Part Number 910568-001
IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS INSTRUCTIONS PERTAINING TO THE RISK OF FIRE ELECTRIC SHOCK , OR INJURY TO PERSONS WARNING: When using electric products, basic precautions should always be followed, including the following: 1. Read all the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product. 2. This product must be grounded.
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. 1) 2) 3) 4) 5) 6) 7) 8) The lightning flash with the arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative. US Customers: Customers outside the US: American Music & Sound 22020 Clarendon Street, Suite 305 Woodland Hills, CA 91367 Young Chang Co., LTD. 9th Floor, Bldg 102, I-Park, Jeongja-Dong, Bundang-Gu, Seongnam-Si, Gyeonggi-Do 463-859 South Korea Tel: 800-431-2609 Fax: 818-597-0411 Email: info@americanmusicandsound.com Tel: +82 31 786 7900 www.kurzweil.com support@kurzweil.com www.
Table of Contents Kurzweil International Contacts Chapter 1 Introduction Keeping Current Overview of the PC3A VAST Synthesis KB3 Tone Wheel Emulation VA-1 Programs How to Use This Manual Do I Have Everything? Boot Loader Battery Options Sound ROM Expansion Card Pedals Ribbon Controller Breath Controller USB Storage Device Chapter 2 Startup iv 1-2 1-2 1-3 1-3 1-3 1-4 1-4 1-4 1-4 1-5 1-5 1-5 1-5 1-5 1-5 Make Connections Make Music Startup—the Details 2-1 2-1 2-2 PC3A Programs 2-7 Setups Quick Access
Chapter 3 User Interface Basics Mode Selection Mode Buttons Bank Buttons Sliders Program and Category Buttons 3-1 3-2 3-2 3-3 3-4 Pitch Wheel and Mod Wheel Navigation 3-5 3-6 Data Entry 3-9 Intuitive Data Entry 3-11 Search Quick Song Recording and Playback 3-12 3-12 Picking favorites The Display Pages The Top Line The Bottom Line The Soft Buttons The Cursor Buttons The Chan/Layer Buttons The Edit Button The Exit Button The Alpha Wheel The Plus/Minus Buttons The Alphanumeric Pad Double Button Pres
Deleting Objects 5-6 Saving and Loading Files—Storage Mode Special Button Functions 5-6 5-7 Dependent Objects Chapter 6 Program Mode 5-6 The Program Mode Page 6-1 VAST and KB3 Programs VAST Program Structure KB3 Program Structure 6-4 6-4 6-6 Selecting Programs The Soft Buttons in Program Mode The Info Box Controllers Assignments For Factory ROM Programs Saving Controller Settings in Program Mode The Arpeggiator In Program Mode MIDI Channels KB3 Mode KB3 Effects And Real-time Controls MIDI Contro
Opaque Sustain Pedal (SusPdl) Sostenuto Pedal (SosPdl) Freeze Pedal (FrzPdl) Ignore Release (IgnRel) Hold Through Attack (ThrAtt) Hold Until Decay (TilDec) The PITCH Page The AMP Page The Algorithm (ALG) Page 6-21 6-21 6-22 The DSP Control (DSPCTL) Page The DSP Modulation (DSPMOD) Page The OUTPUT Page 6-29 6-30 6-31 The COMMON Page 6-35 The LFO Page 6-38 The ASR Page 6-40 The Function (FUN) Page The Amplitude Envelope (AMPENV) Page 6-41 6-42 Algorithm Basics Common DSP Control Parameters Alt In
Attack Segment Levels Decay Segment Release Segments Loop Type Number of Loops 6-43 6-43 6-43 6-44 6-44 The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages The Envelope Control (ENVCTL) Page 6-44 6-45 The Program FX (PROGFX) Page 6-47 The Layer FX (LYR_FX) Page The Controllers (CTLS) Page INFO Function Soft Buttons 6-49 6-50 6-51 6-51 Editing VAST Programs With KVA Oscillators 6-53 Editing KB3 Programs KB3 Editor: The Tone Wheels (TONEWL) Page 6-59 6-59 KB3 Editor: The Drawbars (DRAWBR) Page 6-61
Percussion Volume Decay Harmonic VelTrack LowHarm HighHarm StealBar KB3 Editor: The PERC2 Page 6-64 KB3 Editor: The KEYCLK Page 6-65 KB3 Editor: The MISC Page 6-67 KB3 Editor: The EQ Page KB3 Editor: The OUTPUT Page 6-69 6-70 KB3 Editor: The Program FX (PROGFX) Page KB3 Editor: The LFO, ASR, and FUN Pages KB3 Programming Tips 6-70 6-70 6-71 PercLevel, DecayTime, OrgLevel KeyClick Volume Decay VelTrk Pitch Random ReTrigThresh Note Attack Note Release PreampResp Leakage LeakMode SpeedCtl VibChorCt
Out Input Channel MIDI Bank Mode (BankMode) Entry Program Change (EntryProgChg) Arpeggiator 7-6 7-6 7-7 7-8 7-8 The Key/Velocity (KEY-VEL) Page 7-9 The Pan/Volume (PAN/VOL) Page 7-17 The BEND Page 7-18 Controllers 7-19 The WHEEL Page The SLIDER and SLID2 Pages The Continuous Control Pedal (CPEDAL) Page The Pressure (PRESS) Page The Footswitch Pages (FT SW1, FT SW2, FT SW3) The Arpeggiator Switch (ARP SW) Page The SWITCH Page The RIBBON Page The Ribbon Configuration (RIBCFG) Page 7-32 7-33 7-34 7-
The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX The Programmable Switch Pages: SWPRG1 to SWPRG8 The COMMON Page 7-64 7-64 7-65 TRIGGER KEYS (KEYTRG) The Utility Soft Buttons 7-67 7-68 Recording A Setup To Song Mode 7-69 Tempo Clock Source Aux FX Channel KB3 Channel Mutes Arpeggiator Global (ArpGlobal) Name Save Delete New Zone (NewZn) Duplicate Zone (DupZn) Import Zone (ImpZn) Delete Zone (DelZn) Chapter 8 Quick Access Mode Soft Buttons In Quick Access Mode The QA Editor Chapter 9 Effects and Effect
Quantize LaserVerb Filters Distortion Rotating Speakers Vibrato/Chorus Tremolo and AutoPan Pitcher Ring Modulation Stereo Simulation Chapter 10 MIDI Mode 9-19 9-19 9-20 9-21 9-22 9-23 9-24 9-25 9-25 9-25 The TRANSMIT Page 10-1 The RECEIVE Page 10-5 The Channels Page 10-14 Program Change Formats 10-15 The Soft Buttons in MIDI Mode 10-18 Control Setup Destination Channel Transpose Velocity Map (Transmit) Pressure Map (Transmit) Program Change (ProgChang) Change Setups (ChgSetups) Basic Channel MI
MAPS OUTPUT Drum Remap ID Entry Setup Controllers (SetupCtls) Master Table Lock (Master Lock) Demo Button Buttons Mode (Buttons) Display 11-2 11-2 11-2 11-3 11-3 11-3 11-3 Velocity Map (Master) Pressure Map (Master) Intonation Key Action Map Intonation Key (Int.Key) Default Sequence 11-5 11-7 11-8 11-9 11-9 11-10 Output Clock Digital Output Volume (Dig. out volume) Digital Output (Dig.
Soft Buttons on the MAIN Page The Save Changes Dialog 12-7 12-8 Song Mode: The BIG Page 12-10 Song Mode: The FX Pages Song Mode: The MIXER Page 12-12 12-12 Song Mode: The METRONOME Page 12-13 Song Mode: The Filter Pages (RECFLT and PLYFLT) 12-15 Song Mode: The MISC Page 12-17 Song Mode: The STATS Page 12-18 Time In Time Out Song End Loop RecMode Metron Out The Rec, Play, and Stop Soft Buttons The Keep Soft Button The Done Soft Button Metronome CountOff Program Channel Strong Note Strong Vel S
The Song Editor Song Editor: The COMMON Page 12-19 12-19 Song Editor: The TRACK Page 12-21 Song Editor: Track Functions 12-24 Song Editor: The EVENT Page 12-31 Tempo TimeSig FX Track DrumTrack MidiDst Soft Buttons on the COMMON Page Common Parameters for Edit Song: Track Functions Region/Criteria Box Parameters Soft Buttons on the TRACK Page Erase Copy Bounce Insert Delete Quantize Shift Transpose Grab Change Remap Initial Program, Volume, Pan Location Bar, Beat, and Tick Event Type and Value Soft
Format 13-15 Chapter 14 Keymap and Sample Editing The Keymap Editor 14-1 Building a Keymap Editing Samples 14-7 14-9 Keymap Editor Parameters The Soft Buttons in the Keymap Editor Special Double Button Presses in the Keymap Editor The Miscellaneous (MISC) Page The TRIM Page Chapter 15 Tutorial: Song Mode Part 1: Assign Instruments To Tracks Part 2: Set The Tempo Part 3: Record Your First Track, Save The Song Part 4: Record Additional Tracks Part 5: Fixing Mistakes Part 6: Adjusting The Volume Of Ea
Keymaps Samples D-44 D-54 Arpeggiator Shift Patterns Arpeggiator Velocity Patterns D-63 D-65 Appendix PC3A Legacy File Conversion Object Types and Conversion Details Keymap Objects Program Objects Setup Objects Index xiv E-1 E-1 E-1 E-1 i
Introduction Chapter 1 Introduction Greetings. Your new instrument offers amazing acoustic, electric, and synthesizer sounds, combined with advanced programming features that will let you create almost any sound you can imagine. This manual covers the PC3A in its 88, 76, and 61-note configurations (PC3A8, PC3A7, and PC3A6.) For the most part, anywhere we talk about the PC3A in this manual we mean any of these instruments.
Introduction Keeping Current Check for new documentation and operating system upgrades before you start using your instrument. When new software is available for the PC3A, it will be posted at www.kurzweil. com. You’ll use the PC3A’s Boot Loader (described in this manual) to upgrade your instrument to use the new software. Overview of the PC3A Pictured below is the 88-key PC3A8.
Introduction VA-1 Programs VAST Synthesis The PC3A’s Variable Architecture Synthesis Technology (V.A.S.T.) lets you build sounds from realistic instrumental samples and sampled synth waveforms—then modify the nature of those sounds through a wide variety of digital signal-processing (DSP) functions. The PC3A also generates its own synth waveforms, which can be combined with the samples or used on their own.
Introduction How to Use This Manual This PC3A Musician’s Guide describes how to connect and power up your PC3A, and to hook up the PC3A to your sound system and MIDI system. It provides an overview of the front panel, and a brief description of the operating modes to help you start playing music with the instrument. It covers the PC3A in its 88, 76, and 61-note configurations (PC3A8, PC3A7, and PC3A6).
Introduction Options Ask your Kurzweil dealer about the following PC3A options: Sound ROM Expansion Card The PC3A has the KORE64 and German D Grand EXP cards installed as standard components. Pedals The PC3A has jacks for three switch pedals (for functions like sustain or program/setup changes) and two continuous pedals (for functions like volume control and wah).
Startup Make Music Chapter 2 Startup If hooking up new gear is familiar to you, and you just want to get going, here’s a quick description of what you need to get started with your PC3A. If you need more information, thorough descriptions of each step follow. Make Connections 1. Set the keyboard on a hard, flat, level surface. Make sure to leave plenty of room for ventilation. 2. Four adhesive-backed rubber feet are provided with your PC3A.
Startup Startup—the Details Startup—the Details This section walks you through the hookup of your PC3A. We’ll take a look at the rear panel, then describe the power, audio, and other cable connections. Before You Start... Don’t connect anything until you make sure your PC3A is properly and safely situated. Also, if your PC3A has been out in the cold, give it time to warm up to room temperature before starting it, since condensation may have formed inside the PC3A.
Startup Startup—the Details Digital For digital audio output from the PC3A, connect a 75-Ohm coaxial cable from the PC3A’s RCA Digital Out jack to the AES or S/PDIF input of the receiving device. You may need an RCA-toXLR adapter to connect with the receiving device. If the receiving device receives only optical signals, you’ll need a converter as well. The PC3A’s Master Page (press the Master mode button) lets you select a range of useful sample rates for the digital output.
Startup Startup—the Details Pedals Plug your switch or continuous pedals into the corresponding jacks on the PC3A’s rear panel. We recommend using the Kurzweil pedals described on page 1-5, but you can use almost any switch or continuous pedal, as long as it adheres to the following specifications (as most pedals do): Switch pedals Continuous pedals /4-inch tip-sleeve plug 10-kOhm linear-taper potentiometer, 1/4-inch tip-ring-sleeve plug with the wiper connected to the tip.
Startup Startup—the Details Ribbon Plug the optional Kurzweil Ribbon Controller into the modular Ribbon jack on the rear panel. The ribbon controller itself should rest on a flat surface; it fits nicely between the keys and the buttons and sliders on the front panel. The ribbon is a continuous controller. You can program the ribbon controller to send MIDI Controller messages 1–127, as well as several specialized messages. It generates values of 0–127 for whatever MIDI Controllers you assign it to send.
Startup Startup—the Details USB Storage Port You can plug a USB mass storage device such as a “thumb drive” into the PC3A for backing up, archiving, sharing your work, and updating your software. Any size USB mass storage device will work, though thumb drives are recommended for their portability, durability, and low price. The USB Storage port is on the back panel of the PC3A, but it is easily accessible from the front of the instrument.
Startup PC3A Programs When you leave Storage Mode, there will be a prompt telling you that the PC3A is turning back into a USB MIDI device - which you have to acknowledge. If you haven’t copied the file(s) to your desktop (or other place on the computer) it won’t be on the virtual disk when you leave storage mode. Depending on your computer’s operating system, you may sometimes see a scary device removal warning on your desktop (for example, when the PC3A leaves the Boot Loader).
Startup PC3A Programs Program Mode Display Take a minute to familiarize yourself with the Program mode display. It gives you some helpful basic information, like the MIDI transposition, what MIDI channel you’re on, and which program is currently selected. Info Box There’s a box at the left side of the display. The info box, as it’s called, displays information about the current program (there’s also an info box for Setup mode).
Startup Quick Access KB3 Programs KB3 (organ) programs differ from VAST programs in that they don’t have layers. Instead they rely on oscillators that mimic the tone wheels used in many popular organs. Consequently, the info box shows only the waveform used in the program. Because of their architecture, KB3 programs require different processing within the PC3A. KB3 programs play only on a single channel at a time (VAST programs will work fine on that channel, too).
Startup Software Upgrades The top line of the display tells you which Quick Access bank is selected. Use the Chan/Layer buttons (to the left of the display) to scroll through the banks. The names of each of the ten entries in the bank are listed in the center of the display. Many of their names will be abbreviated. The currently selected entry’s full name is shown near the bottom of the display. The amount of transposition is displayed to the left of the entry name.
User Interface Basics Mode Selection Chapter 3 User Interface Basics This chapter will show you how to get around the front panel of your PC3A. Your interactions can be divided into three primary operations: mode selection, navigation, and data entry. There is also an assignable control section. Arp SW Mode Selection The PC3A is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttons — they’re to the left of the display.
User Interface Basics Bank Buttons Song mode Use the PC3A’s sequencer to record and play back your keyboard performance, play Type 0 and Type 1 MIDI sequences, and record multitimbral sequences received via MIDI. Storage mode Interface with the PC3A’s USB storage or computer ports to load and save programs, setups, samples, and more. The PC3A’s tone wheel organ emulation is called KB3 mode. You automatically enter this mode when you select a KB3 program. The KB3 Bank button takes you there directly.
User Interface Basics Bank Buttons Sliders In KB3 mode, the PC3A’s nine sliders emulate an organ’s drawbars. For example, slider A emulates an organ’s 16’ drawbar. In other modes, the sliders can be used to send values for different MIDI controllers. In either case, you may have to move the slider past the current value for its selected function before slider movement will have any effect.
User Interface Basics Program and Category Buttons Program and Category Buttons Use the Program and Category buttons, in conjunction with the Bank buttons, to select PC3A programs by Bank type and instrument category. Each Bank contains 128 programs divided into 16 categories. Each of the 16 categories contains 8 programs. To select a program, first press one of the Bank buttons (above the sliders on the left side of the front panel) to select a bank, then press a Category button and a Program button.
User Interface Basics Pitch Wheel and Mod Wheel Pitch Wheel and Mod Wheel Arp Pitch SW Mod To the left of the PC3A’s keyboard are the Pitch Wheel and the Mod Wheel, as well as the SW and Arp buttons. Push the Pitch Wheel away from you to raise the pitch of the note(s) you are playing. Pull it towards you to lower the pitch. Most programs are set so that the pitch wheel will raise and lower pitch by a whole step, although some programs use the pitch wheel to lower pitch by as much as an octave.
User Interface Basics Navigation Navigation The navigation section of the front panel consists of the display and the buttons surrounding it. These navigation buttons will take you to every one of the PC3A’s programming parameters. The Display Your primary interface with the PC3A is its backlit graphic display. As you press various buttons, this fluorescent display reflects the commands you enter and the editing changes you make.
User Interface Basics Navigation The Soft Buttons The soft buttons are called “soft” because their functions change depending on the currently selected mode and page. Sometimes they perform specific functions, like changing MIDI channels in Program mode. In the Program Editor and other editors, they’re also used to move to different pages of programming parameters.
User Interface Basics Navigation The Edit Button The Edit button activates each of the PC3A’s editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the PC3A that you want to change some aspect of the object marked by the cursor. For example, when a program is selected and you press Edit, you enter the Program Editor. If a setup is selected, you enter the Setup Editor. There are editors accessible from just about every operating mode.
User Interface Basics Navigation Data Entry The data entry section of the front panel includes the Alpha wheel, the Plus/Minus buttons, and the 14-button alphanumeric pad. The Alpha Wheel The Alpha Wheel is especially useful because it can quickly enter large or small changes in value. If you turn the Alpha Wheel one click to the right, you’ll increase the value of the currently selected parameter by one increment. One click to the left decreases the value by one increment.
User Interface Basics Navigation Double Button Presses Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time. In this mode or editor… Program mode Setup mode Song mode Storage mode Program Editor Any Editor Save Dialog Rename Dialog 3-10 …pressing these buttons simultaneously… …does this: ARP, SW Brings up quick arpeggiator configuration page.
User Interface Basics Intuitive Data Entry Intuitive Data Entry Many parameters have values that correspond to standard physical controllers. In many cases, you can select these values “intuitively,” rather than having to scroll through the Control Source list. Do this by selecting the desired parameter, then holding the ENTER button while moving the desired physical control.
User Interface Basics Quick Song Recording and Playback Search There’s a convenient way to find any string of characters within the currently selected list, or range of values. Hold the Enter button and press any of the numeric buttons. A dialog appears. Type in the string of characters you want to find. For example, if you’re looking at the program list and you want to find all programs containing the word “Horn,” you would type h-o-r-n.
The Operating Modes Selecting Modes Chapter 4 The Operating Modes In this chapter we’ll discuss the theory behind the mode concept, and we’ll describe the basic operating features of each mode. What the Modes Are The modes exist to make the PC3A logical to work with. With as many performance and programming features as the PC3A has, it’s helpful to break them into groups. These groups are called modes.
The Operating Modes Using the Modes The following table lists the procedures for moving between modes and editors. Note that the Exit button won’t always take you where the table says it will; it often depends on how you got where you are. The table assumes that you’ve entered a given editor via its corresponding mode. You’ll always return to Program mode eventually if you press Exit repeatedly.
The Operating Modes Using the Modes If you’re using a different MIDI controller, you can make use of Setup mode even if your MIDI controller can transmit on only one MIDI channel at a time. To do this, go to the RECEIVE page in MIDI mode (by pressing the RECV soft button while in MIDI mode), and set the Local Keyboard Channel parameter to a value that matches the transmit channel of your MIDI controller.
Editing Conventions Introduction to Editing Chapter 5 Editing Conventions Introduction to Editing Programming (editing) the PC3A always involves three basic operations: mode selection, navigation, and data entry. First, select the mode that relates to the object you want to edit—a program, a setup, etc. Then select the object you want to edit, and press the Edit button to enter the editor within that mode.
Editing Conventions Object Type and ID Shift patterns Factory-preset or user-programmed sequences of note shift information, used by the arpeggiator for detailed arpeggiations, or by the Shift Key Number controller destination. Velocity patterns Factory-preset or user-programmed sequences of note velocity shift information, used by the arpeggiator for detailed velocity triggering in arpeggiation.
Editing Conventions Saving and Naming Saving and Naming When you’ve edited an object to your satisfaction, you’ll want to store it in memory. There’s a standard procedure for saving and naming, which applies to all objects. You can press the Save soft button, of course, but it’s easier to press the Exit button, which means “I want to leave the current editor.” If you haven’t actually changed anything while in the editor, you’ll simply exit to the mode you started from.
Editing Conventions Saving and Naming ROM Objects If the object you started from was a ROM (factory preset) object, the PC3A will automatically suggest the next available (unused) ID as the ID for the edited object. If that’s the ID you want, press the Save soft button, and the object will be stored in memory with that ID. Otherwise, you can select any ID from 1 to the maximum.
Editing Conventions Saving and Naming Keyboard Naming The keyboard naming feature makes naming objects convenient, by letting you use the keyboard (or your MIDI controller) to enter the name of the object you’re modifying. When you’re in a Rename dialog, use either of the Chan/ Layer buttons to change between the keyboard naming states: Off (disabled), On, and Adv (Advance). When set to On or Adv, the keys (MIDI note numbers, actually) correspond to all the characters shown on page 5-3.
Editing Conventions Saving and Loading Files—Storage Mode Deleting Objects Within most editors, there are soft buttons for deleting objects. When you want to delete an object, press the Delete soft button, and the PC3A will ask you if you want to delete the object. (At this point in the dialog, you can select another object with any of the data entry methods.) Press OK if you want to delete it, or press Cancel if you don’t. The PC3A won’t let you delete ROM objects (also known as “factory” objects).
Editing Conventions Saving and Loading Files—Storage Mode Special Button Functions The Mode buttons and the Chan/Layer buttons have additional functions, depending on the mode or editor you’re in. The table below describes some of these special button functions. Button Special Function Program Mute 1 Mutes Layer 1 of current program in Program Editor. Setup Mute 3 Mutes Layer 3 of current program in Program Editor. Q Access Solo Solos current layer in Program Editor.
Program Mode The Program Mode Page Chapter 6 Program Mode Programs are the PC3A’s performance-level sound objects. They’re preset sounds equivalent to the patches, presets, voices, or multis that you find on other synths. Program mode is the heart of the PC3A, where you select programs for performance and editing. The PC3A is packed with great sounds, but it’s also a synthesizer of truly amazing depth and flexibility. When you’re ready to start tweaking sounds, the Program Editor is the place to start.
Program Mode The Program Mode Page The Soft Buttons in Program Mode Use the Octav– and Octav+ soft buttons to transpose up or down by a full octave. Pressing both Octav buttons simultaneously returns the transposition to its original setting. Pressing the Panic soft button sends an All Notes Off message and an All Controllers Off message on all 16 MIDI channels. Press the Info soft button to see all of the controller assignments of the current program.
Program Mode The Program Mode Page Saving Controller Settings in Program Mode Many programs have parameters assigned to the PC3A’s sliders, mod wheel, and the SW button above the mod wheel. You can change the settings of these controllers to change the sound of the current program. If you switch to a different program, the alterations that you made to the previous program will be lost without warning. To save a program with its current controller settings, you must save entry values for the controllers.
Program Mode VAST Program Structure VAST and KB3 Programs It is important to understand the difference between VAST programs and KB3 programs. VAST programs contain up to 32 layers, each of which contains a keymap or KVA oscillator. Keymaps consists of a number of samples assigned to a particular keyboard range. KVA oscillators use powerful DSP to generate a range of simple and complex waveforms (see Editing VAST Programs With KVA Oscillators on page 6-53 for more details.
Program Mode Program Mode Program Structure VASTVAST Program Structure Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone 12 23 34 45 56 67 78 8 1 16 keyboard zones— 16 keyboard zones— eachindependent with independent each with program, MIDI channel, program, MIDI channel, and control assignments and control assignments Selected for performance Selected for performance and editing in Program and editing in Program uplayers to 32 layers mode;mode; up to 32 per per program prog
Program Mode KB3 Program Structure KB3 Program Structure There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially when played through a Leslie™ rotating speaker system. We’ve done extensive testing and analysis with several tone wheel organs, and created our own models to emulate the unique tone wheel sound.
Program Mode KB3 Program Structure KB3 Mode Effects Buttons (Bank Buttons) When using a KB3 program, the Bank buttons (above the sliders) control KB3 effects, instead of choosing program banks as they usually do in program mode. The KB3 function is labeled below each button, their LEDs indicate the status of the various effects for the current KB3 program. This status is saved as part of each program. You can change the effects in real time by pressing the buttons.
Program Mode KB3 Program Structure MIDI Control of KB3 Programs Controller Numbers Table 6-3 lists the MIDI Controller numbers that control KB3 features. Send the listed controller number and appropriate controller value to control each KB3 feature via MIDI. The PC3A also sends these Controller numbers to its MIDI Out port when using each of these KB3 features.
Program Mode Control Setup Control Setup Control Setup Overview The Control Setup is a Setup object edited and stored in Setup Mode but used by Program Mode. The Control Setup defines the CC destinations for the PC3A’s physical controllers (wheels, sliders, pedals, etc.) in Program mode. These assignments are the MIDI CC numbers that the PC3A’s physical controllers send while in Program mode. Parameters in the Program Editor can then be assigned to respond to these CC numbers.
Program Mode Control Setup Control Setup Advanced Features The control setup can also be used to set other parameters which affect program mode. See Chapter 7 Setup Mode for details on each of these parameters: • Velocity scaling can be set in the Setup Editor with parameters on the KEY-VEL page. Though a master velocity map can be set with the Velocity Map parameter on the Master Mode MAPS page (see page 11-5,) setting velocity scaling in the Control Setup provides more options.
Program Mode Control Setup Control Setup–Setup Editor Page (Zone 1) Parameters Affecting Program Mode CH/PROG Arpeggiator, Destination, BankMode KEY-VEL All PAN-VOL ExitVolume, ExitPan BEND AuxBend1Up, AuxBend1Dwn, AuxBend2Rng COMMON Tempo, ArpSync ARPEGGIATOR All RIBBON CONFIGUR All Continuous Controller assignment pages (SLIDER, SLID2, CONT.
Program Mode Editing VAST Programs Editing VAST Programs The Program Editor is where you begin to modify the PC3A’s resident sounds, and to build your own sounds around sample keymaps or KVA oscillators (see Editing VAST Programs With KVA Oscillators on page 6-53 for some differences.) There’s virtually no limit to the sounds you can create using the tools in the Program Editor. Note: This section describes the Program Editor as it applies to VAST programs.
Program Mode Editing VAST Programs Two of the soft buttons in the Program Editor are special cases. They’re the soft buttons that select the editing pages for the first and last DSP functions (Pitch and Level, respectively) of the current program’s algorithm. One of these soft buttons is labeled PITCH, and pressing it will take you to the DSPCTL (DSP Control) page with the Pitch parameter highlighted.
Program Mode Editing VAST Programs The KEYMAP Page Press the KEYMAP soft button to call up the KEYMAP page. The parameters on this page affect sample root selection, i.e., which samples are played on which keys.
Program Mode Editing VAST Programs Velocity Tracking (VelTrk) This is another common DSP control parameter. As with the other parameters on the KEYMAP page, this shifts the position of the keymap. Different attack velocities will play different pitch shifts of the sample root assigned to that note range. If the shift is great enough, the next higher or lower sample root will be played, which in some cases (many drum programs, for example) will play an entirely different sound.
Program Mode Editing VAST Programs Timbre Shift This parameter works only on multi-sample keymaps, and changes the root selection for each key you play. With this parameter you can radically alter the current layer’s timbre (basic sound characteristics). The nature of the change depends on the timbre itself, so this parameter calls for experimentation. Basically, timbre shifting changes a note’s timbre by imposing different harmonic qualities onto the note.
Program Mode The LAYER Page Emulating Legato Play If you place the Alt point after the initial attack transients of the sample, then you can use the Alt Switch to emulate legato playing in an acoustic instrument. As an example, set Keymap to 14 Flute. Now set the AltControl parameter to Chan St (Channel State). Now if you play notes separately, the initial breathy chiff will be heard. But if you play the notes legato (connecting them smoothly), the Alt point is used and you do not hear the chiff.
Program Mode The LAYER Page Low Key (LoKey) This sets the lowest active note for the current layer. This parameter’s value cannot be set higher than the value for HiKey. The standard MIDI key range is C 1—G 9 (0-127). Middle C is C 4. High Key (HiKey) Here you set the highest active note for the current layer. This parameter’s value cannot be set lower than the value for LoKey.
Program Mode The LAYER Page Enable This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive. By default, many layers have the Enable parameter set to ON, so the minimum and maximum thresholds don’t matter.
Program Mode The LAYER Page Opaque An opaque layer blocks all higher-numbered layers in its range, allowing only the opaque layer to play. This is an easy way to change a small range of notes in a program, leaving the original sound playing above and below the new sound. Start with a one-layer program, and create a new layer (Layer 2) with the NewLyr soft button.
Program Mode The AMP Page Hold Until Decay (TilDec) When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes will not loop, however, if the notes are released before reaching the end of the final attack segment. Notes will go into their normal releases if they are released after the envelope has looped.
Program Mode The Algorithm (ALG) Page The Algorithm (ALG) Page Press the ALG soft button to call up the Algorithm (ALG) page. The top line of the display gives you the usual mode reminder, and tells you which layer you’re looking at, as well as how many layers are in the current program. You can view the ALG pages of any other layers in the program by using the Chan/Layer buttons.
Program Mode The Algorithm (ALG) Page Algorithm Basics Each of the 59 available algorithms represents a preset signal path. With our new Dynamic VAST feature, you can edit any preset signal path and make your own, unique algorithms, but that will be explained further on in this section. Take a look at Algorithm 1 in the diagram below. It’s one of the simplest algorithms. The DSP functions are represented by the rectangular blocks.
Program Mode The Algorithm (ALG) Page Common DSP Control Parameters The type of DSP function available for any function block depends on the algorithm. Some of the specialized functions like the PANNER are always located just before the final AMP function. Others, like the two-input functions, appear only in algorithms that are structured for two-input functions. You can change the nature of each layer of a program simply by assigning different DSP functions to the layer’s algorithm.
Program Mode The Algorithm (ALG) Page The PC3A always uses real values of measurement, rather than just arbitrary numbers, for adjustable parameters. This means that you specify pitch in semitones (ST) and cents (ct), and amplitude in decibels (dB). Remember that the parameters on the control-input pages are cumulative—they can add to or subtract from the effects of the other parameters on the page, depending on their values.
Program Mode The Algorithm (ALG) Page Source 2 (Src2) This one’s even more programmable. Like Src1, you choose a control source from the list. But instead of setting a fixed depth, you can set a minimum and maximum depth, then assign another control source to determine how much depth you get. Try this example. (Make sure Src1 is set to OFF first, so the two sources don’t interact.) Start with Program 199, and press Edit. Press the PITCH soft button to select the PITCH page.
Program Mode The Algorithm (ALG) Page Alt Input for Algorithms (Cascade Mode) Cascade mode is a particularly powerful feature of the PC3A that allows you to create unique algorithms of previously unattainable levels of complexity. The following three figures show the signal path of a program configured using the PC3A’s new Cascade mode: On the ALG (Algorithm) page of every layer, the Alt Input parameter lets you select any other layer to go through the current layer’s DSP.
Program Mode The Algorithm (ALG) Page The Cascade mode algorithms (very much like triple mode on a K2600) start at ID 101. Note in the above figures how algorithm 101 looks very similar to algorithm 1. Each Cascade mode algorithm corresponds to its non-cascade equivalent, which has the same ID number minus 100. For example, algorithm 105 is a cascade mode version of algorithm 5. On the Alg page, select which layer you want to have running through your cascade layer with the Alt Input parameter.
Program Mode The DSP Control (DSPCTL) Page The DSP Control (DSPCTL) Page Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters on page 6-24. Press the DSPCTL soft button to call up the DSP Control (DSPCTL) page, which is displayed below: Function Pitch Parameter Range of Values Default Pitch -128 to 127 semitones 0 Fine Adjust ± 100 cents 0 Hertz Adjust ± 10.
Program Mode The DSP Modulation (DSPMOD) Page The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPCTL page corresponds to the following algorithm: The DSP Modulation (DSPMOD) Page Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters on page 6-24.
Program Mode The OUTPUT Page right-hand side of the DSPCTL page is the subpage of the highlighted function-parameter—on the subpage are the programmable parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage. Each function-parameter’s subpage contains the programmable parameters of the highlighted function-parameter.
Program Mode The OUTPUT Page Pan Parameter Range of Values Default Pan (or Pan 1) ± 64 0 (Pan 2) ± 64 63 Pan Mode Fixed, +MIDI, Auto, Reverse +MIDI (Output Pan) ± 64 0 (Output Gain) -96 to 48 decibels 0 (Output Pan Mode) Fixed, +MIDI +MIDI Pan Table Pan Table List 0 None Crossfade Control Control Source List Off Crossfade Sense Normal, Reversed Norm Drum Remap Off, Kurz1, Kurz2 Off Exclusive Zone Map Zone Map List 0 None Use this parameter to position the current layer’
Program Mode The OUTPUT Page Output: Pan, Gain, and Mode When the Layer FX Mode parameter is set to Layer-Specific FX on the LYR_FX page, three additional parameters appear on the OUTPUT page: Out Pan, Out Gain, and Out Pan Mode. These parameters are analogous to the output parameters on the COMMON page, but are layer-specific—the COMMON output parameters apply to all layers. You can use the output parameters on the OUTPUT page to adjust the panning and gain of the post-FX signal of the current layer.
Program Mode The OUTPUT Page In most keyboards and synthesizers, drum programs are mapped as dictated by the General MIDI (GM) industry standard. The GM drum map isn’t optimally intuitive in terms of playability, so we developed our own unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map.
Program Mode The OUTPUT Page The COMMON Page The COMMON page is reached by pressing the COMMON soft button in the Program Editor. Here’s where you find 12 frequently-used parameters that affect the entire current program, not just the current layer. Notice that when the Monophonic parameter is set to its default value of Off, the five monophonic parameters do not appear on the page.
Program Mode The OUTPUT Page When On, the program will play only one note at a time. This makes it possible to use and to determine the behavior of the portamento feature. Do not set Ignore Release On (page 6-20) when you are using Monophonic programs, since the lack of Note Off messages will prevent you from switching programs properly. Legato Play When Legato Play is on, a note will play its attack only when all other notes have been released. This is useful for realistic instrumental sounds.
Program Mode The OUTPUT Page Mono Sample XFade When applying portamento to multi-sampled sounds (Acoustic Guitar, for example), the PC3A will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can eliminate clicks by setting the Mono Sample XFade parameter to On. When the Mono Sample XFade parameter is set to On, the PC3A performs a crossfade at each sample root transition to eliminate clicks.
Program Mode The OUTPUT Page The LFO Page LFOs are low-frequency oscillators. LFOs are used to automate the modulation of a parameter based on the shape and frequency of an audio waveform. You’ll use the LFO page to define the behavior of the two LFOs available to each layer. LFOs are periodic (repeating) control sources. The basic elements are the rate, which defines how frequently the LFO repeats, and shape, which defines the waveform of the modulation signal it generates.
Program Mode The OUTPUT Page Minimum Rate This is the slowest rate at which the LFO runs. When its Rate Control is set to OFF, or when the control source assigned to it is at its minimum, the LFO runs at its minimum rate. As previously mentioned, the values 1/4 note, 1/8 note, 1/8 triplet, and 1/16 note sync the Minimum Rate with the PC3A’s system tempo. Of course, if you choose to tempo sync your LFO, then the LFO rate is fixed, and you can specify neither Maximum Rate nor Rate Control.
Program Mode The ASR Page The ASR Page ASRs are three-section unipolar envelopes—attack, sustain, and release. The PC3A’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control. ASR2 is local by default, but becomes global if the Globals parameter on the COMMON page is set to On. ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or tremolo, enabling delays in those effects.
Program Mode The Function (FUN) Page Attack This defines how long the ASR takes to ramp up from minimum to maximum effect on whatever it’s patched to. Release This defines how long the ASR takes to fade to minimum from its maximum. If the ASR’s trigger switches off before the ASR has reached maximum, the ASR releases from that level. The Function (FUN) Page FUN is short for function. The PC3A’s four FUNs greatly extend the flexibility of the control sources.
Program Mode The Amplitude Envelope (AMPENV) Page The Amplitude Envelope (AMPENV) Page Amplitude envelopes have three sections: attack, decay, and release. The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event. The decay section determines how quickly and how much a sustained sound fades before a Note Off is triggered. The release section determines how quickly a sound fades to silence after a Note Off is triggered.
Program Mode The Amplitude Envelope (AMPENV) Page Each parameter on this page has two values, as listed below. For the envelope segments, the first (upper) value is the duration of the segment, and the second is the amplitude level at the completion of the segment. For the Loop parameter, the values define how the envelope loops, and how many times the loop cycles.
Program Mode The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages Release segments 1 and 2 can be set to any level from 0 to 150%. Release segment 3 always has a level of 0%, so you can’t adjust its level. In place of its Level parameter you see a parameter that lets you toggle between User envelopes and the sound’s preprogrammed natural envelope. Loop Type There are seven different values for Loop type. A value of Off disables looping for the current layer’s amplitude envelope.
Program Mode The Envelope Control (ENVCTL) Page The pages for Envelopes 2 and 3 are reached with the soft buttons ENV2 and ENV3. When you select these pages, you’ll find a display that looks very much like the AMPENV page. The only differences are that you can program an amount for Rel3; the Rel1 and Rel2 limits, which are ±100%; and in the envelope graphic, which has a dotted line running horizontally across the display.
Program Mode The Envelope Control (ENVCTL) Page Note: Since 0 multiplied by any number equals 0, the envelope parameters on this page will have no effect on any AMPENV sections set to 0 seconds. A way around this is to change any AMPENV sections set to 0 to 0.02 seconds. Adjust Parameter Group (Available for each of Att, Dec, Rel, Imp) Range of Values Adjust 0.018 to 50.000x (-24.0 to 24.0 dB for Imp) Key Tracking 0.018 to 50.000x (-2.00 to 2.00 dB for Imp) Velocity Tracking 0.018 to 50.
Program Mode The Program FX (PROGFX) Page Note: For each note triggered, you can only set the controller value that will scale the Depth parameter of an envelope section before that section of the envelope is triggered. For controllers assigned for Attack, the controller value used will be the last received before the note is triggered. For controllers assigned for Decay, the controller value used will be the last received before the final section of the attack envelope reaches its maximum amplitude.
Program Mode The Program FX (PROGFX) Page Insert The Insert effect is the effects chain that is applied to the main audio bus. Aux 1, Aux 2 The Aux effect is the effects chain that is applied to the selected auxiliary audio bus. Output The Output specifies the analog output to which the selected bus is routed. Setting the Output to Main routes the signal of the selected bus to the main outputs. Setting the Output to Sec. routes the signal of the selected bus to the auxiliary outputs.
Program Mode The Layer FX (LYR_FX) Page When Type is set to %, the Aux Send parameter values are in units of percent (%). The value specified in the Aux Send parameter is the percentage of which the wet auxiliary signal comprises the final signal—the insert signal comprises the rest of the final signal.
Program Mode The Controllers (CTLS) Page The Controllers (CTLS) Page Press the CTLS soft button to call up the CONTROLLERS page. The CONTROLLERS page shows a list of the PC3A’s controllers (sliders, Mod wheel, switch, etc.,) which can be used to control program parameters. Use this page to set values for each controller that will be saved with the program (entry values.) When a program is loaded, the entry values on this page are sent to any program parameters that have been assigned to these controllers.
Program Mode Function Soft Buttons INFO Press the INFO soft button to go to the INFO page where you can edit the controller assignment info for the current program. Each info entry is a description of a program parameter that you have assigned to be controlled by a physical controller or MIDI CC number. Info can be viewed from the Program mode or Setup mode main page by pressing the Info soft button.
Program Mode Function Soft Buttons Set Controllers (SetCtl) As explained in The Controllers (CTLS) Page, the SetCtl soft button captures the values of the nine sliders, modwheel, breath controller, and switch. New Layer (NewLyr) Create a new layer, numbered one above the highest existing layer. The new layer’s parameters are those of the single layer in Program 999, called Default Program.
Program Mode Function Soft Buttons Editing VAST Programs With KVA Oscillators The PC3A uses KVA oscillators as another way to generate sounds in VAST programs. Unlike keymaps, which play samples stored in ROM, KVA oscillators create DSP-generated waveforms every time they are triggered.
Program Mode Function Soft Buttons Note: Be sure to differentiate between the different pitch parameters, each used either only for keymaps or only for KVA oscillators. The Pitch parameter on the top left of the DSPCTL and DSPMOD pages always appears in VAST programs but only affects the pitch of keymaps. If a KVA oscillator is being used, this Pitch parameter will have no affect on the layer’s pitch, in which case the oscillator Pch.
Program Mode Function Soft Buttons Setting Up The Sync Square Oscillator: The Sync Square oscillator is actually comprised of two oscillators, a master and a slave, set up to emulate the way sync square oscillators worked on classic analog synthesizers. To create a program using Sync Square, select Default Program, #999. Select “none” on the keymap page. Select “user” on the Ampenv page for an amp envelope. On the ALG page, select Algorithm 5 at the top of the page.
Program Mode Function Soft Buttons passing through. With the LOPASS function still selected, press the Edit button. This brings you to the main parameter for the LOPASS object on the DSPCTL page, which is LP Frq (you can also reach this page using the DSPCTL soft button.) Here you can adjust the initial value of the function, in this case it is cut off frequency for the low pass filter. For this example, leave this initial value set to its default.
Program Mode Function Soft Buttons Oscillator Specific Control And Modulation Parameters: Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator’s intended function. Below is a list of these oscillators and their distinctive parameters, grouped by block size.
Program Mode Function Soft Buttons 3 Block: PWM (Pulse Width Modulation) [Anti-Aliased (recommended)] Same as 2 Block PWM, See above. 4 Block: SYNC SAW Sync Saw consists of two saw waves, one that you hear (the slave) and one that controls the slave (the master.) This oscillator’s distinctive parameter is SyncOff, which controls the offset of the slave and master waves. With SyncOff set to 0, the master has no effect on the slave.
Program Mode KB3 Editor: The Tone Wheels (TONEWL) Page Editing KB3 Programs You can edit a wide assortment of any KB3 program’s parameters. You can also create your own KB3 programs, though you must start with an existing KB3 program to do this. A regular PC3A program cannot be turned into a KB3 program. If you’re not sure whether the current program is a KB3 program, check the KB3 button (located above the right most slider). If the blue LED is on, then the current program is a KB3 program.
Program Mode KB3 Editor: The Tone Wheels (TONEWL) Page Upper Volume Adjust Since sample volumes can vary, while the volume of DSP-generated waveforms will remain consistent, you may find it necessary to adjust the level of the sample-based tone wheels. This parameter lets you adjust the amplitude of the upper (sample-based) tone wheels relative to amplitude of the waveform-generated tone wheels. Number of Tone Wheels This parameter lets you specify the number of tone wheels used by a KB3 program.
Program Mode KB3 Editor: The Drawbars (DRAWBR) Page KB3 Editor: The Drawbars (DRAWBR) Page Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3’s drawbars. Mode Steps When you set Mode to Preset, the preset drawbar settings on this page will be installed at program selection. The drawbar values will immediately change, however, as soon as you move the corresponding drawbar.
Program Mode KB3 Editor: The AMP Page KB3 Editor: The Set Drawbars (SetDBR) Soft Button Press the SetDBR soft button to capture the current position of the drawbars, and use those positions as the preset drawbar positions on the DRAWBR page. KB3 Editor: The PITCH Page The PITCH page parameters for KB3 programs is much like the PITCH page parameters for VAST programs. The only difference is that for KB3 programs, there are no Hz, KeyTrk, or VelTrk parameters.
Program Mode KB3 Editor: The PERC1 Page KB3 Editor: The PERC1 Page Percussion is a characteristic feature of tone wheel organs. It’s especially useful while soloing, since percussion adds an extra “plink” (actually an extra tone at a defined harmonic) to the attack. You can reach the percussion parameters by pressing the Perc1 and Perc2 soft buttons.
Program Mode KB3 Editor: The PERC2 Page Harmonic This parameter switches between high and low harmonic percussion settings. The actual pitch is controlled by the LowHarm and HighHarm parameters. You can toggle between low and high harmonics by pressing Bank Button 8 (labeled Percussion Pitch H/L.) Bank button 8 also sends and responds to MIDI CC 72; values 64-127 = High, values 0-63 = Low. VelTrack Here is where you specify the degree to which key velocity controls percussion volume.
Program Mode KB3 Editor: The KEYCLK Page KB3 Editor: The KEYCLK Page The Key Click feature adds a decaying burst of pitched noise to the attack of notes. Unlike the percussion, the key click is “multi-triggered,” which means that every new note will trigger it. The parameters on this page primarily control the decay, volume, and pitch of the key click. Parameter Range of Values Key Click Off, On Volume -96.0 to 0.0 dB, in 0.5-dB increments Decay 0.005 to 1.280 seconds, in 0.
Program Mode KB3 Editor: The KEYCLK Page Pitch Sets the basic pitch of the key click noise, relative to the highest tonewheel’s pitch. The pitch is controlled by a steep lowpass filter applied to white noise. The filter’s cut off frequency is controlled relative to key number, higher keys move the cutoff frequency up, lower keys move the cutoff frequency down. Random Controls the degree to which a random amount of amplitude variation is added to the key click.
Program Mode KB3 Editor: The MISC Page KB3 Editor: The MISC Page The MISC page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection. Parameter Range of Values Preamp/Expression Response Off, On Leakage -96.0 to 0.0 dB, in 0.
Program Mode KB3 Editor: The MISC Page LeakMode Selects between different leakage models, determining which leakage harmonics are emphasized. TypeA provides an overall tone wheel leakage, with all tone wheels leaking a small amount. TypeX, TypeY, TypeZ, and TypeR emulate different degrees of drawbar leakage, where the leakage components correspond to the nine drawbars, instead of all the tone wheels. SpeedCtl Select either Fast or Slow to choose the speed of the rotary speaker emulation.
Program Mode KB3 Editor: The EQ Page KB3 Editor: The EQ Page The four column headers on this page represent two shelving bands of equalization and two parametric bands. The KB3 EQ offered here, though, is not implemented as a true EQ section; instead, it adjusts the volume of the tone wheels based on frequency. If the tone wheels are based on sine waves, then this acts similarly to a real EQ. Parameter Group (Available for each EQ band) Range of Values Gain -24.0 to 24.0 dB, in 0.
Program Mode KB3 Editor: The LFO, ASR, and FUN Pages KB3 Editor: The OUTPUT Page Use this page to route the current program’s post-FX signals. The two Pan parameters correspond to those of the VAST Program editor OUTPUT page (See page 6-31). The Out Gain and Demo Song parameters correspond to those of the VAST Program Editor COMMON page (See page 6-35). Exp Pedal Use this parameter to set which rear panel CC Pedal input will control volume for the current KB3 program.
Program Mode KB3 Editor: The LFO, ASR, and FUN Pages KB3 Programming Tips This section provides some starting points for creating your own KB3 programs. Remember that you’ll have to start with one of the existing KB3 programs. As described below, the most prominent difference between organ vintages is the number of tone wheels used. Keep in mind, however, that the sound of an actual tone wheel organ will depend not only on its age, but also on how well it has been maintained.
Setup Mode Chapter 7 Setup Mode In Setup mode, the PC3A can take on the identity of 16 distinct instruments and 16 distinct MIDI transmitters, each of which can use the setup’s physical controller assignments (or any subset of those controller assignments). For example, you can create a setup that is split into 16 different keyboard regions (called zones). Each zone can play its own program, while also transmitting on its own MIDI channel. Each zone can also have an independent arpeggiator and one riff.
Setup Mode Press the Info soft button to see a list of all of the controller assignments for all zones of the current setup. On the Info page, use the Alpha Wheel, cursor buttons, or - / + buttons to scroll through the list. When you select a setup in Setup mode, the PC3A sends a number of MIDI messages, on each of the MIDI channels used by the setup.
Setup Mode The Setup Editor Table 7 gives you a quick visual reminder of how zones behave depending on their status.
Setup Mode The Channel/Program (CH/PROG) Page The Channel/Program (CH/PROG) Page This is the first page you see when you enter the Setup Editor. Here, you can select programs, MIDI channels, and MIDI Bank numbers for each of the setup’s 16 zones. You can also solo or mute each zone.
Setup Mode The Channel/Program (CH/PROG) Page Destination This parameter determines whether the currently selected zone transmits only to the PC3A (Local), transmits only to the MIDI port (MIDI), transmits only to the USB port (USB_MIDI), transmits to a pair of destinations (MIDI+Local, USB_MIDI+Local, or USB_MIDI+MIDI), or transmits to all destinations (USB_MIDI+MIDI+Local). Channel The Channel parameter defines the MIDI transmit channel for the currently selected zone.
Setup Mode The Channel/Program (CH/PROG) Page MIDI Program (MidiProg) MidiProg defines which program number is transmitted out the MIDI Out port on the current zone’s MIDI channel. When you change the value of the Program parameter, the value of MIDIProg automatically changes correspondingly. If you want to transmit a MIDI program change number different from the one corresponding to the local program, select the local program first, then change the MIDI program.
Setup Mode The Channel/Program (CH/PROG) Page When the Program of a Setup Zone is played from an external MIDI device, Setup MIDI parameters (most noticeably key range and transposition) will not be applied. If you want these parameters applied, set the Input Channel parameter to match the channel on which the external MIDI device is transmitting. See the Input Channel Settings section below for details on setting an Input Channel.
Setup Mode The Channel/Program (CH/PROG) Page Entry Program Change (EntryProgChg) This parameter enables or disables bank and program change commands sent to internal programs or to the MIDI Out jack when you select setups. If it’s set to On, the program numbers for the programs in the 16 zones will be sent via MIDI when a setup is selected. By setting this parameter to Off, you can select a setup on the PC3A without changing the internal programs or those on MIDI devices receiving from the PC3A.
Setup Mode The Key/Velocity (KEY-VEL) Page The Key/Velocity (KEY-VEL) Page The Key/Velocity page allows you to set key range, velocity range, transposition, and Note Maps for each zone. Note: MIDI velocity of notes played on the PC3A keyboard are first affected by any Velocity Scale, Offset, and Curve settings made on each zone’s KEY-VEL page. The resulting velocity is then affected by any Vel Map settings made on the Master Mode MAPS page (see page 11-1.
Setup Mode The Key/Velocity (KEY-VEL) Page Low Key (LoKey), High Key (HiKey) The LoKey and HiKey parameters define the note range of the currently selected zone. The easiest way to change these values is to press and hold the Enter button and press the key of the note you wish to enter. You can set these values with normal data entry methods as well. You can create “negative” ranges as well. To do this, select the HiKey parameter and set its limit lower than the LoKey limit.
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Scale (VelScale) This lets you amplify or diminish velocity response. Normal response is 100%. Higher values make the keyboard more sensitive (you don’t need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesn’t change MIDI velocity as much).
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Offset VelOffset also changes the response, but in a more direct way, by adding or subtracting a constant to the key velocity. For example, if this is set to 25 (assuming a scale of 100%), then 25 is added to the velocity of every keystroke, usually making the sound that much louder. The softest possible keystroke will have a value of 25, while a keystroke with velocity of 102 will produce the same sound as a note with velocity 127 (102+25=127).
Setup Mode The Key/Velocity (KEY-VEL) Page Offset and Scale work together. If scaling takes the velocity out of the ballpark — for example, you want to set it to 300% but that puts all of your notes at maximum velocity — using a negative offset, say around -60, can make it possible to still play at different volumes, although your curve will still be a lot steeper than normal.
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Curve (VelCurve) VelCurve lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity. Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64.
Setup Mode The Key/Velocity (KEY-VEL) Page Crossfade is designed to be used in tandem with the Reverse Crossfade curve, enabling you to perform smooth crossfades between different programs. Bump tapers velocity response to resemble a bell curve, so that notes are loudest when your keystrike velocity is 64. Notes get softer as the keystrike velocity approaches 0 or 127.
Setup Mode The Key/Velocity (KEY-VEL) Page Low Velocity (LoVel), HighVelocity (HiVel) LoVel and HiVel set the minimum and maximum velocity limits that the current zone transmits. A keystroke in the current zone whose velocity — after it has been scaled and offset — is below the minimum does not generate a Note On. Neither does a keystroke whose velocity after processing is above the maximum.
Setup Mode The Pan/Volume (PAN/VOL) Page The Pan/Volume (PAN/VOL) Page By changing the parameters on this page, you can define how each zone sends MIDI volume and pan messages. Parameter Range of Values Default Entry Volume None, 0-127 None Exit Volume None, 0-127 None Entry Pan None, 0-127 None Exit Pan None, 0-127 None Entry Volume, Exit Volume Entry Volume enables you to control the initial MIDI volume setting for each zone of the current setup.
Setup Mode The BEND Page Most programs respond to pan messages on the next keystrike. This means that if you hold a note and change the pan, the current note will stay at its current position until you strike it again. However, a PC3A program that uses the PANNER algorithm will respond to real-time pan adjustments as well. The BEND Page The parameters on the BEND page define the bend ranges for each of the three types of pitch bend messages the PC3A can respond to.
Setup Mode Controllers BendRangeUp, in both semitones and cents, affects all controllers that are set to PitchUp (in the default control setup, the PWUp parameter on the WHEEL page is assigned to PitchUp). BendRangeDown, in both semitones and cents, affects all controllers that are set to PitchDwn (in the default control setup, the PWDn parameter on the WHEEL page is assigned to PitchDwn). Any physical controller that uses the Control Destination list can be assigned to PitchUp or PitchDwn.
Setup Mode Controllers Any MIDI Controller can be used as the assignment for any physical controller (and for multiple physical controllers, as well). Or in other words, any physical controller like the Mod Wheel can be programmed to send any MIDI control signal. In addition, each controller in each setup zone can be tweaked just like keyboard velocity (or any other Setup‑mode parameter). Although controller editing on the PC3A can be somewhat complex, it can also be very rewarding.
Setup Mode Controllers Switch Controllers See Switch Controller Parameters on page 7-30 for information on each parameter.
Setup Mode Controllers Controller Number Corresponding Destination Name 5 PortTim Monophonic PC3A programs respond to this Controller if portamento is turned on 6 Data Almost all PC3A programs have this Controller assigned to filter frequency or brightness 7 Volume MIDI Volume 8 Balance MIDI Balance 9 MIDI 09 10 Pan MIDI Pan—programs which use the PANNER algorithm will respond to real-time pan adjustments; all other programs will respond on the next note start 11 Express MIDI Expressio
Setup Mode Controllers Controller Number Corresponding Destination Name 70–83 MIDI 70–83 MIDI Controllers 70–83 84 Portamen Portamento control, best with mono voices, value is relative to key range, makes pitch momentarily slide to a note 85–90 MIDI 85–90 MIDI Controllers 85–90 91 GM Reverb With PC3A in General MIDI mode, controls Reverb send level 92 MIDI 92 93 GM Chorus With PC3A in General MIDI mode, controls Chorus send level 94-95 MIDI 94-95 MIDI Controllers 94–95 96 Data Inc E
Setup Mode Controllers Controller Number Corresponding Destination Name 138 ProgGoto Go to Program—selects program 139 SetupInc Setup Increment—increments current setup number 140 SetupDec Setup Decrement—increments current setup number 141 SetpGoto Go to Setup—selects setup 142 Start Sequencer function 143 Stop Sequencer function 144 Continue Sequencer function 145 TransUp Transpose Up (ST) 146 TransDown Transpose Down (ST) 147 ArpOn Any value turns Arpeggiator On.
Setup Mode Controllers Controller Number Corresponding Destination Name 159 ArpGliss Arpeggiator Gliss, 0-63 = off, 64-127 = on. (See The ARPEGGIATOR 2 Page on page 7-49) 160 SusLatch For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on.
Setup Mode Controllers Shift Key Number, Shift Key (ShKeyNum, ShiftKey) These controller destinations allow you to play musical scales and single note patterns on any programmable continuous controller in a setup, without the need of playing the physical keys of the keyboard. These features are especially useful for playing fast arpeggiations. These destinations only work when combined with other destinations and features, so be sure to read this whole section to gain a complete understanding.
Setup Mode Controllers Shift Key (ShiftKey, controller destination 177) allows the user to select the key (root note) of the Shift Pattern triggered by Shift Key Number. A Shift Pattern is a relative pattern based on a root note. All notes triggered by a Shift Pattern are shifted from the root note by the value of each pattern step (in half-steps.
Setup Mode Controllers A Note About Octave Range: When using Shift Key Number, shift patterns with more than 12 steps begin triggering notes in higher octaves. This is done because longer shift patterns use up more of a controller’s range, and limit the number of octaves that a single controller can trigger. Since the lowest octave of a program is often too low to be musically useful, the PC3A will automatically start triggering notes from longer shift patterns in higher octaves.
Setup Mode Controllers Continuous Controller Parameters The continuous (physical) controllers are those that have a range of values: the two wheels, the optional ribbon controller, the nine sliders, the two Continuous Control pedals, the optional breath controller (the jack of which is connected to CC pedal 2), and mono pressure (aftertouch). As the table on page 7-20 shows, all of them use the same parameters. Each parameter’s function is described below.
Setup Mode Controllers Entry (Ent) and Exit Values Entry value allows you to specify an initial value for a controller in a Setup that will be sent whenever you select that Setup. For example, if you want to make sure that all of the modulation for the Program in a Zone is turned off when you select a Setup, use the Setup Editor to assign a physical controller to a destination of MIDI 01 (MWheel) and set Entry Value to 0.
Setup Mode Controllers Switch Type (Type) The parameters for switch controllers are slightly different from those for continuous controllers. The first parameter is Type. The choices available are Momentary in which a switch’s action lasts only as long as you are pushing it, and Toggle, in which the switch’s action lasts until you press it again. Momentary mode is used for functions like sustain or portamento, while Toggle mode is used for functions such as arpeggiator on/off.
Setup Mode The WHEEL Page The WHEEL Page The two wheels are typical of what is found on many keyboards. The left one is normally used for pitch bend and springs back to center, while the right wheel is normally used as a standard Mod Wheel. On the Wheel page in the Setup editor, the pitch wheel has two parameters—one for pushing the pitch wheel up and one for pushing it down—whereas the mod wheel has one. The WHEEL page parameters are described in Continuous Controller Parameters on page 7-29.
Setup Mode The SLIDER and SLID2 Pages The SLIDER and SLID2 Pages You can assign each of the PC3A’s nine programmable sliders to a destination on each of the 16 zones. Or, you can assign any combination of sliders to the same zone, allowing you tremendous flexibility. For example, you can assign Sliders A and B to modulate pitch and volume on Zone 1, then assign Slider C to control panning on Zones 2, 3, and 10. The SLIDER soft button gives you access to Sliders A–E.
Setup Mode The Continuous Control Pedal (CPEDAL) Page The Continuous Control Pedal (CPEDAL) Page If you look at the back of the instrument, you will see that there are two jacks for plugging in two CC (Continuous Control) pedals and a jack labeled Breath Controller. Like the nine programmable sliders, you can assign these controllers on each of the 16 zones, or you can assign any combination of these controllers to the same zone.
Setup Mode The Pressure (PRESS) Page The Pressure (PRESS) Page The PC3A features mono pressure, commonly called aftertouch on other keyboards. A word about pressure: Key Range in a zone does not define which notes will generate pressure in that zone. If pressure is enabled in a zone, playing with aftertouch anywhere on the keyboard will produce data. For example, if Zone 1’s Key Range is C3–C5 and you play C2 and push down on the note, pressure messages will be sent from Zone 1.
Setup Mode The Footswitch Pages (FT SW1, FT SW2, FT SW3) The Footswitch Pages (FT SW1, FT SW2, FT SW3) On the back of the instrument, there are three jacks for Footswitch pedals. There are three Footswitch pages, one for each Footswitch. The range of values for their respective Destination parameters is the Control Destination list. The FT SW page parameters are described in Switch Controller Parameters on page 7-30.
Setup Mode The Arpeggiator Switch (ARP SW) Page The Arpeggiator Switch (ARP SW) Page The PC3A keyboard offers two Panel switches, located above the pitch and mod wheels. The left switch is the Arp (short for “arpeggiator”) button. By default, the Arp switch functions as the arpeggiator switch, and toggles on and off the PC3A arpeggiator, but you can assign this switch to any Controller. See The ARPEGGIATOR Page on page 7-42 for information on how to configure the PC3A’s arpeggiator.
Setup Mode The SWITCH Page The SWITCH Page The right Panel switch is the SW button, located above the Modwheel. By default, this switch is assigned to MIDI29, but you can assign this switch to any MIDI Controller. The SWITCH page parameters are described in Switch Controller Parameters on page 7-30.
Setup Mode The RIBBON Page The RIBBON Page Parameter Range of Values Default Destination Control Destination List MIDI21 Scale ± 300% 100% Add -128 to +127 0 Curve Linear, Compress, Expand Linear Entry Value None, 0 to 127 None Exit Value None, 0 to 127 None The RIBBON page lets you define the controller assignment for the PC3A’s optional ribbon controller.
Setup Mode The Ribbon Configuration (RIBCFG) Page field to MIDI22, the parameter will automatically also use MIDI54 as a source, enabling the 768 step resolution when using the one section ribbon. The additional source that is automatically used will not be seen in the Program Editor (this happens behind the scenes,) but both CC numbers will be sent to the MIDI Out and USB port.
Setup Mode The Ribbon Configuration (RIBCFG) Page Position Mode (PosMode) When you touch the Ribbon, the PC3A responds in one of two ways, depending on the setting of the PosMode parameter. Relative means that wherever you touch the Ribbon becomes the “zero point” for whatever the Ribbon is controlling; you won’t notice any change in the sound until you slide your finger.
Setup Mode The Ribbon Configuration (RIBCFG) Page The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Each zone in a setup has its own Arpeggiator. When activated, each Arpeggiator takes MIDI note input from the PC3A keyboard (or via MIDI) and outputs a rhythmic pattern of MIDI notes. You can control the speed and nature of the pattern in real time. Each Arpeggiator can affect both the PC3A and external MIDI instruments.
Setup Mode The Ribbon Configuration (RIBCFG) Page Parameter Range of Values Default Velocity First, Played, Last, Aftertouch, MIDI 109, Fixed, Pattern (1-74 factory patterns, user created patterns,) Human1-4, Chimp1-4, MissNotes1-9 Played ShiftAmount ± 88 Semitones 0 ShiftLimit 0-60 24 Limit Option Stop, Reset, Unipolar, Bipolar, Float Res, Float Uni, Float Bip Unipolar ShftPattrn (Shift Pattern) Off, (1-69 factory patterns, user created patterns) Off Active The first parameter on the Arp
Setup Mode The Ribbon Configuration (RIBCFG) Page that order. The first note the Arpeggiator plays is the G 4. The second note will be either B 4 (the next note chronologically), or F 5 (the “previous” note chronologically—that is, the last latched note). If the second note is B 4, the third note will be either D 5 or G 4. If the second note is F 5, the third note will be either G 4 or D 5.
Setup Mode The Ribbon Configuration (RIBCFG) Page end of the list (the pattern editor remembers the values of removed steps until you save or exit.) Use the cursor to move between pattern steps, use the alpha wheel, alphanumeric pad, or plus/ minus buttons to enter the velocity shift amount for each step. Press More to see a second page for patterns with more than 24 steps. Press Delete to delete the pattern from memory. Press Rename to rename the pattern and save.
Setup Mode The Ribbon Configuration (RIBCFG) Page MissNotes1 through MissNotes9 makes the PC3A randomly miss playing a percentage of inputted notes. See the table below for percentages and their equivalent settings. Each of these settings also randomly changes some of the inputted velocities in a range of ± 5, with the purpose of simulating a more human played sound. Note: Missed Notes are actually output as notes with a velocity of zero.
Setup Mode The Ribbon Configuration (RIBCFG) Page Unipolar means that after playing up to the shift limit, the Arpeggiator begins shifting notes in the opposite direction, until it reaches the original pitch, where it reverses again. To determine the next note when it reaches the shift limit, the Arpeggiator calculates the interval between the shift limit and what the next note would be if the shift limit weren’t there.
Setup Mode The Ribbon Configuration (RIBCFG) Page The Arpeggiator can be a lot of fun, even if you don’t always understand exactly what it’s doing. Keep in mind that the stranger the algorithm you set up, the more unlikely the notes will stay close to one key, so if you want to create something that’s going to sound at all diatonic, keep it simple. Shift Pattern (ShiftPatt) ShiftPatt engages a step sequencer for arpeggiator note patterns.
Setup Mode The Ribbon Configuration (RIBCFG) Page Press Delete to delete the pattern from memory. Press Rename to rename the pattern and save. Pressing Save gives you the option to save the pattern or rename and save. To create a new ShiftPatt, edit an existing pattern and choose Rename when saving. Press Exit to return to the ARPEGGIATOR page. When exiting the editor, it will automatically give you the option to save the pattern if changes have been made.
Setup Mode The Ribbon Configuration (RIBCFG) Page Latch Latch determines how the Arpeggiator responds to notes when they are triggered. Keys means that the Arpeggiator plays only while you are holding one or more keys down (or note triggers on). As you play different notes, they get added to the Arpeggiator, and as you release notes, they get taken out. If you play notes faster than the Arpeggiator’s current tempo, each subsequent note will be added to the arpeggiation at the next division of a beat.
Setup Mode The Ribbon Configuration (RIBCFG) Page trigger the pattern. You can use the Panic soft button to stop arpeggiation at any time. 1NoteAutoLow and 1NoteAutoHi are also designed for use with Shift Patterns. They work similarly to 1NoteAuto, except 1NoteAutoLow always latches the lowest note when holding multiple notes, and 1NoteAutoHi always latches the highest note when holding multiple notes. You can also use these latch types without a Shift Pattern if desired.
Setup Mode The Ribbon Configuration (RIBCFG) Page SyncType The SyncType parameter allows you to choose how your arpeggiator will sync to other arpeggiators, riffs, or a song playing from Song mode. With SyncType set to None, your arpeggiator will start playing as soon as it is triggered. It will not sync to anything.
Setup Mode The Ribbon Configuration (RIBCFG) Page With SyncType set to StopWait, if there is already something playing to sync to, the current arpeggiator will wait for what is playing to stop before starting. This way you can trigger the arpeggiator to start ahead of time, and have it start in sync at the release (stopping) of the riff, arpeggiator, or song that you are syncing to. The difference from Stop is that if there is nothing playing to sync to, the arpeggiator will not start.
Setup Mode The Ribbon Configuration (RIBCFG) Page Controller Number 7-54 Corresponding ARPEGGIATOR Parameter Operation 155 ArpVel Arpeggiator Velocity, each range of values selects one of twenty-three options in order on parameters list: 0-5 First,) 6-10 (Played, etc.,) 11-15...101-105, 106-110, 111-127 (MissNotes9.) 156 ArpDur The Arpeggiator Duration % values are scaled over the 128 MIDI controller values, so that 0 = 1% and 127 = 100%.
Setup Mode The Ribbon Configuration (RIBCFG) Page Riffs Riffs are full songs or individual tracks of a song created in the PC3A’s Song mode that you can trigger in setup mode. Standard MIDI files may also be imported to Song mode and then used as riffs in setups. Every zone in a setup can have it’s own riff—a completely independent sequence. You can use a setup with many riffs to trigger and stop looped sequences of different instrument parts.
Setup Mode The Ribbon Configuration (RIBCFG) Page Riff Setting the Riff parameter to On will enable the riff feature for the current zone in setup mode. Setting this parameter to Off will disable the riff for this zone. Song Select the song you wish to use in the Song parameter by using the Alpha Wheel, -/+ buttons, or the alphanumeric pad. Start Use the Start parameter to specify the riff start point. The time format is Bar : Beat : Tick.
Setup Mode The Ribbon Configuration (RIBCFG) Page Stop Use the Stop parameter to specify the riff stop point. Like the Start parameter, the time format for Stop is Bar : Beat : Tick. Bar can be set to any bar in the sequence, and Beat can be set to any beat in that bar (beat range is dependent on time signature.) Tick can be set from 0 to 959. Refer to Table 7-5 for Tick values. The PC3A restricts the selectable values for the Stop parameter such that the current riff is at least one beat long.
Setup Mode The Ribbon Configuration (RIBCFG) Page The RIFF2 Page The second Riff page appears as shown below, and has the following parameters: Parameter Trigger Release Range of Values Default (HiKey) C -1 to G9 C -1 (LoKey) C -1 to G9 G9 (HiKey) C -1 to G9 C -1 (LoKey) C -1 to G9 G9 CondRel Off, On Off Local Off, On Off Loop Once, Forever Forever BPM Sequence, Setup, External, 20 to 400 Sequence Sync Zone First Avail., Riff 1-16, Main Seq, Arp 1-16, FirstRiff.Av., First Arp.
Setup Mode The Ribbon Configuration (RIBCFG) Page Next, move your cursor to the right to highlight the second value of the Trigger field (this will be the high end of the trigger key range.) Use one of the methods described above to select a key value for this trigger field. If you want to have only one key start a riff, set the Trigger key range from A#0 to A#0 for example, and your riff will be triggered to start only by pressing the A#0 key.
Setup Mode The Ribbon Configuration (RIBCFG) Page SyncZone The SyncZone parameter determines which zone a riff will sync to. You can choose to sync to a riff or arpeggio in a specific zone by setting SyncZone to Riff 1–16 or Arp1-16, and the current riff will always sync to the riff or arpeggio in the set zone. For example, if you have a drum riff in zone 1 and a bass riff in zone 2, you may always want the bass riff in zone 2 to sync to the drum riff in zone 1.
Setup Mode The Ribbon Configuration (RIBCFG) Page With SyncType set to Loop, if there is already a riff or song playing to sync to, the current riff will wait for the playing riff or song to restart its loop (if it is looped) before starting (see Loop on page 7-59 for looping riffs, and Loop on page 12-11 for looping songs.) This way you can trigger the riff to start ahead of time, and have it start in sync at the start of the playing riff or song’s loop.
Setup Mode The Ribbon Configuration (RIBCFG) Page With RelSynTyp set to AnyBeatWait, if there is already a something playing to sync to, the riff will wait for the next beat before releasing. The difference from AnyBeat is that if there is nothing playing to sync to, this riff will not stop when released. This can be useful if you want to stop a riff in sync only when another riff is playing. If something is already playing to sync to, AnyBeatWait behaves just like AnyBeat.
Setup Mode The Ribbon Configuration (RIBCFG) Page Real-time Control of Riff Parameters You can have real-time control over several Riff parameters, by assigning physical controllers to special Riff Controller Destinations. Any input (or entry value) from a physical controller assigned to a Riff Controller Destination overrides the programmed values for the parameters of the riff on that controller’s zone. The override remains in effect until you select a different setup.
Setup Mode The Programmable Switch Pages: SWPRG1 to SWPRG8 The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX The four Setup mode FX pages—FX, AUX1, AUX2, and MASTER EFFECTS—work the same way as the Effect mode pages—EffectsEnable, Aux 1 Override, Aux 2 Override, and Master Effects. See Effect Mode and the Effects Pages on page 9-4 for information on editing these pages. You can use the Effect (FX Bypass) Mode button to bypass effects while editing.
Setup Mode The Programmable Switch Pages: SWPRG1 to SWPRG8 The COMMON Page The COMMON page contains parameters that affect every zone in the current setup. Parameter Tempo Range of Values Default Tempo 20 to 300 120 Clock Source Internal, External Internal Aux FX Channel 1 to 16 1 KB3 Channel 1 to 16 1 Mutes Zone Mutes, KB3 Control Zone Mutes Arpeggiator Global Off, Arp 1 to 16 Off When Clock Source is set to Internal, the Tempo parameter sets the PC3A system’s tempo.
Setup Mode The Programmable Switch Pages: SWPRG1 to SWPRG8 KB3 Channel With this parameter, you can specify the KB3 channel in the current setup. Note that if you assign a KB3 program to a zone not assigned to the KB3 channel, the PC3A will notify you on the CH/ PROG page, and the KB3 program will not load. Before selecting a KB3 program for a Zone, set the KB3 channel to match the channel set for that Zone on its CH/PROG page.
Setup Mode The Programmable Switch Pages: SWPRG1 to SWPRG8 TRIGGER KEYS (KEYTRG) The TRIGGER KEYS page (see below) allows you to set a controller destination to be triggered by playing a specific key. In addition to generating a standard MIDI note on message, each key of the PC3A can be set to trigger a controller destination. TRIGGER KEYS can be set independently per Zone. By using Zones with overlapping key ranges, a single key can trigger multiple controller destinations.
Setup Mode The Utility Soft Buttons The Utility Soft Buttons In addition to the Setup Editor’s pages, there are basic library and editing soft buttons. Their functions are described below. Name Save Delete This enables you to rename the current setup. Use any data entry method to do this, including the letters on the alphanumeric buttonpad. Pressing Save calls up the standard Save Dialog.
Setup Mode The Utility Soft Buttons Recording A Setup To Song Mode The MIDI output of a setup can be recorded to a song in Song mode. Each MIDI channel that is output from a setup is recorded into each track of a song (if the tracks have corresponding MIDI channels.) Programs from each zone of your setup are automatically assigned to tracks in Song mode. Follow these steps for proper recording of a new song from a setup: 1. Enter Song mode by pressing the Song Mode button. 2.
Setup Mode The Utility Soft Buttons Mono Pressure: When recording a setup to Song mode with Mult selected for RecTrk in Song mode, you may notice that every track has recorded Mono Pressure messages, even if there is nothing else recorded on a track. If this bothers you, you can set the MonoPress parameter to Off on the Song:Event Filter Recording page (see Song Mode: The Filter Pages (RECFLT and PLYFLT) on page 12-15.) This will prevent Mono Pressure messages from being recorded to any track.
Quick Access Mode Chapter 8 Quick Access Mode In Quick Access mode, you can select programs or setups with a single press of an alphanumeric button (or with other data entry methods). The PC3A offers a number of ways to quickly make selections while performing, but only Quick Access mode lets you store programs and setups together for instant access. On the PC3A, we included several factory preset QA banks that are organized into useful groupings of sounds that we think you’ll find convenient.
Quick Access Mode The QA Editor Soft Buttons In Quick Access Mode Use the Octav– and Octav+ soft buttons to transpose up or down by a full octave. Pressing both Octav buttons simultaneously returns the transposition to its original setting. Press the Info soft button to see all of the controller assignments of the current program. Scroll down the page using the Alpha Wheel, cursor or the -/+ buttons. The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments.
Quick Access Mode The QA Editor Selecting A Setup For A Quick Access Entry If you want to store a setup in the current entry instead of a program, press the Type soft button—when you do this, notice that the Type field change from Program to Setup (also notice that the channel indicator disappears, since setups can transmit over several channels). The list of objects changes from the program list to the setup list. Just as with programs, the cursor highlights the setup’s ID and name.
Effects and Effect Mode Effects Overview Chapter 9 Effects and Effect Mode The PC3A boasts a powerful effects processor that puts the power of an entire studio at your fingertips. This chapter contains everything you’ll need to know to use the PC3A’s effects and Chain Editor to their fullest potentials. • Read the Effects Overview section below for a description of the differences between Insert, Aux, and Master effects.
Effects and Effect Mode Effects Overview Master Effects After the signal goes through the Insert and Aux effects, the master EQ/compressor effects are applied globally to the signal at the main outputs. Neither the EQ nor the Compressor use up any DSP units, so you needn’t account for them when managing DSP units for effects processing power. See The Master Effects Page on page 9-8 for details. Chains The object used for Insert and Aux Effects is referred to as a “Chain.
Effects and Effect Mode Effects Overview The diagram below shows the signal paths for a multitimbral setup or song. The first two zones (or tracks in Song Mode) are diagramed as an example (represented by dark lines.) The 14 additional available zones (or tracks in Song mode) are represented by gray lines (labeled as Etc.
Effects and Effect Mode Effects Overview Effect Mode and the Effects Pages In Program mode (or with a program selected in Quick Access mode) press the Effect mode button to enter Effect mode. Effect mode allows you to quickly change program effect settings without entering the Program Editor, and set Master effects. You can set DSP unit usage for programs on each MIDI channel.
Effects and Effect Mode Effects Overview effects for programs on each of the 16 MIDI channels until all of the 16 DSP units are used up. In Setup and Song Mode, the MIDI channel of the lowest used zone/track will have priority for using DSP units. This zone/track will use as many DSP units as it need for its effects, then the MIDI channel of the next highest used zone/track will use DSP units to load its effects, and this continues until all of the DSP units are used up.
Effects and Effect Mode Effects Overview Parameter Range of Values Default Override No, Yes No Chain Chain List 0 None Output auto, Pri., Sec. auto Mod Override Control Source List None Send Level [p], -96 to 24 dB [p] Pre-/Post- Insert [p], pst, pre [p] Override This parameter switches on or off the Aux override. Set Override to Yes to select an override Aux Chain on this page (the Chain parameter appears, see below.
Effects and Effect Mode Effects Overview Chain When Override is set to Yes, you can select an override Aux Chain for the page’s corresponding Aux bus. This parameter is not visible when Override is set to No. Output This parameter specifies the physical audio output pair for the page’s corresponding Aux Chain’s output. The settings Pri. and Sec. refer, respectively, to the primary and secondary physical audio outputs of the PC3A (labeled “MAIN” and “AUX” on the back panel.
Effects and Effect Mode Effects Overview The Master Effects Page NOTE: In Setup mode and Song mode, this page corresponds in appearance and function to the MASTER EFFECTS page, which works on a per setup/song basis. Pressing the MASTER soft button calls up the Master Effects page. The Master Effects page contains the settings for the master EQ and Compressor. When enabled, the master effects are applied to all programs in Program Mode.
Effects and Effect Mode Effects Overview The Chain Editor Pressing the Edit button while a Chain (other than 0 None) is highlighted—on any of the various effects pages—will call up the Chain editor. From the Program editor, the program’s Insert and Aux Chains can be edited from the PROGFX and LYRFX pages. In Effect mode Chains selected for Aux overrides can be edited from the Aux 1 Override and Aux 2 Override pages.
Effects and Effect Mode Effects Overview Editing Effect-boxes To edit the parameters of an effect, select its effect-box on the MAIN page and press the Edit button. For each effect, there are one or more pages of parameters that are specific to that effect. See Effects Parameters on page 9-12 for details on parameters for each type of effect. Any parameter controlled by an effect Mod will display a value of FxMod and cannot be edited. To return to the MAIN page of the chain editor, press the Exit button.
Effects and Effect Mode Effects Overview FXLFO, FXASR, and FXFUN pages The FXLFO, FXASR, and FXFUN pages are the pages from which you edit the Effects-only Control sources. These are Control sources that can be used by the effects Mods in the current Chain. The parameters on these pages work exactly like those of the corresponding Control sources in program mode (see The LFO Page on page 6-38, The ASR Page on page 6-40, and The Function (FUN) Page on page 6-41.
Effects and Effect Mode Effects Overview Effects Parameters This section contains descriptions of the PC3A’s many effects parameters, and instructions on how to use them. Read through this section to get a good general understanding of the parameters. The descriptions here do not include all of the parameters associated with every effect, and some effects may not have some of the parameters described here for their category.
Effects and Effect Mode Effects Overview Reverbs Room Type changes the configuration of the effect to simulate a wide array of room types and sizes including booths, small rooms, chambers, halls and large spaces. Because this parameter changes the structure of the reverb effect, you need to be careful when assigning it a MOD— changing it in real time while signal is passing through it is likely to cause audible artifacts.
Effects and Effect Mode Effects Overview Delays There are two types of taps in the Multitap delays: The “Loop“ tap, which has a feedback loop back to its input, and the numbered taps. The numbered taps can be single iterations or they can repeat as part of a loop, but they do not have individual feedback paths. Fdbk (Feedback) Level controls the repeating function of the Loop Tap.
Effects and Effect Mode Effects Overview Spectral Multitap Delays These 4- and 6-tap delays have their feedback and output taps modified with shapers and filters. In the feedback path of each tap are a diffuser, hipass filter, lopass filter, and imager. Each delay tap has a shaper, comb filter, and balance and level controls. Fdbk Image sets the amount that the stereo image is shifted each time it passes through the feedback line. Range is -100 to 100%.
Effects and Effect Mode Effects Overview Enhancers Enhancers modify the spectral content of the input signal by boosting existing spectral content, or stimulating new ones. Two and three-band versions are provided. Drive adjusts the input into each band. Increasing the drive will increase the effects. Range is -79.0 to 24.0 dB. Xfer adjusts the intensity of the transfer curves. Range is -100 to 100%. EQ Morpher This effect uses two four-band bandpass filters, A and B, and moves between them.
Effects and Effect Mode Effects Overview This means the compression can kick in before an attack transient arrives. In the SoftKneeCompress and HardKneeCompress effects, delay is really only useful in feed-forward configuration (FdbkComprs is “Out”). For other compressors, the delay can be useful in feedback configuration (FdbkComprs is “In”). The range is 0 to 25 ms. Ratio is the amount of gain reduction imposed on the compressed signal, adjustable from 1.0:1 (no reduction) to 100:1, and Inf:1.
Effects and Effect Mode Effects Overview Atk Time (attack time) is the time for the gate to ramp from closed to open (reverse if Ducking is on) after the signal rises above threshold, adjustable from 0.0 to 228.0 ms. Rel Time (release time) is the time for the gate to ramp from open to closed (reverse if Ducking is on) after the gate timer has elapsed, adjustable from 0 to 3000 ms.
Effects and Effect Mode Effects Overview Flanger Flanging is the process of adding or subtracting a signal with a time-displaced replica of itself, which results in a series of notches in the frequency spectrum, generally referred to as a comb filter. In the PC3A, the flanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO). The rate of the LFO is expressed in Tempo.
Effects and Effect Mode Effects Overview separation. The spacing between impulses is given in samples (20.8µs). At low values, the buzz starts at high frequencies and drops slowly, while at high values the buzz starts at a lower pitch and drops rapidly. Range is 0.0 to 40.0 samples, with a resolution of 0.2 sample. Contour controls the overall shape of the reverb. When set to a high value, sounds passed through the reverb start at a high level, and it slowly decays.
Effects and Effect Mode Effects Overview Retrigger is the input-signal threshold at which the envelope detector resets, so that it can trigger again. This parameter is only useful when it is set below the value of Trigger. Range is from -79 to 0 dB. Env Rate is the envelope detector decay rate. This can be used to prevent false triggering. When the signal envelope falls below the retrigger level, the filter can be triggered again when the signal rises above the trigger level.
Effects and Effect Mode Effects Overview Polydistort This is a more complex distortion effect that provides two, four, or six stages of distortion. Curve n controls the curvature of the individual distortion stages. 0% is no curvature (no distortion at all). At 100%, the curve bends over smoothly and becomes perfectly flat right before it goes into clipping. Maximum value is 127%. LP n Freq are shelving frequencies for one-pole lowpass filters on each of the distortion stages.
Effects and Effect Mode Effects Overview LoResXcurs and HiResXcurs are the number of samples of delay to sweep through the resonator at the rotation rate of each rotating speaker. The range is 0 to 510 samples. ResH/LPhs sets the relative phases of the high and low resonators. The angle value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle. The range is 0 to 360.0 degrees.
Effects and Effect Mode Effects Overview Tremolo and AutoPan Tremolo is amplitude modulation using an LFO. AutoPan moves the signal between the left and right channels, using an LFO. They have several parameters in common and several unique ones. LFO Rate is the rate of the LFO. The range is 0 to 10.00 Hz, or 0 to 12.00 x the tempo. Rate Scale multiplies the speed of the LFO rate into the audio range. The range is 1 to 25088 x. When above 16x, the values increment in semitone steps.
Effects and Effect Mode Effects Overview Pitcher Pitcher applies a filter to the input signal which has a series of peaks in the frequency response. These peaks are normally adjusted so that their frequencies are all multiples of a specific, selectable frequency, which imposes a strong sense of pitch at the selected fundamental frequency. Pitch. The fundamental pitch imposed upon the input, in MIDI note numbers from C-1 to G9. Ptch Offst is an offset from the pitch frequency in semitones, from -12.
Effects and Effect Mode Effects Overview DiffBassG controls the gain of a bass-shelf filter on the difference signal. By boosting the low frequency components of the difference signal, you can increase the sense of acoustic envelopment. Range is -79.0 to 24.0 dB. DiffBassF is the transition frequency for the bass-shelf frequency. Range is 16 to 25088 Hz. The processed signal is split into three frequency bands—Lo, Mid, and High—each of which can be delayed and panned separately.
MIDI Mode The TRANSMIT Page Chapter 10 MIDI Mode The PC3A sends and receives MIDI on traditional 5-pin DIN connectors and through USB. MIDI can be sent and received on all ports at once. Press the MIDI mode button to enter MIDI mode.
MIDI Mode The TRANSMIT Page Parameter Range of Values Default Control Setup Setup List 126 Internal Voices Destination USB_MIDI, MIDI, Local USB_MIDI+MIDI+Local Channel 1 to 16 1 Transposition ± 60 semitones 0 Velocity Map Velocity Map List 1 Linear Pressure Map Pressure Map List 1 Linear Program Change Off, On On Change Setups Immediate, KeyUp Immediate Control Setup This is where you select the current control setup, Zone 1 of which sets the physical controller assignments for
MIDI Mode The TRANSMIT Page Velocity Map (Transmit) Change the MIDI Transmit Velocity Map setting if you are triggering external MIDI gear which is producing notes that are too loud or too quiet based on your playing style (how light or heavy that you play the keys.) The default map provides the widest range of velocity expression, but you may want to choose a different map if the default does not suit your playing style.
MIDI Mode The TRANSMIT Page Pressure Map (Transmit) Change the Transmit Pressure Map setting if you are triggering external MIDI gear which is producing MIDI pressure (aftertouch) values that are too high or too low based on your playing style (how soft or hard that you press the keys.) The default map provides the widest range of pressure expression, but you may want to choose a different map if the default does not suit your playing style.
MIDI Mode The RECEIVE Page Program Change (ProgChang) When ProgChang is set to On, the PC3A sends program change commands to its USB or MIDI Out port when you select programs or setups from the front panel or from your MIDI controller. Select a value of Off when you want to change programs on the PC3A but don’t want to send program change commands to the USB or MIDI Out port.
MIDI Mode The RECEIVE Page Basic Channel The basic channel determines which channel will always be available to receive MIDI information. Depending on the MIDI receive mode (below), the Basic channel may be the only receiving channel, or one of several. MIDI Receive Mode (MIDI Mode) The MIDI Mode parameter determines the MIDI receiving capabilities of the PC3A. When set to Omni, the PC3A responds to incoming MIDI events on all MIDI channels, and plays them on the current channel.
MIDI Mode The RECEIVE Page Velocity Map (Receive) Change the receive Velocity Map setting if you are triggering the PC3A with external MIDI gear which is producing notes that are too loud or too quiet. The default map provides the widest range of velocity expression, but you may want to choose a different map if the default does not suit your playing style.
MIDI Mode The RECEIVE Page Pressure Map (Receive) Change the receive Pressure Map setting if you are triggering the PC3A with external MIDI gear which is producing MIDI pressure (aftertouch) values that are too high or too low based on your playing style (how soft or hard that you press the keys.) The default map provides the widest range of pressure (aftertouch) expression, but you may want to choose a different map if the default does not suit your playing style.
MIDI Mode The RECEIVE Page System Exclusive ID (SysExID) The SysExID parameter differentiates between more than one MIDI device of the same model. You won’t need to change the default setting of 0 unless you have multiple PC3As (or K2600s, K2500s, or K2000s) receiving SysEx messages from a single source. In that case, make sure each instrument has a different SysExID. Then you can direct SysEx messages to the appropriate PC3A with the SysExID byte that’s included with every SysEx message.
MIDI Mode The RECEIVE Page Local Keyboard Channel (LocalKbdCh) The Local Keyboard Channel enables an external MIDI device to function as if it is the PC3A’s keyboard and physical controllers. This allows one MIDI channel of an external MIDI device to control multiple MIDI channels of the PC3A, even if the external MIDI device only transmits on one channel.
MIDI Mode The RECEIVE Page Continuous Controller Messages From External MIDI Devices When using an external MIDI device with the PC3A, you can control many of the PC3A’s program parameters by sending MIDI Continuous Controller messages (CCs) from the external MIDI device. Each parameter that you wish to control must have a CC number assigned in the Program Editor (see the section below: Assigning An External CC Number As A Control Source For A Program Parameter.
MIDI Mode The RECEIVE Page Using External CCs In Setup Mode, Local Keyboard Channel=None, Input Channel=None To control a program parameter via external MIDI CC in Setup Mode, the parameter must first have a source assigned within the Program Editor, as described in the Assigning An External CC Number As A Control Source For A Program Parameter section above. To control an assigned parameter, send the assigned CC number to the channel for the Setup Zone which contains the program.
MIDI Mode The RECEIVE Page Note: In Setup Mode, when an external MIDI controller is sending a CC on the channel set for Input Channel, any CC sent that is not in the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table (see below) also gets sent to the Program on that channel. If an InputChannel is set but you are sending CCs to a different channel, these CCs will be received normally by the program in the Setup Zone for that channel.
MIDI Mode The RECEIVE Page The Channels Page Press the CHANLS soft button to select the CHANNELS page, where you can define numerous parameters for each MIDI channel independently. Use the Chan/Layer buttons to select the MIDI channel you wish to work on. The CHANNELS page is very useful when you’re doing multi-timbral sequencing, with programs assigned to numerous MIDI channels. The CHANNELS page lets you set several control characteristics for each MIDI channel.
MIDI Mode Program Change Formats Pan This offsets the pan position of the current program as set on the OUTPUT page in the Program Editor. A value of 0 is maximum offset to the left, 64 is no offset, and 127 is maximum offset to the right. Changing the value of this parameter is like inserting a MIDI pan message. MIDI Pan (MIDI 10) messages will change the value of this parameter, unless the PanLock parameter (described below) is set to On.
MIDI Mode Program Change Formats Extended Program Changes If you’re controlling your PC3A from a MIDI device that can handle the MIDI Controller 0 or 32 program-change format, you’ll have the greatest flexibility if you set the ProgChgType parameter to a value of Extended.
MIDI Mode Program Change Formats different set of 200 programs and setups at your disposal. When you’re using this format, the PC3A will respond to MC 0 or 32 messages for selecting QA banks, and to PCHs for selecting entries within the current bank. PCHs select entries according to their “chronological” listing within the QA bank (not according to their IDs).
MIDI Mode The Soft Buttons in MIDI Mode The Soft Buttons in MIDI Mode The first three soft buttons select the three MIDI mode pages. The PrgChg soft button lets you send a program change command on any MIDI channel. The RsetCh soft button lets you return all channel parameters to their default values. The Panic soft button sends an All Notes Off and an All Controllers Off messages to the PC3A and on all 16 MIDI channels.
Master Mode MAIN Chapter 11 Master Mode Press the Master mode button to enter Master mode, which contains parameters affecting the PC3A’s overall performance and system setup. You can set the system Clock so that the PC3A will time-stamp your files correctly. You can use the Object tool to rename or delete selections of objects.
Master Mode MAIN Tune Adjusting the value of this parameter tunes every program in the PC3A by the amount you specify. Tuning can be adjusted up or down 100 cents (one semitone) in one-cent increments. This parameter is useful for getting in tune with recordings and acoustic instruments. Adjusting the tuning in Master mode does not change the settings on the PITCH page of individual programs, but will be added to any adjustments you make there.
Master Mode MAIN Master Table Lock (Master Lock) With Master Lock set to Off, the PC3A will save the current Master mode configuration when you exit Master mode (or MIDI mode). This information is stored in a Master Table object (see Save on page 11-18 below for more details on what is saved with a Master Table.) If you have a particular Master configuration that you would like to safeguard against the auto-saving feature, set Master Lock to On.
Master Mode MAIN RIFF1 page) are indicated in the info box with a riFF symbol. The info box can display up to four layers/zones at a time. If the current Program/Setup has more than four layers/zones, you can view their keymaps/programs by pressing and holding down the Enter button and scrolling with the Chan/Layer buttons. When Display is set to Ctls, Program Mode and Setup Mode use the info box to display the controller assignment info and MIDI CC value for the last moved controller.
Master Mode MAIN MAPS On the MAPS page you’ll find parameters for setting keyboard behavior for velocity, pressure, intonation, and key action maps. You can also set the default sequence for Song mode. Velocity Map (Master) Change the Master Velocity Map setting if you find that the PC3A is not producing the desired velocities (too loud or too quiet) based on your playing style (how light or heavy that you play the keys.
Master Mode MAIN to new velocities before letting them pass. The default map provides the widest range of velocity expression, but you may want to choose a different map if the default does not suit your playing style. See the diagram above for the other pages that affect the MIDI attack velocity before and after reaching the Master Velocity Map. The default map, Linear, allows MIDI velocities to pass unchanged.
Master Mode MAIN Pressure Map (Master) Change the Master Press Map setting if you find that the PC3A is not producing the desired MIDI pressure (aftertouch) values (too high or too low) based on your playing style (how soft or hard that you press the keys.) The default map provides the widest range of pressure expression, but you may want to choose a different map if the default does not suit your playing style.
Master Mode MAIN Intonation Most modern western music uses what is known as equal temperament. This means that the interval between each semitone of the 12-tone octave is precisely the same as every other semitone. However, many different intonation intervals have evolved over the centuries and across cultures and instruments, so equal temperament will not sound appropriate for certain styles of music.
Master Mode MAIN In general, you should select a nonstandard intonation map when you’re playing simple melodies (as opposed to chords) in a particular musical style. When you use intonation maps based on pentatonic scales, you’ll normally play pentatonic scales to most accurately reproduce those styles. Editing Intonation Maps To edit an intonation map or create a new map, select an existing map and press the Edit button to bring up the EditIntonationMap screen (see below.
Master Mode OUTPUT Default Sequence The Default Sequence parameter specifies the song that is used as a template for new and clear songs in Song mode. OUTPUT The OUTPUT page has options for digital audio output volume and sample rate. You can also set the analog Aux outputs to mirror the primary analog outputs. You can also control the MIDI clock source and MIDI clock output. Parameter Range of Values Default Output Clock Off, On Off Digital Output Volume (Dig.
Master Mode TEMPO Clock Source With the Clock Source parameter, you can set the PC3A to generate its own tempo by setting Clock Source to Internal, or you can set the PC3A to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the PC3A via MIDI or USB—by setting Clock Source to External. See Important Note About External Sequencers: on page 12-8 for related information. TEMPO Press the TEMPO soft button to go to the TEMPO page (see below.
Master Mode General MIDI Mode (GM On, GM Off) General MIDI Mode (GM On, GM Off) This soft button enables or disables General MIDI (GM) mode. When GM mode is off (the default,) the buttons is labeled GM On. Press the GM On soft button to enter GM mode. The PC3A will prompt you to confirm or cancel. When GM mode is on the buttons is labeled GM Off. Press the GM Off soft button to exit GM mode. The PC3A will prompt you to confirm or cancel. You can not access Setup Mode or Quick Access Mode while in GM mode.
Master Mode OBJECT would now use the new harpsichord program that you selected. Using a PC3A program that does not resemble the instrument named in the current GM program would technically make the PC3A incompatible with GM, but some users may want to do this as a way to “remix” GM sequences. It is easy to replace default GM programs in order to make a custom GM sound set. Once in GM mode, the right side of Program Mode screen displays a list of the GM programs with their standard GM names.
Master Mode OBJECT Rename The Rename utility allows you to rename an object without entering the object’s editor. The Rename page shows a list of all user created objects, grouped by object type (see below.) Use the alpha wheel or plus/minus buttons to select an object from the list. Press Rename to bring up the object Rename screen and enter a new name by following the standard renaming procedure. For more information, see Saving and Naming on page 5-3.
Master Mode OBJECT To delete single or multiple objects, go to the Delete advanced page by pressing the Advnce soft button on the main Delete page (see below.) The right column shows you a list of all user created objects. The left column tells you what type each object is, and objects are grouped by type. Use the alpha wheel or plus/minus buttons to select one or more objects from the list. Use the Select soft button to make your selection(s), which will be marked with a star.
Master Mode OBJECT UTILS (UTILITIES) Pressing the UTILS soft button calls up the UTILITIES page, which gives you access to two analytic and diagnostic tool. Additionally, pressing the two right-most soft buttons will call up the UTILITIES page from any mode or editor. The UTILITIES page appears as shown below: Pressing the MIDI soft button launches MIDIScope™, a useful subprogram that lets you monitor the MIDI messages from the PC3A and those received via MIDI.
Master Mode Reset CLOCK Pressing the CLOCK soft button allows you to view the PC3A’s System Clock (see below.) When objects are saved, they are time stamped with the date and time of this clock. This time stamp can be seen in the file properties when viewing the files with a computer. The Format soft button changes the view format of the date on this page. The Set soft button brings you to the Set clock page where you can set the system clock and date.
Master Mode Preview Sample (PRVIEW) Loader About Save Pressing the Loader soft button calls up the Boot Loader. See AppendixB. Pressing the About soft button calls up the general info page for the PC3A. On this page is the version of the installed OS and factory object. Press any key to leave this page. Pressing the Save soft button saves the Master Table object, which saves many important PC3A settings as defaults.
Song Mode and the Song Editor Song Mode: The MAIN Page Chapter 12 Song Mode and the Song Editor Getting Started with the Sequencer The PC3A’s sequencer is a powerful and versatile tool for songwriters, composers, and anyone else who wants to record and play back songs. As with any tool, however, it’s best to start with the basics. If you are familiar with other sequencers, you will have no problem using Song mode in the PC3A.
Song Mode and the Song Editor Song Mode: The MAIN Page Parameter Range of Values Default Channel 1 to 16 1 to 16 left to right Volume 0 to 127 127 Pan 0 to 127 64 Tempo 20.0 to 400.0 BPM, EXT 120.0 BPM Mode Merge, Erase Merge Location -9999:9 to 9999:9 1:1 The Events field on the top line displays the free RAM available for events in the selected song.
Song Mode and the Song Editor Song Mode: The MAIN Page Recording Track (RecTrk) The RecTrk parameter determines which track is record enabled. Set the record enabled track to Mult to record more than one channel simultaneously. When RecTrk is set to a single track (1–16), Record (R) is displayed for that track in the Track Status Indicator region (above the Track and Channels region).
Song Mode and the Song Editor Song Mode: The MAIN Page Volume (Vol) You can set a volume level for each track as a value between 0 and 127. If the channel of the RecTrk (or the control channel, if RecTrk is set to Multi or None) contains any recorded volume change (controller 7), the change will be reflected as the Vol parameter’s value in real time, as well as on the MIXER page.
Song Mode and the Song Editor Song Mode: The MAIN Page highest numbered zone that uses that channel will set the volume for tracks that use that channel. If ExitVolume is set to NONE, the value for EntryVolume is used. If EntryVolume and ExitVolume are set to NONE, then the track for that channel uses the volume set for that channel in MIDI mode on the Channels page.
Song Mode and the Song Editor Song Mode: The MAIN Page settings without playing another song first, the Pan of the MIDI channel for each track is set depending on which mode you enter Song mode from. If you enter Song mode from MIDI mode, Program mode, or Quick Access mode, the Pan of each MIDI channel is set in MIDI mode on the Channels page.
Song Mode and the Song Editor Song Mode: The MAIN Page The track selected as the RecTrk will display an (R), designating it as the recording track. If the RecTrk is set to Mult, initially all empty tracks will have Record (R) as a Track Status Indicator, any of which can be switched back to empty (–) if at any time recording on specific tracks is not desired. If there isn’t a track with an (R), the RecTrk parameter’s value will be None.
Song Mode and the Song Editor Song Mode: The MAIN Page PC3A’s transport to control an external sequencer. This works from any mode, though in Program mode you will want to make sure that the Demo Button function is set to off. You can do this from the Master Mode Main page. When Demo Button is set to off, you can still hear Program demos by pressing the cursor up and down buttons simultaneously.
Song Mode and the Song Editor Song Mode: The MAIN Page Pressing PlyOld will play the current song, minus the performance that you just recorded. You can toggle between Play Old and Play New without restarting the song by pressing either button while the song is playing. This is useful to check if your last performance was better or worse than what was previously saved (if anything was previously saved.) The Locate field allows you choose a start time for the old or new playback.
Song Mode and the Song Editor Song Mode: The MAIN Page Song Mode: The BIG Page On the BIG page, the PC3A displays—in a large font, the page’s name—the current time/location of the “playhead” of the sequencer in a Bar : Beat : Tick format (like the Riff time/location display). Also displayed is the current status of the sequencer, and the BIG page’s six parameters.
Song Mode and the Song Editor Song Mode: The MAIN Page Song End The Song End parameter determines the end point for the song. Note that when Time Out and Song End are set to the same location, changes made to Song End are reflected in Time Out. When recording beyond your initially specified Song End point, you’ll notice that the Song End location automatically moves and rounds to the next bar, so as to always be ahead of the playhead.
Song Mode and the Song Editor Song Mode: The MIXER Page Song Mode: The FX Pages The four Song mode FX pages—FX, AUX1, AUX2, and Master Effects—work the same way as the Effects mode pages—EffectsEnable, Aux 1 Override, Aux 2 Override, and Master Effects. See the Effect Mode and the Effects Pages on page 9-4 for information on editing these pages. Song Mode: The MIXER Page The MIXER page shows the current settings for the program number, panning, and volume of each track (in groups of 8).
Song Mode and the Song Editor Song Mode: The METRONOME Page A setting of Auto will make that track output audio based on the settings for the program used by that track. Program output settings are set in the Program Editor using the Output parameter on the top line of PROG FX page (see Output on page 6-48 for details) or the Output parameter on the LAYER FX page (see page 6-49 for details.) A setting of Pri. (primary) will output track audio to the MAIN Balanced Analog Outputs. A setting of Sec.
Song Mode and the Song Editor Song Mode: The METRONOME Page Metronome This parameter determines the recording modes in which the metronome plays. With Metronome set to Off, the metronome never plays. With Metronome set to Rec, the metronome only plays during recording. With Metronome set to Always, the metronome plays during playback and recording. With Metronome set to CountOff, the metronome plays only during count off (if the CountOff parameter is set to something other than Off.
Song Mode and the Song Editor Song Mode: The Filter Pages (RECFLT and PLYFLT) Song Mode: The Filter Pages (RECFLT and PLYFLT) On the RECFLT and PLYFLT pages you can specify what event are ignored during, respectively, recording and playback. Both pages have the same parameters with the same ranges of values, but you would use the RECFLT page to configure recording event-filtering, and the PLYFLT page to configure playback event-filtering. Below is the RECFLT page.
Song Mode and the Song Editor Song Mode: The Filter Pages (RECFLT and PLYFLT) LoVel Hi LoVel determines the lowest note on/off velocity that is recorded/played back when Notes is set to On. The Hi to the right of LoVel determines the highest note on/off velocity that is recorded/played back when Notes is set to On. Controllers With Controllers set to Off, all controllers are ignored during recording/playback.
Song Mode and the Song Editor Song Mode: The MISC Page Song Mode: The MISC Page The MISC page contains five miscellaneous (but very important and useful) sequencer parameters.
Song Mode and the Song Editor Song Mode: The STATS Page Swing The Swing parameter determines the amount (in units of percent) of “swing” applied during quantization. Release The Release parameter determines whether or not note-off events are quantized. Key Wait With Key Wait set to on, a key strike will trigger playback of a sequence (if the play/pause button is armed,) or trigger recording of a sequence (if the record button is armed.
Song Mode and the Song Editor Song Editor: The COMMON Page The Song Editor In general, you’ll get to the Song editor pages by pressing the Edit button any time you’re in Song mode. There’s one exception: if the Program parameter is currently highlighted on the display, you’ll enter the Program editor when you press Edit. There are a few conventions shared by all of the Song editor pages.
Song Mode and the Song Editor Song Editor: The COMMON Page FX Track The PC3A uses the channel of the track specified for FX Track as the Aux FX channel. DrumTrack Any of the song’s tracks can be defined as Drum Tracks so that their Note events do not get transposed when a transposition is applied when using the track as a riff in a setup (see Riffs on page 7-55 and Transpose/Root Note on page 7-57.
Song Mode and the Song Editor Song Editor: The TRACK Page Soft Buttons on the COMMON Page TRACK – calls up the TRACK page. This page accesses useful track based edit functions. There is a selectable edit function that can be applied to the selected track or all tracks in your song. The TRACK page is described on page 12-21. EVENT – calls up the EVENT page, an event-list style editor. On the EVENT page in the Song Editor, you can scroll through, modify, add, or delete any or all of the tracks’ MIDI events.
Song Mode and the Song Editor Song Editor: The TRACK Page Since these parameters are common to most Track functions, we will define them first. Then we’ll describe the individual functions along with the parameters specific to each, which are normally found on the left side of the page. The function Quantize has unique parameter in its Region/ Criteria boxes. We’ll describe those parameters along with the functions. Once you’ve chosen a function and set the parameters to your liking, press Go.
Song Mode and the Song Editor Song Editor: The TRACK Page LoVel An attack velocity range can be specified as criteria for selecting Note events for editing. The LoVel parameter sets the lowest velocity a Note needs to have in order to be edited. Notes on the selected track(s) with a attack velocities lower than the LoVel will not be affected by the edit. The available values are 1–127; the default is 1.
Song Mode and the Song Editor Song Editor: Track Functions Song Editor: Track Functions Erase Copy This function erases specified events from a region of time, but it doesn’t delete the region of time. The result is like erasing a section of recording tape. If you want to completely remove a segment and shorten the length of the track, you can do it with the Delete function.
Song Mode and the Song Editor Song Editor: Track Functions Mode: Merge/Erase/Slide The Mode setting determines whether the copied events merge with, or erase existing events on the destination track from the location point to the end of the copied region. With Mode set to Slide, the sequencer creates space for the new events, and slides the existing events to uniformly later times in the song.
Song Mode and the Song Editor Song Editor: Track Functions Insert The Insert function is used to add blank time to the current song, modifying the song’s End point appropriately. The Insert function will affect all tracks. This is similar to splicing a piece of blank tape to an existing segment of recording tape. Location: Bars : Beats : Ticks The insertion point for the blank time being added is selected as a Bar and Beat Location value.
Song Mode and the Song Editor Song Editor: Track Functions Quantize Use the Quantize function to adjust the timing of Note events. Keep in mind that only Note events are quantized; other types of events, such as controllers, are not quantized. Quant: Off/1 to 100% The Quantize parameter determines how much the selected Note events are moved towards grid locations. If set to Off, no aligning of previously recorded notes to grid locations will occur.
Song Mode and the Song Editor Song Editor: Track Functions Shift The Shift function allows you to offset the existing MIDI events forward or backward in time any number of ticks (1/480th of a Beat) and beats. This function only affects the End point if any of the shifted events are after the End point of the song. Events can not be shifted beyond the End point or before Bar 1 : Beat 1 : Tick 0. The events can be shifted only as far as these temporal boundaries.
Song Mode and the Song Editor Song Editor: Track Functions Grab Grab is similar to the Copy function, except that the Grab function allows you to copy selected data from tracks that exist in other songs in memory. SrcSong: Song List The Source Song parameter is set to the ID and name of the song in memory that contains the desired track data you wish to grab in order to use it in the current song.
Song Mode and the Song Editor Song Editor: Track Functions Change The Change function is used to modify attack velocities, release velocities, or the values of any existing controller data on the current track. A static change of values can be made as well as having the change take place over a region of time. Change can not modify or add data that doesn’t exist on the current track.
Song Mode and the Song Editor Song Editor: The EVENT Page Remap Use the Remap function to apply the values of any one type of controller data, already recorded on a track, to another controller type. The effect the real time changes of the “Old” controller had will be replaced by the effect the “New” controller has by using the exact same controller values. Old: Control Source List (0 to 120) The “Old” Controller is set to the Controller type that you wish to remap.
Song Mode and the Song Editor Song Editor: The EVENT Page To scroll through the events, make sure the location (Bar and Beat, in the first column) is highlighted. Use the Alpha Wheel, the Up and Down cursor buttons, or the Plus/Minus buttons. As you scroll through the events, each event is executed by the sequencer. In the case of Note events, you will hear the note played, although the duration will be short.
Song Mode and the Song Editor Song Editor: The EVENT Page Event Type Values Program Change (PCHG) 0 to 127 Pitch Bend (BEND) -8192 to 8191 Mono Pressure (MPRS) 0 to 127 Poly Pressure (PPRS) 0 to 127 C -1 to G 9 Note events have four editable values: Note Name, Attack Velocity (indicated by a “v”), Release Velocity (indicated by a “^”), and Note Duration.
Storage Mode Storage Mode Page Chapter 13 Storage Mode Use Storage mode to load, save, back up, and copy files between the PC3A and the outside world. Storage Mode can load and save with a USB device (such as a thumb drive) or with a computer by using the USB Computer port. Storage Mode features include: • Save a group of PC3A objects (Programs, Setups, Songs, etc.) or a single PC3A object to a .PC3A file (see The STORE Page on page 13-6). • Load a group of objects or a single object from a .
Storage Mode Storage Mode Page After selecting a storage device, use the soft buttons on the Storage Mode page to start one of the available operations: STORE Save objects or banks of objects as a .P3A file on the current device. LOAD Load selected file(s) or object(s) from the current device into PC3A memory. UTILS Organize files and folders on a USB device. USBDrv Select the virtual USB drive when the USB computer port is connected to a computer.
Storage Mode Storage Mode Page desktop. Load files from your computer to your PC3A by putting files on the PC3A virtual drive, then selecting USB PC Connection in Storage mode to load the files. Save files from the PC3A to your computer by using this configuration with the Storage modes Store function. Saved files will temporarily appear on the PC3A virtual drive on your computers desktop, and you then must copy your saved files to another location on your computer.
Storage Mode Storage Mode Common Features Storage Mode Common Features The following features are used in storage mode when saving or loading files. Directories A directory lets you group files together as you might separate documents using folders in a file cabinet. By default all storage devices have at least one “root” directory. To organize files in a USB device you can create additional directories, as well as subdirectories within directories.
Storage Mode Storage Mode Common Features When you create a new file in Storage mode, create a new directory, or rename a file or directory, the PC3A prompts you to enter the object’s name. This File Name dialogue appears as shown below, although both the New Directory and Rename appear and function similarly to the File Name dialogue: New file names will default to either FILENAME (after a powerup), or the name of the most recent file saved or loaded.
Storage Mode Storage Mode Common Features The STORE Page Pressing the STORE soft button calls up the Store page, where you can select groups of objects from the PC3A to store as a .P3A file in the current storage device. Only user created or user edited objects can be stored. Note: To store an individual object or select objects individually instead of by range, press the Advnce soft button on this page to go to The Store Advanced Page. See The Store Advanced Page below for details.
Storage Mode Storage Mode Common Features OK (file names can be up to eight characters long.) When the file is saved, the PC3A adds an extension (.P3A) to the filename. Note that although .P3A files are “collections” of objects, you can load individual objects for a .P3A file if you want to. See Loading Individual Objects From a .P3A Or Compatible File Type on page 13-10. Saving Master Files Among your choices in the Bank dialog are Master files.
Storage Mode Storage Mode Common Features Shortcuts when Storing Individual Objects Selecting or deselecting all of the objects at once can be done with the following double-presses (two front-panel buttons simultaneously pressed): • Left/Right cursor double-press: Select All Objects • Up/Down cursor double-press: Clear All Selections If you want to store most but not all of the items in a file (for example, if there are some songs in RAM that you don’t want to be stored in the file), it may be fastest
Storage Mode Storage Mode Common Features The LOAD Page Pressing the LOAD soft button calls up the LOAD page (see below,) where you can load groups of objects from .P3A, .PC3, .K26, .K25, or .KRZ files, individual objects from within those files, a MIDI sequence file or files (.MID). Use the cursor buttons, -/+ buttons or the alpha wheel to browse the files in the currently selected storage device.
Storage Mode Storage Mode Common Features Loading Individual Objects From a .P3A Or Compatible File Type Since a .P3A file can contain over 3000 objects, it is often useful to load only a subset of the information contained in a file. You can select individual objects or groups of objects (programs, effects, songs) for loading from within a single .P3A, .PC3, .K26, .K25 or .KRZ file (see Appendix E for compatibility details.) The Load Object feature is accessible from the LOAD page.
Storage Mode Storage Mode Common Features If you want to load most but not all of the items from a file (for example, if there happens to be a Master table in the file that you don’t want to load), it may be fastest to first select all objects using the Left/Right double-press, and then manually deselect any unwanted items. Loading Methods Once you have pressed OK to load the selected file(s) or object(s), you must select the bank to load to and a loading method.
Storage Mode Storage Mode Common Features Here’s how the loading methods work: OvFill First deletes all RAM objects in the selected bank, and then loads objects using consecutive numbering. Overwrt First deletes all RAM objects in the selected bank, and then loads objects using the object ID numbers stored in the file. Merge Preserve the object ID numbers stored in the file for the objects to be loaded, overwrite objects already in memory if necessary. For .
Storage Mode Storage Mode Common Features The following example shows how each different loading methods affect how four programs load into a bank that already contains programs. Example: Starting with the following objects already stored in the PC3A internal RAM: Program ID Program Name 129 Piano Stack 133 Ole Upright 1 134 WestCoastPno&Pad 139 The Ancient 140 DancePnoEchplex Suppose you were to load a file containing the following objects into the Base2 (129...
Storage Mode The Utilities (UTILS) Page The Utilities (UTILS) Page Pressing the UTILS soft button calls up the Utilities page. Use the Utilities page to create directories (folders) on the current USB device, or use the Utilities page to delete, rename or copy files on the current USB device. See the soft buttons below for the each available function: Soft Buttons on the Utilities Page 13-14 NewDir Create a new directory (folder) in the current directory.
Storage Mode Export Export Press the EXPORT soft button to go to the Export page. The Export page allows you to export MIDI files created in Song mode, lists of controller assignment info that are automatically created for each Program and each Chain, or a list of all objects in text format. Developers can also export an object in XML format, or export a KPN. To export a MIDI file created in Song mode, the song must be currently loaded in Song mode.
Keymap and Sample Editing The Keymap Editor Chapter 14 Keymap and Sample Editing The Keymap Editor The Keymap Editor lets you customize the PC3A’s factory preset keymaps and save them to RAM. You can also build your own keymaps from scratch (see Building a Keymap on page 14-7.) Keymaps are an integral part of every layer of a program. Each keymap contains a set of parameters determining which sample(s) the PC3A will play when you trigger a note.
Keymap and Sample Editing The Keymap Editor using the LoKey and HiKey parameters on the LAYER page in the Program Editor. If each layer covers the entire range, then each note you played would trigger 20 voices (one for each layer). You would only hear one drum per note because all the other layers are triggering “Silence.” Because of the voice-stealing algorithms in the PC3A, the voices would almost immediately become available again, since they have no amplitude.
Keymap and Sample Editing The Keymap Editor Keymap Editor Parameters Sample This is where you assign a sample root to the current key range. Depending on the nature of the sample root—an individual sample or a block of sample roots—the sample’s name looks a bit different in the display. Each sample’s name consists of three parts: a numeral, a name, and a note number—for example, 999 Silence-C4. Additionally, the name of stereo samples will end with an S.
Keymap and Sample Editing The Keymap Editor Velocity Range (VelRange) This parameter shows the keyboard velocity range (in dynamic levels) that will trigger a sample for the current KeyRange. In a key range with more than one velocity range, each velocity range can use a different sample, as well as different CoarseTune, FineTune, and VolumeAdjust settings. Velocity ranges are intended for use with instrument samples recorded at different velocities.
Keymap and Sample Editing The Keymap Editor The Soft Buttons in the Keymap Editor Toggle Pressing the Toggle soft button switches the function that the Chan/Layer buttons perform while on the EditKeymap page. Press the Toggle soft button to toggle the top line between displaying KeyRange or VelRange. If the top line of the page displays KeyRange, then the Chan/Layer buttons will scroll between the available key ranges in the key map (if the current key map has more than one key range.
Keymap and Sample Editing The Keymap Editor If you set a new keyrange that’s completely within an existing key range, the existing key range will be split into two keyranges, with the new keyrange between the two. At this point, you must change at least one parameter of the new keyrange before editing a different keyrange, otherwise the new keyrange will be merged with the adjacent keyranges.
Keymap and Sample Editing The Keymap Editor Building a Keymap Read below for detailed directions on manually creating and editing a keymap. (See the preview function on page 11-18 for a way to automatically create a program and keymap.) To build a keymap, first go to the Program mode main page (this can be done by repeatedly pressing the Exit button.) From the Program mode main page, use the alphanumeric pad to select program 999 Default Program. Next press the Edit button to enter the Program Editor.
Keymap and Sample Editing The Keymap Editor Here’s a fairly important point that may or may not affect your keymap construction. Suppose you want to build a keymap that uses the same sample in several adjacent key ranges, and you plan to add a bit of detuning to the samples in each range. You might think that you could build the keymap first, then go into the Sample Editor and tweak the sample settings of each keyrange when the keymap is finished.
Keymap and Sample Editing The Keymap Editor Editing Samples To enter the Sample Editor, first select the program you wish to edit in Program mode. With the program selected, press the Edit button to enter the Program Editor. In the program editor the KEYMAP page will be selected (if not press the KEYMAP soft button.) With the KeyMap parameter selected on the KEYMAP page, press the Edit button again to enter the Keymap Editor.
Keymap and Sample Editing The Keymap Editor Parameter Range of Values Root Key Number C -1 to G 9 Pitch Adjust Variable (depends on sample rate) Volume Adjust -64.0 to 63.5 dB Alternative Volume Adjust -64.0 to 63.
Keymap and Sample Editing The Keymap Editor Release Rate The release rate determines how long the sample will take to decay to zero amplitude when the note trigger is released. The higher the value, the faster the release rate.This release affects each sample individually, and is in effect only when the amplitude envelope for the program (the Mode parameter on the AMPENV page in the Program Editor) is set to Natural. In this case, the release begins as soon as the note is released.
Keymap and Sample Editing The Keymap Editor The TRIM Page The TRIM page lets you set the Start, Alternative Start, Loop, and End points of the current sample. The top line indicates the Zoom and Gain settings. This Gain setting doesn’t affect the amplitude of the sample, just the view in the display. The right side of the top line displays the root number of the sample. If the sample is part of a group of sample roots, you can use the Chan/ Layer buttons to scroll through each sample in the group.
Keymap and Sample Editing The Keymap Editor the zero point of the display (the horizontal line in the middle of the waveform display.) Though adjusting these points visually is helpful, always listen to the sample and make the final settings based on what sounds best. You’ll notice an audible click in your sample loop if the ends of the waveform do not meet where the loop occurs. The closer you can get the two ends of the waveform, the better the sound quality of your loop will be.
Tutorial: Song Mode Chapter 15 Tutorial: Song Mode In Song mode, you can use the PC3A’s sequencer to record songs using multiple instrument sounds. You can easily change your song’s tempo, fix mistakes, and adjust the volume of each instrument. The following guide includes instructions to choose specific instrument sounds and track numbers, simply as examples. When you are ready to make your own song, follow the same methods and choose any instrument and track selection that you want.
Tutorial: Song Mode Bars and beats should be familiar terms for musicians, but ticks are a term specific to MIDI sequencers. Ticks provide fine resolution when recording and editing sequences. For example, if you were to play along with the sequencer’s metronome to record one note on each beat of a bar, upon reviewing the sequence you would most likely find that each note was not recorded exactly on each beat, but that each was recorded a different small number of ticks away from the beats.
Tutorial: Song Mode 4. Use the cursor buttons to navigate to the Prog field and choose a program with the plus/ minus buttons, alpha wheel, or by entering the desired program number with the alphanumeric pad. This sets the instrument sound for the current track. For example, choose program 1 Standard Grand to 5. make the first track contain the piano part for this song (see below.) You can do this quickly by entering 1 on the alphanumeric pad and pressing Enter.
Tutorial: Song Mode 2. To hear the metronome play your tempo, use the right more button to find and then press the BIG soft button. This brings you to the Song:Big Time page. On the Song:Big Time page, set the Metron parameter to Always (see below.) Make sure the PC3A’s main volume is set at a moderate level, then press the Play/Pause button to hear the metronome play the selected tempo. 3.
Tutorial: Song Mode 2. Press the Record button located on the front panel. This prepares the PC3A for recording on the current RecTrk. The Record button lights, and on the Song mode MAIN page the right of the top line will display REC. READY, which means that the sequencer will record when the Play/Pause button is pressed (see below.) 3. Press the Play/Pause button located on the front panel.
Tutorial: Song Mode Pressing Retry restarts recording from the same point you last started recording from. Yes saves the song with the performance you just recorded. Whatever was played back when you pressed PlayNew will be the version of the song saved when you press Yes. The “save as” dialog will be displayed: Use the Alpha Wheel, -/+ buttons, or Alphanumeric Pad to choose a free ID# location to save the song, or choose a used ID# location to overwrite a previously saved song with your new version.
Tutorial: Song Mode editing a factory ROM song. When editing a song that has been stored in user memory (any originally unused ID#,) the edited song’s ID# is automatically selected. This assumes that you wish to replace the existing song, but you can choose another ID# if desired to save a new copy. Choose a used ID# to replace an existing saved song. If you replace a factory ROM song, you can revert to the original song by deleting the song using the Song Mode Delete soft button.
Tutorial: Song Mode Part 5: Fixing Mistakes For each track in Song mode, you can fix mistakes in your performance without re-recording the entire performance. Here we will describe the method that is easiest for fixing specific passages in a track. (For a way to fix single notes, see Song Editor: The EVENT Page on page 12-31 in Chapter 12, Song Mode and the Song Editor.) 15-8 1.
Tutorial: Song Mode 5. Set times for the Time In and Time Out fields to select the time to fix. For this example we will fix bar 3 (see below.) Note: If you need to fix a section which isn’t exactly within one bar or an even division of beats, use the following method to find your Time In and Time Out points: Use the big time location numbers on the top of the page to find a time where the first notes played (when you press play/ pause) are the notes that you wish to replace.
Tutorial: Song Mode Part 6: Adjusting The Volume Of Each Instrument Adjust the volume of an instrument by adjusting the volume of the track containing that instrument program. While your song is playing, you can use the Vol parameter on the Song mode MAIN page to adjust the volume for the track currently set in the RecTrk parameter. To permanently store your volume settings with the song, you must store an initial volume for each track. Let’s use the song we created in the parts above as an example.
Tutorial: Song Mode 4. On the Song:MIXER page, press the Keep soft button to store initial values for all tracks (see below.) 5. On the Song:MIXER page, press the Done soft button or the front panel Exit button. You will be asked to save changes to your song, just as in Part 3, step 4 of this guide (see above.) Saving your song completes the process of storing initial volume settings with your song.
Tutorial: Song Mode 2. Press the Record button, then press Play/Pause. 3. Select the Vol parameter and adjust it with the alpha wheel while the sequencer is recording. Any changes to the Vol parameter will be recorded as data in the current track. 4. When you are finished, press the Stop button. You will be able to review and save your changes just as in Step 4 of Part 3 (see above.
Tutorial: Song Mode 3. On the EditSong:TRACK page, set the Function parameter to Erase (see below.) 4. Use the Chan/Zone buttons (to the left of the display) to choose the track to erase volume automation from. You can view the selected track number in the upper right corner of the screen. 5. Set the Events parameter to Controllers (see below.) 6. Set the Controller parameter to Volume.
Tutorial: Song Mode 7. Use the From and To parameters to set the range of time from which you want to remove your volume automation. You can play the song and watch the Locate field to determine these times. For this example, let’s say that we want to erase volume automation from bar 3 (see below.) 8. Press the Go soft button to delete the selected volume automation. A screen will appear reading “Erase Operation Completed!” Press the OK soft button to return to the EditSong:TRACK page (see below.) 9.
Tutorial: Song Mode Part 7: Learning More About Song Mode Factory ROM Songs The PC3A includes a number of pre-recorded songs stored in the factory ROM. Investigate these songs to see the possibilities of Song mode. Feel free to edit or add to any of these songs in order to learn more about song mode. You can save the demo songs you’ve experimented with under new ID numbers so that you can compare between your version and the original.
Tutorial: Song Mode Song Editing And Structure With Track Functions In song mode you can easily copy part of a sequence to another time in the song, or from one track to another. You can also copy a section of all tracks at once in order to duplicate or structure entire sections of your song, such as verse and chorus sections. You can also choose groups of notes to erase, or entire bars of time to delete. There are many basic and advanced editing functions available.
MIDI Implementation Chart Appendix A Specifications MIDI Implementation Chart Model: PC3A Manufacturer: Young Chang Date: 10/01/14 Version 1.
Specifications Specifications PC3A8 Height: (4.33”) (11.00 cm) Depth: (13.98”) (35.50 cm) Length: (54.33”) (138 cm) Weight: (54 lb.) (24.50 kg) PC3A7 Height: (4.33”) (11.00 cm) Depth: (13.98”) (35.50 cm) Length: (47.75”) (121.29 cm) Weight: (37.35 lb.) (16.94 kg) PC3A6 Height: (4.84”) (12.30 cm) Depth: (13.98”) (35.50 cm) Length: (39.37”) (100 cm) Weight: (30.86 lb.) (14.00 kg) Power Internal AC power supply. User selectable 120/240V AC operation. 120V current 0.5A maximum 240V current 0.
Appendix B PC3A Bootloader The Bootloader is the program that runs when the PC3A is first turned on. Its job is to check that hardware is functional, initialize the digital systems, and load the main synthesizer program. Under normal circumstances you might not even notice that the Bootloader is there at all, since the PC3A will start up on its own without any problem. However, if you want to update your unit, or perform maintenance on it, you may need to interact with the Bootloader program itself.
You can also enter the Bootloader menu from the Master Mode menu during normal operation. System Update (PC3A Software, Objects, Etc.) The most common use of the Bootloader menu is to update your PC3A using new versions of software and objects supplied by Kurzweil. Updates for the PC3A come in .KUF files (Kurzweil update files,) which can include updates to the PC3A operating system, factory objects, and firmware.
System Utilities Format Flash Press the soft button labeled Format Flash to reinitialize the internal file system. This deletes all objects and the current OS. (If possible, remember to first save your work in the Storage menu. Once deleted, the files are completely removed from the PC3A and there is no way to retrieve them.)This will delete everything that was stored internally on the PC3A, and leave a clean, empty file system ready for use.
Appendix C Changing PC3A Voltage In most cases, you will not need to change the voltage on your PC3A. However, since different countries use different standard voltage settings, there may be times when you need to make the change. The PC3A’s fuse holder (where the power cable plugs in) is where you change the voltage. The marks on the fuse holder are 115 and 230. 115 should be used for voltages from 100 to 125. 230 should be used for 200 to 240.
Pry out the fuse holder. If there is only one fuse in the fuse holder, you must remove the metal clip on the empty side.
The clip just pulls off: The clip removed from the fuse holder: C-3
Remove the fuse. Install two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V, one on each side of the fuse holder. The fuse holder will accept either 1.25” X 0.25” size or 5 mm X 20 mm size fuses. If using 5 mm X 20 mm size fuses, install them towards the inside end of the fuse holder near the metal pins, as shown here: Replace the fuse holder in the power entry module with the indicator for the desired voltage towards the edge of the module, away from the power switch.
PC3A Objects (V 2.3) Programs Appendix D PC3A Objects (V 2.3) Programs Press the Info soft button for controller information.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
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PC3A Objects (V 2.3) Programs ID Program ID Program ID Program 724 Paper Tom 778 Poly Sweep 2 809 8’ Diapason 725 Boinker 779 Scat Vocals 810 8’ Ped Bourdon 726 GlubFlangeKit 780 Scat Choir 811 8’ Reed 727 DryFattyKit 781 FM SqareBell 812 8’ Gamba 728 Drums w Bass 1 782 Toot Lead 813 8’ DiaCeleste 729 RMI ElecKit 783 WetToot 814 8’ Ballpark Stop 730 GateClapDrmLE 784 LegatoBrassyLead 815 8’ Viol 731 Dub Kit 785 Treble FM Lead 816 51/3’ Ped Bourd.
PC3A Objects (V 2.3) Programs ID Program ID Program ID Program 840 2’ Ballpark Stop 924 Wah B3+Echoplx 955 GM Synth Kit 841 2’ Viol 925 Sweet n Nice 956 GM Jazz Kit 842 Pro Piano 926 Soft Chords 957 GM Brush Kit 843 Big Pop Piano 927 SputtringingB3 958 GM Orch Kit 897 Ezra’s Burner 928 Melvin C.
PC3A Objects (V 2.
PC3A Objects (V 2.3) Programs ID Program ID Program ID Program 3257 Punch-a-ghost 3288 Squeeze Pad 3319 Cyanide and .
PC3A Objects (V 2.
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PC3A Objects (V 2.
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PC3A Objects (V 2.3) Setups Setups Press the Info soft button for controller information.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
Effect Chains # Chain # Chain # Chain 395 Cathedral Vx 450 SynthLead 489 HeavyBuckers 396 BurningTubes5 451 SynthBassAmp 491 ProBassComp 397 PunchBassAmp 452 MosqueySwirl 492 NYCTripStrings 399 RevverLeslie 454 PadFX2 493 ProBassComp2 400 Bradley’s Barn 1 455 PadFX1 496 DirtLordAmp 401 Bradley’s Barn 2 456 Chr & Echo 500 Setup Aux Verb 403 LA2A for Strings 457 Vocals w FX 501 Setup Aux DDL 411 ChrsDly 458 DrySynthCDR 517 Early Reflection 412 RealDrmC
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.3) Effect Presets with Algorithms Effect Presets with Algorithms How to Use These Tables Each effect preset in the PC3A (for effects boxes within the Chain editor) is based on an effect algorithm from the Kurzweil KSP8 effects processor. To make the fullest use of the PC3A’s effects, you will need to download a copy of the KSP8 Algorithm Reference from the Kurzweil Music Systems website. This book provides extensive detail on all effects parameters.
PC3A Objects (V 2.
PC3A Objects (V 2.
Effect Presets with Algorithms XL Reverse Gated w/Comprs Unusual D-32 97 Classic Plate alg 5 Classic Verb 2U 98 Weighty Platey alg 5 Classic Verb 2U 99 Huge Tight Plate alg 9 Diffuse Verb 3U 100 Immense Mosque alg 7 TQ Verb 3U 101 Dreamverb alg 10 OmniPlace 3U 102 Splendid Palace alg 5 Classic Verb 2U 103 Big Gym alg 11 OmniVerb 3U 104 Huge Batcave alg 12 Panaural Room 3U 105 Reverse Reverb 1 alg 15 Finite Verb 3U 106 Reverse Reverb 2 alg 15 Finite Verb 3U 107
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
Effect Presets with Algorithms 231 Wetlip Flange alg 225 Flanger 1 1U 232 Simply Flange alg 225 Flanger 2 2U 233 Analog Flanger alg 225 Flanger 2 2U 234 Soft Edge Flange alg 225 Flanger 2 2U 235 Ned Flangers alg 225 Flanger 1 1U 236 Wispy Flange alg 225 Flanger 1 1U 237 Crystal Flange alg 456 St Flange+Delay 1U 238 NarrowResFlange alg 452 Flange<>4Tap 2U 239 TightSlapFlange alg 450 Flange+Delay 1U 240 Flanged Taps alg 455 Flange<>LasrDly 2U 241 StFlange+Delay alg
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
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PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
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PC3A Objects (V 2.
PC3A Objects (V 2.3) Samples ID Sample 3468 CB Hats 3469 ST Hats 3470 Brush Hats 3471 Elec Hats 3472 Crash Cymbals 3473 Ride Cymbals 3474 Elec Perc 3475 Sound FX 3476 Human Percussion 3477 Drum Perc 3478 Gourd 3479 Wood Perc 3480 Metal Perc 3481 Shaker Perc 3482 Reverse Cyms 3483 Reverse Drums 3484 Bell Tree 3700 PC3A Piano p 3701 PC3A Piano mp 3702 PC3A Piano mf 3703 PC3A Piano f 3704 PC3A Piano ff 3705 PC3A Piano fff 3706 B4_thump2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
PC3A Objects (V 2.
Object Types and Conversion Details Appendix E PC3A Legacy File Conversion The PC3A can load objects from older Kurzweil K2 series products. Loaded objects are converted to object types native to the PC3A (see below for object types that can be converted.) Some object parameters cannot be converted and must be adjusted by the user after conversion (see object types below for details.
Index Numerics 50% Weight 9-24 A A/Dry->B parameter 9-12 A->B cfg parameter 9-12 About 11-18 Adding layers 6-52 additional sounds 1-5 Adjust parameter (EnvCtl) 6-46 Adjusting sample volumes 14-4 AIF Automatic Preview in a Program 11-19 Loading Tutorial 13-16 Algorithms D-21 Editing 6-28 Aliaser effect 9-19 All Controllers Off 10-6 All Notes Off 10-6 Alpha Wheel 3-9 Alphabetic entry 3-9, 5-3 Alphanumeric pad 3-9 Alt Input for Algorithms 6-27 Alternative Attack parameter (Keymap) Parameters 6-16 Alternative
Clicking during portamento 6-36, 6-37 Clock 11-17 setting 2-7 Source 11-11 COMMON Page Song Mode 12-19 Common parameters 6-35–6-60 Compare 5-7 Compatibility K Series Objects E-1 Complex Echo 9-14 Compressors 9-16 Configuring control sources 6-9 Connecting MIDI 2-3 continuous pedals 1-5 Contour 9-20 Contrast 2-5 Control Setup 6-9 Control sources Configuring 6-9 FUNs 6-41 Key tracking 6-25 Source 1 and Source 2 6-25 Velocity tracking 6-25 Controllers saving settings in Program Mode 6-3 Controlling LFO rate 6-
Parameters 9-12 Effects button 5-7 Effects bypass 5-7 Effects mode 4-3 Effects Parameters 9-12 Electrical grounding 2-2 Enable MIDI channels 10-14 Enable parameter (Layer) 6-19 Enable Sense parameter (Layer) 6-19 Enhancers 9-16 Env Rate 9-21 Env Time 9-18 ENV2 and ENV3 pages (Program Editor) 6-44 ENVCTL page (Program Editor) 6-45 Envelope control 6-45 Envelope control parameters 6-46 Envelope Filter 9-20 Envelopes 6-42, 6-44 EQ Morpher 9-16 EQ page (Program Editor) 6-69 EQs 9-15 Equalizers 9-15 Erase Song M
Impact parameter (EnvCtl) 6-47 Import Layer soft button 6-52 Importing layers 6-52 In Select 9-25 In/Out parameter 9-12 InfinDecay 9-13 Info Export 13-15 INFO Editor 6-51, 6-52 INFO soft button Program Editor 6-51, 6-52 Info soft button 2-8, 6-2, 8-2 Insert Song Mode TRACK Page 12-26 Intonation key 11-9 Intonation tables 11-8 Introduction to editing 5-1 Intuitive data entry 3-11 K K series object conversion E-1 K2600 bank mode 7-7 KB3 1-3, 2-9, 6-4, 6-6, 6-59 Polyphony 6-60 KB3 channel 6-6 KB3 programs 2-
Max Freq 9-20, 9-21 Maximum delay parameter (Layer) 6-19 Maximum Rate parameter (LFO) 6-39 Memory objects 5-4 metronome 15-4 count off options 15-5 Mic Angle 9-23 Mid Freq 9-15 Mid Gain 9-15 Mid Width 9-15 MIDI About MIDI 15-1 All Notes Off 10-6 Basic channel 10-6 Channel enable 10-14 Pan 10-15 Parameter locks 10-15 Program change formats 10-15 Receive mode 10-6 Reset channels 10-18 Transmit parameters 10-1 Utilities 11-16 Volume 10-15 MIDI channel 10-2 MIDI channel parameters 10-14 MIDI connections 2-3 MID
P Pages 3-6 AMP (KB3) 6-62 AMPENV (Amplitude envelope) 6-42 ASR (Attack, Sustain, Release) 6-40 DRAWBR 6-61 ENV2 and ENV3 (Envelopes) 6-44 ENVCTL (Envelope control) 6-45 EQ 6-69 FUN (Attack, Sustain, Release) 6-41 KEYCLK 6-65 KEYMAP 6-14 LAYER 6-17 LFO 6-38 MIDI CHANLS 10-14 MIDI RECV 10-5 MIDI XMIT 10-1 MISC 6-67 OUTPUT (KB3) 6-70 PERC 6-63 PERC2 6-64 PITCH (KB3) 6-62 TONEWL 6-59 Pair Wts 9-25 Pan 9-22, 9-26 MIDI 10-15 Pan lock 10-15 Pan Mode parameter (Output) 6-32 Pan parameter (Output) 6-32 Pan Width 9
Editing (KB3) 6-59 Editing (VAST) 6-12 Importing layers 6-52 KB3 2-9, 6-6 Renaming 6-52 Saving 6-52 selecting 2-7 VAST 2-8, 6-4 Ptch Offst 9-25 Pulse Width 9-21, 9-24 punching in 15-9 Punctuation 5-3 Q Quantize Song Mode TRACK Page 12-27 Quantize + Flange 9-19 Quantizing 15-15 Quartr Wts 9-25 Quick Access bank program changes 10-16 Quick Access button 5-7 Quick Access Editor 8-1 Quick Access mode 2-9, 4-3 R R Diff Dl 9-14 RAM objects 5-2, 5-4 Rate Control parameter (LFO) 6-39 Rate Scale 9-24 Ratio 9-17
Local Program (LocalPrg) 7-4 Name Soft Button 7-68 New Zone (NewZn) Soft Button 7-68 Soft buttons 7-68 Setup Mode Pressure (Press) Page 7-35 Ribbon Configuration (RIBCFG) Page 7-40 RIBBON Page 7-40 WHEEL Page 7-32 Setup mode 4-2, 7-1 Setup Mode analog output settings 7-6 Setups 2-9 Aux Bend 1 7-19 Aux Bend 2 7-19 BEND Page 7-18 Bend Range 7-18 COMMON Page 7-65 Continuous Control Pedal (CPEDAL) Page 7-34 Continuous Controller Parameters 7-29 Controllers 7-19 Curve (Curv) 7-29 Destination 7-5 Destination (Des
T Tap Dly 9-18 Tap Lvl 9-18 Tap Pan 9-18 Tap Pitch 9-15 Tap PtAmt 9-15 Tap Shapr 9-15 Tap Tempo 11-11, 15-3 Tap types in Multitap delays 9-14 Tapn Bal 9-14 Tapn Level 9-14 Tempo 15-3 Master 11-11 Song mode - Tempo Track 12-33 Tap Tempo 11-11 Tap Tempo function 15-3 Threshold 9-17 Thru/Out switch 2-3 Timbre Shift parameter (Keymap) 6-16 time signature 15-3 Time Stamp 11-17 Toggle switch type 7-31 TONEWL page (Program Editor) 6-59 Top line of display 3-6 Track output settings (Song Mode) 12-12 TRACK Page Son
