OPERATION MANUAL 64-Voice Tone Wheel Organ
B-3 Operation Manual © 2000 E-MU Systems All Rights Reserved Getting Started PN: FI10666 Rev. B CD PN: CD10562 Rev. B E-MU World Headquarters E-MU Systems U.S.A. P.O. Box 660015 Scotts Valley, CA USA 95067-0015 Telephone: 831-438-1921 Fax: 831-438-8612 Internet: www.emu.com Europe, Africa, Middle East E-MU Systems, Ltd.
Introduction 1 Product Description . . . . . . . . . . . . . . . . . . . .1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Important Safety Instructions 3 Grounding Instructions . . . . . . . . . . . . . . . . . .3 Danger! . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Caution! . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 User Maintenance Instructions . . . . . . . . . . . .4 Radio and Television Interference . . . . . . . . . .
Basic Operations 21 Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Volume Control . . . . . . . . . . . . . . . . . . . . . . . . Master Button . . . . . . . . . . . . . . . . . . . . . . . . . Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . Control Button . . . . . . . . . . . . . . . . . . . . . . . . . Audition Button . . . . . . . . . . . . . . . . . . . . . . . . Left/Right Cursor Buttons . . . . . . . . . . . . . . . . . Multisetup Button . . . . . . . . . .
MIDI Parameters . . . . . . . . . . . . . . . . . . . . . . 43 MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI SysEx ID . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Enable . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Program Change -> Preset . . . . . . . . . . . . Receive Program Change . . . . . . . . . . . . . . . . . Real-time Controller Assignment . . . . . . . . . . . MIDI Footswitch Assign . . . . . . . . . . . . . . . . . . Tempo Controller . . . . . . .
Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . 85 Defining Layer Parameters . . . . . . . . . . . . . . .86 Selecting an Instrument . . . . . . . . . . . . . . . . . . Defining Key Range . . . . . . . . . . . . . . . . . . . . . Defining the Velocity Crossfade Range . . . . . . . Defining the Real-time Crossfade Range . . . . . . Transposing the Instrument . . . . . . . . . . . . . . . Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amplifier . . . . . . . . . . . . .
Effects 141 Effects Overview . . . . . . . . . . . . . . . . . . . . . . 141 The Effects Sends . . . . . . . . . . . . . . . . . . . . . . . 141 Effect Types. . . . . . . . . . . . . . . . . . . . . . . . . . 143 Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . 143 Effects Programmed in the Preset . . . . . . . . . 145 Master Effects . . . . . . . . . . . . . . . . . . . . . . . . 146 Effects Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Flexible Effects Control . . . . . . .
B-3 Instrument Suffixes . . . . . . . . . . . . . . . . . . 170 Velocity Curves . . . . . . . . . . . . . . . . . . . . . . . .171 PatchCord Amount Chart . . . . . . . . . . . . . . . .173 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Received Channel Commands . . . . . . . . . . . . . 176 SysEx Specification . . . . . . . . . . . . . . . . . . . . . . 176 Technical Specifications. . . . . . . . . . . . . . . . . .177 Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . .
Introduction Congratulations on your purchase of the E-MU B-3 - 64 voice tone wheel organ sound module. This custom module was carefully engineered to capture the sound and feel of the original legendary B-3. The rotating speaker effects can be spun-up and spun-down independent of note-on events and a single trigger, polyphonic harmonic percussion generator perfectly simulates the playing behavior of the original.
Introduction Overview The patch bay also contains a set of arithmetic modifiers, letting you create complex synthesis models. Four front panel real-time controllers give you control over 12 userselectable parameters. The real-time knobs can adjust multiple parameters at once, allowing complex levels of control. For example, one knob can simultaneously turn up filter cutoff, while detuning one sample, and adjusting the release time of the volume envelope.
Important Safety Instructions Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer all servicing to qualified service personnel. Do not expose this product to rain or moisture. There are no user serviceable parts or adjustments inside the unit. Grounding Instructions Danger! Caution! This product must be grounded.
Important Safety Instructions User Maintenance Instructions User Maintenance Instructions 1. 2. The B-3 should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do not use solvents or cleaners. There are no user lubrication or adjustment requirements. Caution -. These servicing instructions are for use by qualified personnel only.
Important Safety Instructions Radio and Television Interference A. B. C. D. E. 14. The power supply cord has been damaged; or Objects have fallen, or liquid has been spilled into the unit; or The unit has been exposed to rain; or The unit has been dropped or the enclosure damaged; or The B-3 does not operate normally or exhibits a marked change in performance. All servicing should be referred to qualified service personnel. Save These Instructions.
Foreign Language Warnings - German Wichtige Sicherheitsvorschriften Foreign Language Warnings - German Wichtige Sicherheitsvorschriften Erdungsinstruktionen Gefahr Vorsicht 6 E-MU Systems In Ländern ausserhalb den U.S.A. können andere Kabel oder Stecker notwendig werden. Zur Verminderung des Risikos von Feuer oder eines elektrischen Schlages übergebe man den Service an qualifizierte Fachleute. Das Gerät niemals Regen oder Nässe aussetzen. Das Gerät muss geerdet sein.
Foreign Language Warnings - German Unterhaltsinstruktionen für anwender Unterhaltsinstruktionen für anwender Vorsicht 1. 2. 3. B-3 soll sauber und staubfrei gehalten werden. Das Gerät mit einem sauberen und säurefreien Tuch periodisch abreiben. Keine Lösungsoder Reinigungsmittel anwenden. Schmieren und Justieren sind nicht notwendig. Bei weiteren Servicefragen wende man sich an eine qualifizierte Servicestelle. Diese Gebrauchsanweisungen sind nur für qualifizierte Techniker beabsichtigt.
Foreign Language Warnings - German 10. 11. 12. Vermeiden Sie sorgfältig das Eindringen von Gegenständen oder Flüssigkeiten durch die Gehäuseöffnungen. Das Gerät soll durch qualifizierte Serviceleute gewartet werden, falls: A. das Netzkabel beschädigt wurde, oder B. Gegenstände oder Flüssigkeit in das Gerät gelangten, C. das Gerät Regen ausgesetzt war, oder D. das Gerät nicht normal oder einwandfrei arbeitet, oder E. das Gerät stürzte oder sein Gehäuse beschädigt wurde.
Foreign Language Warnings - French Instructions de Sécurité Importantes Foreign Language Warnings - French Instructions de Sécurité Importantes Instructions de Mise à la Terre Danger Attention Instructions de Maintenance Une utilisation dans des pays autres que les U.S.A. peut nécessiter l’usage d’un cordon d’alimentation différent. Afin de réduire les risques d’incendie ou d’électrocution, référez-vous à un personnel de service qualifié, et n’exposez pas cet appareil à la pluie ou à l’humidité.
Foreign Language Warnings - French Instructions de Maintenance Instructions Concernant les Risques d’Incendie, d’Electrocution, ou de Blessures Corporelles. ATTENTION: Lorsque vous utilisez des appareils électriques, certaines précautions élémentaires doivent toujours être prises, incluant les suivantes: Ces instructions de dépanage sont destinées uniquement aux personnes qualifiées.
Foreign Language Warnings - French Interférences Radio et Télévision 14. B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur de l’appareil, ou C. Le B-3 a été exposé à la pluie, ou D. Le B-3 est tombé, ou E. Le B-3 ne fonctionne pas normalement, ou affiche un changement radical de performance. Tout service doit être effectué par un personnel qualifié.
DECLARATION OF CONFORMITY Interférences Radio et Télévision DECLARATION OF CONFORMITY Manufacturer: E-MU/Ensoniq 1600 Green Hills Road Scotts Valley, CA 95067-0015 USA We hereby declare that the equipment listed herin conforms to the harmonized standards of the following European Commission Directives: 89/336/EEC and 72/23/EEC.
Setup This section thoroughly describes how to set up your new B-3 for use. Setup includes unpacking instructions and how to connect the cables. Unpacking Carefully remove B-3 from the packaging material. Take care to save the packing materials in case you need to transport the unit. Check to make sure all components are included and in good condition. If there are missing or damaged components, contact E-MU Systems immediately for replacement or repair.
Setup Connection Instructions Connection Instructions Set Footswitch - Controller #64 Set Control Pedal - Controller #7 REAL TIME The Headphone Output is located on the Front Panel CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 .
Setup Connection Instructions Studio Setup MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 . Computer EMULATOR MIDI In Additional MIDI Devices MIDI Out MIDI In In MIDI Interface Out Out In “A” MIDI channels 1-16 ~ A B IN THRU SCOTTS VALLEY CA. U.S.A.
Setup Connection Instructions Power Up! The power switch is located on the right side of the front panel. You can turn on the B-3 and its MIDI controller in any order. When power is applied the liquid crystal display will light, indicating that B-3 is operating. You may have noticed that there is no 110/220 Volt power selector switch on B-3. B-3 automatically switches itself to the proper line voltage.
Setup Instant Gratification Instant Gratification Playing Demo Sequences This section presents step-by-step instructions for the most fundamental operations to get you up and making sounds quickly. B-3 has several factory demonstration sequences that let you hear what this incredible machine can do. The actual number of demo sequences depends on which ROM sounds sets are installed. You can play these demo sequences by accessing the Demo Sequence page. DEMO SEQUENCES B3 Madness þ 1. 2. 3.
Setup Instant Gratification BankSel 0:000 32:2 0190 org: 808800008 þ 1. 2. 3. 4. Selecting and Quick Editing Presets B-3 To Audition a Preset Select a preset by turning the data entry control while the cursor is anywhere on the lower line. The preset number field (shown above) is the normal position of the cursor and pressing the Enter button will return the cursor to this position. Press the Audition button on the front panel.
Setup Instant Gratification Each bank of 128 presets is identified by a superscripted Bank Number to the right of the preset number. The bank numbers reset to 0 at the start of each ROM card you have installed. So with the B-3 ROM installed, the USER banks will go from 0-3, then start over from 0-2 for the B-3 ROM banks. To the right of the preset number and bank is the preset Category name followed by the Preset Name. þ 1.
Setup Instant Gratification Bank Select Commands When you press the Audition button, the Bank Select MSB and LSB are displayed on the top line of the display. Bank Select Commands allow you to access more than 128 preset via MIDI. Continuous Controllers 0 and 32 are used to select banks of 128 presets each. Continuous Controller (CC) 0 is the MSB (most significant byte) and CC 32 is the LSB (least significant byte). Normally you send both the MSB and LSB controllers to implement a bank change.
Basic Operations Front Panel Basic Operations Control Button A-D E-H I-L Volume Control FILTER FIL TER CUTOFF LAYER LA YER 1 DYNAMIC 1 FILTER FIL TER RES LAYER LA YER 2 DYNAMIC 2 ATT TTACK ACK PERC AMOUNT FX A RELEASE PERC DECAY DECAY FX B MASTER CO 1 Vo l 1 27 Pan0 1 R 022 3 o r g : P e r c o l a t o r VOLUME A/E/I B/F/J Edit Menu Master Menu C/G/K B3 Cursor Controls Power Switch EDIT DEMOS POWER D/H/L AUDITION MULTI MUL TI SAVE/COPY SA VE/COPY HOME/ENTER MIDI Display Headphone J
Basic Operations Front Panel Audition Button O See “Bank Select Commands” on page 80 for more information on selecting banks via MIDI. The Audition button allows you to hear any preset without hooking up a MIDI keyboard. When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff” (programmed as part of the preset) will play. The Riff is latched on and plays continuously until the button is pressed again. Presets can be changed while Audition is latched on.
Basic Operations Front Panel Controller Modes Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the “Home” button. For example, when in an Edit menu, this button snaps the cursor to the page name field of the current screen. When viewing the Preset Select screen (we also call it the main screen), this button snaps the cursor to the preset number field. In these instances, the LED is not used. Some screens and parameter fields use this button as the “Enter” button.
Basic Operations Front Panel Controller Modes There is an LED next to each of the control knobs which illuminates to indicate that the knob setting has been changed from the value programmed in the preset (when Quick Edit mode is enabled). If the knob position is returned to the original setting, the LED is extinguished.
Basic Operations Front Panel Controller Modes Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to edit parameters. Using the Controller Knobs is a faster method for entering data, but the Data Entry Control offers finer precision. þ 1. To Enable Deep Edit Mode: Press the Master button and use the Data Entry Control to advance to the “Knobs Deep Edit” screen as shown in the following illustration. KNOBS DEEP EDIT disabled 2. 3. 4.
Basic Operations Main Screen Main Screen The Preset Select screen is B-3’s default screen (also called the main screen) and is active when you have not selected any of the other button-activated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 16 MIDI channels. MIDI Channel MIDI Channel Selection The channel number shown in the main screen is the “basic MIDI channel” when in Omni or Poly modes. Preset Selection þ 1. 2. þ 1. 2.
Basic Operations Main Screen Using the screen above as an example, the superscripted number 2 in the second line of the display identifies the current bank number. • Select banks independently of the of the preset number by locating the cursor on the Bank field and turning the Data Entry Control.
Basic Operations Main Screen Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This control operates like the balance control on your home stereo system. Channel Pan is the same parameter as MIDI pan controller #10, and changes made over MIDI are shown in the display. Pan Position C01 0431 Vol127 Pan01R USER dir: 8 8 6 3 2 2 5 8 8 Note: Pan settings in the preset ADD algebraically with the Channel Pan setting.
Basic Operations Sound Navigator Sound Navigator Preset Category Sound Navigator allows you to search through preset and instrument categories to find the type of sound you’re looking for. Each preset and instrument has a name and a three letter preset category. You can create your own categories in order to group favorite presets. The preset category is assigned in the Edit menu (Preset Name). Instrument categories are fixed.
Basic Operations Multitimbral Operation Multitimbral Operation Multitimbral operation means that B-3 can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously. þ 1. 2. 3. O Save the Multisetup using the instruction provided in Chapter 3:Multisetup. 4. To Set Up B-3 for Multitimbral Operation Set the MIDI mode to “multi mode,” using the MIDI mode function in the Master menu.
Multisetup Multisetups The Multisetup button allows you to save and restore Multisetups. A Multisetup is a group of parameters that you might associate with a particular sequence or song. It is like a “snapshot” of the current MIDI channel configuration of the module. There are 64 setups numbered 0-63. All Multisetups are user programmable. A Multisetup includes ALL the following parameters: • Preset/Volume/Pan assignments for each of the 32 MIDI channels.
Multisetup Multisetups þ To Modify a Parameter Press either Cursor button repeatedly (or hold down the left or right cursor button while turning the Data Entry Control) until the cursor is below the desired parameter value. Rotate the Data Entry Control to change the value. þ To Return to the Main Screen Press the Multi button, turning off the LED. Restoring Multisetups B-3 contains 64 Multisetup locations. These are all User locations which you can use to store your own Multisetups.
Multisetup Multisetups 3. 4. If you wish to Name your new Multisetup continue on, otherwise skip to step 8. Scroll to the “Setup Name” screen (shown below) using the Data Entry Control. SETUP NAME 020 User Setup 23 5. 6. Press either cursor button to move the cursor to the bottom line of the screen. Scroll to the “Save Multisetup” screen (shown below) using the Data Entry Control. SAVE MULTISETUP to 020 Destination Multisetup 7. 8. 9.
Multisetup Multitimbral Sequencing Multitimbral Sequencing “Multitimbral” means that B-3 can play multiple sounds at the same time. For a multitimbral sequence to play back correctly, the proper preset must be selected for each MIDI channel. This could be done by inserting preset changes into each track of your sequence before the sequence starts. B-3 also provides another way to store this “pre-sequence setup” using the Multisetup menu.
Master Menu The Master menu contains functions that affect the overall operation of B-3. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed. þ To enable the Master menu Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up B-3. The cursor appears below the first character of the screen heading on line one.
Master Menu Defining Master Parameters Defining Master Parameters Transpose/Tune Master setup parameters affect overall performance, range, and global effects. This section describes the Master parameters and how to define them. The Transpose parameter transposes the key of all presets, in semitone intervals. The transpose range is ± 24 semitones. Master Tune adjusts the fine tuning of all presets so that you can tune B-3 to other instruments.
Master Menu Defining Master Parameters Velocity Curve You can modify incoming velocity data by a velocity curve in order to provide different types of dynamics in response to your playing, or to better adapt to a MIDI controller. The Master Velocity Curve lets you select one of thirteen master velocity curves or to leave the data unaltered (linear).
Master Menu Defining Master Parameters MIX OUTPUT channel 16: use preset MIX OUTPUT channel 15: Send 1 The Sends function as effect processor inputs (effect sends). The four Effect Sends allow you to get the most out of the two effect processors. For example, with Effect B set to an echo algorithm, you could route one MIDI channel to Send 3 and set the effect amount to 80%. Another MIDI channel could be routed to Send 4 with an effect amount of only 5%.
Master Menu Master Effects Master Effects The digital effect processors can be programmed as part of the preset (using the Edit menu) so that effects will change along with the preset. However, there are only two effect processors, and so you cannot have a different effect on each preset when in Multi mode. The Master Effects settings assign the effect processors “globally” for all presets to provide a way to use the effects in Multi mode.
Master Menu Master Effects Master FXA Algorithm This function selects the type of effect used for the “A” effect. The following effect types are available. MASTER FXA ALGORITHM Room 1 A Effect Types 1. Room 1 23. BBall Court 2. Room 2 Room 3 Hall 1 Hall 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate 24.
Master Menu Master Effects FXA Parameters: Decay/HF Damping FxB -> FxA This page lets you define the parameters of the selected Effects algorithm. Use this page to setup the effect decay, high frequency damping amount and to route “B” effects through the “A” effects. See “Effect Parameters” on page 143 for more details. FXA FXA Send Amounts DECAY 040 HFDAMP 096 These parameters set the effects amounts for each of the four stereo effects busses.
Master Menu Master Effects B Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. FXB Parameters: Feedback/LFO Rate Delay Time Chorus 1 Chorus 2 Chorus 3 Chorus 4 Chorus 5 Doubling Slapback Flange 1 Flange 2 Flange 3 Flange 4 Flange 5 Flange 6 Flange 7 Big Chorus Symphonic 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. FEEDBK 000 LFORATE 003 DELAY 0 These parameters set the effects amounts for each of the four stereo effects busses.
Master Menu MIDI Parameters MIDI Parameters MIDI Mode MIDI parameters control how the B-3 sends and receives MIDI data. MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi mode. MIDI MODE omni CHANGE ignored The MIDI Mode Change parameter specifies whether mode changes made through an external MIDI controller are accepted or ignored. The MIDI modes are as follows: Omni Responds to note information on all MIDI channels and plays the preset currently displayed in the main screen.
Master Menu MIDI Parameters MIDI Enable MIDI Enable lets you turn each MIDI channel on and off independently when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the B-3 unit to respond to the MIDI channels reserved for the other devices. MIDI ENABLE channel 01: On Because the MIDI Enable function only makes sense if you are in Multi mode, B-3 disables this feature when in Omni or Poly mode.
Master Menu MIDI Parameters O Programs and presets are the same thing. “Preset” is the E-mu term for MIDI Program.
Master Menu MIDI Parameters O B-3 factory presets have certain synth parameters assigned to each controller letter and so these are “Global” controller assignments. For example, assigning a MIDI controller to “A” in this screen would let you control filter Fc for all the factory presets. See “Front Panel Knob Functions” on page 163. The Real-time Controller assignment also specifies which controller numbers are transmitted when the “Knobs MIDI Out” is enabled (see “Knobs/Riff MIDI Out” on page 48).
Master Menu MIDI Parameters Following are a few of the standardized MIDI Switch numbers. 64 - Sustain Switch (on/off) 67 - Soft Pedal (on/off) 65 - Portamento (on/off) 69 - Hold Pedal 2 (on/off) 66 - Sostenuto (on/off) Tempo Controller This function allows a MIDI controller to change the Master Tempo. The Global Tempo is used for the clock divisor PatchCords, tempo-based envelopes and synced LFOs. (See “Clock Modulation” on page 60.
Master Menu MIDI Parameters Knobs Deep Edit This parameter specifies whether or not the front panel controller knobs can be used to edit parameter values in the Master or Edit menus. This is called “Deep-Editing.” With Knob Deep Edit disabled, the front panel controller knobs retain their function as real-time controllers even when in the Master or Edit modes.
Master Menu MIDI Parameters Front Panel Knob Calibration This function calibrates the minimum and maximum values for the five front panel knobs. The controls should be calibrated periodically in order to compensate for normal wear and tear on the controls themselves or if the controls behave strangely. Before calibration, it’s usually a good idea to let the unit warm up for about half an hour to ensure you have the maximum range on all the front panel controls. þ 1.
Master Menu MIDI Parameters MIDI SysEx Packet Delay Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the B-3. The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overflow, causing an error. The value range is from 0 through 8000 milliseconds. A delay value of zero allows full speed MIDI transfer.
Master Menu MIDI Parameters _ WARNING: When transferring SysEx data from one B-3 to another, the ID numbers of both units must match. Bank 0 User Presets Transmits all the user defined presets in Bank 0. Bank 1 User Presets Transmits all the user defined presets in Bank 1. Bank 2 User Presets Transmits all the user defined presets in Bank 2. Bank 3 User Presets Transmits all the user defined presets in Bank 3. Any Individual Preset Transmits only the selected preset. The Enter LED will be flashing.
Master Menu MIDI Parameters Base Tempo B-3 contains an internal master clock which can be used to: synchronize the LFOs when in Tempo-based mode, control the times of Tempo-based envelopes or used as a modulation source in the PatchCords section. There are two tempo values shown in the display. • Base Tempo - The base tempo is the value to which the MIDI controller specified in the Tempo Controller screen will be applied. (See “Tempo Controller” on page 47.
Programming Basics This chapter explains how B-3 sounds are constructed and contains important background information on how to create your own custom presets. Your initial involvement with B-3 will most likely be using the existing presets and selecting MIDI channels. While the factory presets are very good, there are some things you will probably want to change eventually, perhaps the LFO speed, the filter frequency or the attack time.
Programming Basics Modulation Modulation To modulate means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), and so on. Turning the volume control on your home stereo rapidly back and forth is an example of amplitude modulation. To modulate something we need a modulation source and a modulation destination. In this case, the source is your hand turning the knob, and the destination is the volume control.
Programming Basics Modulation Sources Modulation Sources Modulation sources include Envelope Generators, Performance Controllers and Low Frequency Oscillators. In the previous example, an envelope generator was routed to automatically turn the volume control as programmed by the envelope, or, a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion. The following is a list of the modulation sources used in B-3. Keyboard Key Which key is pressed.
Programming Basics Modulation PatchCords Random Sources Random modulation sources can be used when you want the timbre of the sound to be “animated” in a random or non-consistent manner. • Key Random 1 & 2 generate different random values for each layer which do not change during the note. • The White & Pink Noise Generators produce varying random values. Both white and pink noise sources are low frequency noise designed for control purposes.
Programming Basics Envelope Generators Envelope Generators _ An envelope can be described as a “contour” which is used to shape the sound over time in a pre-programmed manner. There are three envelope generators per layer and all of them are the rate/level type. This is how the rate/level (time based) envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate.
Programming Basics Envelope Generators Tempo-based Envelopes Tempo-based envelopes are based on Time which is controlled by the Master Tempo (located in the Master menu). The Master Tempo rate scales the time of the Tempo-based envelope segments. The Master Tempo can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes.
Programming Basics Low Frequency Oscillators (LFOs) Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The B-3 has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration. Ra ndo m T r i a ngl e Sawtooth S i ne S qu a r e 33% Pulse 25% Pulse 16% Pulse 12% Pulse LFO Tricks & Tips: • The Random LFO wave is truly random and is different for each voice and layer.
Programming Basics Clock Modulation You might use the LFOs to add a slight bit of animation to the sound by routing the LFO to control the filter. For this effect, set the LFO “amount” low for a subtle effect. When a PatchCord amount is a negative value, the LFO shape is inverted. For example, inverting the sawtooth wave produces a wave that increases abruptly, then smoothly glides down.
Programming Basics Clock Modulation LFOs can also be perfectly synchronized with the clock at any of 25 note divisions. This allows you to create very cool “synchro-sonic” effects that work perfectly at any tempo. Choosing one of the note divisors in the LFO rate screen selects the synced LFO function. There are many possibilities for clock modulation and retrigger.
Programming Basics Modulation Destinations Modulation Destinations The PatchCords section of the Edit menu is where you connect sources to destinations. Each PatchCord has an amount associated with it which controls how much modulation is applied. L1 PATCHCORD ModWhl -> RTXfade Layer R Gain Chorus Pitch Freq. Amp Envelope Gen. LFOs Mod Wheel L Z-Plane Filter Instrument Glide All the modulation destinations are summing nodes.
Programming Basics Modulation Processors Modulation Processors Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which would not be possible otherwise. These modulation processors are independently programmable on each of the four layers. Switch Outputs a digital “1” when the input is greater than “0”.
Programming Basics Modulation Processors Diode The diode blocks negative input values, passing only positive values. Diode Flip-Flop The value of a digital “1” is equal to the PatchCord amount. The output of this processor alternates between a digital “1” and digital “0” each time the input goes positive from zero or a negative value. With an LFO input, the output will be a square wave of half the input frequency.
Programming Basics Preset Modulation Processors Preset Modulation Processors start working as soon as the preset is selected. The Layer Modulation Processors take effect only when a key is pressed. Preset Lag Like the Layer Lag processors (described on page 63) the Preset Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate. Unlike the layer level lag processors, the preset lag takes effect as soon as the preset is selected.
Programming Basics Preset Modulation Processors The preset ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed. The Ramp Rate polarity (+ or -) determines if the ramp will be positive or negative going. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps. Multiple inputs can be connected to the ramp rate (just like all the other destinations in B-3).
Programming Basics Preset Modulation Processors Using the Modulation Processors Modulation processors are inserted into a modulation routing as shown in the following diagram. The modular analog synthesizers of yesteryear were incredibly flexible, partly because processing devices could be connected in any order. Modulation processors are designed according to this modular concept. They can be linked and used in a wide variety of ways limited only by your imagination.
Programming Basics Preset Modulation Processors But what if you want the velocity switch point to be something other than 64? Thanks to modulation processors, it can be done. Here's how. Velocity ~ Cord Switch 21 DC Pitch Cord Switch On when Velocity > 0 Cord Switch value is Scaled by Cord Amount Connect the DC level to the input of the switch along with the velocity value. Note that more than one modulation source can be applied to the input of a processor.
Programming Basics Preset Modulation Processors More Examples To derive a smooth random function you could route the Pink Noise generator through one of the Lag Processors. A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to filter cutoff. Normal pink noise is low pass filtered audio frequency noise with a 3 dB/octave slope to give equal energy per octave.
Programming Basics Preset Modulation Processors O The 4x Amp can be used to get more steps or increase the interval of the Quantizer. L1 #01 +030 L1 PATCHCORD Quantize -> Pitch #02 +100 L1 #03 -050 PATCHCORD LFO1+ -> Quantize O Experiment with this patch by connecting other sources and destinations to the Quantizer. PATCHCORD DC -> Pitch This patch generates an ascending arpeggio every time a key is pressed. A diagram of the patch is shown below.
Programming Basics Modulation Processors The block diagram of the B-3’s signal path is shown below. L Z-Plane Filter Instrument Amp R Q Vol Pan Start Offset Glide Retrigger Glide Freq. Pitch To understand how a filter works, we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform, except a sine wave, can be analyzed as a mix of sine waves at specific frequencies and amplitudes. Any waveform can be analyzed as a mixture of sine waves.
Programming Basics Dynamic Filters What is a Filter? Most sounds are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its frequency. For example, a low-pass filter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram. Cutoff Frequency 100 80 Amplitude Output of Filter Low Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ...
Programming Basics Dynamic Filters A filter which only lets a certain band of frequencies pass is called a band-pass filter. Center Frequency 100 Filter Output Amplitude 80 60 40 Band Pass Filter 20 40 80 160 360 720 1440 2880 ... Frequency A notch filter is just the opposite of a band-pass filter and is used to eliminate a narrow band of frequencies. Amplitude Another control found on traditional filters is called Q or resonance.
Programming Basics Dynamic Filters Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. The B-3 has selectable 2, 4, 6, and even 12th order filters. The higher the order of a lowpass, highpass or bandpass filter describes the steepness of its slope. The higher the order (another word for the number of poles), the steeper the filter's slope and the stronger the filtering action.
Programming Basics Dynamic Filters A more complex type of filter is called a parametric filter or Swept EQ. A parametric filter allows control over three basic parameters of the filter. The three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows you to select the width of the range of frequencies to be boosted or cut, the Frequency defines the center frequency of the bandwidth, and the Gain parameter either boosts or cuts the frequencies within the selected band by a specified amount.
Programming Basics Dynamic Filters The Z-Plane Filter A Z-plane filter is a filter which can change its function over time. In a Z-plane filter, we start with two complex filter types and interpolate between them using a single parameter. See the following diagram. Morph Amplitude B Filter A Filter Morph Frequency The Z-plane filter has the unique ability to change its function over time. Filters A and B represent two different complex filters or “frames.
Programming Basics Signal Flow Signal Flow Going back to the Signal Path diagram for a single channel we can reexamine the complete signal path. Instrument Sample Pitch Start Z-Plane Filter Freq R DCA Pan Q L Volume Filter Envelope Velocity Volume Envelope Instrument This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can be changed only at the time the note is played.
Programming Basics MIDI Channels & Real-time Controls MIDI Channels & Real-time Controls Your MIDI keyboard sends out real-time controller information on separate continuous controller numbers. There is a set of 32 continuous controller numbers for each MIDI channel. Some of the controllers, such as the modulation wheel, volume, and pan have standardized numbers. For example, volume is usually sent on continuous controller #7.
Programming Basics MIDI Channels & Real-time Controls The factory presets have the MIDI A-L controls connected to standard synthesizer functions (marked on the front panel of B-3). By choosing any four of the 12 standard functions, the four sliders on your keyboard will work the same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 21-24.
Programming Basics MIDI Channels & Real-time Controls Bank Select Commands When the original MIDI specification was developed it included the capability to select up to 128 presets. At that time, when synthesizers had only 8 to 40 presets, being able to select up to 128 presets didn’t seem like much of a limitation. But as time marched on, musicians wanted MORE and so the MIDI specification was later amended to include Bank Select Commands.
Programming Basics Stereo Mix Outputs Stereo Mix Outputs This feature is useful for adding signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. The routing can be performed according to MIDI channel from the Mix Output screen in the Master menu. Simply assign each channel to the desired output. Master Menu MIX OUTPUT channel 01: Send 2 To route a particular preset to a Send, first go to the Mix Output screen in the Master menu and set the MIDI channel to “Preset”.
Programming Basics Stereo Mix Outputs OUTPUT SECTION & EFFECTS PROCESSORS FX Sends Send 1 15% PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 S E N D 1 FX Sends Send 1 0% Send 3 20% Ch 1 PRESET Ch 2 SEND 2 Ch 3 SEND 3 Effect A B➟A Send 2 0% Send 4 15% Mix Output Hall 1 Chorus M A I N Effect B S E N D 2 S E N D 3 Ch 16 SEND 4 MASTER MENU S E N D 4 The Mix Output screen in the Master menu assigns each MIDI channel to a Send (1-4) or to “Preset”.
Edit Menu The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations. There are four instrument layers in the Edit menu. See the illustration on page 85 for a description of the Preset Layer model. While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored. þ Press the Edit button, lighting the LED.
Edit Menu Preset Name The Preset names consists of two parts: a 3 letter preset category and a 12 letter preset name. Position the cursor under the character location and use the data entry control to change the character. The preset category is used in conjunction with the Sound Navigator feature. Using the Sound Navigator, a category is selected and the presets in that category are listed in alphabetical order. Creating categories makes it easier to find specific sounds when you need them.
Edit Menu Four Layer Architecture Four Layer Architecture B-3 provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 filter types, over 64 modulation sources, more than 64 modulation destinations and 24 patchcords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.
Edit Menu Defining Layer Parameters Defining Layer Parameters The Edit menu parameters define the four layers and include the instrument assigned to the layer, the ranges of the layer, tuning, envelopes, filters, and patch cords. These parameters are defined for each layer on an individual basis (based on the currently selected layer). See “Common Preset Parameters” on page 117 for global preset settings.
Edit Menu Defining Layer Parameters Defining Key Range The Key parameter defines the range on the keyboard used by the current layer. The Key range is from C-2 through G8. Middle C C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8 G8 To define the range, set the low key value and the high key value. You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field in the display.
Edit Menu Defining Layer Parameters þ To Switch Layers According to Key Position The Key Range parameter allows you to create a “split” keyboard with up to four sounds adjacent to each other on the keyboard. This is shown in the diagram below. C0 C1 C2 Layer 1 Layer 2 Switch You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display.
Edit Menu Defining Layer Parameters þ To Stack Layers If the ranges of two or more Layers overlap it is called stacking layers. All Layers assigned to a key sound when the key is played. This is shown in the following diagram. It’s very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack.
Edit Menu Defining Layer Parameters Defining the Velocity Crossfade Range Velocity is a measure of how hard the key is pressed. Velocity Range lets you control the volume of the layers using velocity. Using this function you can crossfade or cross-switch between layers according to how hard you play the keyboard. Set the velocity range of the layer by defining the high and low velocity values. Values range from 0 (off) to 127 (hardest).
Edit Menu Defining Layer Parameters þ To Set Up a Velocity Crossfade Between Layers Set the velocity fades so that layer 1 fades out with higher key velocity, while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade. These parameters vary depending on the sounds.
Edit Menu Defining Layer Parameters Defining the Real-time Crossfade Range The Real-time Crossfade window lets you control the volume of the four layers using a real-time controller such as a front panel knob, a pedal or an LFO or Envelope generator. The controller is defined by the PatchCord parameter (see “PatchCords” on page 113). The Fade fields define the crossfade range in velocity for the currently selected layer. The first Fade field defines the Fade In amount for the low Real-time Control value.
Edit Menu Defining Layer Parameters 4. 5. 6. 7. 8. 9. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. Define the High and Low range of each Layer. In this example the entire range of 0-127 is used. Define the Fades for each Layer. This is just an initial setting. The Range and Fade parameters may have to be adjusted later to get a smooth crossfade. Press Home/Enter and use the Data Entry Control to advance to the PatchCord page. Select Layer 1.
Edit Menu Defining Layer Parameters 1. 2. 3. Press the Edit button to access the Edit menu. Go to the Instrument screen and select Instruments for Layers 1 through 4. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. L1 4. 5. 6. 7.
Edit Menu Defining Layer Parameters L1 PATCHCORD XfdRand -> RTXfade 8. Transposing the Instrument #01 +100 That’s it! Now set each Layer up the way you want. Try radically different instruments, filter settings, or tunings. Or you can make each layer just slightly different for a more natural effect. Try adjusting the Fades or overlapping the ranges if you want more than one layer to play at once. The Transpose parameter lets you transpose the key of the current layer’s Instrument.
Edit Menu Defining Layer Parameters Tuning The Tuning parameter changes the pitch of the key in semitone and 1/64 semitone intervals. L1 TUNING Coarse: +36 Fine: +63 Use the Coarse field to shift the tuning by semitone intervals. Use the Fine field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. Background: Transpose vs.
Edit Menu Defining Layer Parameters Volume Envelope An envelope can be described as a “contour” which is used to shape the sound over time. The Volume Envelope controls the volume of the sound in the current layer over time. The way the volume of a sound evolves has a profound effect on how we perceive the sound. Each instrument has its own Factory preset Volume Envelope setting. The Volume Envelope allows you to program your own envelope settings.
Edit Menu Defining Layer Parameters See the Programming Basics section of this manual for detailed information about how the Envelopes work. Defining the Volume Envelope The Volume Envelope controls the volume of the layer over time. The Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes through the first four stages. If you continue to hold down the key, the envelope holds at the Decay 2 level.
Edit Menu Defining Layer Parameters Chorusing the Layer _ WARNING: Because it works by doubling instruments, Chorusing halves the number of notes you can play. Chorusing “thickens” the sound by doubling the sound in stereo and then detuning it. Every layer with chorus turned on uses twice the polyphony for that layer. L1 CHORUS off WIDTH 100% The first field in this screen turns Chorus On or Off and allows you to adjust the amount of detuning (1 to 100%).
Edit Menu Defining Layer Parameters Non-Transpose Mode This function turns keyboard transposition On or Off for the current layer. With Nontranspose “on,” the keyboard will not control the pitch of the instrument. This is a useful function for drones, attack “chiffs,” or other sound effects which you may not want to track the keyboard. L1 NONTRANSPOSE off Solo Mode Provides the playing action of a monophonic instrument such as a lead synthesizer by preventing more than one note from sounding at once.
Edit Menu Assign Group Synth (low): Same as Synth (last) but with low note priority. When you release the currently sounding solo key while holding other keys down, the lowest held solo key sounds in a Legato fashion (MiniMoog). Synth (high): Same as Synth (last) but with high note priority. When you release the currently sounding solo key while holding other keys down, the highest held solo key sounds in a Legato fashion.
Edit Menu Glide Glide Glide creates a smooth transition from one note to the next instead of the normal instantaneous change in pitch when a new key is pressed. This effect is commonly heard on slide guitars, synthesizers and violins. L1 GLIDE RATE 0.000 sec/oct CURVE linear The Glide Rate parameter defines the time it takes to glide to the new pitch (the larger the value, the slower the glide rate) The glide rate value range is from 0 through 32.738 seconds (zero means off).
Edit Menu Z-Plane Filters Z-Plane Filters A filter is a device which changes the output of a signal (sound) by removing certain elements of the signal based on the frequency and amplitude. The “Order” of a filter defines the number of filter elements it contains. The more elements, the more complex the filter. B-3 contains 50 different types of E-MU’s celebrated Z-plane filters.
Edit Menu Z-Plane Filters Filter Name Order Type Description Band-pass1 02 BPF Band-pass filter with 6 dB/octave rolloff on either side of the passband and Q control. Band-pass2 04 BPF Band-pass filter with 12 dB/octave rolloff on either side of the passband and Q control. ContraBand 06 BPF A novel band-pass filter where the frequency peaks and dips midway in the frequency range. Swept1>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut and a one octave bandwidth.
Edit Menu Z-Plane Filters Filter Name Order Type Description Eeh-To-Aah 12 VOW “E” to “Ah” formant movement. Q accentuates “peakiness.” UbuOrator 12 VOW Aah-Uuh vowel with no Q. Raise Q for throaty vocals. DeepBouche 12 VOW French vowels! “Ou-Est” vowel at low Q. PhazeShift1 06 PHA Recreates a comb filter effect typical of phase shifters. Frequency moves position of notches. Q varies the depth of the notches.
Edit Menu Filter Envelope Filter Parameters The Freq and Q parameters control various elements of the filter depending on the type of filter used. See the table in the Filter Types section for details about what the Freq and Q fields control in each filter. L1 FILTER Freq: 255 Filter Envelope Q: 019 The Filter Envelope is normally used to control the filter frequency and has six stages. Unlike the Volume Envelope, the Filter Envelope must be patched to the Filter Frequency using a PatchCord.
Edit Menu Filter Envelope Envelope Repeat The Envelope Generators can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2). For more information, see “Envelope Repeat” on page 58. þ 1. To Turn on Envelope Repeat: Move the cursor until it is underneath the Mode field as shown below.
Edit Menu Auxiliary Envelope Auxiliary Envelope The Auxiliary Envelope is a supplementary general purpose envelope that can be routed to any real-time control destination in the PatchCords. It is identical to the filter envelope generator. See “Filter Envelope” on page 106 for full details. Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow speed. B-3 has two LFOs per layer, identified in the display as LFO1 and LFO2.
Edit Menu Low Frequency Oscillators (LFOs) The 17 LFO waveforms are shown below. R an dom Tri an gl e Sa w to o th LFO Tricks & Tips: • The Random LFO wave is truly random and is different for each voice and layer. Sine S qu are 33% Pulse 25% Pu l s e 16% Pu l s e 12% Pulse • The Pattern (Pat) waveforms will sound the same on different layers and voices. • Sine + Noise is very useful for simulating trumpet and flute vibrato.
Edit Menu Low Frequency Oscillators (LFOs) Sync The Sync field specifies whether the LFO is synchronized to a key stroke or is Free Running. Key Sync starts the LFO wave at the beginning of its cycle each time you press a key on the controller. In Free Run mode, the LFO wave begins at a random point in its cycle each time you press a key on the controller. Rate The Rate field determines the LFO speed in absolute frequency rate values or tempo-based note values.
Edit Menu Low Frequency Oscillators (LFOs) Tempo-based Rates (based on Master Tempo) Display quarter note 1/4 dotted 8th note 1/8d quarter note triplet 1/4t 8th note 1/8 dotted 16th note 1/16d 8th note triplet 1/8t 16th note 1/16 dotted 32nd note 1/32d 16th note triplet 1/16t 32nd Note 1/32 Delay The Delay parameter defines the amount of time between hitting a key on the controller and the onset of the LFO modulation.
Edit Menu Low Frequency Oscillators (LFOs) Variation LFO Variation sets the amount of random variation of the LFO each time you press a key on the controller. This creates a chorus or ensemble effect since each note played has a slightly different modulation rate. The higher the value entered, the greater the note to note variation in the LFO. _ The Variation value range is from 0 through 100. Variation is disabled when a Tempo-Based LFO is selected.
Edit Menu PatchCords PatchCords PatchCords tie everything together by connecting modulation sources to destinations. Each PatchCord has its own Amount control which can be positive or negative (negative amounts invert the signal). In addition, the PatchCord amounts themselves can be controlled by any modulation source. B-3 provides 24 patches for each layer. There are three permanently connected control routings: volume envelope to amplifier, pitch wheel to pitch and key to pitch.
Edit Menu PatchCords Modulator Polarity You will notice that some of the modulation sources have symbols following their names. For example, there are three Velocity modulation sources, Vel +, Vel ±, and Vel <. Control Value + ± < 0 63 127 Control Value Applied 0 -63 -127 63 0 -63 127 +64 0 + modulation ADDS to the initial value. (Normal) ± centers around Zero. (Use for LFOs, Filt. Freq.
Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the B-3.
Edit Menu Pitch Bend Range Pitch Bend Range Specifies the Pitch Wheel range in semitones for the current layer. Pitch Wheel is a standard synthesizer control which is transmitted as a MIDI continuous controller message used (normally) to bend the pitch up and down. The PitchBend range is from 0 to +12 semitones or “Master.” A setting of “0” turns the pitch wheel Off for the current layer. The Master setting uses the Pitch Bend range defined in the Master menu.
Edit Menu Common Preset Parameters Preset Effects This section of the Edit menu chapter describes parameters that affect all layers in the preset. B-3 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
Edit Menu Preset Effects OUTPUT SECTION & EFFECTS PROCESSORS FX Sends PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 N D 1 B➟A FX Sends Send 4 15% Mix Output Ch 2A SEND 2 Ch 3A SEND 3 S E 3 MASTER MENU S U B 1 Jack Detect 2 S E M A I N Effect B N D N D Ch 16B SEND 4 Chorus Send 1 0% Send 3 20% PRESET Effect A S E Send 2 0% Ch 1A Hall 1 Send 1 15% Jack Detect S U B 2 S E N D 4 The Mix Output setting in the Master Menu determines if the Preset’s Mix O
Edit Menu FXA Algorithm FXA Algorithm This screen selects the effect type for Effect Processor A. The “A” effects consist of different reverb types and digital delays. Move the cursor to the lower line of the display and select the effect you want. FXA ALGORITHM Lg Concert Pan A Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
Edit Menu FXA Parameters FXA Parameters The FXA parameters are Decay, High Frequency Damping, and the FxB to FxA send. Decay sets the length of time it takes an effect to fade out. HF Damping causes the high frequency energy to fade away more quickly during the reverb decay. FxB to FxA controls the amount of the “B” effect sent through effect “A”. This allows you to place the two effects in series and create setups such as “distortion through reverb” among others.
Edit Menu FXB Parameters FXB Parameters The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the output of the effect back into the input. This creates multiple echoes on a delay effect and intensifies a chorus or flange effect. LFO Rate allows you to change the speed of the modulation oscillator for flange and chorus effects. Delay sets the length of the delay line. This affects the time between echoes, or the tone of flange effects.
Edit Menu Preset Patchcords Modulation Sources: Footswitch 1 Flip-Flop Footswitch 1 Footswitch 2 Flip-Flop Footswitch 2 Footswitch 3 Flip-Flop Footswitch 3 DC 122 E-MU Systems Modulation Destinations Effect B Send 3 Effect B Send 4 Preset Lag In Preset Lag Amount Preset Lag Rate Preset Ramp Rate
Edit Menu Initial Controller Amount This parameter sets the initial value of MIDI controllers A-L when the preset is first selected. The front panel Control Knobs can be thought of as front panel MIDI controllers because in the B-3, they are treated just as if they originated from an external MIDI device. Refer to the following diagram. There are three Initial Controller Amount screens (A-D, E-H, I-L).
Edit Menu Keyboard Tuning Keyboard Tuning In addition to the standard equally divided octave tuning, B-3 contains twelve factory programmed tunings and 12 user-definable tunings. The Keyboard Tuning parameter selects which tuning is used by the current preset. The User Tuning tables are defined in the Master menu. The factory Keyboard Tuning tables are described in the following table.
Edit Menu Keyboard Tuning The Just C Tuning Tables B-3 implements the MIDI Tuning Dump protocol which allows you to create tuning tables on your personal computer and download them via MIDI. There are several computer applications available on the internet which let you create and download tuning tables via MIDI. Well Tempered and Just were standard keyboard tunings up until the 20thcentury when the current “equal tempered” scale became prevalent.
Edit Menu Preset Links Preset Links You can link presets to other presets to create layering or keyboard splits. The current preset can be linked with up to two other presets (Links 1 & 2). Each linked preset can be assigned to a specific range in order to create keyboard splits or can be assigned a velocity range to switch links according to key velocity. In addition, you can specify Volume, Pan, Transpose and Delay settings for each Link.
Edit Menu Preset Tempo Offset Preset Tempo Offset This function allows you to double or halve the Master Tempo as it applies to this preset. When playing or sequencing several presets in Multimode, the Master Tempo may be too fast or slow for one preset. Using this feature, you can adjust the tempo for the misbehaving preset. The Tempo Offset can use the current tempo or be set to half or twice the current tempo.
Edit Menu Play Solo Layers 128 E-MU Systems
Programming Tutorial There is so much you can do with the B-3 it’s impossible to describe it all. This chapter is will give you some ideas for programming your own custom sounds and contains step-by-step instructions to help you get started. In order to get the most from this chapter, we recommend you actually try each example. Have fun! Editing Presets One of the easiest ways to make a new preset is to edit an existing preset. This is also an excellent way of becoming familiar with B-3.
Programming Tutorial Editing Presets þ 6. 7. To Change the Instrument for any Layer in the Preset Move the cursor back up to the first field in the first line (the layer). Use the Data Entry Control to select the layer you want. L2 INSTRUMENT ROM:B3 0104 org: 1 6’ D i r e c t Fb 8. Repeat steps 3 and 4 for each selected layer. Find an instrument that sounds good when combined with the previous instruments selected. With all these great instruments to work with, you really can’t go wrong.
Programming Tutorial Editing Presets Chorus _ WARNING: Since it works by doubling the instruments, Chorusing halves the number of notes you can play on B-3. This is an easy one. Chorus works by doubling the instruments and detuning them slightly. The larger the chorus value, the more detuning occurs. The Width parameter controls the stereo spread. A Width value of 0% reduces the chorus to mono, a value of 100% provides the most stereo separation.
Programming Tutorial Editing Presets 2 y Dc Atk 1 Rl k1 s1 At level Key Down Strings Percussion Rls2 Sustain time Piano Organ Dcy2 Key Released Every instrument in B-3 has it's own predetermined volume envelope which is used when the Volume Envelope parameter is set to “factory.” By setting the Volume Envelope to “time-based” or “tempo-based,” we can reshape the instrument's natural volume envelope any way we want.
Programming Tutorial Editing Presets 4. 5. Working with Filters Move the cursor to the first field in the bottom line and use the cursor buttons to advance to the Release pages. Increase the Release 1 and 2 times. Note the effect as you release the key on the controller. The Release stages controls the time it takes for the sound to die away when a note is released. The filters make it possible to remove certain components of the sound.
Programming Tutorial Editing Presets Cutoff Frequency 100 Amplitude 80 Output of Filter 60 40 20 40 80 160 360 720 1440 2880 ... Frequency 3. 4. 5. Open the filter back up to 255, then move the cursor to the Q field. Set the Q to 10, then move the cursor back under the Freq value. As you change the frequency, notice that the sound now has a sharp, nasal quality. A high Q boosts or amplifies the frequencies at the cutoff frequency (Fc). Reset the cutoff frequency to the lowest setting (0.
Programming Tutorial Editing Presets 4. Move the cursor to the last field in the line. This is the Amount field. The Amount field determines the amount of modulation applied. Set this value to “+100.” L1 PATCHCORD FiltEnv+ -> FiltFreq #01 +100 This setup connects the Filter Envelope Generator to the Filter Cutoff as shown in the following diagram. Instrument Tone R Filter Fc DCA Pan Q L Filter Env. 5. Now, return to the Filter Envelope Mode screen. Set the Mode to “timebased.
Programming Tutorial Editing Presets L1 FILT ENV Attack1 8. 9. RATE 50 LEVEL +88% Change the attack rate and note the change in the sound. Set the envelope parameters as shown in the following table. Envelope Phase Time Level % Attack 1 40 65 Attack 2 65 100 Decay 1 80 85 Decay 2 25 50 Release 1 97 20 Release 2 73 0 With the above setup, the filter sweeps up, then Decays back down to the Decay 2 Level until you release the key. Then it sweeps down at the Release rates.
Programming Tutorial Editing Presets Envelope Repeat The Envelope Generator can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. þ 1. 2. To Make the Filter Envelope Repeat: Go to the Filter Envelope Mode screen shown below. Move the cursor to the Mode field. L1 FILTER ENVELOPE Mode: time-based 3. Turn the data entry control clockwise. The Mode field will change to Repeat as shown below.
Programming Tutorial Editing Presets Troubleshooting A common source of confusion when working with the filter envelope is that the Attack or Release parameters might not seem to be working correctly. If you are not getting the expected result, try to analyze the situation. There will be many times when you will have to stop for a minute and think, “What am I trying to do and why isn't it working?” When this happens (and it will), don't panic. Troubleshooting is a normal part of the synthesis process.
Programming Tutorial Linking Presets Linking Presets Using the Link pages in the Edit menu is a quick and easy way to create new sounds. Use the Links to “layer” presets and to “split” a keyboard into sections containing different sounds. þ 1. 2. O To Layer Two Presets Select the first preset you want to layer. Press the Edit button. Use the Data Entry Control to move through the screens until you find either the “LINK 1” or “LINK 2” screen shown below.
Programming Tutorial Linking Presets 140 E-MU Systems
Effects Effects Overview B-3 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. When the MIDI Mode is set to “multi,” the Proteus uses a global effects assignment (Master Effects). The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
Effects Effects Overview Send 2 and Send 3 are also used to route sounds to the Sub 1 and 2 outputs on the back panel. When a plug is inserted into the associated Submix jack on the back panel, the Dy portion of the Send is disconnected from the effects processor and the Dry signal is routed directly to the output jack. The actual output routing is shown in parenthesis in the display. The Dry Send is disconnected from the Effects Processors even if only one plug is inserted into a Submix pair.
Effects Effect Types Effect Types Effect Parameters A Effect Types Room 1-3 Hall 1 & 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1-3 DelayVerb 4-5 Pan DelayVerb 6-9 B Effect Types Chorus 1-5 Doubling Slapb
Effects Effect Types Decay The Decay parameter is used when setting “A” type effects. Decay sets the length of time it takes an effect to fade out. When setting up reverb effects, Decay controls the room size and the reflectivity of the room. For larger room sizes and greater reflectivity, set the Decay value higher. When setting up delay effects, the Decay parameter controls how many echoes are produced or how long the echoes last. The greater the value, the more echoes and longer lengths of time.
Effects Effects Programmed in the Preset Effects Programmed in the Preset Effects are normally programmed as part of the preset allowing you to have a different effect for each. This section describes how to program and modify B-3’s preset effects. þ 1. 2. To Program the Effects as Part of the Preset: Press the Edit button. The LED illuminates and the Edit screen appears. Use the Data Entry Control to select the FXA Algorithm screen. FXA ALGORITHM Lg Concert Pan 3. 4. Select an Effect.
Effects Master Effects FXB 9. 10. Master Effects FEEDBK 127 LFORATE 127 DELAY 635ms Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Save the preset. The programmed effects setting will be saved along with the preset. You might want the effects to be programmed on a global basis when in Omni or Poly modes. You could choose your favorite reverb, for example, and have it applied to any preset you select.
Effects Master Effects 5. 6. Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Use the Data Entry Control to select the FXB Algorithm screen. FXB ALGORITHM Distorted Flange 7. 8. Select an Effect. Use the Data Entry Control to select the FXB parameter screen. FXB 9. 10. 11. _ The MIDI mode (Master Menu) must be set to Omni or Poly mode in order to select the effects in the preset.
Effects Master Effects Effects Mode This control provides a true bypass of the effects engine. Bypass is a useful feature if you are using external effects at the mixing console and want to turn the effects off for all presets. þ 1. 2. To Bypass the Effects: Press the Master menu button. The LED lights and the last Master parameter screen used is displayed. Use the Data Entry Control to select the Effects Mode screen. FX MODE enabled 3. 4. 5.
Effects Master Effects Refer to the following diagram for a look at how effects are programmed. 1 Master FX Preset FX Effects are part of the Preset (Omni or Poly Mode) 2 Master FX Preset FX Ch 1 Master Effects 3 (Multi mode) Preset Ch 16 FX Master FX Preset FX Ch 1 (Multi mode) Selected FX Control Channel Preset FX Ch 16 One Channel's Preset determines the Effect Settings þ To Program the Effects Globally for all Presets in Multi Mode: 1. Press the Master menu button.
Effects Master Effects 3. Move the cursor to the Multi mode Effects Control page using the Data Entry Control. FX MULTIMODE CONTROL use master settings 4. 5. Set the Effect Control channel to use master settings using the Data Entry Control. Press the Enter key to save the settings and return to the main screen.
Effects Master Effects FXA 2. 3. DECAY 127 HFDAMP 127 FxB>FxA 127 Set this amount to 127. Press the cursor button to return the cursor to the top line in the display. Use the Data Entry Control to select the FXA submix routing parameter screen. FXA SEND AMOUNTS 2: 20% 3: 30% 4. 5. 6. 7. 8. 9. 1: 10% 4: 40% Press the cursor buttons to advance the cursor to the Main field. Set the Main send amount to any amount other than zero. Press the cursor button again to return the cursor to the FXA title.
Effects General Effect Descriptions General Effect Descriptions Reverb Reverberation is a simulation of a natural space such as a room or hall. The reverb algorithms in B-3 simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. There are two adjustable parameters on the reverb effects - Decay Time and High Frequency Damping.
Effects General Effect Descriptions Chorus The function of a chorus device is to thicken the sound or to make one voice sound like many. This effect is usually created by mixing one or more delayed versions of the signal with the original. The delay times used are too short to be perceived as an echo, but long enough so that comb filtering does not occur.
Effects General Effect Descriptions The B-3 flanger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay. The Feedback control sends some of the delayed signal through the delay line again.
Save/Copy Menu The Save/Copy menu is used to save changes to a preset and to copy data between presets. When in “Quick Edit” mode, this menu always defaults to the “Save to Preset” page of this menu with the cursor on the second line. You can use the Data Entry Control to navigate to other pages that support copying information.
Save/Copy Menu Copying Information Copying Information Copy Preset The Copy operations let you copy information from any preset or layer to any other preset or layer. To use the copy command, first select the preset or layer to which you want to copy (the destination location). Then, from the copy screen, select the preset or layer you want to copy to the currently selected location (the source location). Using the copy commands you can copy preset, layer, PatchCord and arpeggiator information.
Save/Copy Menu Copying Information þ 1. 2. 3. 4. 5. 6. 7. 8. Copy PatchCords To Copy a Layer Select the Preset and Layer you want to copy information into. Press the Save/Copy menu button. Move the cursor to the bottom line on the display. Select the preset location using the Data Entry Control, of the preset containing the information you want to copy into the current preset. Move the cursor to the top line in the display. Select the layer of the source preset in the first field on the right.
Save/Copy Menu Copying Information Copy Preset Bank The Copy Preset Bank command lets you copy an entire bank from any ROM or RAM bank location to any RAM (user) bank. This function can be especially useful after installing a new sound SIMM. COPY BANK From: CMPSR 2 ROM or RAM Preset Location þ 1. 2. 3. 4. 5. 6. Create Random Preset Bank No. Examine interesting presets to learn how they work using the Edit menu. Press the Save/Copy menu button.
Save/Copy Menu Copying Information Copy User Bank to Flash This is a special purpose function to be used with the ROM authoring feature. FLASH ROM SIMMs created on an EOS Ultra sampler can be used with B-3 as custom banks. Presets are then created in one of the B-3 User banks. When the bank of presets is finished, it can be copied, using this function, to the FLASH ROM bank. Flash SIMMs contain two separate memory locations.
Save/Copy Menu Copying Information Rename Flash SIMM This utility allows you to rename the Flash SIMM and change its ROM ID number. Flash SIMMs can have any five letter name you choose. Each Flash SIMM in a B-3 unit must have a unique ROM ID number (106-119). The field in the upper right corner selects between multiple Flash SIMMs. If only one Flash SIMM is installed, the field cannot be modified. The ROM ID is the MSB of the MIDI Bank Select command used to select the ROM bank.
Save/Copy Menu Copying Information Duplicate Flash This utility allows you to duplicate Flash SIMMs using B-3. Both Sound and Preset data is copied when a Flash SIMM is duplicated. A factory sound SIMM cannot be copied using this utility. WARNING: dangerous voltages are exposed inside B-3! Make sure power is completely disconnected from B-3 before removing the top panel. Replace the top panel before restoring power to the unit. The two sound SIMM sockets in B-3 are marked 0 and 1.
Save/Copy Menu Copying Information 162 E-MU Systems
Appendix This section provides some of the more technical information about B-3. In this appendix, you will find information about velocity curves, MIDI commands and PatchCord charts. Front Panel Knob Functions The front panel knob functions are standardized for most of the factory presets. The typical functions of the controller knobs are described below. Match the controller knobs on your MIDI controller to the Realtime Controller Assignments in the Master menu to control these functions.
Appendix Presets Presets B-3 Preset Nomenclature B-3 comes standard with 384 ROM presets and 512 editable USER preset locations. Presets are organized into banks of 128 presets each. USER banks 0-2 are duplicates of B-3 banks 0-2. B-3 preset names show the drawbar settings used on the original B-3.Each drawbar controls the volume of its associated harmonic or overtone. The 8’ drawbar is the fundamental pitch of the sound.
Appendix Preset Listing Preset Listing Preset Catagories User Bank 0, B-3 Bank 0 ORGAN W/ROTOR 0. org:888000000 2 43. org:888888888 86. org:888-HShoe f 1. org:888000000 3 44. org:8888-8888vmw 87. org:AllOut-888 f 2. org:888888888mw 45. org:888888888vmw 88. org:AllOut-8888 3. org:886311588 v 46. org:888811580 v 89. org:AllOut-888 f 4. org:888800000 2 47. org:686311586 90. org:AllOut-8888v 5. org:888800000 3 48. org:886311588 91. cmb:Ped/Swl/Gt 1 6. org:800000008 v 49.
Appendix Preset Listing Preset Listing 166 E-MU Systems User Bank 1, B-3 Bank 1 DIRECT OUT 0. dir:800000000 2 43. dir:886322588 86. dir:858040030 mx 1. dir:800000000 3 44. dir:876400566 87. dir:888000040 mx 2. dir:880000000 2 45. dir:888766000 3 88. dir:788800240 mx 3. dir:880000000 3 46. dir:888800230 3 89. dir:888844440 mx 4. dir:888000000 2 47. dir:808808008 90. dir:Ped/Grt1 mx 5. dir:888000000 3 48. dir:408808004 91. dir:Ped/Grt2 mx 6. dir:888800000 2 49. dir:860060320 2 92.
Appendix Preset Listing Preset Listing User Bank 2, B-3 Bank 2 WILDCARDS 0. var:1st3PlyPerc2 43. var:1st4 Dist 86. lnk:000008000 1. var:1st3PlyPerc 44. var:1st4 Ultra 87. lnk:000000800 45. var:1st 5 Phase 88. lnk:000000080 3. var:1st4PlyPerc3 46. var:1st6 Slow mw 89. lnk:000000008 4. var:Cathedral 47. var:1st9 Slow mw 90. lnk:008800000 5. var:Bi Phase 48. var:1st5PrsPlay 91. lnk:008080000 6. var:AM 49. var:AllOutWhlWah 92. lnk:008008000 7. var:All Out Dist 50. var:Full House 93.
Appendix Riff Listing B-3 Preset Suffixes The one or two character suffixes after the drawbar numbers furnish additional information about the preset. 2 3rd harmonic ds Direct sound fades to slow rotor v Vibrato df Direct sound fades to fast rotor f mx Mix of slow rotor and direct Fast fx Effects have been added pr Pressure to crossfade mw Mod Wheel effect swl Swell manual (lower) ped Pedal - Bass Pedals gt 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.
Appendix Instrument Listing Instrument Listing This section lists the raw instruments in the B-3 ROM set. The instruments are almost exclusively multisamples. 0. None 42. org:16’Fast S Fb 84. org:16’ Fast S 1. org:1st3 Slow S 43. org:16’Fast M Fb 85. org:16’ Fast M 2. org:1st3 Slow M 44. org:5-1/3’FstSFb 86. org:5-1/3’ Fast S 3. org:1st3 Fast S 45. org:5-1/3’FstMFb 87. org:5-1/3’ Fast M 4. org:1st3 Fast M 46. org:8’ Fast S Fb 88. org:8’ Fast S 5. org:1st4 Slow S 47. org:8’ Fast M Fb 89.
Appendix Instrument Listing Instrument Listing 126. org:Perc3rdDir 127. org:EFX Master 128. org:Rotor Pan 129. org:Generator 130. org:Volution 131. org:Harms Vox 132. org:DenseTexture 133. org:Drawbar 134. org:Start Switch 135. org:Stab 136. org:Percy 1 137. org:Percy 2 138. org:Percy 3 139. org:Percy 4 140. org:No-Tone B-3 Instrument Suffixes The one or two character suffixes furnish additional information about the Instruments.
Appendix Velocity Curves This section provides diagrams and descriptions of the B-3 velocity curves. 120 100 Result Velocity Result Velocity 120 Linear 80 60 40 20 100 Curve 1 80 60 40 20 0 0 0 20 40 60 80 100 120 0 Played Velocity 40 60 80 100 120 Compresses velocity range. 120 120 100 Result Velocity Result Velocity 20 Played Velocity Linear, no change to velocity.
Appendix Velocity Curves 120 100 Result Velocity 120 100 Curve 6 80 60 40 20 60 40 20 0 0 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Shifts velocity values up while compressing the midde range. Similar to Curve 6. 120 Result Velocity y 120 100 100 Curve 8 80 60 40 20 0 Curve 9 80 60 40 20 0 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Similar to Curve 6 with more emphasis on the middle range.
Appendix PatchCord Amount Chart 120 100 Result Velocity Result Velocity 120 100 Curve 12 80 60 40 20 0 60 Curve 13 40 20 0 0 PatchCord Amount Chart 80 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Less severe version of Curve 11. Extreme expansion of velocity range. The following chart shows the PatchCord “Amount” settings in order to get semitone intervals when modulation sources are connected to pitch.
Appendix MIDI MIDI MIDI Implementation Chart MIDI Information Transmitted Recognized MIDI Channels --- 1-16 Note Numbers --- 0-127 Program Change --- 0-127 Bank Select Response? No Yes Modes: Omni (Mode 1) Mono (Mode 2) Poly (Mode 3) Mode 4 (Y/N) Multi (Mode 5) No No No No No Yes Yes Yes No Yes Note On Velocity No Yes Note Off Velocity No No Channel Aftertouch No Yes Poly (Key) Aftertouch No No Pitch Bend No Yes Active Sensing No No System Reset No No Tune Request N
Appendix MIDI MIDI Information Transmitted Recognized MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No General MIDI Compat? Is GM default mode? No No No No DLS compatible? Import DLS Files? Export DLS Files? No No No No No No Import stand MIDI files Export stand MIDI files No No No No Remarks Extension Capability NOTES: Pan: -64 = hard left, +63 = hard right Product ID for B-3 = 0F (15) There is only one edit buffer which is used by the current preset (the pr
Appendix MIDI Received Channel Commands Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported.
Appendix Technical Specifications Technical Specifications Audio Channels: 64 MIDI: MIDI In, MIDI Out, MIDI Thru MIDI Channels: 16 Presets: 512 user presets. (The number of ROM presets is determined by the sound SIMMs installed.) Filters: 2nd to 12th Order (50 different types) Audio Outputs: 2 polyphonic analog outputs Max.
Appendix Warranty Warranty Please read this warranty, as it gives you specific legal rights.
Appendix Warranty When returning your unit to the EMU factory, you will be issued a Return Merchandise Authorization (RMA) number. Please label all cartons, shipping documents and correspondence with this number. EMU suggests you carefully and securely pack your unit for return to the factory. (Do not send the power cord or operation manual.) Send the unit to E-mu Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must pre-pay shipping charges to EMU; EMU will pay return shipping charges.
Appendix Warranty 180 E-MU Systems
Index Index Symbols “ 114 “+” modulation polarity 114 “±” modulation polarity 114 Numerics 12th order filters 74 19-tone tuning 124 2-pole filters 74 4-pole filters 74 A A effect types 143, 144 absolute value processor 63 aftertouch, mono 55 algorithm FXA 145, 146 FXB 145, 147 master FXA 40 master FXB 41 all layers 83, 85 alternate tuning 124 amount patchcord 78, 113 amplifier 96 amplitude 103, 132 amplitude envelope 97 amplitude modulation 54 arpeggiator copying settings 158 assign group 101 attack, enve
Index MIDI #7 27, 78 MIDI real-time 78 modes 23 quick edit and real-time mode 24 real-time 21, 23 knobs 23 only mode 23 standardized MIDI numbers 46 copying layers 156 patchcords 157 preset banks 158 presets 156 create random preset 158 crossfade between effects 121 crossfade random 56 crossfade, ranges 92 current tempo offset 127 cursor buttons 22 curve velocity 37 volume 131 curve, glide 102 cutoff frequency 73, 133 D damping, high frequency 144, 152 data entry control 23 DC offset, example 70 DCA 77, 13
Index type A 40, 119, 143, 144 type B 42, 120, 143, 144 vibrato 154 enabling MIDI channels 44 enter button 23 Envelope repeating 58 envelope attack 98, 107, 115 auxiliary 108 decay 131 filter 106, 134, 135, 137 generator 55, 57 mode, factory 132 mode, filter 135 release 131 reverberation 152 volume 97, 98, 131, 132 envelope generator example 74 equal temperment tuning 124 errors, data transmission 50 F factory envelope mode 132 Fc 106, 133 feedback 144 effect 154 feedback, FXB 42 filter 2-pole 74 4-pole 74
Index instrument 77, 129 listing 169, 170 selecting 86 instrument suffix 170 inverting LFO waves 60 J just C tuning 124 description 125 just intonation 124 K key glide 55 transpose 95 tuning 51 velocity 55 key percussion 66 key range 88 preset link 126 keyboard character assignments 84 key 55 layering and splitting 139 pressure 55 range 87, 88 splitting 139 transpose 95 transpose on/off 100 tuning 124 19-tone 124 equal temperment 124 gamelan 124 just C 124 vallotti 124 Kirnberger tuning 124 knob calibratio
Index knobs transmit 24, 48 mode 30, 43, 141 multi mode 43 omni mode 43 out 15 pan control #10 28 poly mode 43 port A & B 30 real-time controllers 78 receive program change 45 received channel commands 176 receiving sysex data 51 recording sysex data 51 send sysex data 51 standardized controller numbers 46 SysEx data, sending 50 sysex packet delay 50 transmit, knob 48 MIDI SysEx send/receive 51 minimoog, solo mode 101 mix output 116, 142 mod wheel 55 mode control 21 controller 23 deep edit 48 effect bypass
Index master bend range 36 pitch wheel, range 116 pitch, shifting 130 pitchbend range 116 play solo layers 127 polarity, modulation and LFO 114 polarity, ramp rate 66 pole filters 74 poly all, assign group 101 poly mode 43, 148, 176 poly, assign group 101 portamento 102 power 16 power consumption 177 Preset audition 17, 22 category 19, 29 preset architecture 85 changing 19 copying 156 editing 129 effects 117, 145 links 126, 127, 139 listing 169 MIDI changes 45 naming 84 quick edit 47 random 158 saving a 15
Index S safety instructions 3 save/copy button 22 save/copy menu 155 saving presets 155 Scarlatti tuning 124 screen main 26, 32, 35 preset select 26 screen viewing angle 52 selecting a MIDI channel 26 selecting presets 18, 26 send preset effect 116 send amount FXA 41, 120, 121 send amounts 141 sends effect 38 sequence setup 34 using multisetups in a 31 setup basic 14 studio 15 signal path 77, 141 slapback 153 slapback, effect 153 solo layer 127 solo layer 127 solo mode 100 Sound Navigator 29 selecting inst
Index release 55 vibrato, effect processor 154 viewing angle 52 viewing angle, screen 52 voices changing 129 voices, stolen 101 voltage setting 16 volume control 21 control #7 27 curve 131 envelope 77, 97, 98, 131, 132 preset link 126 volume envelope 57 volume, channel 27 volume, initial 96 W waveform inverting 60 waveforms LFO 59 weight 177 Werkmeister tuning 124 wheel modulation 46, 55 pitch 55, 137 width, chorus 131 Z Z-plane filter 76, 77, 103 188 E-MU Systems
