Musician’s Guide (includes PC3K6, PC3K7, and PC3K8) ® Kurzweil is a registered trademark of Young Chang Co., Ltd. ©2011 All rights reserved. Young Chang®, Kurzweil ®, V. A. S. T. ®, PC3K®, PC3®, PC3LE®, KDFX®, Pitcher®, LaserVerb®, KSP8 ™, K2661™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and specifications are subject to change without notice.
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.
Important Safety Instructions 1)Read these instructions 2)Keep these instructions. 3)Heed all warnings. 4)Follow all instructions. 5)Do not use this apparatus near water. 6)Clean only with dry cloth. 7)Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions. 8)Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative. American Music & Sound 22020 Clarendon St, Suite 305 Woodland Hills, CA 91367 Phone: +1 (800) 431‐2609 Fax: +1 (818) 597‐0411 Email: info@americanmusicandsound.com Young Chang Co., Ltd. 9th Floor, Bldg 102, I‐Park, Jeongja‐Dong, Bundang‐Gu, Seongnam‐Si, Gyeonggi‐Do 463‐811 South Korea Phone: +82 (31) 786‐7986~7 Fax: +82 (31) 785‐2701 www.ycpiano.co.kr www.youngchang.com www.kurzweil.
Table Of Contents Kurzweil International Contacts......................................................................................................................................iv Chapter 1 Introduction Keeping Current ..............................................................................................................................................................1‐2 Overview of the PC3K......................................................................................................
Software Upgrades ........................................................................................................................................................2‐10 Chapter 3 User Interface Basics Mode Selection .................................................................................................................................................................3‐1 Mode Buttons .............................................................................................................
Saving and Naming.........................................................................................................................................................5‐3 ROM Objects .............................................................................................................................................................5‐4 Memory Objects ......................................................................................................................................................
Delay Control (DlyCtl)...........................................................................................................................................6‐18 Minimum Delay (MinDly), Maximum Delay (MaxDly) ..................................................................................6‐19 Enable .......................................................................................................................................................................6‐19 Enable Sense (S) ................
The Function (FUN) Page .............................................................................................................................................6‐41 The Amplitude Envelope (AMPENV) Page...............................................................................................................6‐42 Attack Segment Times ...........................................................................................................................................6‐43 Attack Segment Levels....
KB3 Editor: The AMP Page ..........................................................................................................................................6‐62 KB3 Editor: The PERC1 Page .......................................................................................................................................6‐63 Percussion ................................................................................................................................................................
MIDI Program (MidiProg) ......................................................................................................................................7‐6 Status ..........................................................................................................................................................................7‐6 Out .....................................................................................................................................................................
The Programmable Switch Pages: SWPRG1 to SWPRG8 ........................................................................................7‐64 The COMMON Page .....................................................................................................................................................7‐65 Tempo.......................................................................................................................................................................7‐65 Clock Source ...........
Quantize...................................................................................................................................................................9‐19 LaserVerb .................................................................................................................................................................9‐19 Filters ........................................................................................................................................................
FX Mode...................................................................................................................................................................11‐2 Drum Remap ...........................................................................................................................................................11‐2 ID Entry..............................................................................................................................................................
Mode Indicators (+ and x): ....................................................................................................................................12‐6 Activity Indicators ..................................................................................................................................................12‐6 Track Status Indicators...........................................................................................................................................
Release....................................................................................................................................................................12‐18 Key Wait.................................................................................................................................................................12‐18 Song Mode: The STATS Page .....................................................................................................................................
Loading Methods..................................................................................................................................................13‐11 The Utilities (UTILS) Page ..........................................................................................................................................13‐14 Soft Buttons on the Utilities Page .......................................................................................................................13‐14 Export .......
Reverbs ....................................................................................................................................................................D‐21 Delays ......................................................................................................................................................................D‐25 Chorus ......................................................................................................................................................
Introduction Chapter 1 Introduction Greetings. Your new instrument offers amazing acoustic, electric, and synthesizer sounds, combined with sample loading and advanced programming features that will let you create almost any sound you can imagine. This manual covers the PC3K in its 88, 76, and 61‐note configurations (PC3K8, PC3K7, and PC3K6.) For the most part, anywhere we talk about the PC3K in this manual we mean any of these instruments.
Introduction Keeping Current Keeping Current Check for new documentation and operating system upgrades before you start using your instrument. When new software is available for the PC3K, it will be posted at www.kurzweil.com. You’ll use the PC3K’s Boot Loader (described in this manual) to upgrade your instrument to use the new software. Pictured below is the 88‐key PC3K8.
Introduction How the PC3K Works How the PC3K Works The PC3K integrates three MIDI‐driven components: a MIDI controller (the keyboard, or an external MIDI controller), a sound engine, and an effects processor that employs the same effects used in Kurzweil’s KSP8. The sound engine responds to the MIDI events generated by the MIDI controller, and turns them into sounds that are processed within the variable architecture of the algorithms—or by oscillators for KB3 programs.
Introduction How to Use This Manual VA‐1 programs are scattered throughout the PC3K. Look for them in the Synth Category and the Classic Keys Bank. You’ll see “KVA Oscillator” appear in the Keymap screen on the left hand side of the display. How to Use This Manual This manual describes how to connect and power up your PC3K, getting around the front panel, and a brief description of the operating modes.
Introduction Options Options Ask your Kurzweil dealer about the following PC3K options: Sound ROM Expansion Card The PC3K has a socket for a 64 MB expansion card to add additional Kurzweil ROM sounds. This is user installable (the expansion kit comes with complete instructions). Pedals The PC3K 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).
Introduction Options 1-6
Startup Make Connections 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 PC3K. 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 PC3K.
Startup Startup—the Details Startup—the Details This section walks you through the hookup of your PC3K. 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 PC3K is properly and safely situated. Also, if your PC3K 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 PC3K.
Startup Startup—the Details Digital For digital audio output from the PC3K, connect a 75‐Ohm coaxial cable from the PC3K’s RCA Digital Out jack to the AES or S/PDIF input of the receiving device. You may need an RCA‐to‐ XLR adapter to connect with the receiving device. If the receiving device receives only optical signals, you’ll need a converter as well. The PC3K’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 PC3K’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 1 /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 PC3K 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 PC3K, but it is easily accessible from the front of the instrument.
Startup PC3K Programs When you leave Storage Mode, there will be a prompt telling you that the PC3K 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 PC3K leaves the Boot Loader).
Startup PC3K 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 Setups 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 PC3K. KB3 programs play only on a single channel at a time (VAST programs will work fine on that channel, too).
Startup The Other Modes 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 PC3K. 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 PC3K 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 Mode Buttons Song mode Use the PC3K’s sequencer to record and play back your keyboard performance, play Type 0 and Type 1 MIDI sequences, and record multi‐ timbral sequences received via MIDI. Storage mode Interface with the PC3K’s USB storage or computer ports to load and save programs, setups, samples, and more. The PC3K’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 Sliders Sliders In KB3 mode, the PC3K’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 PC3K 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 PC3K’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 PC3K’s programming parameters. The Display Your primary interface with the PC3K 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 PC3K’s editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the PC3K 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 Data Entry 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 Data Entry 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 Search 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 What the Modes Are 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 PC3K logical to work with. With as many performance and programming features as the PC3K 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.
The Operating Modes Using the Modes 4-4
Editing Conventions Introduction to Editing Chapter 5 Editing Conventions Introduction to Editing Programming (editing) the PC3K 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 PC3K 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 Deleting Objects 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 PC3K 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 PC3K won’t let you delete ROM objects (also known as “factory” objects).
Editing Conventions Special Button Functions 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.
Editing Conventions Special Button Functions 5-8
Program Mode The Program Mode Page Chapter 6 Program Mode Programs are the PC3K’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 PC3K, where you select programs for performance and editing. The PC3K 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 PC3K’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 and KB3 Programs 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 VAST Program Structure Zone Zone Zone 1 2 3 Zone Zone 4 5 Zone Zone 6 7 Zone 8 16 keyboard zones— each with independent program, MIDI channel, and control assignments Selected for performance and editing in Program mode; up to 32 layers per program A keymap processed through an algorithm, modulated by control sources Up to 128 sample roots, assigned to play at programmable key and velocity ranges Individual digital sound recordings stored in ROM; stereo samples use two voices of polyph
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 PC3K 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 PC3K’s physical controllers (wheels, sliders, pedals, etc.) in Program mode. These assignments are the MIDI CC numbers that the PC3K’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 PC3K’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 The KEYMAP Page 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 The KEYMAP Page 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 The KEYMAP Page 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 Minimum Delay (MinDly), Maximum Delay (MaxDly) The length of the delay is determined by these two parameters. When the control source assigned to DlyCtl is at its minimum, the delay will be equal to the value of MinDly. The delay will be equal to the value of MaxDly when the control source is at its maximum. If DlyCtl is set to OFF, you get the minimum delay. If it’s set to ON, you get the maximum delay.
Program Mode The LAYER Page Repeat this for each layer in the program. Bear in mind that if you want to set up 32 different velocity levels for a program, with equal intervals between each layer, then you have a range of 4 for each level (Layer 1 is 0–3, Layer 2 is 4–7, and so on). It won’t be easy to play precisely enough to trigger the layer you want. On the other hand, if you’re using Song mode or an external sequencer, you can edit attack velocity levels, and get exactly the results you want.
Program Mode The PITCH Page Hold Through Attack (ThrAtt) When on, this parameter causes all notes in the layer to sustain through the entire first attack segment of their amplitude envelopes, even if the notes have been released. If you have a sound with a slow attack, or an attack that’s delayed with the delay control, setting this parameter to On will make sure your notes reach full amplitude even if you’re playing fast.
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 PC3K 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 Src1 works in tandem with the parameter beneath it on the page: Depth. Choose a control source from the list for Src1, then set a value for Depth. When the control source assigned to Src1 is at its maximum, the pitch will be altered to the full depth you set. For example, if you set Src1 to MWheel, and set Depth to 1200 ct, the pitch will rise as you push the Mod Wheel up on your PC3K or MIDI controller, reaching a maximum of 1200 ct (12 semitones, or one octave).
Program Mode The Algorithm (ALG) Page Alt Input for Algorithms (Cascade Mode) Cascade mode is a particularly powerful feature of the PC3K 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 PC3K’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 Each function‐parameter’s subpage contains the programmable parameters of the highlighted function‐parameter. By assigning control sources to modulate a function‐parameter, you can enable real‐time control of your program’s sound and behavior. You can assign Src1 to any control source, and can specify its maximum value with the Depth parameter.
Program Mode The OUTPUT Page 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 Pan Use this parameter to position the current layer’s
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 COMMON 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 COMMON 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 COMMON Page Mono Sample XFade When applying portamento to multi‐sampled sounds (Acoustic Guitar, for example), the PC3K 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 PC3K performs a crossfade at each sample root transition to eliminate clicks.
Program Mode The LFO 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 LFO 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 PC3K’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 PC3K’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 PC3K’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 before them. 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. 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 Impact Impact can boost or cut note volume by up to 24 dB during the first 20 milliseconds of the attack of an envelope. This feature is an easy way to get more “thump” from your bass and drum sounds. The Program FX (PROGFX) Page Press the PROGFX soft button to call up the Program FX (PROGFX) page. This is the page that you will use to apply effects to a program, and to configure the routing of the various pre‐ and post‐FX audio signals.
Program Mode The Program FX (PROGFX) Page 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. Auxiliary Send Parameters The Auxiliary Send parameters determines the level of the program signal sent to the auxiliary effects chain.
Program Mode The Layer FX (LYR_FX) Page Aux1 Mod, Aux2 Mod The Aux Mod parameter gives you real‐time control over the amount of program signal sent to the aux effects chain. You can set the Aux Mod parameter to any PC3K control source. The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod control source can send—the minimum value is 0. The Layer FX (LYR_FX) Page Press the LYR_FX soft button to call up the Layer FX (LYR_FX) page.
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 PC3K’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 INFO 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 Editing VAST Programs With KVA Oscillators Editing VAST Programs With KVA Oscillators The PC3K 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 Editing VAST Programs With KVA Oscillators keymaps. For each oscillator, its coarse pitch parameter is named by an abbreviation of the oscillator name followed by “Pch.” For example, the coarse pitch parameter for a saw wave oscillator will be called Saw Pch. On the DSPCTL sub page for any oscillator Pch. parameter, you can adjust fine pitch by cents and Hertz, as well as KeyTrk and VelTrk settings for pitch.
Program Mode Editing VAST Programs With KVA Oscillators 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 ʺnoneʺ on the keymap page. Select ʺuserʺ on the Ampenv page for an amp envelope. On the ALG page, select Algorithm 5 at the top of the page.
Program Mode Editing VAST Programs With KVA Oscillators cut some of the high frequencies from any signal that passes through it, in this case the PWM signal is 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.
Program Mode Editing VAST Programs With KVA Oscillators 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 Editing VAST Programs With KVA Oscillators 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 Editing KB3 Programs 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 PC3K 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 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 Set Drawbars (SetDBR) Soft Button 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 OUTPUT Page 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 Programming Tips 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.
Program Mode KB3 Programming Tips 6-72
Setup Mode Chapter 7 Setup Mode In Setup mode, the PC3K 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 PC3K sends a number of MIDI messages, on each of the MIDI channels used by the setup.
Setup Mode The Setup Editor Table 7‐1 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 PC3K (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 PC3K without changing the internal programs or those on MIDI devices receiving from the PC3K.
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 PC3K 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 11‐5.
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 The BEND Page The parameters on the BEND page define the bend ranges for each of the three types of pitch bend messages the PC3K can respond to.
Setup Mode Controllers and PitchDwn (controller destinations 130 and 131) as a Pitch Wheel destinations (see PWUp and PWDn on The WHEEL Page on page 7‐32,) and use MIDI 21 and MIDI 15 (controller destinations 21 and 15) for other controllers, such as the Sliders and Ribbon (see Aux Bend 1 Up/ Down and Aux Bend 2 Range below.) Keep in mind that not all MIDI devices respond to Bend Range messages. With many older MIDI instruments, you must set bend ranges on the devices themselves.
Setup Mode Controllers The PC3K’s physical controllers include the following: • The nine sliders (A, B, C, D, E, F, G, H, I) in the Assignable Controllers section • The two Continuous Control Pedal jacks (CC Pedal 1 and CC Pedal 2) • The optional Ribbon Controller, which you can define as a one‐ or three‐section controller • The Pitch Wheel • The Modulation Wheel (Mod Wheel) • Keyboard aftertouch, or Mono Pressure (MPress) • The optional Breath Controller (which is connected to Continuous Cont
Setup Mode Controllers Switch Controllers See Switch Controller Parameters on page 7‐30 for information on each parameter.
Setup Mode Controllers Controller Number Description 6 Data Almost all PC3K 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 Expression—Default assignment for CC Pedal 1. An attenuator for fading in and out.
Setup Mode Controllers Controller Number Corresponding Destination Name Description 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 PC3K in General MIDI mode, controls Reverb send level 92 MIDI 92 93 GM Chorus With PC3K in General MIDI mode, controls Chorus send level 94-95 MIDI 94-95 MIDI Controllers 94–95 96 Data Inc Equivalent to pressing the plus
Setup Mode Controllers Controller Number Description 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 Description 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 Selecting The Desired Key (Root Note): 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 PC3K 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 PC3K’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 PC3K 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 PC3K 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 PC3K 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 PC3K’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 PC3K’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 PC3K 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 ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages 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 PC3K 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 PC3K and external MIDI instruments.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages 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 paramete
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Simultaneous makes the Arpeggiator latch each note you play and repeat it in time with the Tempo value, sort of like a digital delay with no decay. If you play a C and hold it while you play an E and a G, the Arpeggiator will play all three notes at the same time and at the same tempo. Simultaneous also works well with Shift and Limit, allowing you to shift multiple notes simultaneously.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages 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 VelPatt, 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 ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Note: Missed Notes are actually output as notes with a velocity of zero. Velocity Setting Approximate % of Notes Missed MissNotes1 % 10 MissNotes2 % 20 MissNotes3 % 30 MissNotes4 % 40 MissNotes5 % 50 MissNotes6 % 60 MissNotes7 % 70 MissNotes8 % 80 MissNotes9 % 90 Shift Amount You can tell the Arpeggiator to transpose all of the currently latched notes each time it plays through them.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Resulting Arpeggiation (When LimitOption is Unipolar) Shift Limit Comment Up Down Up 7 ST (G4) C4, D#4, F#4, E4, C#4, D#4, … Last upward note before shift limit is F#4, next upward note would be A4, which is 2 ST from shift limit (G4); therefore first downward note is E4 (2 ST below last upward note) 8 ST (G#4) C4, D#4, F#4, F4, D4, D#4, … A4 is 1 ST from shift limit, therefore first downward note is F4 (1 ST lower than last upward
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages steps, and each step can shift notes by ± 127 half‐steps or play nothing. Steps are played back at the rate set for Beats on the ARPEGGIATOR page. Keep in mind that Shift Patterns are effected by every parameter on the ARPEGGIATOR page, which can be the cause of unexpected variation, or a way to add interesting variation to a pattern. Shift Patterns are most easily used and understood when triggered by only one key at a time.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages 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 ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Arpeg is similar: any notes held when Latch goes on are latched and arpeggiated, and keep going until Latch goes off. Any notes you play outside the arpeggiation range play normally. Notes that you play inside the arpeggiation range do not play normally; rather, if you hold them on, they become part of the arpeggiation. They drop out of the arpeggiation as soon as you release them.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages You must latch at least two notes to get a result. When Glissando is on, all notes played in the arpeggiation range get latched, although you won’t necessarily get meaningful results from all latched notes. In general, try to get each subsequent note you latch to be a change in direction. For example, try latching the following sequence of notes: C4, C5, G4, G5, C5, C6, G4, G5.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages With SyncType set to DownBeatWait, if there is something playing to sync to, the arpeggiator will wait for the downbeat of the next measure to start. The difference from DownBeat is that if there is nothing to sync to, the arpeggiator will not start. This can be useful if you want to start multiple arpeggiators synced to something else.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Num Beats This affects the syncing of other arpeggiator or riff zones to the current zone, only if those other zones have a SyncType setting of Downbeat or DownbeatWait. For zones being synced to the current zone’s arpeggiator, this determines how many notes must be played by the current zone’s arpeggiator before a downbeat occurs.
Setup Mode The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages Controller Number 7-54 Corresponding ARPEGGIATOR Parameter Operation 158 Latch2 For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. 159 ArpGliss Arpeggiator Gliss, 0-63 = off, 64-127 = on. 160 SusLatch For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. 170 -Arp Shift Sets ARPEGGIATOR values for Shift to negative. 0-63 = off, 64-127 = on.
Setup Mode Riffs Riffs Riffs are full songs or individual tracks of a song created in the PC3K’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 itʹs own riff—a completely independent sequence. You can use a setup with many riffs to trigger and stop looped sequences of different instrument parts. Alternatively, a single riff can play multiple instrument parts.
Setup Mode Riffs 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 Riffs 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 PC3K restricts the selectable values for the Stop parameter such that the current riff is at least one beat long.
Setup Mode Riffs 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 Off, On Off CondRel 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.Av First Avail.
Setup Mode Riffs 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 Riffs sync to external MIDI clock. You can also manually choose a tempo by selecting a value from 20 to 400 for BPM. Use the Alpha Wheel or ‐ /+ buttons to choose between the options or set a tempo. You can also use the alphanumeric pad followed by pressing the Enter button to enter a tempo. SyncZone The SyncZone parameter determines which zone a riff will sync to.
Setup Mode Riffs With SyncType set to AnyBeatWait, the riff will wait for the next beat to start. The difference from AnyBeat is that if there is nothing playing to sync to, this riff will not start. This can be useful if you want to start multiple riffs synced to one riff. You could have a bass riff set to AnyBeatWait, for instance, and trigger the riff while no other riffs are running.
Setup Mode Riffs arpeggiator’s downbeat will occur. With RelSynTyp set to AnyBeat, if there is already a something playing to sync to, the riff will wait only until the next beat before stopping when released. Depending on when you release the riff it will stop in sync with a beat, but it may be on an upbeat or a downbeat. With RelSynTyp set to DownBeatWait, the riff will wait for the downbeat of the next measure to stop when released.
Setup Mode Riffs Duration (Dur) Duration changes the duration of each MIDI note. The original durations of the notes in the sequence are multiplied by the selected percentage. 100% will cause no change, values smaller than 100% will result in shorter durations, values larger than 100% will result in longer durations. Velocity Velocity changes the velocity of each MIDI note. The original velocities of the notes in the sequence are multiplied by the selected percentage.
Setup Mode The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX 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 COMMON Page The COMMON Page The COMMON page contains parameters that affect every zone in the current setup. Parameter 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 Tempo When Clock Source is set to Internal, the Tempo parameter sets the PC3K system’s tempo.
Setup Mode The COMMON Page 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 PC3K 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 TRIGGER KEYS (KEYTRG) 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 PC3K 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 This enables you to rename the current setup. Use any data entry method to do this, including the letters on the alphanumeric buttonpad. Save Pressing Save calls up the standard Save Dialog.
Setup Mode Recording A Setup To Song Mode 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 Recording A Setup To Song Mode 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 PC3K 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 PC3K, 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.
Quick Access Mode The QA Editor 8-4
Effects and Effect Mode Effects Overview Chapter 9 Effects and Effect Mode The PC3K 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 PC3K’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 Effect Mode and the Effects Pages 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 Effect Mode and the Effects Pages 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 Effect Mode and the Effects Pages 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 Effect Mode and the Effects Pages 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 PC3K (labeled “MAIN” and “AUX” on the back panel.) Setting Output to auto uses the output pair specified in the program on the current channel (or the program on the specified Aux Effects channel in Setup or Song mode).
Effects and Effect Mode Effect Mode and the Effects Pages 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 The Chain Editor 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 The Chain Editor 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 The Chain Editor 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 in Chapter 6, Program Mode).
Effects and Effect Mode Effects Parameters Effects Parameters This section contains descriptions of the PC3K’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 Parameters combination effects use different variations on this parameter, depending on the context. The range is 0 to 100%. 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.
Effects and Effect Mode Effects Parameters 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 PC3K, 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 Parameters 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 PC3K 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 PC3K 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 PC3K but don’t want to send program change commands to the USB or MIDI Out port. This parameter doesn’t affect the type of program change command that’s sent; it just determines whether any command is sent at all.
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 PC3K. When set to Omni, the PC3K 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 PC3K 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 PC3K 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 PC3Ks (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 PC3K 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 PC3K’s keyboard and physical controllers. This allows one MIDI channel of an external MIDI device to control multiple MIDI channels of the PC3K, 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 PC3K, you can control many of the PC3K’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 Channels 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 PC3K 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 you have a different set of 200 programs and setups at your disposal. When you’re using this format, the PC3K 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 PC3K 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 PC3K’s overall performance and system setup. You can set the system Clock so that the PC3K 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 PC3K 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 PC3K 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 Setup Editor 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 MAPS 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 PC3K 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 MAPS velocity. Each map applies a different curve to received MIDI attack velocities and remaps them 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 MAPS Pressure Map (Master) Change the Master Press Map setting if you find that the PC3K 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 MAPS 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 MAPS 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 PC3K to generate its own tempo by setting Clock Source to Internal, or you can set the PC3K to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the PC3K 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 PC3K 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 PC3K will prompt you to confirm or cancel. You can not access Setup Mode or Quick Access Mode while in GM mode.
Master Mode OBJECT Replacing Default General MIDI Programs The PC3K’s GM sounds consist of PC3K programs tailored to work well in all GM sequences, but you can also edit or exchange these programs to suit your taste. The PC3K provides you with a GM sound set editor which allows you to replace the PC3K’s default GM programs with any other PC3K factory or user created program. For example, you could choose a different factory or user created piano program to replace the default GM program 1, Ac Grand Piano.
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 button to make your selection(s), which will be marked with a star. The Clear soft button will clear your selection(s) from the currently selected list. Press the Delete soft button to delete your selection, you will be given the choice to Delete or Cancel. The Cancel soft button on the main delete page will return you to the OBJECTS page. 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.
Master Mode UTILS (UTILITIES) 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 PC3K and those received via MIDI.
Master Mode CLOCK CLOCK Pressing the CLOCK soft button allows you to view the PC3K’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 Reset Reset Press the Reset soft button if you want to return your PC3K’s memory to the state it was in when you bought it. CAUTION: Resetting the PC3K system causes ALL parameters to be restored to default values and ALL user objects to be erased. The PC3K will ask you if you want to delete everything (meaning all RAM objects), and a pair of Yes/No soft buttons will appear. Press No if you want to keep any objects you have saved. Press Yes, and everything stored in RAM will be erased.
Master Mode Preview Sample (PRVIEW) MAP Press the MAP soft button to view the SAMPLE MEM MAP page. The SAMPLE MEM MAP page shows a map representing the total available sample memory its usage. This is a visual representation of the information on the SAMPLE MEMORY page. White spaces represent used memory, while blue spaces represent available memory. Blue spaces within white spaces represent fragmented blocks of memory.
Master Mode Preview Sample (PRVIEW) 11-20
Song Mode and the Song Editor Getting Started with the Sequencer Chapter 12 Song Mode and the Song Editor Getting Started with the Sequencer The PC3K’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 PC3K.
Song Mode and the Song Editor Song Mode: The MAIN Page Parameter Range of Values Default Track Status –, R, M, P – 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 ExitVolume of the 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 Pan 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 PC3K’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 BIG Page Song Mode: The BIG Page On the BIG page, the PC3K 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 BIG 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 FX Pages 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 LoVel determines the lowest note on/off velocity that is recorded/played back when Notes is set to On. Hi 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 The Song Editor 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. Displayed at the top of each Song editor page is the name of the page and the currently selected track (1–16, or all tracks).
Song Mode and the Song Editor Song Editor: The COMMON Page FX Track The PC3K 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 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.
Song Mode and the Song Editor Song Editor: The EVENT Page 12-34
Storage Mode Storage Mode Page Chapter 13 Storage Mode Use Storage mode to load, save, back up, and copy files between the PC3K 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 PC3K objects (Programs, Setups, Songs, etc.) or a single PC3K object to a .P3K 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 The status of the selected device will be displayed as either ready or you will see a “No connection” message. The top right‐hand corner of the page displays the currently selected storage device. If you are having trouble selecting a device that you have plugged in, try exiting Storage mode and then entering Storage mode again.
Storage Mode Storage Mode Page USB Computer Port You can also transfer files directly to a computer that is equipped with a USB port by using the USB Computer port on the back panel of the PC3K (see above.) Connect a USB cable from the PC3K’s USB Computer port to a USB port on your computer. When you enter Storage mode and select USB PC Connection, a virtual drive named PC3K will appear on your computer’s desktop.
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 The File Name/New Directory/Rename Dialogue When you create a new file in Storage mode, create a new directory, or rename a file or directory, the PC3K 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 The STORE Page The STORE Page Pressing the STORE soft button calls up the Store page, where you can select groups of objects from the PC3K to store as a .P3K 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 The STORE Page OK (file names can be up to eight characters long.) When the file is saved, the PC3K adds an extension (.P3K) to the filename. Note that although .P3K files are “collections” of objects, you can load individual objects for a .P3K file if you want to. See Loading Individual Objects From a .P3K Or Compatible File Type on page 13‐10. Saving Master Files Among your choices in the Bank dialog are Master files.
Storage Mode The STORE Page 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 to first sele
Storage Mode The LOAD Page The LOAD Page Pressing the LOAD soft button calls up the LOAD page (see below,) where you can load groups of objects from .P3K, .PC3, .K26, .K25, or .KRZ files, individual objects from within those files, a MIDI sequence file or files (.MID), as well as .WAV and .AIF audio samples from the current storage device (see below for details.) Use the cursor buttons, ‐/+ buttons or the alpha wheel to browse the files in the currently selected storage device.
Storage Mode The LOAD Page Loading .WAV and .AIF Audio Files From the LOAD page, .WAV and .AIF audio files can be loaded and used with user created keymaps (see Building a Keymap on page 14‐7 and Editing Samples on page 14‐9.) Mono and stereo files can be loaded, 8 or 16 bit, with sample rates up to a maximum of 96000 Hz. Once samples are loaded to the PC3K’s user sample flash memory, samples remain in the PC3K even when the power is off, until they are manually deleted.
Storage Mode The LOAD Page Press the Select button to select or deselect the highlighted object for loading. An asterisk (*) is placed to the left of the object index for any items that are selected. The Next button will cause the index into the list to jump to the next selected object, forward in the list. When the end of the list is reached, the search will wrap around from the beginning. If there are no items selected, then this button doesn’t do anything.
Storage Mode The LOAD Page 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 files that don’t have ID numbers (.MID, .WAV and .
Storage Mode The LOAD Page 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 PC3K 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.
Storage Mode Tutorial: Load An Audio File, Create A New Keymap And Program Tutorial: Load An Audio File, Create A New Keymap And Program This tutorial explains how to load .WAV or .AIF audio files into the PC3K, and how to quickly create a keymap and program with a single audio file by using the sample Preview function. The keymap and program that you create will be very basic, containing one audio file, playable at different pitches across the keyboard.
Storage Mode Tutorial: Load An Audio File, Create A New Keymap And Program 6. On the Storage:Load page, use the cursor buttons to navigate through the list of files on the USB device (file names are shortened to 8 characters). Folders (a.k.a. directories) will be labeled in the list with
. Use the Open soft button to open a folder, use the Parent soft button to exit a folder. 7. You can load a single audio file or multiple files at once as long as they are in the same folder.Storage Mode Tutorial: Load An Audio File, Create A New Keymap And Program 10. Next, you must select one of the loading method soft buttons. Generally you will want to use the Fill soft button to load the sample into the selected bank. This uses the Fill loading method, which loads the sample(s) starting at the lowest unused ID#, starting in the selected bank. When using the Fill method, any existing samples in the PC3K will not be overwritten. Press the Fill soft button to begin loading (see above.) 11.
Storage Mode Tutorial: Load An Audio File, Create A New Keymap And Program 14. Next, on the MasterMode:PREVIEW page you must choose a bank (group of 128 ID numbers) where the new program will be saved (see below.) Choose the first user bank (1025...1152) and press the Ok soft button. A new program will be created and saved in that bank at the lowest unused ID. The new program will contain a new keymap with the sample you selected.
Storage Mode Tutorial: Load An Audio File, Create A New Keymap And Program 13-20
Keymap and Sample Editing The Keymap Editor Chapter 14 Keymap and Sample Editing The Keymap Editor The Keymap Editor lets you customize the PC3K’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 PC3K will play when you trigger a note.
Keymap and Sample Editing The Keymap Editor layer 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 PC3K, 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 Building a Keymap Building a Keymap Read below for detailed directions on manually creating and editing a keymap. (See the preview function on page 11‐19 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 Building a Keymap 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 Editing Samples 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 Editing Samples 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 Editing Samples 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 Editing Samples 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 Editing Samples 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.
Keymap and Sample Editing Editing Samples 14-14
Tutorial: Song Mode Chapter 15 Tutorial: Song Mode In Song mode, you can use the PC3K’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 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. Part 2: Set The Tempo For this example, we will leave the song at its default time signature, 4/4 (see Chapter 12, Song Mode and the Song Editor for details on setting the time signature.) Follow the steps below to set a tempo for your song.
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 PC3K’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 PC3K 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. You can do this quickly by selecting the Controller field, entering 7 on the alphanumeric pad, and pressing Enter.
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 PC3K 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.
Specifications MIDI Implementation Chart Appendix A Specifications MIDI Implementation Chart Model: PC3K Manufacturer: Young Chang Date: 12/01/07 Version 1.
Specifications Specifications Specifications PC3K8 Height: (4.33") (11.00 cm) Depth: (13.98") (35.50 cm) Length: (54.33") (138 cm) Weight: (54 lb.) (24.50 kg) PC3K7 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) PC3K6 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 PC3K Bootloader The Bootloader is the program that runs when the PC3K 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 PC3K 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.
System Utilities This offers a menu of file system functions that can be useful in maintaining your system or diagnosing software problems. You can also enter the Bootloader menu from the Master Mode menu during normal operation. System Update (PC3K Software, Objects, Etc.) The most common use of the Bootloader menu is to update your PC3K using new versions of software and objects supplied by Kurzweil. Updates for the PC3K come in .
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 PC3K and there is no way to retrieve them.)This will delete everything that was stored internally on the PC3K, and leave a clean, empty file system ready for use.
B--4
Appendix C Changing PC3K Voltage In most cases, you will not need to change the voltage on your PC3K. However, since different countries use different standard voltage settings, there may be times when you need to make the change. The PC3K’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.
Pull up gently to open the fuse holder cover. The cover is hinged next to the power cord connection. 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 removed from the fuse holder: 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 1.25ʺ X 0.25ʺ size or 5 mm X 20 mm size fuses.
PC3K Objects (V 2) Programs Appendix D PC3K Objects (V 2) Programs Press the Info soft button for controller information.
PC3K Objects (V 2) Programs ID Program ID Program ID Program 73 Choir Complete 104 Rockinʹ Lead MW 135 Perfect PnoPad 74 Haah Singers 105 P‐Bass 136 Dreamy Piano 75 Manhattan Voices 106 E‐Bass 137 Piano w DvStrgs 76 Aaahlicious 107 Beasties Bass 138 PnoAgtStrngs 77 NYC in LA 108 Flea/Bootsy 139 The Ancient 78 Crystal Voices 109 Big Dummy 140 DancePnoEchplex 79 Airy Pad 110 Jaco Fretless 141 Ivory Harp 80 Cathedral Vox 111 Upright Growler 142 Piano Lushne
PC3K Objects (V 2) Programs ID Program ID Program ID Program 166 ʹ80s Arena Synth 197 Owenʹs Strings 228 Compʹd Phaser 167 ʹ90s Funk Stack 198 Studio C Strings 229 TremBucker 168 Nexx Prog Stack 199 Tender Strings 230 Cascade Sitar 169 Crisp Clav 200 Toxic Strings 231 Heavy Buckers 170 Stevie Fuzz 201 Mixed Choir 232 Nastyʹ70s Guitar 171 HeartbreakerWAH 202 Concert Choir 233 Finger Bass 172 ChoclateSaltyClv 203 Aaah Vocals 234 KneeDeepMinimoog 173 SailinShoe
PC3K Objects (V 2) Programs ID Program ID Program ID Program 259 VideoKilledRadio 290 Stereo Pickups 321 Yesesis Tron Str 260 Brighter CP 291 70sBubblegumClav 322 Moby TurntblTron 261 TouchRezSynthCP 292 TreblClavWhlmute 323 Space Oditty 262 Power CP 293 Mutron+Synth sw 324 RocknRollSuicide 263 Dark Chorus CP 294 Bi*Phaz Clav 325 Octave Tron Str 264 Inside Out CP 295 ʹ80s Flange Clav 326 Siberian Khatru 265 Pianet Classic 296 VAST Env SynClav 327 Modwhl Remix
PC3K Objects (V 2) Programs ID Program ID Program ID Program 352 Dream On Session 383 MeanStereoSweep 414 Winds & Esp Str 353 LightYearStrings 384 PulseVowel 415 Horns,Winds&Str 354 Funkensteinz ARP 385 Winds & Strings 416 TripleStrikeOrch 355 Murky Rez Pad 386 Winds, Horn & Str 417 Tutti Orchestra 356 St PanPhase ARP 387 More Brass & Str 418 StBaroque Harpsi 357 ARP Str+Oberheim 388 LH Timp Roll Orch 419 String Continuo 358 FX Sweep ARP 389 Gothic Climax 420
PC3K Objects (V 2) Programs ID Program ID Program ID Program 445 Solo Fr Horn 476 Solo Cello fast 507 Glockenspiel 446 Ensemble Fr Horn 477 Solo Cello slow 508 Chimes/Glock 447 Lead French Horn 478 Solo Basso 1 509 Bells Across 448 Dyn Orch Fr Horns 479 Solo Basso 2 slo 510 CelesteGlockHarp 449 HornSect Layer 480 String Quartet 511 Chime Bell 450 Solo BrtTrumpet 481 Solo Harp 512 Carillon 451 Hard Trumpet 482 Orch Harp 1 513 Adagio Strings 452 Lead Trumpet
PC3K Objects (V 2) Programs ID Program ID Program ID Program 538 Full Pizzicato 569 Largo conSordino 600 Fast Violin II 539 Touch Full Pizz 570 Largo 8ves 601 Fast Violin div 540 Variable Pizz 571 Espressivo Lead 602 Fast Viola 541 PizzBass/ArcoLead 572 EspressivoViolas 603 Fast Viola div 542 Lead & Adagio 573 Slow Thick Mix 604 Fast Cello 543 Adagio Split 574 VerySloVeryThick 605 Fast Cello div 544 Adagio Bs/Vln I 575 Touch Thick Mix 606 Fast Bassi 545 Trip
PC3K Objects (V 2) Programs ID Program ID Program ID Program 631 StringMachine 662 Lʹtric Nat Kit 693 Bug Zapper Kit 632 Lush Pad 663 TrashPanTom Kit 694 Elektro Sand Kit 633 Add A Pad 1 664 Tin Man Kit 695 Sandy Bottʹm Kit 634 Add a Pad 2 665 Cheapo Dist Kit 696 Box oʹ Sand Kit 635 Hi Res StringPad 666 AngryBastard Kit 697 Fine Grit Kit 636 LoFi Strings 667 Vibra Lunch Kit 698 Matchmaker Kit 637 Blue Resonance 668 Ricochet Kit 699 Zucchinni Kit 638 AutoRes
PC3K Objects (V 2) Programs ID Program ID Program ID Program 724 Paper Tom 778 Poly Sweep 2 809 8ʹ Diapason 725 Boinker 779 Scat Vocals 810 8ʹ Ped Bourdon 726 GlubFlangeKit 780 Scat Choir 811 8ʹ Reed 727 DryFattyKit 781 FM SqareBell 812 8ʹ Gamba 728 Drums w Bass 1 782 Toot Lead 813 8ʹ DiaCeleste 729 RMI ElecKit 783 WetToot 814 8ʹ Ballpark Stop 730 GateClapDrmLE 784 LegatoBrassyLead 815 8ʹ Viol 731 Dub Kit 785 Treble FM Lead 816 51/3ʹ Ped Bourd.
PC3K Objects (V 2) Programs ID Program ID Program ID Program 840 2ʹ Ballpark Stop 924 Wah B3+Echoplx 955 GM Synth Kit 841 2ʹ 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 Ezraʹs Burner 928 Melvin C.
PC3K Objects (V 2) Programs ID Program ID Program ID Program 989 WheelSyncBlips 1020 VA1NakedPWMMono 4122 Jazz Guitar 990 12SAWMWheelLead 1021 VA1NakedSawPoly 4123 Clean E Gtr 991 HotMalletMWheel 1022 VA1NakedSqrPoly 4124 Muted Guitar 992 ScreaminWhlBass 1023 VA1NakedSqrMono 4125 Overdrive Gtr 993 SyncWheelLead 1024 VA1NakedSawMono 4126 Distorted Gtr 994 ModwheelKotoSyn 4096 GM Piano 1 4127 Gtr Harmonics 995 VASprSaw 4097 Bright Grand 4128 Acoustic Bass 996
PC3K Objects (V 2) Programs ID Program ID Program ID Program 4153 Trombone 4184 Fantasia 4215 Reverse Cymbal 4154 Tuba 4185 Warm Pad 4216 Gtr Fret Noise 4155 Muted Trumpet 4186 Polysynth 4217 Breath Noise 4156 French Horn 4187 Space Voice 4218 Seashore 4157 Brass Section 4188 Bowed Glass 4219 Bird 4158 Synth Brass 1 4189 Metal Pad 4220 Telephone 4159 Synth Brass 2 4190 Halo Pad 4221 Helicopter 4160 Soprano Sax 4191 Sweep Pad 4222 Applause 4161 Alto Sax
PC3K Objects (V 2) Setups Setups Press the Info soft button for controller information.
PC3K Objects (V 2) Setups ID Setup ID Setup ID Setup 85 Ivory Ensemble 116 Brass Bouncer 147 RichBalladComper 86 Spaces 117 Electric Dancer 148 NewAgeComper 87 Bubble Pad 118 Treso‐Pulser 149 Voyager One 88 Fat Ana 119 Mellow Tripper 150 OrchestraOfBells 89 Frets oʹ Lush 120 SpacePulser 90 Dual Manual B3 121 Mood Arp C2 91 Dual Manual B3 2 122 Strum Thurmond 92 Dual Manual B3 3 123 Drum n Bassr 93 Dual Manual B3 4 124 funk setup 94 Mwhl Blips ARP 125 Haz
PC3K Objects (V 2) Effect Chains Effect Chains # Chain # Chain # Chain 1 Little Booth 32 Stereo Chorus 63 Ring Modulation 2 Soundboard 33 Dense Chorus 64 Frequency Offset 3 Small Dark Room 34 Soft Flange 65 Lazer Tag Flange 4 Sax Chamber 35 Wetlip Flange 66 Fallout PitchLFO 5 Small Hall 36 Flanged Taps 67 Reverse Reverb 6 Medium Hall 37 Slow Deep Phaser 68 Reverse Reverb 2 7 Green Room 38 Fast&Slow Phaser 69 Oil Tank Reverb 8 Opera House 39 Phaser EGT 70
PC3K Objects (V 2) Effect Chains # Chain # 215 String Chamber 276 deep part1 338 Hot Leslie 122f 216 Fife Stage 277 DblSloFlangeCmp 339 Soul Leslie122 4 217 Live RecitalHall 278 alphacentauri1 340 Leslie B 122 218 AbbeyBrasHall2 279 Timbered Taps 2 341 Joey Leslie 122 219 Smooth Long Hall 300 GospelDistLeslie 342 Hot Leslie 122g 220 kickcmp3 301 GimmeSomeLeslie 343 Hot Leslie 122h 223 kickcmp4 302 DF OrganRoom 344 TapChorus Leslie 224 snarcmp4 303 GimmeSomeLe
PC3K Objects (V 2) Effect Chains # Chain # Chain # Chain 396 BurningTubes5 451 SynthBassAmp 491 ProBassComp 397 PunchBassAmp 452 MosqueySwirl 492 NYCTripStrings 399 RevverLeslie 454 PadFX2 493 ProBassComp2 400 Bradleyʹs Barn 1 455 PadFX1 496 DirtLordAmp 401 Bradleyʹs 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 RealDrmComp 459 WetSynthCDR 518 Pad Depth
PC3K Objects (V 2) Effect Chains # Chain # Chain # Chain 667 Snarcmp12 718 Eber Bass 765 St CHDly 668 Kickcmp13 719 SynFatener& Ech2 766 Synphase1 670 BeastieDrums 720 CP80Enhanc1 768 St CHDly 671 Clunker13 721 FisherʹsHarm Mic 771 Walrus EP 675 Funksnare9 722 AbbeyPianoHall2 772 EPChr16 676 Funksnare8 723 Medium Hall 2 773 Siberia 680 EPDistPhase1 724 Fagen Phaser 775 Deep Fuzz 5 681 RayEP 1 726 SmallWurly 780 Flange Echo 2 682 Deep Fuzz 1 727 Basic
PC3K Objects (V 2) Effect Chains # Chain # Chain # Chain 811 Chr & Echo 2 846 Aux Chamber 883 PnoEnhanc3 812 BasicCDR2 847 BowiePno1 884 SynEnhancement 813 ShaperFuzzLead 2 848 BluesPnoCmpRvb 1 885 CompKik11 814 AM Big Band 849 New Gtr 31 886 VintChamber 815 Clunker20 850 Soundboard 3 887 SmallWurly2 816 PadFX3 851 OmniStage 888 Deep FuzzPnt 1 817 SynFatener& Ech5 853 MedPlateJazFlute 889 Comp70 818 MarleyClav1 854 MistyMntn EP 2 890 FooldAgainVox 819
PC3K Objects (V 2) Effect Chains # Chain # Chain # Chain 918 Farfisa1 951 Snarcmp113 984 EnhanceComp121 919 Good Leslie33 952 EnvKickcmp1 985 Clunker IIa 920 Zep Leslie 953 Kickcmp602 986 Pad Depth Pt1 921 Snarcmp801 954 Snarcmp112 987 AuxChorusHall 922 kickcmp401 955 HipHop Drms101 988 TechnoSyn1 923 Deep Fuzz 6 956 PnoCmpSndBoard10 989 Synphase102 924 SynEnv4 957 Epicsnare1 990 CompDelay 925 SmallComp9 958 JumpSynth 991 CompMeltrn 926 KickComp201 95
PC3K Objects (V 2) Effect Presets with Algorithms Effect Presets with Algorithms How to Use These Tables Each effect preset in the PC3K (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 PC3K’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.
PC3K Objects (V 2) Effect Presets with Algorithms Chamber Hall D-22 24 Real Big Room alg 5 Classic Verb 2U 25 The Comfy Club alg 9 Diffuse Verb 3U 26 Spitty Drum Room alg 7 TQ Verb 3U 27 Stall One alg 7 TQ Verb 3U 28 Green Room alg 7 TQ Verb 3U 29 Tabla Room alg 12 Panaural Room 3U 30 Large Room alg 7 TQ Verb 3U 31 Platey Room alg 14 Grand Plate 3U 32 Bathroom alg 5 Classic Verb 2U 33 Drum Room alg 12 Panaural Room 3U 34 Small Dark Room alg 12 Panaural Room 3U
PC3K Objects (V 2) Effect Presets with Algorithms Plate 61 Semisweet Hall alg 5 Classic Verb 2U 62 Pipes Hall alg 404 Chorus<>Reverb 2U 63 Reflective Hall alg 5 Classic Verb 2U 64 Smoooth Hall alg 5 Classic Verb 2U 65 Empty Stage alg 7 TQ Verb 3U 66 Pad Space alg 11 OmniVerb 3U 67 BobʹsDiffuseHall alg 9 Diffuse Verb 3U 68 Abbey Piano Hall alg 7 TQ Verb 3U 69 Short Hall alg 13 Stereo Hall 3U 70 The Long Haul alg 7 TQ Verb 3U 71 Predelay Hall alg 9 Diffuse Verb 3U
PC3K Objects (V 2) Effect Presets with Algorithms XL Reverse Gated w/Comprs Unusual D-24 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 Reverse Reverb 3 alg 15
PC3K Objects (V 2) Effect Presets with Algorithms Laserverb Rvb w/Dly 135 LaserVerb alg 100 LaserVerb 3U 136 Laserwaves alg 100 LaserVerb 3U 137 Cheap LaserVerb alg 101 LaserVerb Lite 2U 138 Gated LaserVerb alg 104 Gated LaserVerb 3U 139 Rvrs LaserVerb alg 103 Revrse LaserVerb 4U 140 LazerfazerEchoes alg 102 Mono LaserVerb 1U 141 Simple LaserVerb alg 102 Mono LaserVerb 1U 142 Crystallizer alg 100 LaserVerb 3U 143 Spry Young Boy alg 101 LaserVerb Lite 2U 144 Gunshot Ve
PC3K Objects (V 2) Effect Presets with Algorithms D-26 168 SemiCircle 4‐Tap alg 151 4‐Tap Delay 1U 169 8‐Tap Delay BPM alg 152 8‐Tap Delay BPM 2U 170 Multitaps ms alg 156 Complex Echo 1U 171 Diffuse Slaps alg 156 Complex Echo 1U 172 OffbeatFlamDelay alg 150 4‐Tap Delay BPM 1U 173 Sloppy Echoes alg 156 Complex Echo 1U 174 Pad Psychosis alg 191 Dual MovDelay 1U 175 500ms BehindSrce alg 156 Complex Echo 1U 176 Dub Skanque Dly alg 154 Spectral 4‐Tap 2U 177 Electronica Slap
PC3K Objects (V 2) Effect Presets with Algorithms Chorus CHORUS 200 Basic Chorus alg 202 Dual Chorus 1 1U 201 Smooth Chorus alg 202 Dual Chorus 1 1U 202 Chorusier alg 202 Dual Chorus 1 1U 203 Ordinary Chorus alg 202 Dual Chorus 1 1U 204 SlowSpinChorus alg 202 Dual Chorus 1 1U 205 Chorus Morris alg 202 Dual Chorus 1 1U 206 Everyday Chorus alg 202 Dual Chorus 1 1U 207 Thick Chorus alg 202 Dual Chorus 2 2U 208 Soft Chorus alg 202 Dual Chorus 2 2U 209 Rock Chorus alg 202
PC3K 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 St
PC3K Objects (V 2) Effect Presets with Algorithms 265 Slow Riser alg 258 Barberpole Comb 4U 266 BarberPole Notch alg 258 Barberpole Comb 4U 267 BarberPole Peak alg 258 Barberpole Comb 4U 268 All The Way Down alg 258 Barberpole Comb 4U 269 Westward Waves alg 385 Frequency Offset 2U Trem / Panner / Spatial TREM/ 270 Tremolo BPM alg 270 Tremolo BPM 1U PANNER/ 271 Fast Tremolo BPM alg 270 Tremolo BPM 1U SPATIAL 272 Tremolo in Hz alg 271 Tremolo 1U 273 FastPulseTremolo alg 2
PC3K Objects (V 2) Effect Presets with Algorithms 297 FullRotors4 slow alg 296 VC+Dist+Rotor 4 4U 298 VibChorStortCab alg 298 Big KB3 Effect 4U 299 Hi Lo Roto KB3 alg 298 Big KB3 Effect 3U 300 Classic Gtr Dist alg 310 Gate+TubeAmp 3U 301 Crunch Guitar alg 310 Gate+TubeAmp 3U 302 SaturatedGtrDist alg 310 Gate+TubeAmp 3U 303 Mean 70ʹsFunkGtr alg 310 Gate+TubeAmp 3U 304 Blown Speaker alg 390 Chaos! 2U 305 Synth Distortion alg 303 PolyDistort + EQ 2U 306 Superphasulate alg
PC3K Objects (V 2) Effect Presets with Algorithms Dynamics DYNAMICS 330 HKCompressor 3:1 alg 330 HardKneeCompress 1U 331 HKCompressor 5:1 alg 330 HardKneeCompress 1U 332 SK FB Comprs 6:1 alg 331 SoftKneeCompress 1U 333 SKCompressor 9:1 alg 331 SoftKneeCompress 1U 334 SKCompressr 12:1 alg 331 SoftKneeCompress 1U 336 Compress w/SC EQ alg 332 Compress w/SC EQ 2U 337 Compress/Expand alg 341 Compress/Expand 2U 338 Comprs/Expnd +EQ alg 342 Comp/Exp + EQ 3U 339 Expander alg 340
PC3K Objects (V 2) Effect Presets with Algorithms D-32 363 DoubleRiseFilter alg 362 LFO Sweep Filter 2U 364 Circle Bandsweep alg 362 LFO Sweep Filter 2U 365 TripFilter alg 362 LFO Sweep Filter 2U 366 Resonant Filter alg 363 Resonant Filter 1U 367 Dual Res Filter alg 364 Dual Res Filter 1U 368 2 Band Enhancer alg 370 2 Band Enhancer 1U 369 3 Band Enhancer alg 371 3 Band Enhancer 2U 370 Extreem Enhancer alg 371 3 Band Enhancer 2U 371 HF Stimulator alg 372 HF Stimulate 1 1U
PC3K Objects (V 2) Effect Presets with Algorithms Chorus / Combi CHORUS 400 BasicChorusDelay alg 400 Chorus+Delay 1U COMBI 401 Chorus PanDelay alg 400 Chorus+Delay 1U 402 Chorus & Echo alg 400 Chorus+Delay 1U 403 CDR Lead alg 403 Chor+Dly+Reverb 2U 404 CDR Lead 2 alg 403 Chor+Dly+Reverb 2U 405 Chorus Delay 2 alg 400 Chorus+Delay 1U 406 Doubler & Echo alg 400 Chorus+Delay 1U 407 Chorus Booth alg 403 Chor+Dly+Reverb 2U 408 ChorusSmallRoom alg 403 Chor+Dly+Reverb 2U 409
PC3K Objects (V 2) Effect Presets with Algorithms 434 Chorus Bass Room alg 404 Chorus<>Reverb 2U 435 New Chorus Hall alg 404 Chorus<>Reverb 2U 436 Floyd Hall alg 404 Chorus<>Reverb 2U 437 Into The Abyss alg 403 Chor+Dly+Reverb 2U 438 BroadRevSlapback alg 403 Chor+Dly+Reverb 2U 439 Carlsbad Cavern alg 403 Chor+Dly+Reverb 2U 440 Chr‐>GtrDst‐>Chr alg 317 TubeAmp<>MD>Chor 3U 441 Thatʹs No Moon!! alg 403 Chor+Dly+Reverb 2U 442 Laser Amalgam alg 405 Chorus<>LasrDly 2U 443 Cut
PC3K Objects (V 2) Effect Presets with Algorithms 468 Flange 4 Tap alg 452 Flange<>4Tap 2U 469 Flange Hall 2 alg 454 2U 470 Flange‐Dly Hall alg 453 Flan+Dly+Reverb 2U 471 Flange Delay alg 450 Flange+Delay 1U 472 Mecha‐Godzilla alg 451 Flange+4Tap 1U 473 Industro‐Flange alg 453 Flan+Dly+Reverb 2U 474 Panning FDRoom alg 453 Flan+Dly+Reverb 2U 475 Drum&Bass FlgDly alg 451 Flange+4Tap 1U 476 Laserflange alg 455 Flange<>LasrDly 2U 477 Pewter FlangeVrb alg 454 2U 478 Weir
PC3K Objects (V 2) Keymaps Keymaps ID Keymap ID Keymap ID Keymap 1 Piano f Left 29 Piano 440 3Vel M 67 Clav Key Release 2 Piano f Right 30 Piano 440 3VEZ M 68 Harpsichord 3 Piano mf Left 31 Piano 3Vel L alt 69 Harpsichord Rel 4 Piano mf Right 32 Piano 3Vel R alt 70 Accordion 5 Piano mp Left 33 Piano 3Vel rag L 71 Celesta 6 Piano mp Right 34 Piano 3Vel rag R 72 kHarpsichord 7 Piano 3Vel L 35 Piano f rag L 73 kClav 8 Piano 3Vel R 36 Piano f rag R 74 kClav
PC3K Objects (V 2) Keymaps ID Keymap ID Keymap ID Keymap 99 Tenor Sax med 140 kTake6 Ooh Loop 179 Square Wave 100 Bari/Tenor Sax 141 kSyn Vox 180 Square Wave Dull 101 Baritone Sax 150 Sine Wave 181 Pulse Wave 1/3 102 LegatoTenorSax 151 Partials 1 2 182 Buzz Wave 110 Stereo Strings 152 Partials 1 3 183 Bell Wave 111 Strings Left 153 Partials 1 4 184 Clav Wave 112 Strings Right 154 Partials 1 6 185 Sine Wave alttun 113 Meteor Strings 155 Partials 1 8 186 S
PC3K Objects (V 2) Keymaps ID Keymap ID Keymap ID Keymap 217 Upright Bass 267 Perc Layers 3 317 Trombet 218 Upright Bass 2 268 Perc Layers 4 318 Trumpbone 219 kEBass Slap 269 Perc Layers 5 319 Soft Trumpet 220 kAcoustic Bass 270 Perc Layers 6 320 Harmon Mute Trp 230 Dry Kit 1 271 Perc Layers 7 321 Tuba 231 Dry Kit 2 272 Conga Moose Lyr 322 Tuba/Horn 232 Dry Kit 3 273 VeryMutedTriang1 323 Tuba/Hrn Section 233 Ambient Kit 1 274 Marimba 324 Tuba/Sft Trp 23
PC3K Objects (V 2) Keymaps ID Keymap ID Keymap ID Keymap 361 Chimes 400 Solo Violin 451 Cuica Hi 362 Xylophone 401 Solo Viola 452 Filtersnap ‐ HiQ 363 Timpani 402 Solo Cello 453 Guiro 364 Orch Bass Drum 404 Solo Double Bass 454 GM Scratch 365 Orch Crash 405 Bass/Cello 455 Whistle 366 Stereo Tam Tam 406 Bass/Cello/Vln 456 Chinese Cymbal 367 Tam Tam Left 408 Cello/Vla/Vln 457 Brush Snare Hit1 368 Tam Tam Right 409 Solo Section 1 458 Brush Snare Hit2 369
PC3K Objects (V 2) Keymaps ID Keymap ID Keymap ID Keymap 485 808 Hats 522 Clave Transposed 553 kSyn Drum 486 808 Congas 523 Perc Layers 7b2 554 k808 Kick 488 Timp stretch 524 Percussion 2c 555 k808 Snare 490 Mel Tom KM 525 PercLayers2 cage 556 k909 Closed Hat 494 808 cym 526 PercLayers7 cage 557 k909 Open Hat 496 Rev Cym 527 PercLayers1 cage 558 k808 Cowbell 497 Dry Kit nw5 4v 528 TempleBlock1 ign 559 k909 Clap 498 Dry Set 1 4v 529 Tuned TBlocks 1 560 kX
PC3K Objects (V 2) Keymaps ID Keymap ID Keymap ID Keymap 584 Glock rel alt 748 Db/VnII Full L 820 Mellotron Flute 592 k2‐vel [1____2__ 749 Db/VnII Full R 825 ARP String Ens 593 k3‐vel [1__2__3_ 750 Db/VnII Full2 L 830 Clav II 594 k4‐vel [12_3_4__ 751 Db/VnII Full2 R 833 Clav alt3 595 k4‐vel [1_2_3_4_ 752 Db/Vc/Va/VnII FL 834 Clav Key Release 596 k5‐vel [1_2_3_45 753 Db/Vc/Va/VnII FR 835 Pianet 597 k6‐vel [1_2_3456 754 Vc/VnI Full L 836 Fast Pianet 598 k7‐vel
PC3K Objects (V 2) Samples Samples ID Sample ID Sample ID Sample 2 Stereo Pizz F#1 30 Stereo Trem D#3 90 FM E Piano 3 Stereo Pizz B1 31 Stereo Trem F3 95 Clav 4 Stereo Pizz D2 32 Stereo Trem G3 96 Clav Release 5 Stereo Pizz F2 33 Stereo Trem A#3 99 kHarpsichord v 6 Stereo Pizz G#2 34 Stereo Trem C4 100 Harpsichord v 7 Stereo Pizz A#2 35 Stereo Trem D#4 101 Harpschrd Rel v 8 Stereo Pizz D3 36 Stereo Trem F#4 105 Celesta 9 Stereo Pizz F3 37 Stereo Trem A#4
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 134 St Strings gs3 186 Distorted Guitar 264 on246 135 St Strings e4 187 kDistorted Guita 265 one23 136 St Strings gs4 190 E Bass Fing New 266 one24 137 St Strings cs5 193 E BassFng e2 alt 267 one2 138 St Strings f5 194 E BassFng e2 al2 268 one35 139 St Strings d6 196 E Bass Blk B 269 one3 140 St Strings c7 199 E Bass Slap BlkB 270 onep4 141 Left Strings 200 syn Fretless 271 onep6 142 Right String
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 304 YAMkik2 335 Yam124 alt 366 Bongo Lo env3 305 BD2 336 Yam182 alt 367 Bongo Lo env4 306 BD123 337 Closed Hat Alt 368 Bongo Slap 307 BD51 338 Closed Hat 369 Bongo Slap env1 308 E2kik2 339 Slightly Opn Alt 370 Bongo Slap env2 309 LUDdryM 340 Slightly Opn Hat 371 Bongo Slap env3 310 LUDdryH 341 Open Hat 372 Cajon Hit 311 Eamesm 342 Open/Cls Hat 373 Cajon Mute 312 Eamesh 343 Foot Hat 374 Clap
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 397 Tumba Flat env1 428 Timbale Shell 459 PrldryM rev 398 Tumba Flat env2 429 TimbaleShellEnv1 460 PrlambH rev 399 Tumba Flat env3 430 Triangle Open 461 LUDambH rev 400 Cow Bell 431 TriangleOpenEnv1 462 YAMamb rev 401 Cow Bell env1 432 TriangleOpenEnv2 463 Yam102 rev 402 Cow Bell env2 433 TriangleOpenEnv3 464 Yam124 rev 403 Finger Snap 434 Triangle Mute 465 Yam182 rev 404 Finger Snap env1 435 Triangl
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 490 stoneloop 521 Clave env2b jk 552 kSleigh Bells 491 pulsegrunge 522 Clave e1alt cstn 553 kTriangle (rel) 492 zipyipe 523 Maracas Dwn env1 554 kChimes 493 bentblade 524 Cross Stick gt1 555 kCelesta 494 vaculunt 525 Maracas Down gt1 556 kXylophone 495 auto maraca 526 Tumba Open igf a 557 kHarp 496 errietamb 527 LegatoTenorSax 558 kAcoustic Bass 497 distachime 528 kConga Open Tone 559 kChurch Bell
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 611 Harmon Mute Trp 650 Temple Block 2 687 Whistle 613 Tuba 651 Temple Block 3 688 Chinese Cymbal 614 Harp 652 Temple Block 4 689 Brush Snare Hit1 615 Harp Arpeggios 653 Church Bell 690 Brush Snare Hit2 618 Nylon String Gtr 654 kVibraslap 691 Brush Stir Short 620 Glockenspiel 655 Solo Violin 692 Brush Stir Long 621 K250 Choir 656 Solo Viola 693 808 Cowbell 623 K250 Pipe Organs 657 Solo Cello 694 80
PC3K Objects (V 2) Samples ID Sample ID Sample ID Sample 718 Belltree alt 761 Violas Full R 850 RMI Accenter 719 FS 808 Tom 765 Celli Full L 851 RMI_accenter lo 720 GM ChinCym 766 Celli Full R 852 RMI_accenter hi 721 GM Shrt Whistle 770 Basses Full L 899 Sine Wave 722 Orch Crash jk1 771 Basses Full R 900 Trombones jk alt 723 Orch Crash a2 775 Vlns Div2 L 901 Cross Stick gt1 724 Tambourine Roll 776 Vlns Div2 R 902 Maracas Down gt1 725 Orch Bass Drum a 780 V
PC3K Objects (V 2) Arpeggiator Shift Patterns Arpeggiator Shift Patterns ID Shift Pattern ID Shift Pattern ID Shift Pattern 1 major 29 BacknForth 57 1To3 2 minor 30 1InvMin3 58 1To3b 3 Oct + 31 Root 5/3/5 59 Blues 4 Oct ‐ 32 Root 5/m3/5 60 Blade 5 Oct 2x 33 Root 6/4/6 61 Repeat w/ Rests1 6 1ʹs n 12ʹs 34 bluesy1 62 Repeat w/ Rests2 7 FullMajor 35 bluesy2 63 Repeat w/ Rests3 8 FullMinor 36 bluesy3 64 Bass 1 9 Major7 37 bluesy4 65 Immenence 10 Minor
PC3K Objects (V 2) Arpeggiator Shift Patterns ID Shift Pattern 85 here comes da3 86 moving 1 87 moving 2 88 moving 3 89 whereʹs one? 90 whereʹs one? 2 91 happy one 92 happy one 2 93 crafty 1 94 crafty 3 95 crafty 4 96 crafty 5 97 can do 1 98 can do 3 99 chromo up 1 100 Rising Minor 101 Minor 7 Pattern 102 Oct 5th up down 120 Major 1A 121 Major 1B 122 Major 1C 123 Minor 1A 124 Minor 1B 125 Minor 1C 126 48StepTemplate 127 24StepTemplate 128 16StepTemplat
PC3K Objects (V 2) Arpeggiator Velocity Patterns Arpeggiator Velocity Patterns ID Velocity Pattern ID Velocity Pattern ID Velocity Pattern 1 PseudoSine 30 pat12C 86 echo 3 2 LoHi 31 pat12D 87 echo 4 3 HiLoLo 32 pat24A 88 echo 5 4 HiLoLoLo 33 pat24B 89 echo 6 5 HiLoLoHiLoHi 34 pat24C 90 echo 7 6 6‐pattern 35 pat24D 91 echo 8 7 12‐patternA 36 LoHi2 92 echo 9 8 12‐patternB 37 trip1 93 echo 10 9 X0 50 1/4 note triplet 94 echo 11 10 0X 51 16ths Patt
PC3K Objects (V 2) Arpeggiator Velocity Patterns ID Velocity Pattern 204 offbeats01 205 BalladBass1 206 One and Two 207 One and Two 2 208 One and Two 3 209 Offbeat 8ths 210 And one and D-52
PC3K Legacy File Conversion Object Types and Conversion Details Appendix E PC3K Legacy File Conversion The PC3K can load objects from older Kurzweil K series products, as well as objects from the PC3. Loaded objects are converted to object types native to the PC3K (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.
PC3K Legacy File Conversion Object Types and Conversion Details E-2
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
Chorus 9‐18 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
Effects 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 Eras
ImageWidth 9‐24 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
Master Table 11‐18 Master Transpose 11‐2 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
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 Re
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 Song
