Orbit V2 OPERATION MANUAL E-mu Systems, Inc.
Operation Manual © 1996 E-mu Systems, Inc. All Rights Reserved • FI560 Rev. A E-mu World Headquarters E-mu Systems, Inc. U.S.A. P.O. Box 660015 Scotts Valley, CA USA 95067–0015 Telephone: 408-438-1921 Fax: 408-438-8612 Europe, Africa, Middle East E-mu Systems, Ltd.
WARNING: READ THIS FIRST! 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 servicing to qualified service personnel. To reduce risk of fire or electric shock do not expose this product to rain or moisture. GROUNDING INSTRUCTIONS This product must be grounded.
SAVE THESE INSTRUCTIONS 4. Orbit should be situated so that its location or position does not interfere with its proper ventilation. 5. Orbit should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens. 6. Orbit should only be connected to a power supply of the type described in the operating instructions and as marked on the product. 7.
CONTENTS INTRODUCTION & BASIC SETUP 1 Introduction ............................................................................................... 3 Orbit Architecture ..................................................................................... 4 Connection Instructions .......................................................................... 5 BASIC OPERATION 9 Main Controls ......................................................................................... 11 Selecting MIDI Channels .
CONTENTS MASTER MENU (continued) Beats Mode ............................................................................ 33 Demo Sequence ......................................................................33 Viewing Angle ....................................................................................... 34 PROGRAMMING BASICS 35 Modulation .............................................................................................. 38 Modulation Sources ...........................................
CONTENTS EDIT MENU (continued) Solo Mode ................................................................................................. 64 Portamento Rate .................................................................................... 64 Chorus ....................................................................................................... 64 Crossfade Mode ...................................................................................... 65 Crossfade Direction ..........................
CONTENTS REFERENCE SECTION 95 Preset Listing ..........................................................................96 Instrument Listing .................................................................101 Beat Maps ............................................................................105 Technical Specifications ........................................................108 MIDI Specifications ...............................................................109 Warranty ............................
INTRODUCTION & BASIC SETUP Chapter 1: Basic Setup 1
2 Orbit V2 Operation Manual
INTRODUCTION MASTER EDIT < CURSOR > DATA POWER VOLUME PHONES C01 Vol127 Pan=P 1 068 vox:Jaxvox BEATS HOME/ENTER MIDI ORBITING THE DANCE PLANET - V2 The Dance Planet is a cool place to be. With over 600 of the earth’s most cutting edge samples and the introduction of new rhythmic features, Orbit V2 blasts its way to the forefront as the dance music machine. Orbit features 32 voices of polyphony, 640 presets (384 ROM, 256 RAM), and is 16 part multi-timbral.
ORBIT ARCHITECTURE Orbit is organized as shown in the diagram below. INSTRUMENT PRIMARY PRESET SECONDARY INSTRUMENT The Preset is a complete set of all program parameters for a complete Orbit sound. The fully programmable user presets and the unalterable ROM presets are organized into five banks of 128 presets each.
CONNECTION INSTRUCTIONS SETUP #1 BASIC SETUP MIDI Controller (MIDI Keyboard, Sequencer, etc.) The Headphone Output is located on the Front Panel ▼ The headphone output monitors the main outputs only. The submix outputs do NOT feed into the headphone output. MIDI Out Control Pedal OUTPUTS MIDI E-MU SYSTEMS, INC. Scotts Valley, California U.S.A. IN OUT THRU R - SUB2 - L R - SUB1 - L To Main Outs STEREO Mixer Male RCA plug to Male Phono Plug Aux.
CONNECTION INSTRUCTIONS SETUP #2 STUDIO SETUP MIDI Controller (MIDI Keyboard, Sequencer, etc.) Computer MIDI Out MIDI Out In In MIDI In Out MIDI Switcher Out Additional MIDI Devices MIDI In Out In MIDI E-MU SYSTEMS, INC. OUTPUTS Scotts Valley, California U.S.A. OUT THRU R - SUB2 - L R - SUB1 - L R - MAIN - L MONO STEREO Main Outputs IN Sub 1 Outputs WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
CONNECTION INSTRUCTIONS SETUP #3 PERFORMANCE SETUP MIDI Controller (Launchpad, MIDI Keyboard, Sequencer) C O N T R O L L E R S E D I T P A R A M E T E R S SELECT CONTROL T R A N S P O S E INC SAVE B C G F# D A D# -3OCT F S E L E C T BANK +3OCT E G# SONG -OCT OFF +OCT -2OCT +2OCT C# A# DEC P E R F O R M A N C E MIDI CLOCK MIDI CHANNEL 15 14 PRESET 16 1 2 10 9 8 3 4 5 13 12 11 6 7 T R I G G E R S / T R A N S P O R T MODE RTZ TRIGGERS REW FFWD PLAY STOP REC TRANSPORT
CONNECTIONS If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs. Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix. The diagram shows the Sub 1 and Sub 2 jacks being used as send/ returns in order to further process selected Orbit presets without using the effects bus on the mixing board.
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BASIC OPERATION MAIN CONTROLS VOLUME CONTROL EDIT MENU SELECT CURSOR CONTROLS POWER SWITCH DISPLAY MASTER < EDIT CURSOR > DATA POWER VOLUME PHONES C01 Vol127 Pan=P 1 068 vox:Jaxvox BEATS HOME/ENTER MIDI MIDI ACTIVITY HEADPHONE JACK MASTER MENU SELECT HOME/ENTER BUTTON DATA ENTRY CONTROL Power Switch Switches AC power to Orbit On and Off. MIDI Activity LED Indicates that MIDI data is being received.
BASIC OPERATION MIDI CHANNEL SELECTION Press the cursor key repeatedly untiil the cursor is underneath the channel number. (The cursor is a little flashing line underneath one of the parameters in the display.) Rotate the data entry control to select MIDI channel 01-16. As the channel is changed, the display will change to show the preset, volume and pan associated with the displayed channel.
BASIC OPERATION BEATS MODE Orbit contains a “Beat Sequencer” which can play any of 100 preprogrammed drum sequences called Beats. Any of Orbit's 640 presets can be used with any beat. The X-Factor control further multiplies the number of possible beat combinations by changing which instrument is assigned to each individual drum hit. • • • The Beat number can be selected remotely by using a MIDI Song Select command.
BASIC OPERATION • Beats Mode Parameters B: Selects the beat number. There are 100 different beats to choose from.Unless the Master menu Beats mode is set to option 2:Constant T, X, P, the preset will change when you change the beat. T: Sets the Tempo of the sequence. The tempo is variable from 1 beatper-minute to 255 bpm. Turning the tempo all the way down selects External Clock mode (Ext). In external clock mode, the tempo is derived from incoming MIDI clock pulses.
BASIC OPERATION • Song Mode Parameters S: Selects the Song number from S00 to S27. Moving the data entry control one increment past B99 selects the first Song (S00). T & X: The Tempo and X-Factor can be edited for each event, but will only be saved and recalled if the Beats Mode in the Master menu is set to 3:User Settings. • • • See Beats Mode in the Master Menu for additional information. E: Selects the Event number.
BASIC OPERATION • Song Examples Because of the Repeat and Jump functions, Songs can be made as complex as you like. Remember to set Beats mode (in the Master menu) to “3:User Settings” if you want the Song to play back your own Tempo, X-Factor and Preset settings. The diagrams below show a few examples of how songs can be constructed.
BASIC OPERATION MULTI-TIMBRAL OPERATION Multi-timbral operation means that Orbit can play more than one sound at the same time. To access multiple presets on different MIDI channels simultaneously, follow these instructions: 1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in the Master menu (page 24). 2. Decide which MIDI channels you wish the Orbit to receive, and turn all other channels OFF using the MIDI Enable function in the Master menu (page 25).
BASIC OPERATION ABOUT ORBIT Orbit utilizes digital recordings of real instruments for the basis of its sound. This is similar to a tape recorder except that inside the Orbit, the sounds are permanently recorded on digital memory chips. To perform this modern miracle, sounds and instrument waveforms are first digitally recordered or “sampled”. After the sounds and waveforms have been truncated, looped and processed, they are “masked” into the Orbit ROM (Read Only Memory) chips.
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MASTER MENU The Master menu contains functions that affect the overall operation of Orbit. For example, changing the Master Tune will change the tuning of all the presets, not just the one currently displayed. To enable the Master menu Press the Master key, lighting the LED. The current screen will be the one most recently selected since powering up Orbit. The cursor will appear underneath the first character of the screen heading on line one.
MASTER MENU • Transpose This function transposes the key of Orbit in half-step intervals by shifting the keyboard position relative to middle C.. The transpose range is ± 12 semitones or one octave. TRANSPOSE +12 semitones • Global Bend This function sets the range of the pitch wheel only when it is routed to control pitch. The maximum pitch bend range is ± 12 semitones. This function only affects presets which have their individual pitch bend range set to global.
MASTER MENU GLOBAL VELOCITY CURVES 120 Result Velocity Result Velocity 120 100 80 60 Curve 1 40 20 0 100 80 60 Curve 2 40 20 0 0 20 40 60 0 80 100 120 Played Velocity 100 80 60 Curve 3 40 20 Result Velocity Result Velocity 60 80 100 120 120 0 100 80 60 Curve 4 40 20 0 0 20 40 60 0 80 100 120 Played Velocity 20 40 60 80 100 120 Played Velocity 120 100 80 60 Curve 5 40 20 Result Velocity 120 Result Velocity 40 Played Velocity 120 0 100 80 60 Curve 6 40 20 0
MASTER MENU • Mix Output ••• This function is useful when sequencing because it allows you route specific MIDI channels to the Submix outputs. From there they can be externally processed with reverb or other effects. This function allows you to override the output assignments made in each preset and instead assign the outputs according to MIDI channel. This also allows you to change the output assignment of the factory presets.
MASTER MENU • MIDI Mode Change This function selects whether or not MIDI mode change commands are accepted or ignored when received over MIDI (see MIDI Mode). MIDI MODE CHANGE Disabled • MIDI Overflow When on, if you play more notes than Orbit has channels (32), the additional note data will be directed out the MIDI Out port to a second Orbit, thus doubling the number of available channels. MIDI Overflow can be turned On or Off.
MASTER MENU • MIDI Program ➔ Preset Incoming MIDI program changes can be “mapped” to call a different numbered preset. This is a handy feature when you want a specific preset number sent from the master synth to be linked with a specific preset on Orbit. For example, the Program ➔ Preset Map could be set to call up preset 12 whenever Orbit receives program change number 26. Any of the presets in Orbit can be mapped to any incoming MIDI program change number.
MASTER MENU • Preset Change This function lets the Orbit utilize or ignore incoming MIDI preset change or Bank Select commands for each channel. Note that a MIDI program change command can only select presets in bank 0. The presets in banks 1-4 can be selected manually, by changing the MIDI bank, by using a MIDI bank select command, or by using the mapping function “MIDI PROGRAM ➙ PRESET”. ••• A few of the standardized MIDI Controller numbers are listed below.
MASTER MENU • Tempo Control ••• When Tempo Control is being used, the last setting of the MIDI controller remains in effect when a new Beat is selected. ▼ When the Global Tempo is set to “External” , the Tempo Control parameter will not have any effect. This function allows MIDI controllers to change the Global Tempo which is used for Beats mode, Retrigger, and the synced LFOs. Any controller number from 0-31, mono pressure, or the pitch wheel can be assigned to change the Global Tempo.
MASTER MENU • Pitch Wheel -> Scratch This function allows the pitch wheel to simulate record scratching. When this function is On, the speed that you move the pitch wheel back and forth determines the pitch of the keys being played. Therefore the faster you move the wheel back and forth, the faster the sound plays through. The amount of control the wheel has is adjustable from 1 to 100. Adjust the amount depending on the type of sound being scratched and to suit your personal preference.
MASTER MENU • Send MIDI Data This function will send MIDI System Exclusive data to the MIDI Out port of Orbit. The MIDI data can either be sent to a computer, sequencer or to another Orbit. Using the cursor key and the data entry control, select the type of MIDI data you wish to transmit. User Beat Data Transmits all User Beat data (tempos, X factor, preset) and all user Song Beat data (events, repeats, jumps).
MASTER MENU • Beats MIDI Out This function allows Beat note and controller data to be sent out MIDI as the Beats are playing. Selecting “Transmit” sends the MIDI data as the beats play. Selecting “Transmit & Mute” sends the data over MIDI data but does not play internal voices. ••• The Beats MIDI Out settings are sent and received with the Master Settings. See Send MIDI Data.
MASTER MENU • Global Tempo ▼ When the Global Tempo is set to “External” , the Tempo Control parameter will not have any effect. This function sets the tempo for Beats mode, Synced LFOs and the Retrigger features. This tempo setting is the same as shown in Beats mode and any changes you make will be shown in either window. The global tempo is variable from 1 beat-per-minute (bpm) to 255 bpm. Turning the tempo down below 1 bpm sets the tempo to “External” mode.
MASTER MENU • Beats Mode There are four options when in Beats mode: Factory Settings, Constant Tempo, Constant T, X, P and User Settings. These modes affect the way Orbit responds to parameter changes in Beats Mode. The characteristics of each mode are detailed below. Factory Settings ........ The Tempo, X Factor (transpose) and Preset are preset at the factory. These can be changed, but any changes are lost when the beat number is changed. 1:Constant Tempo ....
MASTER MENU • Viewing Angle This function allows you to change the viewing angle of the display so that it may be easily read from either above or below. The angle is adjustable from +7 to -8. Positive values will make the display easier to read when viewed from above. Negative values make the display easier to read from below.
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PROGRAMMING BASICS 36 Orbit V2 Operation Manual
PROGRAMMING BASICS This chapter explains how Orbit sounds are constructed and contains important background information on how to create your own custom presets. Your initial involvement with Orbit will most likely consist of using the existing presets and selecting MIDI channels. While the factory presets are very good, there are probably some things you would like to change, perhaps the LFO speed, the filter cutoff or the attack time.
PROGRAMMING BASICS Orbit has an extensive modulation implementation using two multiwave LFO’s (Low Frequency Oscillators), two envelope generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations. MODULATION Modulation means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), or whatever.
PROGRAMMING BASICS MODULATION SOURCES Orbit uses three kinds of modulation sources. • KEYBOARD AND VELOCITY MODULATION Values which are generated at the start of a note and do not change during the note. Keyboard Key Which key is pressed. Key Velocity How hard the key is pressed. • REALTIME MODULATION Values which can be continuously changed during the entire duration of the sound. Pitch Wheel A synthesizer pitch bend wheel. Miscellaneous Controllers (4) Any type of MIDI controller data.
PROGRAMMING BASICS ENVELOPE GENERATORS An envelope can be described as a “contour” which can be used to shape the sound in some way over time. Each channel of the Orbit contains two envelope generators. One of the envelope generators, the Alternate Volume Envelope, controls the volume of the primary or secondary instrument over time and has 5 stages, Attack, Hold, Decay, Sustain, and Release.
PROGRAMMING BASICS level time A key down H R key released If the key is released during the Hold (H) phase, the Release phase begins. LOW FREQUENCY OSCILLATORS (LFOS) A Low Frequency Oscillator is simply a wave which repeats at a slow rate. The Orbit has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold” type of wave.
PROGRAMMING BASICS When the amount of an LFO is a negative value, the LFO shape will be inverted. For example, inverting the sawtooth wave produces a wave that smoothly increases, then instantly resets down. Negative Amount - + Sawtooth Inverted Sawtooth The LFO can also be Synced the tempo programmed in the beats menu. When synced, the LFO rate will increase or decrease to follow the beats/global tempo. MIDIPATCH Connecting a modulation source to a destination is called a patch.
PROGRAMMING BASICS FILTER MODULATION Orbit contains a Z-plane filter for each of its 32 channels. The block diagram of a single channel is shown below. Instrument Pitch R Z-Plane Filter Tone Sample Start Morph DCA Q Pan L Volume Aux. DAHDSR Volume AHDSR Velocity The Tone filter is a simple tone control and can be used to brighten or darken the tone of an instrument. Each of the 17 Z-plane filters is a powerful synthesizer filter which can dramatically alter the sound of an instrument.
PROGRAMMING BASICS Most of the instruments in Orbit 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, one of the Z-plane filters in Orbit, lets the low frequencies pass and removes only the high frequencies. Cutoff Frequency 100 80 Amplitude ••• The initial filter Fc and all Fc modulators ADD algebraically to determine the actual Fc.
PROGRAMMING BASICS Amplitude Another control on the filter is called Q or resonance. On a lowpass or highpass filter, turning up the Q of the filter emphasizes the frequencies around the cutoff frequency. The chart below shows how different amounts of Q affect the lowpass filter response. In terms of sound, frequencies around the cutoff will tend to “ring” with high Q settings.
PROGRAMMING BASICS PARAMETRIC 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: Frequency, Bandwidth, and Boost/Cut.
PROGRAMMING BASICS This is the essence of the Z-plane filter. Through the use of interpolation, many complex parameters are condensed down into one manageable entity. Consider, as an example, the human vocal tract, which is a type of complex filter or resonator. There are dozens of different muscles controlling the shape of the vocal tract. When speaking, however, we don't think of the muscles, we just remember how it feels to form the vowels.
PROGRAMMING BASICS ORBIT SIGNAL FLOW Going back to the block diagram for a single channel we can re-examine the complete signal path. Instrument Pitch Z-Plane Filter Tone Sample Start Morph R DCA Q Pan L Volume Aux. DAHDSR Velocity Volume AHDSR Instrument This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can only be modulated by a velocity or key source (see the next page).
PROGRAMMING BASICS LFO 1 Amount Rate Primary Instrument Pitch Tone Sample Start Z-Plane Filter Fc R DCA Pan Q L Volume LFO 2 Amount Rate Auxiliary DAHDSR Atk Dec Rel Amt Volume AHDSR Portamento Rate Pitch X-Fade Atk Dec Rel Secondary Instrument Tone Sample Start Z-Plane Filter Fc R DCA Q Pan L Volume Volume AHDSR Atk Dec Rel KEYBOARD CENTER VELOCITY CURVE KEY NUMBER VELOCITY Keyboard Modulation Sources Key Number, Key Velocity Keyboard and Velocity Modulation Sources Destinat
PROGRAMMING BASICS KEY NUMBER The Key Number is affected by the Keyboard Center parameter which can be set to any key from A-2 to G8. The keyboard center establishes a reference point for keyboard modulation; keys above this point will have a positive value, while keys below it will be negative.
PROGRAMMING BASICS Primary Instrument LFO 1 Amount Rate Tone R Z-Plane Filter DCA Pan Fc Pitch L Volume LFO 2 Portamento Volume AHDSR Rate Atk Dec Rel Amount Rate Secondary Instrument Auxiliary DAHDSR Atk Dec Rel Amt Tone X-Fade R Z-Plane Filter DCA Pan Fc Pitch L Volume Volume AHDSR Atk Dec Rel MONO PRESSURE PITCH WHEEL MIDI CONTROLLER A/B/C/D AUXILIARY ENVELOPE LFO 1 POLY PRESSURE LFO 2 Realtime Modulation Sources REALTIME MODULATION Realtime Modulation Sources Pitch Wh
PROGRAMMING BASICS MIDI REALTIME CONTROLS ••• MIDI wind controllers may work better if you assign one of the MIDI A, B, C, D controllers to control volume. This will allow the MIDI volume to be added to the current volume. The MIDI realtime controllers may seem confusing at first, but they are really very simple to understand. You probably already know that there are 16 MIDI channels that can be used.
PROGRAMMING BASICS Let's say for example, that you are using a Yamaha DX7 as your master keyboard. The DX7 has pitch and mod wheels, a breath controller, a data slider and a foot pedal, all of which transmit their values over MIDI. The standard MIDI controller numbers for the controls are listed below (the pitch wheel has a dedicated controller, PWH). First, we would go to the Master menu, MIDI Controller Assign and define the 4 MIDI controllers that we wish to use.
PROGRAMMING BASICS STEREO MIX OUTPUTS Orbit has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2). The channels used by a particular preset may be directed to appear at any one of these three stereo outputs. This feature is useful for signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. By panning a preset completely left or right, it can be routed to a single output jack.
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EDIT MENU The Edit menu contains functions that can be modified by the user and then saved as preset information in one of the user presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user location (0-255). WARNING Changes made in the Edit menu will be forever lost unless the preset is “saved” using the Save Preset function (page 79) before changing the preset. To enable the Edit menu Press the Edit key, lighting the LED.
EDIT MENU EDIT MENU FUNCTIONS • Preset Name Preset Name allows you to name each of the user presets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The charts below show the keyboard character assignment.
EDIT MENU • Primary Instrument This function allows you to select which of the available instrument sounds (or none) will be placed on the primary layer of the current user preset. INSTRUMENT pri I002 Below Sub • Secondary Instrument This function allows you to select which of the available instrument sounds (or none) will be placed on the secondary layer of the current user preset. ••• Simply changing the instrument creates a new sound while retaining all other parameters of the preset.
EDIT MENU • Primary Key Range Key range sets the keyboard range of the primary instrument. This is useful for creating positional crossfades and keyboard splits between the primary and secondary layers. The key range can be set anywhere from C-2 to G8. KEY RANGE pri C-2 -> G4 • Secondary Key Range Key range sets the keyboard range of the secondary instrument. The key range can be set anywhere from C-2 to G8.
EDIT MENU • Coarse Tuning This function allows you to change the tuning of the primary and secondary instruments in semitone intervals. The coarse tuning range is -36 to +36 semitones. A coarse tuning setting of “00” would indicate that the instrument is tuned to concert pitch (A=440 Hz). TUNING coarse pri:+00 sec:+00 • Fine Tuning This function allows you to change the tuning of the primary and secondary instruments in 1/64 semitone intervals (approx. 1.56 cents). The fine tuning range is ± 1 semitone.
EDIT MENU • Alternate Volume Envelope On/Off Each instrument has its own factory preset AHDSR volume envelope which is normally employed. If a programmable volume envelope is desired, the alternate envelope is used. ALT VOL ENVELOPE pri:Off sec:On DCA Normal Envelope Alternate Envelope Atk Dec Rel Atk Dec Rel • Primary Alternate Envelope Parameters This function allows you to adjust the alternate volume envelope parameters for the primary instrument.
EDIT MENU • Delay Delay varies the time between when a MIDI Note On message is received and the onset of a note. The delay time is adjustable from 0 to 13 seconds (000-127). DELAY pri:000 sec:000 • Sound Start This function allows you to set where a sample begins playing when you hit a key. A setting of 000 plays a sound from the beginning, higher values move the sample start point toward the end of the sound.
EDIT MENU • Solo Mode Solo mode provides the playing action of a monophonic instrument. This mode does not allow you to play a chord. Two types of solo mode are provided: wind controller mode and synth mode. Both modes have single triggering and last-note priority. In either solo mode, if a new note is played while another is being held, the envelope generators will not retrigger. This allows a legato playing technique to be used.
EDIT MENU • Crossfade Mode This function determines which of the following crossfade modes will be selected: Off, Crossfade, or Cross-Switch. Off When “Off” is selected, none of the crossfade parameters will have any effect. Crossfade When “Xfade” is selected, a control input is used to fade between the primary and secondary. Any modulation source may be used as an input (velocity, wheel, etc.).
EDIT MENU • Crossfade Direction This function determines the polarity of the crossfade or cross-switch. The direction is either primary ➝secondary, or secondary ➝primary. XFADE DIRECTION Pri -> Sec ••• A Crossfade Balance setting of 000 would be appropriate with a source such as a modulation wheel or footpedal, either of which can only change the value in a positive direction. • Crossfade Balance The crossfade balance parameter determines the initial balance between the primary and secondary layers.
EDIT MENU • Crossfade Amount The crossfade amount parameter determines the range over which crossfading will occur. Crossfade amount is variable from 000 to 255. The larger the value, the more modulation will be required to effect a complete crossfade. XFADE AMOUNT 128 • Cross-switch Point The cross-switch point determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch.
EDIT MENU 2nd Order Bandpass Bandpass filter with 6dB/octave rolloff on either side of the passband and Q control. 4th Order Bandpass Bandpass filter with 12dB/octave rolloff on either side of the passband and Q control. Swept EQ, 1-octave Parametric filter with 24 dB of boost or cut and a one octave bandwidth. Fc controls center frequency and Q controls boost or cut. Swept EQ, 2->1-octave Parametric filter with 24 dB of boost or cut.
EDIT MENU Vocal Oo-Ah Vowel formant filter which sweeps from the “Oo” sound, through “Oh” sound to “Ah” sound at maximum Fc. Q varies the apparent size of the mouth cavity. Bottom Feeder This is a specialized distortion filter, useful for adding punch and drive to low frequency sounds such as bass and drums. Set the Fc low (less than 45) for best effect. Q has no effect on this filter.
EDIT MENU • Auxiliary Envelope This is a supplementary, utility envelope that can be routed to any realtime control destination including the filter. The auxiliary envelope parameters are: Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain Level, and Release Time. The delay time is variable from 0 to 13 seconds (000-127). The envelope amount is variable from -128 to +127. Negative values will produce inverted envelopes.
EDIT MENU • LFO 1 - Shape & Amount This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The five LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Random. The amount can be varied from -128 to +127. Negative values will produce inverted waveshapes.
EDIT MENU LFO Variation Sets the amount of random variation of an LFO each time a key is pressed. This function is useful for ensemble effects, where each note played has a slightly different modulation rate. The higher the number, the greater the note to note variation in LFO rate. LFO variation is variable from 000-127. LFO1 RT DLY VAR 000 000 000 time Delay key down The LFO wave begins after the specified delay time has elapsed. • LFO 2 - Shape & Amount LFO 2 is functionally identical to LFO 1.
EDIT MENU • Keyboard & Velocity Modulation Control These functions allow you to route keyboard and velocity information to any of the modulation destinations. Up to 6 simultaneous paths or “patches” may be programmed. For each modulation patch, there is a source (keyboard or velocity), and a corresponding amount parameter which is variable from -128 to +127.
EDIT MENU • Realtime Modulation Control These functions allow you to route realtime controllers to any of the modulation destinations on except Tone, Sample Start, Q and Pan. Up to 8 simultaneous patches may be programmed. For each modulation patch, there is a source and a destination parameter. Place the cursor under the appropriate parameter and change the patch number, modulation source or modulation destination using the data entry control.
EDIT MENU • Footswitch Control This function allows you route the 3 footswitch controllers (1, 2 or 3) to any of the footswitch destinations. The footswitches can be routed to switch: Sustain (pri/sec/both), alternate volume envelope (pri/sec/ both), alternate volume release (pri/sec/both), or cross-switch between the primary and secondary instruments.
EDIT MENU • Velocity Curve Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to the MIDI controller. This function allows you to select one of the four velocity curves or leave the velocity data unaltered (Off). In addition, the velocity curve can be set to “Global”, which means that the global velocity curve (programmed in the Master menu) is used.
EDIT MENU • Keyboard Center The Keyboard Center parameter establishes a reference point for keyboard modulation. Keys above this point will have a positive value and keys below it will be negative. The keyboard center can be set to any key within the range C-2 to G8. KEYBOARD CENTER C#3 KEY CENTER - + + 0 - • Keyboard Tuning In addition to the standard equally divided octave tuning, Orbit contains three other types of scale tuning and one user-definable tuning.
EDIT MENU • Mix Output This function allows you to direct the channels used by a particular preset to appear at one of these three stereo outputs (Main, Sub 1, Sub 2). MIX OUTPUT Main • Preset Links Presets may be linked to other presets in order to create layering or keyboard splits. The current preset can be linked with up to three other presets. Each linked preset can be assigned to a specific range in order to easily create keyboard splits.
EDIT MENU • Save Preset Changes made to a preset in the Edit menu are not made permanent until the preset is Saved. To save a preset, move the cursor to the bottom line and select the location for the new preset with the data entry control. The Enter LED will be flashing. Pressing the Enter switch will confirm the operation. Any user preset (Bank 0 & 1) may be selected using the data entry control. Writing to a user preset erases the existing preset in that location.
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82 Orbit V2 Operation Manual
STEP-BY-STEP This section contains step-by-step instructions on how to get started in programming your own custom sounds. It is recommended that you actually try each example on the Orbit unit, rather than just reading through. The best way to learn something is by actually doing it. LINKING PRESETS Linking presets is a quick and easy way to create new sounds by “layering” presets and also to “split” a keyboard into sections containing different sounds.
STEP-BY-STEP EDITING PRESETS The easiest way to make a new preset is to edit an existing preset. This is also an excellent way of becoming familiar with Orbit. If you don’t like what you hear, simply change the preset and Orbit reverts back to the original sound. Changes are not made permanent until you Save them using the “SAVE PRESET” function, which is the last screen in the Edit menu. Let’s experiment and modify a few parameters of an existing preset.
STEP-BY-STEP If the numbers are “00” as in the previous screen, it means that the instruments are tuned to concert pitch (A=440 Hz). Each whole number in coarse tuning represents a semitone interval. To tune one or both of the instruments up an octave, move the cursor to the number (using the cursor button) and set the number to +12 using the data entry control. Try tuning one of the instruments to a perfect fifth above the other. Simply set the coarse tuning to +7.
STEP-BY-STEP ALTERNATE VOLUME ENVELOPE Every sound you hear, be it a piano note, a drum, a bell or whatever, has a characteristic volume curve or envelope, which grows louder or softer in various ways during the course of the sound. The volume envelope of a sound is one of the clues that our brain uses to determine what type of sound is being produced. Percussion Every instrument in Orbit has it's own volume envelope which is used when the Alternate Envelope parameter is turned Off.
STEP-BY-STEP The envelope will stay at the Sustain level for as long as the key is held. When the key is released, the envelope falls back down to zero at the Release rate. S level time A H D key down R key released WORKING WITH THE FILTER The low pass filter makes it possible to remove certain components of the sound. A low pass filter removes the high frequency components or put another way, it “lets the lows pass”.
STEP-BY-STEP Playing the keyboard now, you should hear the raw Pad Classic sound. Slowly decrease the filter Fc as you play the keyboard. The sound will get duller and duller as more and more high frequencies are filtered out until at some point the sound will completely disappear. (You have filtered out everything.) The chart below illustrates what you just did. You moved the cutoff frequency down. Cutoff Frequency 100 Amplitude 80 Output of Filter 60 40 20 40 80 160 360 720 1440 2880 ...
STEP-BY-STEP You have just connected the Auxiliary Envelope Generator to the Filter Cutoff as shown in the diagram below. Instrument R Filter Tone Fc DCA Pan Q L Aux. AHDSR Now go back to the Aux Envelope screen. AUX ENV AMT DLY +100 000 Move the cursor underneath the envelope amount and change the value to about +100. Now when you press a key the filter will slowly sweep up.
STEP-BY-STEP Because the Sustain level is set to maximum, the decay parameter has no effect. Set the parameters as shown below. A: A H D S R 03 06 24 36 12 Now the filter sweeps up, Holds there for a bit, then Decays back down to the Sustain Level until you release the key. Then it sweeps down at the Release rate. Play with the envelope parameters for awhile to get a feel for their function.
STEP-BY-STEP • Troubleshooting A common source of confusion when working with the filter envelope is that the Attack or Release parameter might not seem to be working correctly. Referring to the diagram below which shows the Orbit signal flow, you will notice that the DCA comes after the Filter. The DCA controls the final volume of the sound, so if the filter's release is longer than the release for the DCA, you won't hear it, because the DCA has already shut off the sound.
STEP-BY-STEP USING ORBIT WITH A SEQUENCER We thought you’d never ask. Orbit was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen. C01 Vol127 Pan=P 000 Preset Name The preset for each MIDI channel is selected from the main screen. Press the cursor button to move the cursor up so that it is underneath the channel number. C01 Vol127 Pan=P 000 Preset Name Turn the data entry control and you will see that every MIDI channel has a preset assigned to it.
STEP-BY-STEP Note: Orbit setup information should be transmitted from the sequencer before the song actually starts, perhaps during a lead-in measure or countdown. DO NOT send setup information just before the first beat of the song or MIDI timing errors could result. • Initial Setup In the Master menu: 1) Turn ON Multi-Mode 2) Turn ON Preset Change enable for each channel. 3) Turn OFF MIDI Enable on MIDI channels that are to be used for other synthesizers.
STEP-BY-STEP • Channel Ripoff When Orbit uses up all its 32 channels and needs more, it steals a channel from the key that has been in the release phase longest. This is commonly known as “channel rip-off”. You will most commonly encounter this “rip-off” when using Orbit in multi-timbral mode or when using massive preset links.
REFERENCE SECTION Chapter 7: Reference Section 95
FACTORY RAM PRESETS - BANK 0 Bank 0 1 2 3 4 Contents 128 RAM Presets 128 RAM Presets 128 ROM Presets 128 ROM Presets 128 ROM Presets ••• Preset Categories: bas: .. Bass syn: .. Synthesizer pad: . Thick sustained sound org: .. Organ led: .. Lead instrument hit: ... Orchestra hit vox: .. Human voice sfx: ... Sound effect scr: ... Record scratch drm: . Drum bts: .. Used in beats preset seq: .. Used in demo sequence lnk: .. Preset link 96 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
FACTORY RAM PRESETS - BANK 1 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42.
FACTORY ROM PRESETS - BANK 2 Bank 0 1 2 3 4 Contents 128 RAM Presets 128 RAM Presets 128 ROM Presets 128 ROM Presets 128 ROM Presets ••• Preset Categories: bas: .. Bass syn: .. Synthesizer pad: . Thick sustained sound org: .. Organ led: .. Lead instrument hit: ... Orchestra hit vox: .. Human voice sfx: ... Sound effect scr: ... Record scratch drm: . Drum bts: .. Used in beats preset seq: .. Used in demo sequence lnk: .. Preset link 98 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
FACTORY ROM PRESETS - BANK 3 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.
FACTORY ROM PRESETS - BANK 4 Bank 0 1 2 3 4 Contents 128 RAM Presets 128 RAM Presets 128 ROM Presets 128 ROM Presets 128 ROM Presets ▼ Warning: The Cool Beats presets may not work with every beat because they are limited to a small section of the keyboard. 100 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.
INSTRUMENT LISTING 001. SuperSub 034. TB303 1 067. Farfisa 002. BelowSub 035. TB303 2 068. FarfisaLow 003. BassHum 036. TB303 3 069. Vox Org Low 004. BassLowness 037. TB303 4 070. CZSynstring 005. BassSonics 038. Bass2600 071. SynthCheeze 006. Bassssic 039. CZ101Bass 072. SynthCheezH 007. SubBass1 040. DX Bass 1 073. LeadSynth2 008. SubBass2 041. DX Bass 2 074. Syn Tone 3 009. SubBass3 042. DX Bass 3 075. Uroborus 010. JunoSub 043. JP4Bass 076. Hollow Deep 011. SubBass4 044.
INSTRUMENT LISTING 102 100. JunoSaw 133. Rez Synth 166. CrowdNTP 101. OBXSaws 134. SynthBrass 167. Seq Delay 102. SquareLead1 135. Brazz 168. CMI Hot Air 103. SquareLead2 136. DanceSynth4 169. DanceHits 104. SqrAttkLead 137. DanceSynth5 170. StringHits 105. JunoSquare 138. SynthPad 171. HornHits 106. SquareChrs 139. PadLife 172. StrHitBbmin 107. CZsquare 140. PadClassic 173. TechnoHitAm 108. JunoPulse 141. DreamPad1 174. StrHitAmin 109. Sync Wave 1 142. Paddy 175.
INSTRUMENT LISTING 199. BizarreGbm7 232. ShortStrgs 265. BeatsJngl3 200. HowsHornDm7 233. DarkDance 266. BeatsHrdcre 201. Short Hit C 234. DrkrStrings 267. BeatsHrdcr2 202. OrgChordDm7 235. DrkrHorns 268. BeatsHrdcr3 203. OrgStabDm7 236. DrkShrtHits 269. BeatsHouse 204. OrgClassicD 237. Scratches 270. BeatsHouse2 205. KleanHitEm 238. Kicks 271. BeatsHouse3 206. KlangHitF7 239. Snares 272. More Kits 1 207. MetalHit 240. Toms 273. More Kits 2 208. GameHit 241. Timbales 274.
INSTRUMENT LISTING 104 398. Kick #3 331. Snare#9 364. Snare#42 399. Kick #4 332. Snare#10 365. Snare#43 300. Kick #5 333. Snare#11 366. Tom #1 301. Kick #6 334. Snare#12 367. Tom #2 302 Kick #7 335. Snare#13 368. Tom #3 303. Kick #8 336. Snare#14 369. Tom #4 304. Kick #9 337. Snare#15 370. Tom #5 305. Kick #10 338. Snare#16 371. Tom #6 306. Kick #11 339. Snare#17 372. Tom #7 307. Kick #12 340. Snare#18 373. Tom #8 308. Kick #13 341. Snare#19 374. Tom #9 309. Kick #14 342.
MIDI Key # Dark Kick 24 36 Dark Kick 48 60 Chapter 7: Reference Section 72 84 Dance Kit 2 Instrument 257 105 84 Simmons Tom Synth Rasp Pole Pssst 72 606 Cymbal 808 Ride Cracked Block Shaker Triangle Mute 60 Elect. Thump Bong Snare Timbale 2 Clsd. Elec. HiHat Clsd. Elec. HiHat 48 Bongo Tip High Conga Dirty Lil Hi-Hat Hi-Hat Dirty Hi-Hat 36 Cow-Cymbal Cymbal Bass 909 Clsd Hat 909 Open Hat 808 Open Hat 24 909 Kick Elect.
Upright Bass MIDI Key # 24 Upright Bass 36 106 48 Orbit V2 Operation Manual 60 Beats Hip Hop Instrument 260 72 84 Organ Stab 72 808 Closed Hat 2 Hi-Hat Reverse Hi-Hat Gated Snare Car Horn 60 Doggie Scratch Triangle Mute African Shaker Guiro 909 Clave 48 Dink Agogo Tone Maraca Bongo Tone Dance Stab 36 Tambourine Little Cowbell Mallet Bell Crash Cymbal Ride Cymbal 24 Jazz Clsd Hat Jazz Clsd Hat Jazz Opn Hat Cracked Rim Claps Kick Tick 909 Click Machine Kick Kick Snare 808 Snare Simmons
MIDI Key # Synth Bass 24 Synth Bass 36 48 60 Chapter 7: Reference Section 72 84 Beats Hardcore Instrument 266 107 84 Warm Hit 808 Closed Hat 2 Hi-Hat Looped Hi-Hat 72 Soft Whackee Razor Slice Odd Voice Triangle Mute African Shaker 60 Guiro Loop Odd Voice Noise Chiff Agogo Lo-Tone Maraca 48 Bongo Low Dance Stab Tambourine Space Whip Noise Burst 36 Brush Crash Ride Bell Bass Hum Clossd Hi-Hat 808 Open Hat 808ish Hi-Hat 24 Electr.
TECHNICAL SPECIFICATIONS Audio Channels: ................. 32 Audio Outputs: ...................6 (2 main, 4 submix) Submix Inputs: ...................4 Max. Output Level: ............ +4 dBv Output Impedance: ........... 1KΩ MIDI: ..................................... In, Out, Thru Data Encoding: ...................16 bit linear data, 18 bit linear outputs Sample Playback Rate: ..... 39 kHz Signal to Noise: ...................>90 dB Dynamic Range: ................. >90 dB Frequency Response: .........
MIDI IMPLEMENTATION CHART Function… Transmitted Basic Channel Default Changed No No 1 1-16 Memorized Mode Default Messages No Mode 1, 3, 4 MONO, POLY OMNI, ON/OFF Memorized True Voice No No 0-127 0-127 Velocity Note ON Note OFF No No Yes No After Touch Keys Channels No No Yes Yes Pitch Bender No Yes Control Change No Yes Bank Select No Yes Program Change True Number No No Yes 0-127 Yes 0-127 All Sound Off No Yes All Notes Off No Yes Reset All Controllers No Yes S
MIDI SPECIFICATIONS RECEIVED CHANNEL COMMANDS Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported. ••• Running Status is supported in Orbit.
MIDI SPECIFICATIONS MIDI SYSEX COMMANDS For system exclusive commands, the following format is used: F0 18 0A dd cc ... F7 system exclusive status byte E-mu ID byte product ID byte (will also respond to ID 04 - Proteus) device ID byte command byte data bytes EOX ••• Orbit will receive Proteus presets, but will fill in the extra parameters with default values and set instruments to “None”. SysEx Editing Preset and setup parameters may be edited individually using system exclusive commands.
MIDI SPECIFICATIONS RECEIVED SYSTEM EXCLUSIVE COMMANDS Command Message Comments Preset Data Request F0 18 0A dd 00 ll mm F7 see note 6 Preset Data F0 18 0A dd 01 ll mm … ...
MIDI SPECIFICATIONS TRANSMITTED SYSTEM EXCLUSIVE COMMANDS Command Message Comments Preset Data ll= preset # lsb mm = msb F0 18 0A dd 01 ll mm ... ... CS F7 cs = checksum Parameter Value F0 18 0A dd 03 pl pm vl vm F7 pl = parameter # lsb pm = msb vl = value lsb vm = msb Tuning Table F0 18 0A dd 05 ... ... F7 TT data = 256 bytes Program Map Data F0 18 0A dd 07 ... ... F7 see note 8 Config. Message F0 18 0A dd 0D pl pm s1 l1 m1 s2 l2 m2 F7 see note 2 Instr.
MIDI SPECIFICATIONS • Note 3 - Instrument List This MIDI command allows external software to upload the instrument list as an array of ASCII strings. The instrument list request command is: F0 18 0A dd 0E F7 Orbit will respond to this command with the instrument list message: F0 18 0A dd 0F (14 bytes per instrument) ... ... F7 The instruments are transmitted in the same order they appear to the user on Orbit.
MIDI SPECIFICATIONS • Note 5 - Bulk Tuning Dump Orbit can receive MIDI Tuning Standard dumps in addition to its own SysEx tuning table dumps. Orbit will only transmit in it's own SysEx tuning format.
MIDI SPECIFICATIONS • Note 7 - Alternate Tuning The “user tuning table” allows any key to be tuned to an arbitrary pitch over an 8 octave range. If selected in the preset, an alternate tuning may be achieved by modifying the tuning values from the front panel or downloading a new table into the machine. The table consists of 128 words, corresponding to the MIDI key range, kept in non-volatile memory. Each word is a pitch value expressed in 1/64 semitones, offset from key number 0 (c-2).
MIDI SPECIFICATIONS Parameter No. Parameter Name Range 31 pri high key 0-127 32 pri alt. volume attack 0-99 33 pri alt. volume hold 0-99 34 pri alt. volume decay 0-99 35 pri alt. volume sustain 0-99 36 pri alt. volume release 0-99 37 pri alt.
MIDI SPECIFICATIONS Parameter No. 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81-86 87-92 93-98 99-106 107-114 115-117 118-121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 See Note 10 See Note 10 A value of 13 = “Global” A value of 5 = “Global” 118 Orbit V2 Operation Manual Parameter Name LFO 1 rate LFO 1 delay LFO 1 variation LFO 1 amount LFO 2 shape LFO 2 rate LFO 2 delay LFO 2 variation LFO 2 amount aux. envelope delay aux. envelope attack aux. envelope hold aux. envelope decay aux.
MIDI SPECIFICATIONS GLOBAL/SETUP PARAMETERS Parameter No.
MIDI SPECIFICATIONS • Note 9 - Sound Sets A Orbit sound set consists of sample data (sound ROMs), plus additional instrument data in the program ROMs. Each sound set has a unique ID number. The sound sets for Orbit are #11 & #12. It is necessary to include the sound set number as part of the instrument number when exchanging data. The complete instrument number contains two fields: bits 8-12 specify the sound set (0-31) and bits 0-7 specify the instrument within the sound set (0-255).
MIDI SPECIFICATIONS • 14-bit Signed 2's Complement Numbers If the data value is negative, you must first take the 2's complement of the number: In the case of a 14-bit number this is equivalent to adding 16384 to the original negative value. To fit the 7-bit MIDI protocol, numbers must be “nibble-ized”. data bits data bits { { Status Bit MUST be “0” in MIDI data bytes.
MIDI SPECIFICATIONS • Note 10 - Patchcord Destinations The order in which patchcord destinations appear on the screen does not necessarily match the SysEx ordering. This is necessary for various reasons, one being to maintain Proteus compatibility. Key/Velocity Controllers MIDI value 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 122 Destination Off Pitch Pri. Pitch Sec. Pitch Volume Pri. Volume Sec. Volume Attack Pri. Attack Sec. Attack Decay Pri. Decay Sec.
MIDI SPECIFICATIONS Key/Velocity Controllers (cont) MIDI value 34 35 36 37 38 39 40 41 42 Destination Filter Fc Pri. Filter Fc Sec. Filter Fc Filter Q Pri. Filter Q Sec. Filter Q Portamento Rate Pri. Portamento Rate Sec. Portamento Rate Realtime Controllers MIDI value 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Destination Off Pitch Pri. Pitch Sec. Pitch Volume Pri. Volume Sec. Volume Attack Pri. Attack Sec. Attack Decay Pri. Decay Sec. Decay Release Pri. Release Sec.
MIDI SPECIFICATIONS Realtime Controllers (cont) MIDI value 28 29 30 34 35 36 40 41 42 124 Destination Pan Pri. Pan Sec. Pan Filter Fc Pri. Filter Fc Sec. Filter Fc Portamento Rate Pri. Portamento Rate Sec.
WARRANTY Please read this warranty, as it gives you specific legal rights. Length of Warranty This warranty covers all defects in materials and workmanship for a period of one year from the date of purchase by the original owner, provided that the Warranty Registration Card is filled out and returned to E-mu Systems within 14 days from the date of purchase.
INDEX Symbols 19-tone tuning 77 2-pole 45 A Aftertouch 39 See also Pressure Alternate tunings 77 Alternate volume envelope 40, 62, 86 Attack 40, 70 Auxiliary envelope 70 B Balance 12, 61, 48 Banks, preset 4, 12 Basic operation 9 Basic sampling system diagram 18 Basic setup 5 Block diagram, Orbit 73, 74 Beats control 32 Beat maps 106-108 Beats MIDI out 31 Beats mode 13, 33 C Channel pan 12 Channel ripoff 94 Channel volume 12 Character chart 58 Chorus 64, 85 Coarse tuning 61 Constant tempo 33 Constant T,
INDEX J Javanese tuning 77 Just C tuning 77 K Key number 59, 67 Key range 59 Key velocity 39, 73 Keyboard Center 50, 77 Connection 5-7 Layered 37, 60, 78, 83 Modulation 39, 49, 73, 77 Pressure 39 Split 37, 60, 78, 83 Tuning 21, 31, 77 L Layering 37, 60, 78, 83 Legato 64 LFO 38, 41, 71 Delay 71 Rate 71 Synced 42, 71 Variation 72 Link preset 37, 78, 83 Low frequency oscillators 38, 41, 71 Low pass filter 44, 67, 87 M Main controls 11 Main outputs 6 Master menu select 11 Master settings, send 30 Master tun
INDEX Preset 4, 12 Change 27 Factory preset listing 96-100 Links 78 Mapping 26 Naming 58 Recording to a sequencer 30 Saving 79 Selection 12 Pressure 39 Pressure, amount 75 Primary 4 Filter type 67 Instrument 59 Key range 59 Program/Preset map 26 Programming basics 35 Sine wave 41 Solo mode 64 Song examples 16 Song mode 13, 15 Song start/stop 31 Sound start 63, 74 Split keyboard 37, 60, 78, 83 Square wave 41 Stereo outputs, 5-8, 54 Studio setup 6 Sub 1 & 2 outputs 8, 54 Submix returns 7, 8, 94 Sustain Enve
INDEX Viewing angle 34 Volume MIDI channel volume 12 Preset volume 61 Volume control 11 W Warranty 126 Waveform, LFO 41 Weight: 109 Wind controller mode 64 X X-factor 13, 14 X-factor control 27 Xfade 65 Xswitch 65 Z Z-Plane Filter 46 Chapter 7: Reference Section 129
CREDITS CREDITS Special thanks to the following developers for their contributions to Orbit V2: Mark Camp Rob Lodes Eric Cunningham Jason Miles Control Synthesis Andrew Schlessinger Ed Dickie Robert Semrow Jay Dittamo Michael Von Struble Jeremy Goody Chris Vrenna Chris Lang Sam Ward … and to all the E-mu folks who helped.
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