This will return the SOLO`s settings to default values. `Fd` (factory defaults) will momentarily be displayed when this has been done.
TUNING IN THE PRO SOLO & ANALOGUE SYNTH
It may be that your synth is slightly out of tune, so it will be necessary to tune the PRO SOLO to your synth.
1, Firstly, ensure that your analogue synth is in tune when playing from its own keyboard. Do this by adjusting the tuning or pitch knob on your analogue synth whilst playing middle C on both this and your master keyboard (or whatever you use for tuning reference). To do this, you may need to disconnect the analogue synth from the PRO SOLO. 2, Connect the converter to your analogue synth and MIDI system. Check the PRO SOLO is switched to the correct scaling system, Hz/V for Korg and Yamaha, or V/oct for anything else (see Editing Parameters section). Set transpose to zero. Now press bottom C (MIDI note #36) on your digital synth. Both synths should sound, dont worry at this stage if they are not in tune. 3, Using bottom C (MIDI note #36) as a reference (you must use this note for maximum accuracy) tune in the PRO SOLO with your analogue synth by adjusting the parameter FINE TUNE and TRANSPOSE if necessary (see Editing Parameters section) until it is exactly in tune. 4, When your digital & analogue synths are in tune at the bottom , play middle C, two octaves up on your digital synth. (MIDI note #60). Now adjust the SCALE parameter (see Editing Parameters section) until both synths are in tune. The analogue synth should now play correctly across its complete range from your master keyboard, if this is still not the case go back to step 3 and repeat the process for final tweaking.

CHECK LIST FOR SETTING UP THE PRO SOLO
12345Make sure all cable connections have been made. Set MIDI receive channel you wish to use. Make sure you have set the GATE output correctly to either `Gate` or `S-Trig` type triggers. Make sure you have set the CV output correctly to either `V/oct` or `Hz/V.` You may wish to adjust the AUX, or any other settings to those that work best for your set-up.
DISPLAYING THE SOFTWARE VERSION
Power on the PRO SOLO whilst holding the INC and DEC buttons pressed and the software revision [43xx] and build number [0xxx] will be displayed. Releasing the buttons will revert to the normal operational mode.

MIDI ANALYSER MODE

The PRO SOLO also has a MIDI analyser function. This feature allows you to see what types of MIDI messages are being transmitted by your master keyboard/sequencer making the PRO SOLO a useful diagnostic tool. To enter analyser mode, you must power on the PRO SOLO whilst holding the SELECT button. The display will then show `nt`. `nt` means the display will show the MIDI note number of any notes it receives. Using the INC, DEC, and SELECT buttons, different types of MIDI messages received may be displayed; SELECT DEC INC Short Long Short Long Short Long press press press press press press [rC] Receive channel [PC] Program change [nt] Note number [nv] Velocity [Cn] Controller number [Cv] Controller value
For whichever of the above selected, the PRO SOLO will display the value it receives for the message selected. Although pitchbend and after-touch are not controllers, when Controller number is selected, `pb` will be displayed if pitchbend is received, & `af` will be displayed if aftertouch is received. If Controller values is selected, and pitchbend or after-touch are received, their values will be displayed. For values over 99 the usual method is employed for displaying large numbers. The MENU 7-segment LED in this mode operates as a received MIDI message indicator. LEDs will flash when then following types of messages are received; Note on, Note off, Sysex, Timing clock (MIDI clock), Start, Stop, Continue.

Any MIDI message

Clock start
Clock continue MIDI clock

Note on

Note off

Clock stop

To exit MIDI monitor mode, the PRO SOLO must be powered off then on again.

SYNC 24 & CLOCK MODE

The PRO SOLO has a sync 24 & clock pulse mode. This feature allows you to sync a drum machine or synthesiser arpeggiator to MIDI clock. To enter sync mode, you must power on the PRO SOLO whilst holding the INC button, the display will read SYC until you release the button and will then say ( which means K ). When in this mode, the signal levels are all either 0 or 5 volts and the outputs will come from the following jacks:SYNC 24 clock pulses = CV jack STOP/START control = GATE jack CLOCK PULSE = AUX jack Sync 24 control is usually via a 5 pin DIN connector - Kenton can supply an adaptor lead to convert the jack outputs to a DIN connector. Connect this lead so that the white lead goes to the gate socket and the red lead goes to the CV socket. For those of you who want to make your own lead, the tip of the CV jack should connect to pin 3 of the DIN plug, the tip of the GATE jack should connect to pin 1 of the DIN plug and the bodies of both jacks should connect to pin 2 of the DIN plug. Pins 4 & 5 of the DIN plug should remain unconnected. There are three menu options from which you can choose in Sync mode. These are selected in the usual manner by using the SELECT button to move through menu items, and then by using INC & DEC to edit them. Store also functions in the usual manner.
Clock pulse divide ratio - ( values d2, d4 & 2 to 24, default: 2 )
- sets the ratio of MIDI clocks to output pulses from the clock pulse output. d2 special drum machine mode outputs 24 cpqn used for many drum machines d4 special drum machine mode outputs 48 cpqn for Linn & Oberheim drum machines N.B. Some drum machines use other values e.g. the Roland CR78 uses 12 cpqn (div ratio 2) If set to 2, there will 12 pulses from the clock pulse output for every 24 MIDI clocks = 12 cpqn If set to 24, there will be 1 pulse from the clock pulse output for every 24 MIDI clocks = 1 cpqn (Note there are 24 MIDI clocks per quarter note) Below is a table of values you can set the divide ratio to in order to obtain a clock pulse at various musical time intervals:Note type Crotchets (quarter notes) Crotchet triplets Quavers (eighth notes) Quaver triplets Semiquavers (sixteenths) Semiquaver triplets Demisemiquavers Divide ratio CPQN (clocks per quarter note) 8 4

Demisemiquaver triplets

L - Positive / Negative edge clock pulse (values Pv, Nv, default: Positive)
- sets whether the clock pulse train starts with a positive going edge or a negative going edge. Most synths / sequencers & drum machines will want the Positive edge pulse, but a few require the Negative edge instead. (e.g. Korg Monopoly)

N - Continue = start - (values on, off, default = off)
- when set to off, MIDI continue messages are ignored. If set to on, then continue messages are treated as if they were MIDI start messages. To exit Sync Mode, the PRO SOLO must be powered off then on again.
PROBLEMS YOU MAY ENCOUNTER WHEN USING MIDI CLOCK
When using MIDI clock in conjunction with the PRO-SOLO, please note the following. First, ensure that the PRO-SOLO is actually receiving MIDI clock. This is not as silly as it sounds - there are a number of reasons why it may not be receiving MIDI clock messages in the first place. If you are having problems, go into the MIDI analyser mode described on page 13 and see if the PRO-SOLO is actually receiving the MIDI clock messages. If the PRO-SOLO is not receiving clock messages, here are a few points to watch for:Some MIDI mergers & patch bays actually remove MIDI clock information from the data stream, or you may have to enable it for the port you are using. Users of CUBASE note that the default for MIDI clock is for it NOT to be sent, you will have to go into the MIDI synchronisation page and select MIDI clock to transmit. Users of UNITOR/EXPORT on an Atari note that the MIDI clock will only come out of port A, (that is the Ataris own MIDI port), unless you can re-assign it.

CONTROLLER NUMBERS

Controller Number Decimal 12-15 16-19 20-31 32-69 70-79 80-83 84-102-120 121-127 Hex 00H 01H 02H 03H 04H 05H 06H 07H 08H 09H 0AH 0BH 0C-0FH 10-13H 14-1FH 20-3FH 40H 41H 42H 43H 44H 45H 46-4FH 50-53H 54-5AH 5BH 5CH 5DH 5EH 5FH 60H 61H 62H 63H 64H 65H 66-78H 79-7FH Control Function Bank select MSB Modulation wheel/lever Breath controller Undefined Foot controller Portamento time Data entry MSB Main volume Balance Undefined Pan Expression controller Undefined General purpose controllers (1-4) Undefined LSB for controllers 0-31 Damper pedal (sustain) (Hold 1) Portamento Sostenuto Soft pedal Undefined Hold 2 Undefined General purpose controllers (5-8) Undefined External effects depth Tremolo depth Chorus depth Celeste (detune) depth Phaser depth Data increment Data decrement Non-registered parameter number LSB Non-registered parameter number MSB Registered parameter number LSB Registered parameter number MSB Undefined Reserved for channel mode messages

A BRIEF GUIDE TO MIDI TO CV CONVERSION FOR THE BEGINNER
IDI-CV converters can have up to four different types of outputs used to control analogue synths, usually labelled CV, GATE, S-TRIG and AUX.
Below is a description of what they do;
Pitch - CV outputs (V/oct, Hz/V)
The CV (control voltage) is a voltage that tells the synth what note to play. Most synths use the 1 Volt per Octave (V/oct) pitch scaling system to control the pitch. This means, that each octave is 1V (V=volts) apart (or 0.0833V per semitone). For example, bottom C (MIDI note #36) corresponds to 0 Volts. The next C will be 1V, 2V, 3V etc. Synths using this system include Roland SH101, Sequential Circuits Pro 1, ARP Odyssey, Oberheim OB 1. Some other synths, most notably Korg and Yamaha, use a different pitch scaling system. This is an exponential method called Hertz per volt (Hz/V). This means that for the next octave up, the voltage is doubled. So bottom C (note#36) will be 0.25V, the next C will be 0.5V, 1V,2V, 4V etc. If you are not sure which C is MIDI note #36, use MIDI analyser mode to check. If you use a Hz/V synth with a V/oct pitch output (or vice-versa), the synth will play out of tune but will not cause any damage to the synth. Note - The Korg Monopoly is an exception. Although other Korg synths use Hz/V scaling, this synth actually uses V/oct scaling.

Gate - (Or S-TRIG)

The GATE (sometimes called V-trig [voltage trigger]) signal is a voltage that tells the synth when to play the note. The GATE voltage will usually be a positive voltage when the note is on, and 0V when off. Some other synths, like Moog, Korg, and Yamaha, use S-TRIG (Short Trigger) instead of GATE. This signal still tells the note when to play, but it is a different type of signal (electrically). To tell the note to play, the converter will provide a short circuit at its S-TRIG output (0V), and to turn off the note the output will be open circuit (literally like opening and closing a switch). A point to watch for; unless you know the synth, it will not always be clear what type of CV and GATE signals are required to play the synth. For instance, the Korg MS20 requires an S-TRIG signal, but the input is labelled TRIG. Another example is the Yamaha CS5. The pitch input is marked CV, but requires a Hz/V signal. The best way to check is either ask someone who knows, or just try all types of output till the synth works correctly. If you do plug your synth to the wrong outputs, it shouldnt do any harm, although always start out with minimum voltages.

Heres a general guide to the most common synths and how to hook them up to your converter
SYNTH MODEL MINIMOOG MOOG PRODIGY MOOG ROGUE MOOG SOURCE ROLAND SH-101 ROLAND MC-202 ROLAND TB-303 SEQUENTIAL PRO-1 KORG MS-10/20 KORG 700S/770 KORG MONOPOLY YAMAHA CS-10/20/30 ARP ODYSSEY (&AXXE) ARP 2600 OCTAVE CAT/KITTEN
CV OR HZ/V? CV CV CV CV CV CV CV CV HZ/V HZ/V CV HZ/V CV CV CV
S-TRIG OR GATE S-TRIG (5V) S-TRIG (5V) GATE (5V) S-TRIG (5V) GATE (5V) GATE (5V) GATE (5V) GATE (15V) S-TRIG (5V) S-TRIG (5V) GATE (15V) S-TRIG (5V) GATE (15V) GATE (15V) GATE (15V)
AUXILIARY CONNECTIONS FILTER OR LOUDNESS FILTER
NOTES CINCH-JONES CONNECTOR NEEDED KIT AVAILABLE FOR FILTER IF NOT FITTED KIT AVAILABLE FOR FILTER KIT AVAILABLE FOR FITLER KIT AVAILABLE FOR FILTER/MODULATION KIT AVAILABLE FOR CV/GATE/FILTER/SLIDE KIT AVAILABLE FOR CV/GATE/FILTER/SLIDE/ACCENT THERE ARE MANY EXTRA INPUTS ON THE MS10/20 KIT AVAILABLE FOR CV/GATE AND FILTER ARPEGGIO CAN ALSO BE CONTROLLED FILTER AVAILABLE FOR CS-5 KIT AVAILABLE FOR FILTER
CLOCK IN (SYNC) FILTER (SEE RIGHT) FILTER ANY OTHER FILTER VCF/PORTAMENTO

FILTER FILTER

This is a general guide, further socket kits are available, and many other synths can be controlled. There simply is not the space to detail all connections to all synths. However if you call us we will be happy to help you out. A further point to watch for. Some synths use stereo jacks for the CV and GATE connections. Moog, for instance, use a stereo jack for CV In/Out, and a stereo jack for STRIG In/Out. Whether the tip or the ring is in or out is hard to say as Moogs are very nonstandard. It varies from synth to synth! Octave who made the Cat and Kitten synths use stereo jacks. CV and GATE outputs are on one stereo jack, and the inputs are on another stereo jack.
Auxiliary output - More control
The AUX output can be used to control functions such as filter cut-off or volume control. This depends on what control inputs your synth has. Most mono-synths have at least a Filter input, e.g. the Pro 1. Some synths, such as the Minimoog, also have VCA inputs (volume). Synths such as the Korg MS20 and ARP 2600 have even more inputs to control effects such as Pulse Width. The PRO SOLO has an output called AUX. By plugging the AUX output into the external control input of the synth, e.g. Filter input, the cut-off frequency can be controlled over MIDI. The AUX output is not controlled by MIDI note numbers. The converter allows you to set which MIDI controller, e.g. Modulation Wheel, (or even velocity, after-touch, or pitch bend), will control the level of the AUX voltage to control the synth`s extra input.
Only synths that have the appropriate inputs can be controlled from a MIDICV converter.
The synth needs some sort of CV and GATE inputs. CV`s may be labelled CV In, OSC In, Keyboard In, VCO In, Key Volt, etc. GATEs (and S-TRIG) may be labelled GATE In, S-TRIG, V-TRIG (voltage trigger, same as gate), Trig In, etc. Any additional inputs may be utilised, like Filter, VCF fcM, VCF, PORTA (portamento), Loudness, VCO, PWM, etc. by using the converters AUX output. Some synths that cannot be connected to a MIDI-CV converter via CV, GATE, AUX Outputs (as they do not have them); OSCAR EDP WASP 100P Kenton can do an internal MIDI retrofit Possible with a PRO 2000 (with WASP port)/ PRO-4/PRO-KADI Applies to most other preset synths/mono. string machines

SPECIFICATIONS

Power Input Power MIDI Analogue outputs 9-15V DC (regulated supply recommended) 100mA, 2.1mm plug (centre negative) In, Thru CV (V/oct or Hz/V) Gate (Gate or S-trig) Aux 450g 130 x 97 x 40 mm 2 x 16 bit
Weight Dimensions D to A conversion
Non-volatile memoryEEPROM (no back-up battery required)

WARRANTY

The PRO SOLO comes with a 12 month (from purchase date) back to base warranty, (i.e. customer must arrange and pay for carriage to and from Kenton Electronics).
Brookfarm House, Station Road, South Wimbledon, London, SW19 2LP, UK Tel: +44 (0)9200 Fax: +44 (0)9300 e-mail:sales@kenton.co.uk www:http://www.kenton.co.uk rev# 4300_086 e. & o. e. 18 TH January 2003