rad iy a) , MUSIC WORKSTATION ') i PMc OL (e(a I i = Dees System i 1 KORG - iTable of Contents About This Manual Chapter Chapter Chapter 3: Chapter 4: Program Play Mode Entering Program Play Mode Selecting Programs .. Program Play Mode & MIDI .. Using a Pedal Switch to Select Programs Using MIDI to Select Programs . Editing in Program Play Mode (Performance Program Edit Mode Entering Program Edit Mode Compare Function Undo Function .. Program Editing Notes Performance Functions ... 1A Global Oscillator Setup... 1B Oscillator! Setup IC Oscillator2 Setup 2A Pitch EG .. 3A VDFI Cutoff & EG .. 3B VDFI Velocity Sensitivity 3C VDF2 Cutoff & EG 3D VDF? Velocity Sense & Keyboard Tracking 4A VDAI EG... nn 4B VDAI Velocity Sensitivity & Keyboard Tracking 4C VDA2 EG 4D VDA2 Velocity Sensitivity & Keyboard Tracking . SA Pitch] Modulation .. ‘SB Pitch2 Modulation .. SC VDF Modulation 6A After Touch & Joystick Control TA-TG Effects .. 32 8A Program Write 32 8B Program Rename ..... 33 8C Program Oscillator Copy . 33 8D Oscillator Copy & Swap 34 8E Program Initialize Combination Play Mode Entering Combination Play Mode Selecting Combinations .. ‘Combination Play Mode & MIDI Using a Pedal Switch to Select Combinations .. Using MIDI to Select Combinations Combination Notes .. Editing in Combination Play Mode (Performance Editing) Soloing Individual Timbres .. Combination Edit Mode Entering Combination Edit Mode ‘Compare Function ... Undo Function Combination Editing Notes ..Chapter 5: 1A Program Select 1B Timbre Mode 2A Level 2B Panpot onrnnnn 2C Send C&D ... 3A MIDI Channel... 4A Key Window Top .... 4B Key Window Bottom 4C Velocity Window Top 4D Velocity Window Bottom 5A Transpose SB Detune .crronnnnnnn 6A Program Change Filter 6B Damper Pedal Filter 6C After Touch Filter ... 6D Control Change Filter .... TA-TG Effects... . 8A Combination Write 8B Combination Rename 8C Combination Initialize . Effects .. Effect Types... 7A Effect! Setup 7B Effect! Parameters IC Effect2 Setup ... 7D Effect2 Parameters .. 7E Effect Placement 7F Effects Copy 7G Effect Copy/Swap . Effects Types & Parameters .. No Effect... Reverb Early Reflection Stereo Delay .. Dual Mono Delay Multi-Tap Delay Chorus... ‘Symphonic Ensemble Flanger Exciter Enhancer ... Distortion PASE seer Rotary Speaker .. Tremolo Parametric EQ Combination Effects: Serial Combined Effects: Parallel Mono Delay/Reverb Mono Delay/Modulated Delay ‘Mono Delay/Distortion, Overdrive Mono Delay/Phaser nn Mono Delay/Rotary Effect Parameter TableChapter 6: Chapter 7: Sequencer Mode . X2/K3 Sequencer Specs What's in a Song? What's in a Pattern? Sequencer Data, RAM Cards, & For Disks Ways to Record Tracks .. Ways to Record Patterns ... Real-Time Recording & Patterns Entering Sequencer Mode .. Playing Songs 1.0. Soloing Individual Tracks .. Erase All Sequencer Data Real-Time Recording ... = Multitrack Recording—MultiREC .. ‘Synchronization . Real-Time Record/Play Parameters Sequencer Edit Mode ... Entering Sequencer Edit Mode Opening Patterns = ‘Compare Function Quick Undo ..... TA Send C & D 1B Track Status 1C Program Change Filter & Pitch Bend Range 1D Transpose & Detune .. 1E Velocity Window IF Key Window 2A Step-Time Track Recording 2B Event Edit 2C Erase Track 2D Bounce Track 2E Copy Track 2F Append Song, 2G Erase Song 3A Quantize 3B Shift Note . 3C Modify Velocity 3D Create Controtler Data 4A Delete Measure 4B Erase Measure 4C Copy Measure .. 4D Insert Measure .. 4E Put to Track 4F Copy to Track .... 5A Real-Time Pattern Record/Edit 5B Step-Time Pane Reconing 5C Pattern Event Edit .. 5D Pattem Setup Parameters 6A Erase Pattern 6B Get from Track 6C Bounce Pattern 6D Copy Pattern TA-TG Effects 8A Rename Song 8B Song Base Resolution 8C Next SongChapter 8: Chapter 9: 8D Metronome .... 8E Copy from Combination ... 8F GM Song Mode ..... Global Mode Entering Global Mode .. Saving Global Setup Data 1A Master Tune 1B Transpose IC After Touch & Velocity Response Curve .. 2A Seale ere 3A Global MIDI Channel & MIDI Clock Source 3B Local Control & Note Filter 3C MIDI Filter! 3D MIDI Filter2 : 4A Program Memory Protect... 4B Combination Memory Protect 4C Sequencer Memory Protect 4D Page Memory On/Off 5A MIDI Data Dump 6A Load Programs & Combinations from Card 6B Load Sequencer Data from Card .. : 6C Save Programs & Combinations to Card .. 6D Save Sequencer Data t0 Cat seen 7A Drum Kit Setup... 7B Drum Kit Setup? 7€ Drum Kit Copy 8A LCD Contrast (X3 only) .. 8B Assignable Peda/SW Setup .. 8C Damper Pedal Polarity .. Disk Mode ... What Type of Floppy Disk? Handling Floppy Disks ... Write Protect Tab .. Inserting a Floppy Disk Ejecting a Floppy Disk Disk Drive Head Cleaning . X2/X3 File Types Entering Disk Mode .. Loading & Saving Notes Naming Files... 1A Load All Data 1B Load P/C/G Data 1C Load Sequencer Data 2A Load | Combination .. 2B Load | Program ..... 2C Load 1 Song ..... 2D Load 1 Pattern 2E Load 1 Drum Kit 3A Save All Data .. 3B Save P/C/G Data 3C Save Sequencer Dat 4A Load MIDI Exclusive Data 4B Save MIDI Exclusive Data MIDI Exclusive Notes SA Load SMF (Standard MIDI File)Chapter 10: Data Cards Appendix ............. MIDI Implementation Chart LCD Screen Index ..... Index ...... 5B Save SMF (Standard MIDI File) 6A Rename File fae 6B Delete File TA Set Date vs 7B Set Time 8A Format Disk PCM Data Cards .... PROG/SEQ Data Cards. RAM Card Write Protect Switch . Inserting & Removing Data Cards Formatting RAM card ncn Ram Card Battery ....... General Troubleshooting . Floppy Disk & Data Card Troubleshooting General Error Messages rogram Edit Mode & Combination Edit Mode Error Messages ‘Sequencer Mode Error Messages : Disk Mode Error Messages Global Mode Error Messages .. Specifications .. Options MIDI Data FormatAbout This Manual 1 About This Manual The following chart shows how the explanations in this guide are organized. Related LCD screen group Section title ' i 1A Global Oscillator Setup ‘These parameters are used to set the type of Program. HL: DFF Section summary LCD screens in the group Leo | Parana Range DBessipon SRGLE Soar] sas | Opciones | BOUake csr and Osco Bruws Rum Pou Fovphonic vag [eros [FOR ove ro) oworF Not held afr Ky reas (to ON br RUNS rod) LCD screen or function Parameters on each button numbers. For LCD screen example, 1-1 means the first LCD screen in group 1A, MIDI Data Values Parameter range or Brief description. A full available settings description is provided in the text below each parameter table. In general, decimal values are used throughout this Reference Guide, Numbers that are enclosed by square brackets are hexadecimal.About This Manual 2Program Play Mode 3 Chapter 1: Program Play Mode Program Play mode allows you to select and play Programs. Some Program parameters can also be adjusted, allowing you to edit parameters in real time—as you play. See “Editing in Program Play Mode (Performance Editing)” on page 5. . The following Programs can be selected: 00-99 in Bank A, 00-99 in Bank B, and GO1-136 in Bank GM. If a PROG/SEQ data card is inserted, Programs 00-99 in Bank C and 00-99 in Bank D can also be selected. Program banks A and B are internal RAM banks, bank GM is an internal ROM bank, and banks C and D are PROG/SEQ data card banks. Bank GM contains 136 Programs. Programs GOI to 128 conform to the GM Standard, and Programs 129 to 136 are ROM drum kits 1 to 8. Drum Program 129 corresponds to the GM drum kit. Drum Programs 130 to 136 are not used with GM drum data. They can, however, be used with data that is similar to GM. Entering Program Play Mode Press the (PROG] button. PROG appears on the LCD. | | | | V2 aa sere swNwIMIBE mo 06 | ‘The numbers | to 16 at the top of the LCD correspond to MIDI Channels. The flashing number indicates the Global MIDI Channel setting. When MIDI Note On/Off messages are received, a box below the corresponding number flashes. This works as a MIDI monitor, Selecting Programs 1) Press the [BANK] button to select a Program bank. Pressing the [BANK] button will cycle through the available banks: A3+BGM—> 2) Enter the required Program number using the number keypad. For example, to select Program 61 in the GM bank, press the [BANK] button to select the GM bank, then press {6] followed by {1}, and finally, press [ENTER]. Alternatively, press the (4/YES] and T¥/NO] buttons repeatedly to select a Program. Program Play Mode & MIDI In Program Play mode, MIDI data is transmitted and received on the Global MIDI channel. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. ‘The X2/X3 responds to MIDI Controllers such as After Touch and Pitch Bend. See “Controller Event Edit Notes” on page 126 for a list of all usable MIDI Controllers. Using a Pedal Switch to Select Programs ‘You can also select Programs using a pedal switch. 1) Connect an optional Korg PS-1 or PS-2 pedal switch to the ASSIGNABLE PEDAL/SW connector on the rear panel. 2) In Global mode, you need to assign the pedal to either Program Up or Program Down. See “BB Assignable Pedal/SW Setup” on page 173. When set to Program Up, each pedal press selects the next Program up. When set to Program Down, each pedal press selects the next Program down,Chapter 1: Program Play Mode Using MIDI to Select Programs ‘You can also select Programs using MIDI Program Change messages. 1) Connect a MIDI device capable of sending MIDI Program Change messages to the X2/X3 MIDI IN. 2) Set the Global MIDI Channel ot parameter 0 that it matches that of the device sending the Program Change messages. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. 3) In Global mode, you need to set Filter! to ENA. See “3C MIDI Filter1” on page 162. ‘The X2/X3 also responds to MIDI Bank Select messages, which can be used to select Program banks. MIDI instrument makers implement Bank Select messages differently, so refer to the relevant operating manual for full details. If you want the X2/X3 to ignore MIDI Bank Select messages, in Global mode, set Filter! to NUM. See “3C MIDI Filter1” on page 162 for full details The following table shows how the X2/X3 responds to MIDI Bank Select and Program Change messages. ‘mint x23 Bank Select —— use. SB) 00 00 (00-89 A 00-98 00 ot 00-9 8 00-99 00 2 00-69 ¢ (00-90 00 0 00-98 D (00-99 56 o 00-127, 01-128 (00-18, 56-63, 72-127 129 16-23 130 25 131 cH con 208 om 192 40-47 133 ert 134 24, 26-31 135 48-55 196 MSB: first pair of digits LSB: second pair of digits ‘To select a bank, send Controller 0 for MSB and Controller 32 for LSB. Then send the Program ‘Change message to select the Program. You can select a Program by sending just a Program Change message. In this case, the Program will be selected from the current Bank. * If you want to input MIDI data using hexadecimal values, see “MIDI Data Format” on page 206. ‘The method for selecting MIDI banks varies between MIDI instrument makers, so please refer to the relevant instructions,Eaiting in Program Play Mode (Performance Editing) 5 nS Ene e eee ee eee ee ee eee ee Editing in Program Play Mode (Performance Editing) As well as playing Programs, Program Play mode allows you to edit some Program parameters. ‘This is called performance editing, because you can actually edit parameters while performing. ‘The editable parameters are: Octave, Cutoff, VDF EG Intensity, Attack Time, Release Time, Level, Velocity, and Effect Balance. ° 1) Select a Program. 2) Use the function buttons [1] to [8] to select a parameter. The following table shows which function buttons select which parameters. 3) Use the VALUE slider or the [A/YES] and [¥/NO] buttons to adjust the selected parameter. To edit the parameter more precisely, go to Program Edit mode. If the Program uses Double Oscillator mode, which is set in Program Edit mode, the selected parameter will be adjusted for both oscillators. ‘On the following LCD screen, the VDF Cutoff Frequency parameter has been selected by pressing function button [2]. The parameter value on the bottom line of the screen will change as the performance parameter value is adjusted. The angle bracket symbols indicate that there are other screens to the left and right of this one where you can edit parameters. These screens can be selected using the (€-] and [] cursor buttons. V2 a4 S67 ee ONBIMIE ‘When you've finished editing, press the [J] cursor button to return to the previous LCD screen. If you want to write the edited Program to memory, press the [REC/WRITE] button, The message “Ate You Sure OK?" will appear. Press the (4/YES] button to write the Program, or the [W/NO] button to cancel, Note that if you write the Program, you will overwrite the Program that already exists with that number. To write the Program to a different Program number, or change its name, see “BA Program Write” on page 32. The GM bank is a ROM bank, so you cannot write Programs to it. If you do select it, however, bank A will be selected instead. Ephenerals +80 >| Erhengrals +86 ©] Eehenerals +80 «>| Erheneralz +00 0] dct irs’ ge gefFe irae zes¢ [Fes ssa 2:90 [Atk 1100. zr00 [1] OCTAVE: TR) CUTOFF s]VOF EG (a) ATTACK Ephengrals +08 ©] Erhenerals +80 <>] Erhenerals +00 0] Erheneral= 108 Resa 166 2296 [Lev 1:99 2:50 JULAT 13450 21450 [Err 10890 SOrso [6] RELEASE (@)LEVEL I7ivELocmry (S) EFFECT Range Function Parameter ‘Actual increment ‘Button Displayed E er Step [H]OCTAVE | OSC¥, OSG2 Octave (Oct) 18 16] -3.43 Toctave 2) CuTOFF | VDF, VOF?2 Cutott Frequency (Fe) 330] -10..+410 5 [91VOF EG | VOF!, VOF2 EG imensity (FEG) 3A 36 | -10...+10 5 IAJATTACK | VDAT, VDAZ Attack Time (ATK) 48 40] -10...410 5 \VDAT, VDA2 Release Time (Re.A) 48.40] 10. 'SIRELEASE | Vor1, voF2 Release Time (Re.F) 38. 30| “10-+10 7 (elLeveL | 08C1, 0802 Level (Lev) 18 16 -10..+10 s6 Chapter 1: Program Play Mode Tange ] Function Param mae ‘etal inererent Displayed per Stop DAT, VOR2 Vel Senay Amp. WA) 4B VOAT, VOAZ Val Sonsini ES Tine (VAT) 48 4D inivetocity| VOR": vore val Senetivty EG Ini(Vr) 8830| 10.010 6 \Or!: VOF2 Vel Sensy EG Tine (VT) 38.0 Calri,Gaera Veet (WC), asc TBIEFFEST | Orretet Balance (Et 7a7e[ 10.110 = In the previous table, Actual Increment per Step indicates the amount of parameter change. 1B 1C, 3A 3C, etc., indicate the corresponding Program Edit mode LCD sereens. OCTAVE: this parameter sets the oscillator Octave. One step equals one octave, CUTOFF: this parameter affects the Program Cutoff Frequency. One step equals +5. VDF EG: this parameter determines how the Program Cutoff Frequency changes over time. One step equals +5, ATTACK: this parameter sets the VDA Attack Time (ie., the time it takes a sound to start). One step equals +5 RELEASE: this parameter sets the VDA Release Time (i. step equals +5 LEVEL: VELOCITY: this parameter determines how VDA and VDF parameters respond to note velocity (strength of a key press). One step equals +5. EFFECT: this parameter sets the balance between dry signal and effected signal. One step equals $5. , the time it takes a sound to finish). One this parameter sets the Program Volume. One step equals +5. Note: There are actualty two parameters for Release (5], and five parameters for Velocity (7). To access them, press RELEASE {5}, then press the (—9] button. Use the (&/YES] and (W/NO] ‘buttons to select them. Press VELOCITY (7) to access the other velocity parameters. Note: [fa parameter is already set to the minimum or maximum limit of its range, the displayed value will change, but the actual value will not. Note: When one of the above parameters is selected, the VALUE slider will control that parameter, not the dynamic modulation. To use the VALUE slider to control dynamic modulation, press the [1] cursor button to return to the normal Program Play LCD screen. ‘When the MIDI System Exclusive Filter (3D-1 Global mode) is set to ENA, the respective MIDI System Exclusive data will be output while performance editing. Likewise, X2/X3 parameters will be controlled when the respective System Exclusive data is received.Program Edit Mode 7 Chapter 2: Program Edit Mode Program Edit mode allows you to edit Programs. You can create new Programs or simply edit existing ones. The following illustration shows the various parts that make up a Program. The numbers in the bottom left-hand comer of each box indicate the group of LCD screens that are used to set up that particular part. Pema Le | vores vou es se os a ‘uso sera, —— | aan as Entering Program Edit Mode 1) Select the Program that you want to edit in Program Play mode. 2) Press the [EDIT] button. PROG and EDIT appear on the LCD screen. T2a4se7eswNRN WE Compare Function While editing, you can press the [COMPARE] button to listen to the original unedited Program. ‘That is, how the Program was before you started editing it. While the Compare function is active, COMPARE is shown on the LCD, Pressing the [COMPARE] button again will return you to the edited version of the Program. Note: If you edit a parameter while the Compare function is active, the settings of the Program that you were editing will be lost.8 _ Chapter 2: Program Edit Mode Undo Function To reset a parameter to the value that is was before you edited it, press the [A/YES} and [W/NO] buttons simultaneously. Program Editing Notes i Be sure to write the Program you have just finished editing before selecting another Program. Otherwise, your edits will be lost. To write the edited Program into the currently selected Program number, use the [REC/WRITE] button. To write to another bank, use LCD screen [8A]. See “8A l Program Write” on page 32. GM Bank: you can edit Programs in the Bank GM, however, you cannot overwrite them. So if you edit a Bank GM Program, you must write it to a different bank: A, B, C, or D. i Pitch Bend: pitch bend range is typically +12 semitones. However, for some Multisounds the full range is not available. Double Mode Programs: the same function button can be used to select the corresponding LCD f screens for Oscillator! and Oscillator2. For example, if you select 3A-2 VDF1 EG (Oscillator2 VDF EG), then press function button [3], 3C-2 VDF2 EG (Oscillator2 VDF EG) will appear. Pressing the button again will return to 3A-2 VDF EG. This applies to the following LCD I screens: 1B — 1C Function button {1] (Oscillator Setup) 3A — 3C Function button [3] (VDF Cutoff & EG) ' 3B — 3D Function button (3] (VDF Velocity Sensitivity & Keyboard Tracking) 4A — 4C Function button (4] (VDA EG) t 4B — 4D Function button [4] (VDA Velocity Sensitivity & Keyboard Tracking) 5A — SB Function button [5] (Pitch Modulation) I Parameter Interaction: due to the way that some of the VDF EG and VDF Modulation parameters interact with VDF parameters, you may find that increasing or reducing a parameter value has no effect. This is usually because that VDF parameter is already set to its maximum or minimum value. The same applies to level parameters such as Oscillator Level, VDA Attack Level, etc. If increasing the Oscillator Level does not increase the output level, it could be that VDA Level parameters are already set to their maximum values. The overall oscillator output level is limited to the range that the VDA can handle. i Always Write Programs: remember to write an edited Program to memory before selecting another Program. Otherwise, the edited Program will be lost. J ‘When the MIDI System Exclusive Filter (3D-1 Global mode) is set to ENA, the respective MIDI System Exclusive data will be output when a parameter is edited. Likewise, X2/X3 parameters will be edited when the respective System Exclusive data is received. |Performance Functions. 9 Performance Functions ‘The following functions allow you to add greater expression to a live performance: + Note velocity: can be used to control the Pitch EG VDF and VDA. See “2A Pitch EG” on page 14, “3B VDFI Velocity Sensitivity & Keyboard Tracking” on page 18, and “4B VDAI Velocity Sensitivity & Keyboard Tracking” on page 23 * After Touch: can be used to control Pitch! and Pitch2 Modulation, and some VDF and VDA Parameters. See ‘SA Pitch! Modulation” on page 27 and “6A After Touch & Joystick Control” on page 30. * Joystick: can be used to control Pitch and Pitch2 Modulation, and some VDF and VDA Parameters. See “5A Pitch] Modulation’ on page 27, “SB Pitch2 Modulation” on page 28, and “6A After Touch & Joystick Control” on page 30. + Dynamic modulation: can be used to control effect parameters. See “7A Effect] Setup” on page 58. * Assignable pedal: can be used to contro! Volume, VDF Cutoff Frequency, and switch effects ‘on and off. See “8B Assignable Pedal/SW Setup” on page 173.10 Chapter 2: Program Edit Mode 1A Global Oscillator Setup These parameters are used to set the type of Program [eo [eerste [nage [ensign SROLE Cama 14 | OscModey | DOUBLE Osctator and Oscitator? » DRUMS: Addrum kit pour Poyphenie ‘aa [eras [echo romens, Ya 0) ONO sol ar oy ae (1 ON er DRUMS a) 1A-1 Oscillator mode: there are three Oscillator modes: Single, Double, and Drums. In Single mode, only Oscillator! is used, and 32-note polyphony is available. In Double mode, Oscillator! and Oscillator? are used, and different Multisounds can be selected for each oscillator, each independent VDF and VDA. Polyphony is 16 notes. In Drum mode, a drum kit is used instead of a Multisound. Drum kits are set up in Global mode. See “7A Drum Kit Setup!” on page 170. There are 16 drum kits available: four internal RAM kits, four card kits, and eight internal ROM kits. 1A-2 Assign: this parameter sets the Program to either polyphonic or monophonic. In Polyphonic mode, a number of notes up to the maximum available can be played simultaneously: 32 in Single mode and 16 in Double mode. In Monophonic mode, one note only can be played at a time. Hold: this parameter determines whether or not notes continue to sound even after the corresponding MIDI Note Off message has been received. That is, even after keys are released. ‘Typically, this parameter should be set to off, unless you want notes to drone on for eternity. However, when the Oscillator mode is set to DRUMS, this parameter should be set to ON. This will ensure that drum sounds are played in their entirety regardless of MIDI Note length or how ong you hold down a key.18 Oscillator! Setup 11 1B Oscillator1 Setup ‘These parameters are used to set up Oscillatorl. In Double Oscillator mode, pressing function button [1] will take you to 1C Oscillator2 Setup. 7 ee 7 ie uco | Parameter Range Description 0340 0-359 on 3) | ral Mucous | 1541 | mutisouna(sounoy | Coo” Car sound crise) os Oscar ode 6 DRUMS, sla dum kt Sosa cov 0-0, Lon es 2 Bootes down . % #cuove own Octave (OCT) 8 Normal pitch ‘ team we Rion EG ety | a9, 9 Te amount of onal hat he Pich EG exes ove ich 183 can pan OFFA upper opus A and whan O80 mode = ie o [Pan (ta-Chr-148--- | Deo "pa [ASSEN fora Ouputovito bus 6 [12 [send © o Opie busD 1B-1 Multisound: this parameter is used to select an internal Multisounds for Oscillator. The X2 has 341 Multisounds. The X3 has 340. Multisounds are the basic sound elements that make up a Program and provide the basic characteristics of a Program. If an optional PCM data card is inserted, Multisounds can also be selected from that card. Data card Multisound numbers have the prefix C. Press the {10's HOLD] button to select card Multisounds. Multisounds with NT (No Transpose) at the end of their names, for example, 187 StadiumNT, produce the same pitch regardless of what note is played, or MIDI Note received. ‘Note: Since each Multisound has an upper limit to its pitch range, some Multisounds may not produce sound when high notes are played, or high MIDI Notes received. Note: When X2 Program 340: A.Piano3 is selected, the Pan (1B-3) parameter cannot be set. Ifthe Oscillator mode (1A-1) is set to DRUMS, you can select a drum kit from the following table. You must insert an optional PCM data card to select drum kits 4-7. For drum kit setup details, see “TA Drum Kit Setup!” on page 170. Range_[_Orum Ke Bank 0 __| Brum Kit At 1 [rum kit Az 2 [owner } = = 3_| Drum ki 82 4 | cara Kin 5 _| caaDKie ey 6 | Ca oKia 7 _| cara xia 3 | Pomona ROM 15 | Rom Oxia Drum maps for drum kits 0-3 and 8-15 are provided at the back of the Basic Guide.12 Chapter 2: Program Edit Mode 1B-2 Oscillator Level: this parameter is used to set the volume level of Oscillator! Note: For some Multisounds, a high Oscillator Level may result in distortion when playing chords. If this occurs, reduce the Oscillator Level. Octave: this parameter allows you to shift a Multisound up or down in one octave steps. If the Oscillator mode (1A-1) is set to DRUMS, this parameter should be set to 8°, otherwise some drum sounds will be moved out of their playable range. If this parameter is set to anything other than 8", take care when setting the VDA and VDF Keyboard Tracking parameters. 1B-3 Pitch EG Intensity: this parameter determines the amount of control that the Pitch EG exerts over the pitch of Oscillator1. A negative value inverts the pitch levels set for the Pitch EG (2A~I to 2A-3). Pan: this parameter is used to pan the output of Oscillator between buses A and B. These buses feed the effects processors. See “7E Effect Placement” on page 59. When OFF is selected, no signals are sent on buses A and B. The CNT setting means center: signals of equal level are fed to buses A and B. For X2 Program 340: A.Piano3, pan has already been set for each key. The pan value appears as “---” and you cannot change it. Note: When the Oscillator mode (1A-I) is set to DRUMS, the pan settings for each drum in the kit are used. See "7A Drum Kit Setup!" on page 170 and "7B Drum Kit Setup2” on page 172. 1B-4 Send C, Send D: these parameters are used to set the level of the Oscillator! signals sent to buses Cand D. These buses feed the effects processors. See “7E Effect Placement” on page 59. Note: If the Oscillator mode (1A~1) is set to DRUMS, these parameters are multiplied by the settings for each drum in the kit, then output to Send C and Send D. See “7A Drum Kit Setup]” on page 170.1€ Oscillator? Setup 13 1C-6 Delay Start: 1C Oscillator2 Setup ‘These parameters are used to set up Oscillator2, These parameters are available only when the Oscillator mode it set to DOUBLE. See “1A Global Oscillator Setup” on page 10. In Double Oscillator mode, pressing function button [1] will take you to 1B Oscillator! Setup. cz e <] te a8be SOUND cory 16-3 ea 16 Te Paareter Besson a ee Te 0-89 on) | eerie [20-4 | matsounSouno | San Carsthoands card ised) | [Beater ove toe ad salar el = ry @ octaves down e # ove donm cameron | | ste cv ‘ {Same wn Rance weraty | oe, .o0 The amount of onl al the Pitch EG ox ver toh ves} OFA | fen eon ss [gua [SenssenoG) [oa Sapaietio bas © 4 SendD() o Ouputtevetto bus D Ts [etna nv a Pih shit elatvewo Osan eine ein) | 0.980 Oslo and Oscar etre 16-5 [ty stant (Ouey)[o-00 Oscar sound out delay lave o Osa ‘Apart from the fact that they control Oscillator2, most of these parameters work the same as they do for Oscillatorl. See “1B Oscillator! Setup” on page 11. The following parameters, however, 1C-5 and 1C-6, apply to Oscillator? only. 1C-5 Interval: this parameter pitch shifts Oscillator? relative to Oscillator! in semitone steps. This can bbe used, for example, to form simple 2-note chords. Detune: this parameter de-tunes oscillators | and 2. This is useful for creating a thicker, richer sound, For a positive (+) Detune value, the pitch of Oscillator! is lowered and the pitch of Oscillator2 is raised, For a negative (~) Detune value, the pitch of Oscillator! is raised and the pitch of Oscillator? is lowered. In other words, as the Detune value is increased, both oscillators are detuned by the same amount, but in opposite directions. Odd Detune values will lower and raise oscillator pitches in half cent steps. Detun ‘Osciator2 +50 $25 325 4125 ° 2 m2 * 6 £0 325 25 is parameter allows you to set Oscillator? so that it starts producing sound after Oscillator, A setting of 0 means no delay. This is normally set to 0.14 Chapter 2: Program Edit Mode 2A Pitch EG 2A-3 ‘The Pitch EG (Envelope Generator) determines how the pitches of Oscillator! and Oscillator2 vary over time. Th Ee 7] ea FI. EB vel 30 ALW00 Levined3 Tinto 2a ZAP 2A 1co | _ Parameter Range Deseription Startbevel SL) [28.990 ‘aroun of ich charge when kay sat pressed zat [tack Tne (AT) [0-89 Time to reach Atack level pich when key pressed Atack Level (AL) | 29.008 Aunt of pich change when atack tie ends | Decay Time (OT) [0-80 Te o reach normal pic once attack time ends 2A-2 [Rewase Time (AT) | 0-09 Time reach Release lovel ich when kay i leased Release Level (Al) —|-09..009 ‘Aount of pth change when Key is eleased EG Level Velocty " 7 ES bevel aoa | 9,499 Pitch EG level sensitivity to keyboard velocity 24-3 Tc Time Velooty ES Time Velorty | 6.480 Pitch EG time sensitivity to keyboard vlocty ‘The Pitch EG can change the oscillator pitch by up to + 1 octave. A level setting of 99 is, approximately 1 octave. The extent to which the Pitch EG affects the oscillator pitch is set independently for each oscillator using the Pitch EG Intensity (EGint) parameters. See “1B Oscillator1 Setup” on page 11 and “IC Oscillator2 Setup” on page 13. Probably the best way to understand the Pitch EG is to edit a Program, adjust the above parameters, and listen to the results. The main thing to remember is that the Level parameters specify the amount of pitch change, and the time parameters specify the time it takes to reach pitch changes relative to note on and note off. Negative (~) levels mean lowered pitch and positive (+) levels mean raised pitch. The following illustration should help. Pitch incroase (1) ‘tack love Poh decrease (-) Tie EG Level Velocity Sensitivity: this parameter allows you to control the Pitch EG pitch levels using note velocity. For a positive value (+), the amount of pitch change will increase as note velocity increases. A negative value (-) will have the opposite effect. ten EG change (vet) teh EG pararator ‘Strong paying ‘ating al postive +)2APitchEG 15 EG Time Velocity Sensitivity: this parameter allows you to control the Pitch EG Time parameters using note velocity. For a positive value (+), time parameters will become shorter as note velocity increases. A negative value (-) will have the opposite effect. ch EG change (ime) Pf be Pitch €6 parametor Soft playing ‘Strong playing ‘setings (al postive +)16 Chapter 2: Program Edit Mode 3A VDF1 Cutoff & EG ‘These parameters are used to set up the VDF (Variable Digital Filter) for Oscillator. In Double Oscillator mode, pressing function button [3] will take you to 3C VDF2 Cutoff & EG. 3A4 3A UDF >) 38 UOF1 EG O] 38 UOFL 6S ] 38 COLOR t < Fat foineses |atog seves oron | aa Frooruveo [in “verses al oe oa ws [eb | Parameter Renae Bescon Or Cuor Feaere a og Cut rear was [sSimerat con [0-00 barre VOE Coot Fears) rama [anacicTine on) [0-58 Tio each Atak Level afr ky pres one [accel al) | 99.8 Anourl Cut Freeney change when Aa Tire ends acy Tine OT) [0-09 Timo een Sen Pt one Aso Tie ons Beeson GP) | 09.298 Anourtl Cul Freier) cuargs wren Dea) Tne eds 20 Sogn Tie (oy) o-98 Treo each Suan Ll oa Otay Tne ed Suntan wel (S0) | 86.89 ‘oun of Clot reuerey change url eat rs | eteae Tne [0-38 Tine o each ease Level wren ay aed Relate Lvl) | 29.99 Anosrt of ua Feuer ergs oes Rese Te ons ag [Saetieray ny [0-0 noun Cabrio vo) | 50.99 Clr senso eoard ey This VDF is basically a low-pass filter with a variable Cutoff Frequency parameter. It can be used to change the tonal quality of a Program. The VDF EG (Variable Digital Filter Envelope Generator) parameters allow you to determine how the Cutoff Frequency changes over time. VDF Cutoff Frequency: the Cutoff Frequency can be set from 0 to 99. As the value is reduced, high frequencies are filtered, thus producing a duller (softer) tone. Frequency ° ‘Guat raquenecy * EG Intensity: this parameter determines the amount of control that the VDF EG exerts over the ‘VDF Cutoff Frequency parameter. Basically, it sets the overal level of the VDF EG.3A VDFI Cutoff & EG 17 VDF EG: the eight parameters on LCD screens 3A-2 to 3-4 are used to set up the VDF EG. Level parameters specify the amount of VDF Cutoff Frequency change, and time parameters, specify the time it takes to reach Cutoff Frequency changes relative to note on and note off. Positive values cause the Cutoff Frequency to increase, negative values cause it to decrease. Overall EG vel et by Note ott EGimenety parameter Atacklevel_, Sustain \ 3A-5 Color Intensity: this parameter determines the amount of VDF color. By boosting the level around the Cutoff Frequency, the Color parameter adds character to a sound. Color Velocity: this parameter determines how the color parameter responds to note velocity. For positive values, stronger playing will increase the amount of color. Negative values will have the opposite effect.18 Chapter 2: Program Edit Mode 3B VDF1 Velocity Sensi 3B ity & Keyboard Tracking VDFI Velocity Sensitivity parameters determine how VDF1 EG responds to note velocity. The Keyboard Tracking parameters determine how different areas of the keyboard affect VDF 1. In Double Oscillator mode, pressing function button (3] will take you to 3D VDF2 Velocity Sensitivity & Keyboard Tracking. FE vaFT SEE | URL VSENE O] OORT TRE Sr Tm a noo [aro br0 Sto nfo [esrea noapenus fia oo Sto Rr0 8 382 we 2 165 [ —parameer [Range Bescon Veet Seri ES]. 30 VOFI EG nay perme sonst kj enct oes Veit Soa E ——— Veet Sera oo VOFI EG Tine parameter sonata kao! ety ata Tee so-g | Dea Tine 7 ‘Th octon wien VOFI EG Tne paaetrs ae acs ‘Slope Time (ST) ‘by keyboard velocity Release Time (AT) For Law andtighayoersracra moden Reon Fon whch Kerpoars Tact]. 9 Iayoarstacing sar, for moan ty ation OE ton {Slem teqeny and VOF EO Tne pars states 20-3 on No ejbenrd waco Kayours tacking | LOW Keynorsaig Dow pei key Mode egey | HGH Kojeoars vag sore spss ty A road wai one etre kyoon Keren Tactira | 6.480 VOF! aio yours acing ons KeyooarsTackra ES _ . KepperdTachro ES] og OF! EG Tine pramoer eet eyboar acking Attack Time (AT) gps [Decay Time (O7) ‘The direction in which VOF1 EG Time parameters are atteced| Slope Time (ST) by keyboard tracking Release Tee (7) Note: Some of the parameters mentioned in this section operate in conjunction with parameters in “3A VDF I Cutoff & EG” on page 16, so refer to that section also. Velocity Sensitivity EG Intensity: this parameter determines how the VDF1 EG Intensity parameter is affected by note velocity. For positive values, soft playing will reduce the value of the VDF1 EG Intensity parameter, strong playing will increase the value. Negative values will have the opposite effect. In the following illustration, a positive value has been set. \VOF EG Intensity Note ot t on we r foal natn t oy EG intensity Sot playing Strong playing parameter Seting (ali parameters +)3B VDFI Velocity Sensitivity & Keyboard Tracking _19 Many acoustic instruments often produce less high-frequency energy when played softly. Soft playing produces a darker sound, while strong playing creates many high frequency harmonics that brighten the sound. This natural phenomenon can be simulated by setting the VDF Cutoff Frequency parameter to a fairly low value, and the VDF EG Intensity, VDF EG Sustain Level, and Velocity Sensitivity EG Intensity parameters to positive values. Note: This parameter does not affect the VDF Cutoff Frequency parameter directly, it affects the EG Intensity parameter. So if the EG Intensity parameter, or all other VDF EG parameters are Set 10 0, it will have no effect. Velocity Sensitivity EG Time: this parameter determines how the VDF EG Time parameters are affected by note velocity. It affects the VDF1 EG Attack, Decay, Slope, and Release Time parameters equally. Although, the direction of change can be set independently for each parameter, 3B-2 Attack, Decay, Slope, Release Times: these parameters determine whether the VDF1 EG Time parameters are reduced or increased with changing note velocity. For a negative (-) value, they are increased, for a positive (+) value reduced. A setting of 0 means no effect. In the following illustration, each parameter is set to positive. Time change (all parameters +) He y CC ye Note on we | eS Sot playing Strong paying L 3B-3 Keyboard Tracking Key: for Low and High keyboard tracking modes, this parameter specifies the key from which keyboard tracking starts. For All mode, it specifies the key around which keyboard tracking will take place. At the specified key, keyboard tracking will have no effect. ‘The tracking key can be set by pressing a keyboard key while holding down the [ENTER] button. Keyboard Tracking Modes: keyboard tracking determines how the VDF affects different areas of the keyboard. There are four Keyboard Tracking modes: Off, Low, High, and All. When Off is selected, there is no keyboard tracking and the Keyboard Tracking Intensity and Keyboard Tracking EG Time parameters are disabled. When Low is selected, keyboard tracking is active on keys below the specified Keyboard Tracking Key. When High is selected, keyboard tracking is active on keys above the specified Keyboard Tracking Key. When All is selected, keyboard tracking will be active across the entire keyboard. cut cat cast cot recuy rey a a ‘ne =-20 a= e=50 F neo0 i eae : ay en cr my cr Key oo cr key ee (FF woo wowuooe Nigh wooe AL WoDE20 _ Chapter 2: Program Edit Mode 3B-4 Keyboard Tracking Intensi 3B-5 : this parameter determines keyboard tracking intensity for the specified keyboard area. Positive values will make high notes brighter. Negative values have the opposite effect. For a value of 0, the Cutoff Frequency changes linearly with regard to key pitch. Fora value of ~50, the Cutoff Frequency is the same for all notes. dead Int =0 In=-50 ‘ Int <-80 keyboard racking mode: ALL) ot Key Ge a 7 : Keyboard Tracking EG Time: this parameter determines how the VDF EG Time parameters are affected by keyboard tracking. It affects the VDF] EG Attack, Decay, Slope, and Release Time parameters equally. Although, the direction of change can be set independently for each parameter. The Keyboard Tracking mode and Key parameters can be used to specify the keyboard area that is affected. Time A - nn ayers mode set igh, E@ Tmo changes (2555 parametars soto) ’ ! . or wy 08 Attack, Decay, Slope, Release Times: these parameters determine whether the VDF1 EG Time parameters are reduced or increased with keyboard tracking. For a negative (~) value, notes above the specified key will have their VDF EG times increased. For a positive (+) value, notes above the specified key will have their VDF EG times decreased. A setting of 0 means no effect. VDF £6 Time paramoter setings (al paramotrs +) Noten Noteolt | Note on Note of Noteon Noto of Etfecton low notes _—_—Etfecton high notes3C VDF2 Cutoff & EG 21 3C VDF2 Cutoff & EG These parameters are used to set up the VDF (Variable Digital Filter) for Oscillator2. Operation is the same as for VDF1. See “3A VDF1 Cutoff & EG” on page 16. In Double Oscillator mode, pressing function button [3] will take you to 3A VDF Cutoff & EG. daw a Ee ES arog Bieus ovoo. |zeeae S1e0 sweat [eros ec-0d © [invcoo t 1-2 sR w-8 3D VDF2 Velocity Sense & Keyboard Tracking VDF2 Velocity Sensitivity parameters determine how VDF2 EG responds to note velocity. The Keyboard Tracking parameters determine how different areas of the keyboard affect VDF2. Operation is the same as for VDF. See “3B VDF Velocity Sensitivity & Keyboard Tracking” (on page 18. In Double Oscillator mode, pressing function button [3] will take you to 3B VDF Velocity Sensitivity & Keyboard Tracking. Eainte?7 Estnéa [ata oT@ sta RTa [KevFAd Hodesril | Int=eraeectn=ae | AT TO Sta eTa 30-1 30-2 20-3 30-4 30-8 [20 v0 >) Sb UOFZ USERS ae UDF2 KTR <>] SD VDF2 K,TRK Te. UDF2 K.TRK_<22 Chapter 2: Program Edit Mode 4A VDA1 EG VDA! EG (Variable Digital Amplifier Envelope Generator) determines how the volume of Oscillator! varies over time. In Double Oscillator mode, pressing function button [4] will take you to 4C VDA2 EG. 4A UDAL ES <>) 4m UbAI E@ Bates [Eee ace TRS . aes wae a Teo [ rena Tange ecigion Tans) [8 Tie ach As eat ty pea aaet [atackiow au) [099 Votre tee wr tuk Te cos [oscar tine ory [0-0 Tine ech Beak Pontone Atak Tro oes | [Breacroinar) [oe Vole te whe Decay Tee ens a| 10-2 [SepeTine [099 Tins reek Satan Ln ne Desay Tie ons susan wis [0-0 Vote te wn See Tie ons G3 [Romeo Tie [099 Tin euch 2 voli wn hoy omned 7 Amplifier). The following illustration shows how the VDA1 EG parameters affect the VDA (Variable Digital voune4B VDAI Velocity Sensitivity & Keyboard Tracking 23 4B VDA1 Velocity Sensitivity & Keyboard Trac! 48-1 8 DAI Velocity Sensitivity parameters determine how VDA1 EG responds to note velocity. The Keyboard Tracking parameters determine how different areas of the keyboard affect VDAI. In Double Oscillator mode, pressing function button [4] will take you to 4D VDA2 Velocity Sensitivity & Keyboard Tracking. . $8 VOAL U.SENS >] 48 VORL U,SENS <>] 4B UOT K.TRK ©] 48 UDAL K.TRK ©] 48 UDR KIRK < Fine=+99 EGtn=o0 [ATO OTO STO RTE | KewCHl Mode=OFF | finee+00 EGtnaao [ATO OT@ £10 RTO <4 42 63 484 48 Lop | Parameter Description, Velocity Sensi n jenn [amotan ng)” _| “9-099 \VOA1 EG sensitivity to note velocity Velocity Sensitivity me vom ol voor Grime (eGim)_| 0-99 VDA! EG Time parameter sensitity o note velocity ‘Attack Time (AT) 4p-2 [Decay Time (OT) |=. 0. + ‘The direction in which VDA1 EG Time parameters are alfected Slope Time (ST) | =.0.+ by note velocity Release Time (AT) | =. 0.+ For Low and High Keyboard racking modes, the key from which Keyooar TacknG yc gp Kapoutd acing sar, rox Alma, yarn VOAT errr not afoced es OFF (No keyboard tracking ‘Keyboard Tracking | LOW ‘Keyboard tracking below the specified key. Nae doa? | on Kecad wack aor he spel ky a Kensondvakng owe oie hye Teyboad Tang on . “oem a [= VOM EG sans aya racking feybourd Taking oer tan VAY EG Tine parameter eave Kyboard cing Attack Time (AT), es [Desa Tine 7 ‘acon in wich VOAY Ea Tine prametraeateced ‘Slope Time (ST) ‘by keyboard tracking Roloase Time (FT) Note: Some of the parameters mentioned in this section operate in conjunction with parameters in “4A VDAI EG" on page 22, so refer to that section also. Velocity Sensitivity Amplitude: this parameter determines how the overall level of VDAI Gis affected by note velocity. For positive values, soft playing will reduce the volume. For negative values, soft playing will increase the volume. In the following illustration, a positive value has been selected. VDAEG Ampituse Note oft Te r he VA VDA EG Level ‘sot playing ‘Strong playing setings By setting the Velocity Sensitivity Amplitude parameter for VDA1 to a positive value and the Velocity Sensitivity Amplitude parameter for VDA2 to a negative value, a velocity crossfade effect can be achieved. This allows you to fade between two sounds as your playing changes from soft to strong and vice versa.24 Chapter 2: Program Edit Mode Keyboard velocity can also be used to control output panning. Set Oscillator! and Oscillator? parameters the same (use the “8C Program Oscillator Copy” on page 33), set the Velocity Sensitivity Amplitude parameters for VDA1 and VDA2 as described above, then set Oscillator] Pan to A and Oscillator? Pan to B. As you play softly, Oscillator2 will be sent to the right output. As your playing gradually gets stronger, the level of Oscillator?2 will reduce and Oscillator! will be sent to the left output. Because both oscillators are set identical, the Program will appear to pan from right to left as your playing gets stronger. Velocity Sensitivity EG Time: this parameter determines how the overall level of VDA1 EG time parameters are affected by note velocity. It affects the VDA EG Attack, Decay, Slope, and Release Time parameters equally. Although, the direction of change can be set independently for each parameter. 4B-2 Attack, Decay, Slope, Release Times: these parameters determine whether the VDA1 EG time 48-3 parameters (4B-1) are reduced or increased with changing note velocity. For a negative (-) value, they are increased the stronger you play, for a positive (+) value they are reduced the stronger you play. In other words, for a positive setting, the stronger you play, the shorter the Attack, Decay, Slope, and Release times become. This is especially effective on string type Programs. In the following illustration, all parameters are set to positive. Note on iC Note off Note on Note off VDA EG Time Sot playing ‘Strong playing settings Keyboard Tracking Key: for Low and High keyboard tracking modes, this parameter specifies the key from which keyboard tracking starts. For All mode, it specifies the key around which keyboard tracking will take place. At the specified key, keyboard tracking will have no effect. ‘The tracking key can be set by pressing a key while holding down the X2/X3 [ENTER] button. Volume tevel Keyboard racking amplitude > 0 Oscilator rm : level setieg Keyboard tracking amplitude = 0 ' ' 1 " ' i Keyboard tracking amplitude <0 cA Key Go Keyboard Tracking Modes: keyboard tracking determines how the VDA EG applies to different areas of a keyboard. There are four Keyboard Tracking modes: Off, Low, High, and All. When Off is selected, there is no keyboard tracking and the Keyboard Tracking Amplitude and Keyboard Tracking EG Time parameters are disabled. When Low is selected, keyboard tracking is active on4B VDAI Velocity Sensitivity & Keyboard Tracking 25 kkeys below the specified Keyboard Tracking Key. When High is selected, keyboard tracking is active on keys above the specified Keyboard Tracking Key. When Alll is selected, keyboard tacking is active across the entire keyboard. aa at Let ey ff 48-4 Keyboard Tracking Amplitude: this parameter determines keyboard tracking amplitude for the specified keyboard area. Positive values make high notes louder. Negative values have the opposite effect. keyboard Tracking EG Time: this parameter determines how the overall level of the VDA1 EG time parameters are affected by keyboard tracking. It affects the VDA1 EG Attack, Decay, Slope, and Release time parameters equally. Although, the direction of change can be set independently for each parameter. The Keyboard Tracking mode and Key parameters can be used to specify the keyboard area that is affected. 48-5 Attack, Decay, Slope, Release Times: these parameters determine whether the VDA] EG Time parameters are reduced or increased with keyboard tracking. For a negative (~) value, notes above the specified key have their VDA EG times increased. For a positive (+) value, notes above the specified key have their VDA EG times decreased. In the following illustration, all parameters are set to positive Note.on Note off Note on Note off Nak VDAEG Ti settings ry Notes below the Tracking Key ae Notes above the Tracking Key Creating a Positional Crossfade You can specify a keyboard position at which one oscillator will fade out and the other will fade in, Set VDAI (4B-3) and VDA2 (4D-3) to the same Keyboard Tracking Key, for example, C4, then set VDAI (4B-4) to a positive Keyboard Tracking Amplitude value and VDA2 (4D-4) toa negative Keyboard Tracking Amplitude value. The following illustration shows this more clearly. i VAI keyboard VOA2 keyboard Noume ide] vaca areitise <0 racking ample >0 a! Oscitator level satting ° ca Key cS26 Chapter 2: Program Edit Mode 4C VDA2 EG VDA2 EG (Variable Digital Amplifier Envelope Generator) determines how the volume of Oscillator? varies over time. Operation is the same as for VDA1. See “4A VDA EG” on page 22. In Double Oscillator mode, pressing function button {4} will take you to 4A VDA1 EG. ae uA EG «OAC ORCS ac UDAZ EG Atop mss OTIS [E20 STES sLeo | RTES ron 402 408 4D VDA2 Velocity Sensitivity & Keyboard Tracking VDA2 Velocity Sensitivity parameters determine how VDA2 EG responds to note velocity. The Keyboard Tracking parameters determine how different areas of the keyboard affect VDA2 EG. Operation is the same as for VDAI. See “4B VDAI Velocity Sensitivity & Keyboard Tracking” on page 23. In Double Oscillator mode, pressing function button [4] will take you to 4B VDAT Velocity Sensitivity & Keyboard Tracking. 40 UAC U.SENS >] 4D UDAZU,SENS ©] 40 UOAZ K Fee=+99 Ebtne0 [RTH OT Ste RTO [KexcWt 404 20-2 40 VORZ K.TRK ©] 4D UORZK.TRK < Bnes+i6 EGtn=a0 | ATH OTH STO RTO 40-4 40-85A Pitch] Modulation 27 5A Pitch1 Modulation SAT SA-2 These parameters allow you to modulate the pitch of Oscillatorl. Modulation frequency and intensity can also be controlled using After Touch and Pitch Bend. In Double Oscillator mode, pressing function button [5] will take you to SB Pitch2 MG. [SR PITH me T[saprted i ne co] SA PITCH | HG] sa Fret FRED SA PHSL INT < Tet Fraoo into _| del sw Fadeingd | ke sunciOFF KoTRKo9 -ReJe8 | APL=00 _Jowte=00 BA wae AS saa Ew Lco[ Parameter Range TAI SAWT Sawtooth t Wavetorm SAWL ‘Sawtooth J sant ‘Squaret 5A RAND Random SOR2 Square Frequency (Fe) [0-29 Moduation Speed Intenstytnt| 0-89 Modulation intensity sna [aay (Dol) 0 Time fom key press io modulation start Fado In Time (Fagein)| 0-09 Rate at which medultion reaches specified Intnsiy gag | Kepooard Sync OFF ‘Modiation wil continue for subsequent notes [ESS | sync) On Modulation wil esta foreach new note terrane Tacing | 29.490 Modulation sensitivity o keyboard tracking saa Ate Teh & Jot 9g odo eeuney conta by Ar Touch and Pith Band ‘Altor Touch | Modulation itensiy. | 0-09 Modilaton intensity controle by After Touch sacs | (Af joystick Modulation uation intensity cont 1 Pitch Bon forsee Mestinion [999 | Mosuaton tensity convaea by ne Pen Bons Waveform: this parameter selects the type of modulation waveform. Trangie A Square sawtoon t PAE Random SF samootn tS sqvarez FAL is parameter determines the modulation frequency (speed). parameter determines the modulation intensity (depth). Delay: this parameter determines how long after a key press modulation stars, Fade In time: this parameter specifies the time it takes modulation to reach maximum intensity. Note on { key pitch Delay Fade in28 Chapter 2: Program Edit Mode 5A~3 Keyboard Syne: determines how subsequent notes are affected by modulation. For a setting of OFF, modulation is applied to subsequent notes in the same way that itis currently being applied to notes that are already held down. That is, subsequent notes will not be affected by the Delay and Fade In Time parameters. For a setting of ON, modulation restarts for each new note. 5A-4 Keyboard Tracking: keyboard tracking determines how modulation affects different areas of the Keyboard. For positive values, the modulation frequency will increase as higher notes are played. For negative values, the modulation frequency will decrease as higher notes are played. ‘When Keyboard Sync is set to OFF, the modulation speed is determined by the position of the first key pressed. When keyboard tracking is set to +99, playing a key 1 octave higher will double the modulation speed. When the oscillator Octave parameter is set to 8°, Key C4 is the keyboard tracking center key. After Touch & Joystick: this parameter specifies how much the modulation frequency will be increased in response to After Touch and the joystick (Pitch Modulation MIDI Controller) 5A-5 After Touch Modulation Intensity: this parameter determines to what extent After Touch affects the modulation intensity. Joystick Modulation Intensity: this parameter determines to what extent the joy stick affects the modulation intensity. lerease pith modulation TP tomer 8 moray (Gsm) 5B Pitch2 Modulation These parameters allow you to modulate the pitch of Oscillator2. Modulation frequency and intensity can also be controlled using After Touch and the joystick (Pitch Modulation MIDI Controller). Operation is the same as for Pitch! Modulation. See “SA Pitch! Modulation” on page 27. In Double Oscillator mode, pressing function button [5] will take you to 5A Pitchl MG. SE PITCH 2 NS >[SEPITEHE NG O|SE PITCH 2 Hs [SE RMaZ FRED OO] SB PMG: INT < TRI_Frago Intoo | Pelayo Fade inae Ke TRK*O0 APL=00 Jowur=09) 84 382 58-4 58-55C VDF Modulation 29 5C VDF Modulation These parameters allows you to modulate the Cutoff Frequency of VDF1, VDF2, or both. UF Te | —Pavemeer Tange Ta Tange Sar Sowa t Sat Sow Mau) ‘sQRt ‘Square1 sex aN oncom Sane Suit Feaurey Fa) lo Modulation Seed iinaty day—_[99 Modaton inst aby 028 Tine okey ress noon a OFF Moaioten ot 5C-2 | Oscitator Select osct ‘Modulation for VDF1 } ) (ose) osc2 Modulation for VOF2, sor Inataton f:VOET and VOF2 [eos | Spaaere | orr OFF elton wil conte to sibsegor vie (K.Sync) ON ON: modulation will restart for each new note 5C-1 Waveform: this parameter selects the type of modulation waveform. Triangle SS ‘Squaret santoant AAR ao sawoon AS square FE Frequency: this parameter determines the modulation frequency (speed). Intensity: this parameter determines the modulation intensity (depth). with a fade in time that is determined by this parameter. Delay: this parameter determines how long after a note on modulation starts. Modulation starts ‘Note on wrcue|¥ a | sel eal i s/h - N Peey raleintine Sex, =a. Note: When Square | is selected and the filter is completely open, the Cutoff Frequency does not change. Oscillator Select: this parameter allows you to apply modulation to VDF1, VDF2, or both. 5C-3 Keyboard Sync: determines how subsequent notes are affected by modulation. For a setting of OFF, modulation is applied to subsequent notes in the same Way that it is currently being applied to notes that are already held down. That is, subsequent notes will not be affected by the Delay parameter. For a setting of ON, modulation restarts for each new note.30 Chapter 2: Program Edit Mode 6A After Touch & Joystick Control ‘These parameters determine how a Program responds to After Touch and the joystick (VDF Modulation MIDI Controller). Leo | Parameter Range Description Bie enPaenBerd era ‘Aer ooh ich bord ange oat ‘ter Touch VDF Ate Touch OF py | 980498 VDF Cutt Frequency sensitivity to Aer Touch ‘After Touch VOF MG gua [omemmreroeu | 38 \VOF modulation sensitivity to Alter Touch ‘AtterTouch VDA ‘ter Touct YOK | 50.499 VAI sensitvty to Aer Touch “oystick VOF MG ‘VDF meduaton snsitvty othe VDF Modulation MIDI 84-3 | intensity (VORMG)_| °° Controller Joystick) Pitch up Joystick VDF Sweep Intensity: this parameter determines how the VDF Cutoff Frequency responds to h bend. For positive values, the Cutoff Frequency increases as the joystick is moved from left to right. For negative values, the Cutoff Frequency increases as the joystick is moved from right to left J Cutoff frequency down Gsm > Cutoff frequency up32 Chapter 2: Program Edit Mode 7A-7G Effects Effects are explained fully in Chapter 5: “Effects” on page 57. Effects settings made in Program Edit mode only apply to Programs in Program Play mode and Program Edit mode. They do not apply when Programs are used in Combinations or songs. Effect, settings for Programs used in Combinations are set in Combination Edit mode. For Programs in songs. they are set in Sequencer Edit mode. Program parameters Pan A, Pan B, Send C, and Send D are used to control the levels of the oscillator signals sent to the effects. When you've edited a Program's effect settings, always remember to write the Program, Otherwise, the settings will be lost when you select another Program. 8A Program Write This function allows you to write a Program to Program bank A or B. If a PROG/SEQ data card is inserted, you can also write to bank C or D. This function can also be used to reorganize Program numbering by writing Programs to different destinations. You cannot write to the GM bank. 2A PROG URITE UpitesRoo Ok? A Lco| Parameter Ran Description, "A00-A99 1300-899 aac | Weta eoron Select the Program write destination 00-099, ‘OKtownite | OK? [Executes Program write Note: To write a Program, the Program Memory Protection function must be set to OFF. See “4A Program Memory Protect” on page 164. Note: To write a Program to a PROG/SEQ data card, it must already contain Programs and its write protect switch must be set to off. You cannot save to a card bank that contains sequencer data. ‘To write a Program, specify the write destination, position the cursor on OK?, then press the [A/YES] button, The message “Are You Sure OK will appear. Press the (A/YES) button to write the Program, or the [/NO] button to cancel. If you write the Program, the destination Program will be selected automatically. Note: The Program that already exists at the selected write destination will be lost when you execute the Program Write function. While editing, you may want to write a Program as you proceed. To do this, press the {REC/WRITE] button. The message “Are You Sure OK?" will appear. Press the [A/YES) button to write the Program, or the {¥/NO} button to cancel. ‘To write all Programs, Combinations, and Global settings to floppy disk, see “3B Save P/C/G Data” on page 187.8B Program Rename 33 8B Program Rename This function allows you to rename Programs. 86 FENANE ROBE. Piano ca} tcp] Parameter Rang Description, a ‘See character tal 88-1 | Rename ae Rename a Program To rename a Program, use the [] and {—>] cursor buttons to position the cursor, and the [AA/YES] {Y/NO} buttons, or VALUE slider to select characters. Available characters are shown in the table below. Program names can be up to 10 characters. "Pe oP ELE 2B EEEPEPET ? afelelefolelrls(alr[afk[e[w[wlolrfolefs|riuleluletyletele[al-l_ slelefefelFlsfh i Gheh [alolole[elryelelelelele lel ip Pl Use the number keypad to insert numbers. Use the [10's HOLD/~] button to switch between uppercase and lowercase characters. Press and hold down the [ENTER] button, then press the [@] button to delete the current character. Press and hold down the (ENTER] button, then press the [>] button to insert a character. 8C Program Oscillator Copy This function allows you to copy the oscillator parameter settings from a Program to Oscillator or Oscillator2 of the currently selected Program. Cor O56 Ed eC Leo] Parameter Range Description ‘Copy Destination | OSC, OSC2. ‘The oscillator to which the oscillator setings are o be copled ‘A00-AG0 00-599 80-1 | Program Source | Co0-ca9 “The Program from which the oscilator settings are to be copied oo-Dee Got-136 (OK to Copy ‘OK? ‘Executes oscilator copy To copy an oscillator, specify the copy destination, the Program source, and Oscillator source. Position the cursor on OK?, then press the [A/YES] button. The message “Are You Sure OK?” will appear. Press the (4/YES] button to copy, or the [¥/NO] button to cancel, ‘The following parameter settings are copied: Oscillator Setup (1B or 1C), VDF Cutoff & EG 3A or 3C), VDF Velocity Sensitivity & Keyboard Tracking (3B or 3D), VDA EG (4A or 4C), VDA Velocity Sensitivity & Keyboard Tracking (4B or 4D), Pitch Modulation (SA or SB), and the VDF Modulation Oscillator Select parameter (5C-2). If you copy to or from a Drum Program, the Multisound and Octave parameters are not copied. If the Program source is the same as the program that you are currently editing, the edited parameter settings will be copied, not the parameter settings saved in that Program. Note that it’s meaningless to copy OSC2 for Single mode Programs.34 Chapter 2: Program Edit Mode 8D Oscillator Copy & Swap This function allows you to copy and swap oscillator settings between oscillators. top| Parameter Description ‘OSGi ——> OSC2 | Copy OCI to OSC2 Oscitator Copy’Swap | OSC1<——OSG2_ | Copy OSC2 to OSC1 8041 O8C1 <-> 0862 _| Swap OSC1 and OSC2 ‘Ok to GopyiSwap | OK? Executes oscillator copy/swap ‘To copy/swap an oscillator, specify the copy/swap direction, position the cursor on OK?, then press the [A/YES] button. The message “Are You Sure OK?” will appear. Press the [A/YES] button to copy/swap, of the ['¥/NO] button to cancel. The following parameter settings are copied: Oscillator Setup (1B or 1C), VDF Cutoff & EG (3A, or 3C), VDF Velocity Sensitivity & Keyboard Tracking (3B or 3D), VDA EG (4A or 4C), VDA Velocity Sensitivity & Keyboard Tracking (4B or 4D), Pitch Modulation (SA or 5B), and the VDF Modulation Oscillator Select parameter (5C-2). 8E Program Initialize This function resets all Program parameters to their initial settings. This is useful when you want to create a new Program from scratch. Parameter Range Description INIT PROG OK? Executes initialize Program To initialize a Program, press the [A/YES] button. The message “Are You Sure OK?” will appear. Press the [A/YES] button to initialize, or the ['V/NO] button to cancel, Parameters are initialized as follows: Oscillator mode set to Single, Oscillator Level set to 50, VDF Cutoff Frequency to 99, VDA EG Attack and Release Times to 0, VDA EG Levels to 99, Modulation to off, and no effects.Combination Play Mode 35 Chapter 3: Combination Play Mode Combination Play mode allows you to select and play Combinations. Some Combination parameters can also be adjusted, allowing you to edit parameters in real time—as you play. This mode is selected when the X2/X3 is powered on. ‘The following Combinations can be selected: 00-99 in Bank A and 00-99 in Bank B. If a PROGISEQ data card is inserted, Combinations 00-99 in Bank C and 00-99 in Bank D can also be selected. Entering Combination Play Mode Press the [COMBI] button. COMBI appears on the LCD screen. TMBRE1 2345678 ‘The numbers | to 8 at the top of the LCD correspond to Timbres 1 to 8. They appear for both EXT and INT mode Timbres. When MIDI Note On/Off messages are received, a box below the corresponding number flashes. This works as a MIDI monitor. Selecting Combinations 1) Press the {BANK] button repeatedly to select a Combination bank. 2) Enter the required Combination number using the number keypad. For example, to select Combination 32 in bank B, press the [BANK] button to select bank B, then press [3] and [2]. Alternatively, press the [A/YES] and [¥/NO] buttons repeatedly to select a Combination. Combination Play Mode & MIDI In Combination Play mode, the X2/X3 outputs Assignable Pedal Switching data and Program ‘Change messages when Combinations are selected. This data is sent on the Global MIDI Channel See “3A Global MIDI Channel & MIDI Clock Source” on page 160. When a Combination that contains an EXT mode Timbre is selected, a Program Change message corresponding to that ‘Timbre’s Program is output. The X2/X3 responds to MIDI Controllers such as After Touch and Pitch Bend. See “Controller Event Edit Notes” on page 126 for a list of all usable MIDI Controllers. Using a Pedal Switch to Select Combinations You can also setect Combinations using a pedal switch. 1) Connect an optional Korg PS-1 or PS-2 pedal switch to the ASSIGNABLE PEDAL/SW connector on the rear panel. 2) In Global mode, you need to assign the pedal to either Program Up or Program Down. See “8B Assignable Pedal/SW Setup” on page 173. When set to Program Up, each pedal press selects the next Combination up. When set to Program Down, each pedal press selects the next Combination down.36 Chapter 3: Combination Play Mode Using MIDI to Select Combinations You can also select Combinations using MIDI Program Change messages. 1) Connect a MIDI device capable of sending MIDI Program Change messages to the X2/X3 MIDL IN, 2) Set the Global MIDI Channel parameter so that it matches that of the device sending the Program Change messages. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. 3) In Global mode, you need to set the MIDI Program Change filter to ENA or NUM. See “3C MIDI Filter1” on page 162. . ‘The following table shows how the X2/X3 responds to MIDI Bank Select and Program Change messages in Combination Play mode. rr a [etna —|_rommenmaena, | eane | emeitn 0 oI 00-88 x 00-08 cy of 00-88 8 (00-98 of e oa cass jonas 5 o | osse MSB: first pair of digits LSB: second pair of digits To select a bank, send Controller 0 for MSB and Controller 32 for LSB. Then send the Program Change message to select the Combination. ‘You can select a Combination by sending a Program Change message only. In this case, the Combination will be selected from the current Bank.Combination Notes 37 Combination Notes Polyphony: 32-note polyphony is available for a Combination. That is, 32 notes are available to the Timbres within a Combination. Timbre Programs that use Double Oscillator mode will obviously reduce the number of available notes. For example, eight Single Oscillator mode Programs in a Combination would allow up to 32-note polyphony. Whereas, eight Double Oscillator mode Programs would allow up to 16-note polyphony. Playing Timbres: to play a Combination Timbre from the keyboard, you must set that Timbre’s ‘T.Mode to INT, and its MIDI Channel so that it matches the Global MIDI Channel. See “1B ‘Timbre Mode” on page 42 and “3A MIDI Channel” on page 46. MIDI Control: Combinations can be selected and Effects controlled via the Global MIDI Channel. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. Program Effects: in Combination Play mode, the individual effect settings for each Program are ignored, and the effect settings for that Combination are used. Editing a Combination Program: if you have just edited one of the Programs used by a ‘Combination Timbre, the edited version of that Program (saved or not) will be used when that ‘Combination is selected. Editing in Combination Play Mode (Performance Editing) » 2) 3) a As well as playing Combinations, Combination Play mode allows you to edit some Combination parameters. This is called performance editing, because you can actually edit parameters while performing. The parameters are: Program number, Levei, Pan, and MIDI Channel. Select a Combination. Use the function buttons [1] to [8] to select a Timbre, Function buttons {1] to (8] correspond to Timbres 1 to 8, Use the [<-] and [] cursor buttons to select a parameter. Use the VALUE slider or the [A/YES] and [V/NO] buttons to adjust the selected parameter. On the following LCD screen, the Program Select parameter of Timbre | is selected. The angle bracket symbol indicates that other parameters can be displayed using the (—¥] cursor button. TMBRE 1 2345678 | coum A 4S F Vv ‘When you've finished editing, press the [1] cursor button or the [COMBI] button to retum to the previous LCD screen. If you want to write the edited Combination to memory, press the (REC/WRITE] button. The message “Are You Sure OK?” will appear. Press the (/YES] button to write the Combination, or the (W/NO} button to cancel. Note that if you write the Combination, you will overwrite the Combination that already exists with that number. To write the Combination to a different ‘Combination number, or change its name, see “8A Combination Write” on page 54,38 Chapter 3: Combination Play Mode RoarANGD >| TE - erPROSRANOR ROO 186 CNT 15. FOG 190 ONT 15 Tit Timbre 1 {a} Tinbres Function! parameter Range Description Button OFF ‘500-099 800-889 Selects a Program. Program co0-c99 numbers incieato that a Timbre is set to EXT 100-089 ‘TMode. Se8 “1A Program Select” on page 41 601-136, 9000-127 Timbre volume level. S20 "2A Laver on Level 000-127 Haga OFFA — SEE Arta, | Timbre ouput panning See"28 Panpot on @ PRG ees a a [=e Refer to the pages listed in the above table for a full explanation of each parameter. Note: When one of the above parameters is selected, the VALUE slider does not control dynamic modulation, it controls the selected parameter. To control dynamic modulation using the VALUE slider, press the {1] bution to exit performance edit. See Dynamic Modulation on page 58. ‘When the MIDI System Exclusive Filter (3D-1 Global mode) is set to ENA, the respective MIDI System Exclusive data is output while performance editing. Likewise, X2/X3 parameters are controlled when the respective System Exclusive data is received. t i t i J t 1 i ' i Soloing Individual Timbres i 1 i 1 i ' i t i I ‘When a number of Timbres are layered together, you may find it difficult to distinguish between them. The Solo function allows you to listen to Timbres individually. To solo a Timbre, double-click the corresponding function button. For example, to solo Timbre 6, double-click function button (6]. SOLO appears on the LCD, as shown below. TMORE1 2345678 rod coms! A, To cancel Solo, double-click the respective function button, or press the [COMBI] button,Combination Edit Mode 39 Chapter 4: Combination Edit Mode ‘Combination Edit mode allows you to edit Combinations. You can create new Combinations or simply edit existing ones. The following illustration shows the eight Timbres that make up a Combination and what's inside them, The numbers in the bottom left-hand comer of each box indicate the group of LCD screens that are used to set up that particular item. Inside a Combination ~~ _ __* eT le — eo = rine 2 rs -~Eee ne nore | int rere rnb 6 rine 7 int 8 Entering Combination Edit Mode 1) Select the Combination that you want to edit. 2) Press the [EDIT] button. COMBI and EDIT appear on the LCD screen. Gm enc cece re comsi A Y 6 Compare Function ‘While editing, you can press the [COMPARE] button to listen to the original unedited Combination. That is, how the Combination was before you started editing it, While the Compare function is active, COMPARE is shown on the LCD. Pressing the [COMPARE] button again will return you to the edited version of the Combination. Note: if you edit a parameter while the Compare function is active, the settings of the Combination that you were editing will be lost.40 Chapter 4: Combination Edit Mode Undo Function To reset a parameter to the value that is was before you edited it, press the [A/YES] and (W/NO] buttons simultaneously. Combination Editing Notes Always Write Combinations: remember to write an edited Combination to memory before selecting another Combination. Otherwise, the edited Combination will be lost. When the MIDI System Exclusive Filter (3D-1 Global mode) is set to ENA, the respective MIDI ‘System Exclusive data is output when a parameter is edited. Likewise, X2/X3 parameters are edited when the respective System Exclusive data is received.TA Program Select_41 1A Program Select ‘These parameters allow you to assign Programs to Timbres, Timbres 1-4 Tembres 5-8 @ FeUGrAN 1-4 5] in PROGRAN 5-3 © . Foo AGL oz R03 | and Go1 639128 2 Timbre 1 Program Select tact [Titre 2 Program Select Timbre 3 Program Select | A00-A99 {800-899 ‘Assign a Program to a Timbre Timbre 4 Program Seiect | coo-c99 Timbre 5 Program Select | 000-D99 (C00-C99 and 000-089 are available only when a Timbre 6 Progam Secct 7] G01-198 PROG/SEG card is inserted) tag ;rmte $ Prog 000-p127 ‘Timbre 7 Program Select Timbre 8 Program Select Use the [10's HOLD] button to select Program banks, and the VALUE slider or [A/YES} and. CY/NO] buttons to select Programs. An optional PROG/SEQ data card must be inserted before you can select Programs from banks C and D. For INT mode Timbres (see “1B Timbre Mode” on page 42). MIDI Program Change messages received on the corresponding MIDI channel can be used to select Programs. However, if the Timbre’s MIDI Channel is the same as the Global MIDI Channel, operation will depend on the MIDI Program Change Filter! parameter setting. For example, if the filter is set to PRG, MIDI Program Change messages received on the Global MIDI Channel will still select Timbre * Programs. If itis set to either ENA or NUM, they will select Combinations. See “3C MIDI Filter” on page 162. P000-P127: for EXT mode Timbres (see “1B Timbre Mode” on page 42) you can select a MIDI Program Change number, as indicated by the prefix P. When a Combination that contains EXT ‘mode Timbres is selected, the specified MIDI Program Change number is output. This allows you to select Programs (voices, patches) on other MIDI devices such as synthesizers and tone generators simply by selecting the appropriate Combination on the X2/X3. It could also be used to select effect programs on an external effects units. Note: If the MIDI Channel of an EXT mode Timbre is the same as the Global MIDI Channel, a MIDI Program Change message is not output by that Timbre when a Combination is selected.42 Chapter 4: Combination Edit Mode 1B Timbre Mode ‘These parameters allow you to set the operating mode for each Timbre. In other words, the sound source and the way that each Timbre works with MIDI data from external MIDI devices. Tambres 1-4 Timbres 5-8 MOE 1 TE T.1ODE_S-2 < iT INT at] NT INT OFF OFF 18-1 182 Timbre 1 Timbre Mode reer | Tmbre 2 Timbre Mode ore Tantei ot TTibre 3 Timbre Mode Timbre 4 Timbre Mode. NT Use an internal program Timbre 5 Timbre Mode 182 _Tinoe 6 Timbre Mode &xT Use an external program, for use with other MIDI Timbre 7 Tire Mode instruments, more 8 Timbre Mode (OFF: this turns Timbres off. Turn off any Timbres that you are not going to use. When a Timbre is tured OFF, the corresponding number on the top line of the LCD screen disappears. INT: when this mode is selected, you can assign an X2/K3 Program to a Timbre using Program Select. See “1A Program Select” on page 41. This mode should be selected when you want to use an X2/X3 Program. MIDI Program Change messages received on a corresponding Timbre’s MIDI channel can be used to select Programs. If, however, the Timbre’s MIDI Channel is the same as the Global MIDI Channel, the Combination will be changed. See “3C MIDI Filter!” on page 162 for more details. EXT: when a Combination is selected on the X2/X3, you can select a MIDI Program Change number using Program Select. See “LA Program Select” on page 41. This mode should be selected when you want to use Programs (voices, patches) from other MIDI devices, such as synthesizers and tone generators, as part of a Combination. It can also be used to select effect programs on extemal effects units. When a Combination that contains EXT mode Timbres is selected, the specified MIDI Program Change numbers (1) and Volume are output on the MIDI Channel set in 3A. You can also apply the filter to the Program Change messages and volume data for each Timbre using [6A}-(6D]. ‘When you play the X2/X3 keyboard, or operate the joystick, the corresponding MIDI data is. ‘transmitted on the Global MIDI Channel, and any MIDI Channel that is assigned to an EXT mode Timbre. Note: if the MIDI Channel of an EXT mode Timbre is the same as the Global MIDI Channel, a MIDI Program Change message is not output when a Combination is selected.2Alevel 43 2A Level ‘These parameters allow you to set the volume level of each Timbre in a Combination. Timbres 1-4 Timbres 5-8 PALEVEL 1-4) 31 Bat Lc Parameter Range Timbre + Level Timbre 2 Level Timbre 3 Leval [Timbre 4 Level Timbre 5 Level Timbre 6 Level Timbre 7 Level Timbre @ Level oer 2A2 Description ‘Sats the volume level of each Timbre | | For EXT mode Timbres (see “IB Timbre Mode” on page 42), MIDI Volume message Controller 7 (Bn.07.xx] is sent when level parameters are adjusted, This allows you to control the volume level of other MIDI devices. Note: If the MIDI Channel of an EXT mode Timbre is the same as the Global MIDI Channel, MIDI Volume messages are not sent. For INT mode Timbres, the volume level is determined by this parameter multiplied by MIDI Volume Controller No. 7, or Expression Controller No. 1144 Chapter 4: Combination Edit Mode 2B Panpot ‘These parameters allow you to pan the output of each Timbre between buses A and B. These buses feed the effects processors. See “7E Effect Placement” on page 59. Timbres 1-4 Timbres 5-8 Timore 1 Panpot “Timbre 2 Panpot Timore 3 Panpot Timbre 4 Panpat OFF. A. 14R-CNT-148, 8, Timare 5 Panpot PRG Timbre 6 Panpot Timbre 7 Panpot Timbre 8 Panpot 2841 Pans the outputs of each Timbre between buses A and B 28-2 OFF: nothing is output to buses A and B. A, 14A-CNT-14B, B: fora setting of A, Timbre output is to bus A only. For a setting of B, to bus B only. And for a setting of CNT, equally to buses A and B. You can set different output levels for buses A and B with settings 14A to 14B. PRG: when this setting is selected, the pan settings that have been set for a Program in Program Edit mode are used. See “1B Oscillator! Setup” on page 11 and “IC Oscillator? Setup” on page 13. When X2 Program 340: A.Piano3 is selected, the Pan (1B-3) parameter assigned to each key is used. Ifa Program is using a drum kit, the pan settings for each drum sound will be used when PRG is, selected. See “7A Drum Kit Setup!” on page 170 and “7B Drum Kit Setup2” on page 172. For a setting other than OFF or PRG, these parameters can be controlled using MIDI Pan Controller No. 10. See “MIDI Panpot, Send Data” on page 128 for details about the relationship between pan value and MIDI Controller value. Pan adjustments are not sent as MIDI data,2CSendC&D 45 2C Send C &D These parameters allow you to set the output level of each Timbre sent to buses C and D. These buses feed the effects processors. See “7E Effect Placement” on page 59. Tinbres 1-4 Timbres 5-8 ep Parameter Range Description Timbre 1 Send c Timbre 1 Send D Timbre 2 Send © Timbre 2 Send D Timbre 3 Send Timbre 3 Sand 0 Timbre 4 Send G Timbre 4 Send D pore ‘Sets the output level of each Timbre sent to buses C ‘Timbre 5 Send C. ou | Timbre 5 Send D Timbre 6 Send C. Timbre 6 Sand D Timbre 7 Send C Timbre 7 Sand D Timbre 8 Send C Timbre 8 Send D 2041 20-2 (0-9: when a Program is used in a Combination, its Send C and Send D parameters are ignored, and these settings are active. Oscillators 1 and 2 use the same settings. Likewise, when the Program is set to DRUM mode, the Send C and Send D settings of the individual drums within the kit are ignored, and these settings are active. P: when this setting is selected, the Send C and Send D settings that have been set for a Program in Program Edit mode are used. See “1B Oscillator! Setup” on page 11 and “IC Oscillator2 Setup” on page 13. Ifa Program is using a drum kit, the settings for each drum sound will be used. See “7A Drum Kit Setup!” on page 170 and “7B Drum Kit Setup2" on page 172. For settings from 0-9, the Send C parameters can be controlled using MIDI Reverb Level Controller No. 91. MIDI Chorus Level Controller No. 93 can be used to control Send D. See “MIDI Panpot, Send Data” on page 128 for details about the relationship between send value and MIDI Controller value Send C and D adjustments are not sent as MIDI data.46 Chapter 4: Combination Edit Mode 3A MIDI Channel ‘These parameters allow you to set the MIDI Channel that each Timbre uses to send and receive MIDI data. Timbres 1-4 Timores 5-8 Description Timbre + MIDI Channel Timbre 2 MIDI Channel As t Timbre 3 MIDI Channel Timbre 4 M101 Channel ae ‘Sets the MIDI Channel that each Timbre uses to send Timbre § MIDI Channel and receive MIDI data Tinore 6 MIDI Chane ane Timbre 7 MIDI Channel Timbre 6 MIDI Channel If you want to play a Combination from the keyboard, you should set each Timbre’s MIDI ‘Channel so that it matches the Global MIDI Channel. If you are using an external MIDI sequencer, set each Timbre’s MIDI Channel so that it matches the corresponding sequencer track's MIDI channel. This allows you to use the X2/X3 as an 8-part multitimbral tone generator. Combinations can be selected using the X2/X3 front panel controls, or the Assignable Pedal. ‘When a Combination is selected, the corresponding MIDI Program Change message is output on the Global MIDI Channel. When a Combination that contains an EXT mode Timbre is selected, a Program Change message corresponding to that Timbre’s Program is also output. For EXT mode Timbres, MIDI data corresponding to volume, After Touch, damper pedal, and joystick movements is received and sent on the selected MIDI channel, However, you can filter some of this MIDI data. For example, you may not want to send joystick data to another MIDI device. These filters can be set for each Timbre individually on LCD screens 6A, 6B, 6C, and 6D. Note: Volume, After Touch, damper pedal, and joystick MIDI data is always sent on the Global MIDI Channel, so, if the Global MIDI Channel and selected Timbre MIDI Channel are the same, even with the filters et, MIDI data is sent. This applies to INT mode and EXT mode Timbres alike. For this reason, it's a good idea to set the Global MIDI Channel and Timbre MIDI Channels differently. ‘When you play the X2/X3 keyboard, or operate the joystick, the corresponding MIDI data is ‘transmitted on the Global MIDI Channel, and any MIDI Channel that is assigned to an EXT mode Timbre. For an INT mode Timbre (see “1B Timbre Mode” on page 42), MIDI Program Change messages received on the corresponding MIDI channel can be used to select Programs. However, if the ‘Timbre’s MIDI Channel is the same as the Global MIDI Channel, operation will depend on the Filter] parameter setting, See “3C MIDI Filter!” on page 162. If the selected MIDI Channel is the same as the Global MIDI Channel, a G will appear next to the selected channel number.4A Key Window Top 47 4A Key Window Top ‘These parameters allow you to set the top note for each Timbre’s key window. Timbros 1-4 Timbres 5-8 A Ru TOP ims < [se G2 a9 68 wat (4c Parameter Range Description Timbre 1 Key Window Top ‘anes [TMI 2 Key Window Top °F imore 3 Key Window Too Species the top note for each Timbre's key window Tribe 4 Key Window Top C-ttoG9 _| it anote lower nan the Key Window Bottom Timbre 5 Key Window Top parametric at pare wl ‘automatically use this value) Tit indow To dance [TeTbee 6 Key Window Top ‘Tenbre 7 Key Window Top ‘Timbre 8 Key Window Top A key window is the range of keys (notes) that can be used to play a Timbre. Used in conjunction with the Key Window Bottom parameters, you can designate sections of a keyboard to certain ‘Timbres. For example, you could designate the bottom half of a keyboard to a bass Timbre, and the top half to a piano Timbre. In the example shown below, Timbres | and 2 have been designated their own key windows, while the key window for Timbres 3 and 4 have been set the same. ce-s2 | cs-as ce-cr Timers | Tenbro 2 Tinbrea 3 and $ key window key wdow ‘ey window ‘As well as using the VALUE slider and the [4A/YES} and [W/NO] buttons to set Key Window Top and Bottom parameters, you can use the X2/X3 keyboard as follows. Select a Key Window parameter, press and hold down the [ENTER] button, then press the desired key.48 Chapter 4: Combination Edit Mode 4B Key Window Bottom ‘These parameters allow you to set the bottom note for each Timbre’s key window. Refer to “4A Key Window Top” on page 47 for more details Tanbres 1-4 Timoces 5-2 46 ETH ing 48 KU ETH 5-8 < i Oni Cenc cet cot 484 482 Lo Paramoter Range Description Timbre 1 Key Window Bottom ‘ap-1 | TMBIG 2 Key Window Bottom ST Fore 3 Key Window Bottom ‘Species the bottom note for each Timbre's kay ‘window. Timbre 4 Key Window Bottom ctwce Timbre 5 Key Window Bottom . (tf note higher than the Key Window Top parameter Tirina 6 key Widow Bolen is lect al parte wt aomatcaly ive 482 “Timbre 7 Key Window Bottom Timbre 8 Key Window Bottom4C Velocity Window Top _49 4C Velocity Window Top ‘These parameters allow you to set the maximum velocity for each Timbre’s velocity window. Tires 1-4 Timbres 5-8 460 TOP Cu TOP 5-2 fr 127 127 127 40-2 Timbre 1 Velocity Window Top Timbre 2 Velocity Window Top Timore 3 Velocity Window Top “Timbre 4 Veloaty Window Top ‘Timbre 5 Velocty Window Top Timbre 6 Velocity Window Top ‘Timbre 7 Velocity Window Top ‘Timbre 8 Velocity Window Top jac Specifies the maximum velociy for each Timbre's Velocity window 117 40-2 A velocity window determines the note velocity range that can be used to play a Timbre. Used in conjunction with the Velocity Window Bottom parameters, you can specify a note velocity range for each Timbre. For example, you could set a soft strings Timbre to a low velocity window, and hard strings Timbre to a high velocity window. Then. soft playing will play the soft strings, and stronger playing will play the hard strings. This technique is called velocity switch. You can also set the velocity windows so that their ranges overlap. In the example shown below, Timbre 1 will play when the note velocity is between 1 and 20, Timbre 2 between 21 and 127, and Timbre 3 between 70 and 127. Note that Timbres 2 and 3 overlap. Timbre 4:1 = 20 Timbre 2:21 ~ 127 Timbre 3:70~ 127 Volune Note roa 1‘ voloty ig 7 1 If a Timbre is set to EXT mode (see “1B Timbre Mode” on page 42), MIDI Notes whose velocity falls within the velocity window range are output.50 Chapter 4: Combination Edit Mode 4D Velocity Window Bottom These parameters allow you to set the inimum velocity for each Timbre’s velocity window. Refer to “AC Velocity Window Top” on page 49 for more details. Timbres 1-4 Timbres 5-8 [ao 0 etn is 40 Un ET 5-8 61 861 001 Got 402 Timbre 1 Velocity Window Bottom Timbre 2 Velocity Window Bottom Parameter 40-41 Timbre 9 Velocity Window Botiom Timbre 4 Velocity Window Botiom one ‘Specifies the minimum velocity for each Timbre's, 40-2 Timbre 5 Velocity Window Bottom Timbre 6 Velocity Window Bottom Velocity window Timbre 7 Velocity Window Bottom Timbre & Velocity Window Bottom5A Transpose 51 5A Transpose ‘These parameters allow you to transpose Timbres. Timbees 1-4 Timbres 5-8 [zn Trans im 200 +07 400 +00 [sm TRANS 5-3 +08 +96 0 +00) SAT BAR ceo | Parameter "Timbre 1 Tanspose 5A Timbre 2 Transpose Timbre 3 Tanspose Timbre 4 Transpose Timbre 5 Transpose 5A2 Timbre 6 Transpose Timbre 7 Transpose Timbre 8 Tanspose Range 26.428 Description Transpose Timbre in semitone stops If you transpose an INT mode Timbre (“1B Timbre Mode” on page 42), the Timbre’s pitch will change, but the pitch of the MIDI note data that is output when you play will not. If you select a MIDI Channel other than the Global MIDI Channel for an EXT mode Timbre, the MIDI note data output on that MIDI Channel will be transposed. 5B Detune ‘These parameters allow you to detune Timbres. Timbres 1-4 Timbres 5-8 58 DETNE 1-4 oe +05 +08 00 56 OETUNE S-3 < 08 400 +80 +00 B41 55-2 Leo Parameter Timbre 1 Detune ‘Timbre 2 Detune: 584 Timbre 3 Detune: Timbre 4 Detune Timbre § Detune Timbre 6 Detune 58-2 Timbre 7 Detune Timbre 8 Detune $0...450 Description Detune each Timbre in one cent steps Detune settings are not sent as MIDI data.52 Chapter 4: Combination Edit Mode 6A Program Change Filter ‘These parameters determine how EXT mode Timbres work with MIDI Program Change messages. Timbres 1-8 Renge | Description \ [Timbre 1 Program Change Filter ‘Timbre 2 Program Change Fiter [Timbre 3 Program Change Filter Timbre 4 Program Change Timbre 5 Program Change Fiter |: Enable “Timbre 6 Program Change Fier Timbre 7 Program Change Fiter ‘Timbre 8 Program Change Fier 0: Disable | Program Change messages ignored Program Change messages can be received and seni Enable: with this setting, received Program Change messages select Programs for a Timbre. A ‘Combination that includes EXT mode Timbres (1B) will send the corresponding Program Change messages when itis selected. Note: Ifthe Global mode MIDI Program Change Filter! is set to DIS (“3C MIDI Filter!” on page 162), Program Change messages are completely disabled. This setting overrides the above settings, Furthermore, if the Global mode MIDI Program Change Filter] is set to ENA, Program Change messages received on the Global MIDI Channel will select Combinations. For this reason, it's a good idea to set the Global MIDI Channel and Timbre MIDI Channels differently. Disabl ith this setting, Program Change messages are neither sent nor received. 6B Damper Pedal Filter ‘These parameters determine how Timbres respond t6 damper pedal movements. Timbres 1-8 FER, EEEEEE eet LoD Parameter R Description ‘Timbre 1 Damper Pedal Fiter ‘Timbre 2 Damper Pedal Fiter Timbre 3 Damper Pedal Fiter TTimbre 4 Damper Pedal Fiter D: Disable | Timbre will ignore the damper pedal “Tanbre 5 Damper Pedal Fiter €: Enable ‘Timbre 6 Damper Pedal Fitor ‘Timbre 7 Damper Pedal Fiter ‘Timbre & Damper Pedal Fiter E 684 ‘Timbre will respond tothe damper pedal Enable: with this setting, INT mode Timbres respond to damper pedal movements. Disable: with this setting, damper pedal movements are ignored.6C After Touch Filter ‘These parameters determine how Timbres respond to After Touch. Timbres 1-8 6C After Touch Filter 53 LoD) Parameter Rang Description Timbre 1 After Touch Fiter Timbre 2 After Touch Fiter Timbre 8 After Touch Fiter | D: Disable | Timbre willignoce After Touch Timbre 4 ater Touch Fiter 64 eo ___| Timbre § After Touch Fiter Timbre 6 After Touch Fl Timbre 7 After Touch “Timbre 8 After Touch Fiter E: Enable ‘Timbre will respond to After Touch Enable: with this setting, INT mode Timbres respond to After Touch. Ext mode Timbres using keyboard After Touch output the corresponding MIDI data. Disable: with this setting, After Touch is ignored, Note: ifthe Global mode MIDI After Touch Filter! is set to DIS (“3C MIDI Filter1” on page 162), After Touch messages are completely disabled. This setting overrides the above settings. Applying even just alittle After Touch creates a lot of continuous data. You can save memory when recording to the X2/X3, or to a sequencer that does not use After Touch, by setting AFT 3C=1 MIDI Filter to DIS. See “3C MIDI Filter!” on page 162. 6D Control Change Filter These parameters determine whether Timbres respond to MIDI Controllers. Timores 1-8 0 CONTROL CHS EEEEEEEE 64 co | Parameter Timbre 1 Control Change Fiter ‘Timbre 2 Control Change Fier ‘Timbre 3 Control Change Fiter ‘Timbre 4 Control Change ‘Timbre 5 Control Change Fiter 0: Disable E:Enable Timbre 6 Control Change Fier Timbre 7 Control Change Fier Timbre 8 Contol Change Fiter ‘Timbre wil ignore controliers Timbre will respond to controters Enable: with this setting, INT mode Timbres respond to controllers. Disable: with this setting, controllers are ignored.54 Chapter 4: Combination Edit Mode 7A-7G Effects Ina Combination the individual effect settings of each Program are ignored, and the settings for that Combination are used. If you want to use a Program's effect settings for a Combination, use Effects Copy. See “7F Effects Copy” on page 62. Effects are explained in Chapter 5: “Effects” on page 57. ‘Combination parameters Pan A, Pan B, Send C, and Send D are used to control the levels of the ‘Timbres sent to the effects. ‘When you've edited a Combination’s effects settings, always remember to write the Combination. Otherwise, the settings will be lost when you select another Combination. 8A Combination Write This function allows you to write a Combination to Combination bank A or B. If a PROG/SEQ data card is inserted, you can also write to banks C and D. This function can also be used to reorganize Combination numbering by writing Combinations to different destinations. [coe wie] Geitentae ox Bact 160 | Parameter Range | Description ] 200-700 ‘Setc the Corbin wite destination Wits {©00-€99 and D00-099 ar avalaie only when a PROGYSEQ| BA eon cae card is inserted) 00-593 OKiowiie [or | Ereastes we ‘Note: To write a Combination, the Combination Memory Protection function must be set to OFF. ‘See "4B Combination Memory Protect” on page 164. To write a Combination to a PROG/SEQ data card, it must already contain Programs and its write protect switch must be set to off. See “6C Save Programs & Combinations to Card” on page 168, To write a Combination, specify the write destination, position the cursor on OK?, then press the {A/YES] button. The message “Are You Sure OK?" will appear. Press the [\/YES] button to write the Combination, or the [W/NO] button to cancel. If you write the Combination, the destination Combination will be selected automatically. Note: The Combination that already exists at the selected write destination will be lost when you execute this function. ‘You can write Combinations at any time. To do this, press the [REC/WRITE] button. The message “Are You Sure OK” will appear. Press the [AV/YES) button to write the Combination, or the CY/NO} button to cancel. ‘To write all Combinations, Programs, and Global settings to floppy disk, see See “3B Save P/CIG Data” on page 187,8B Combination Rename 55 8B Combination Rename ‘This function allows you to rename Combinations. Lcd [Parameter Range Description a ‘See character table 36-1 | Rer oy Rename a Combination To rename a Combination, use the [~] and [+] cursor buttons to position the cursor, and the (4/YES] [¥/NO] buttons or VALUE slider to select characters, Available characters are shown in the table below. Combination names can use up to 10 characters. TT PEEEP EDP PLLELL EL EEEEEFIE ELE afefefolelels[mlcls[efe[m|nfolrlolels|r[ufulu aoe ale lelelelefe fei tale ofefalels(elalelobteletd' PPE Use the number keypad to insert numbers. Use the [10's HOLD/-] button to switch between uppercase and lowercase characters. Press and hold down the [ENTER] button, then press the [] button to delete the current character. Press and hold down the [ENTER] button, then press the [5] button to insert a character. 8C Combination Ini This functic ize resets all Combination parameters to their initial settings. ‘80 INIT Cone ok? 804 Lep[ Parameter Range Description 804 ‘Comb (OK? Executes initialize To initialize a Combination, press the (/YES} button, The message “Are You Sure OK?” will appear. Press the [A/YES] button to initialize, or the [¥/NO] button to cancel. Parameters are initialized as follows: Timbres I to 8 are assigned Programs A00 to A07, Timbre mode is set to INT, volume set to maximum, Pan is set to CNT, Send C and Send D are set to 0, key and velocity windows are fully open, MIDI Channels are assigned from 1 to 8, transpose and detune are +00, all filters are E (Enabled), and there are no effects.56 Chapter 4: Combination Edit ModeEiects 57 Chapter 5: Effects ‘The X2/X3 contains two digital multi-effects processors. Each processor can be set to produce one of 47 effects. The effects section consists of four inputs (A, B, C, D), two effects processors (Effect! Effect2), and two panpots (pan 3, 4). The X2.has four outputs (1/L/MONO, 2/R, 3, 4). ‘The X3 has two outputs (L/MONO, R). X2 effects processors can be assigned any one of six placements. X3 effects processors can be assigned any one of four placements. See “7E Effect Placement” on page 59. Effects 1 to 37 are single effects, 38 and 39 are serial effects, and 40 to 47 are parallel effects. The parallel type effects allow up to four independent effects simultaneously. Single:1~37 Serial: 38 & 39 Parallel: 40-47 Cexta ae Ae Hee ear Fxe fe Of Feaa Fab (Fea + Ka l Effect parameters can be edited and stored with individual Programs, Combinations, and sequencer songs. Effect parameters for a Program should be edited in Program Edit mode, a Combination in Combination Edit mode, and for a song in Sequencer mode. In all modes the effect, LCD screens are numbered 7A to 7G. When you play a Combination, the individual effect settings for each Program in that Combination are ignored, and the effect settings for that Combination are used. Likewise, for sequencer songs, the individual Program effect settings are ignored and the effect settings for that particular song are used, Effect Types Etiect No Eiect Eifect No. Ett 0 | NoEfect 24 _| Symphonie Ensemble 1 [Has 25 | Ranger 2 | Ersembie Hat 26 | Fanger2 3 | Concert Hal 27 | Crossover Fianger 4 [Room 28 | Exciter 5 | Large Room 29 | Enhancer | tve Stage 30 Distortion 7 [Wet Pate 31 | Overarve [Ory Piate ‘32 | Stereo Phaser t 2 [Spring Revers 33 | Stereo Phaser? 70 | Early Rettcton 4 ‘34 | Rotary Speaker 11] ary Resection 2 35 | Auto Pan 12 [Early Reflection 3 38 | Tremolo 13 | Stereo Delay 37__| Parametre £0 14 | Cross Delay 38 | Chorus-Delay 15 | Dual Mono Delay 30 | Fanger-Deiay 16 | MutiTap Deay + «0 | DoteyMal Rever> 17 | Muti-Tap Delay 2 41 | DolayiRoom Revero 18 | Muti-Tap Delay 3 22 | Delayicrorus 19 | Chorus + 4 | Deteyiianger 20 [Cronus 2 4 [ DeteyDistorion 21 | Quacrature Chore 45 | DeteyiOversve 22] Crossover Chorus 46 | DeteyPhaser 23__| Harmonie Gnonss 47 [ Delay Roary Speaker58 Chapter 5: Effects 7A Effect! Setup ‘These parameters are used to set up Effect. 7A-1 Effect type: each time a different effect is selected, parameters that you set for the previously selected effect are reset to their initial values. When effect 24:Symphonic Ensemble is selected for one processor, certain effects cannot be selected for the other processor. See “Symphonic Ensemble” on page 73. Switch: is used to turn the effects processors on and off. Effects processors can also be turned on ‘and off using a foot pedal that is connected to the ASSIGNABLE PEDAL/SW connector. In Global mode, set the ASSIGNABLE PEDAL/SW parameter to “Effect 1 on/off”. See “8B Assignable Pedal/SW Setup” on page 173. By sending MIDI Controller 92 for Effect!, and MIDI Controller 94 for Effect2, effects can be switched on and off by a sequencer, or other MIDI device. Each time a Controller message is sent, the corresponding effect is switched on or off. TEFREGT Tat vain iar » tsi = as I era Range I a a ee 1 en OFF ON Tune fet en Fa caeuana [OR Ory sort oy rae [Bpetet enone |B og eae at a a Salo NORE Dyraniemoslion a sy Sata ascy) ‘Joystick -¥ I an roe tons feats PEDALS Feat Beat (M0 ConmoeNo. 19 Dynamic easton | oRtG Ematanas von coe intel Sauce Se) | SLDER pata TAS Sedl+) VALUE slider & joystick +¥ su8 vate eps Scherr VALUE she Rar Stout VALUE sa & stp Srebte ALUE ce et pale Sven VALUE shar VOReS Srenicbeision | oe ts Stine dopo dyraniemedlaton I Note: The high and low EQ for the following effects is valid even when the effect is set to OFF: 13:Stereo Delay, 14:Cross Delay, 19:Chorus 1, 20:Chorus 2, 28:Exciter, 35:Autopan, 36: Tremolo. To bypass these effects completely select 0: No Effect. 7A-2 Dry:Effect balance: this parameter allows you to set the level balance between the dry signal and effected signal. A setting of DRY means no affected signal. A setting of FX means all effect signal. 7A-3 Dynamic modulation control source: allows you to adjust certain effect parameters, such as mix balance and modulation speed, while you play. This provides greater control for musical expression during a performance. The modulation source can be set to any one of seven controls, such as joystick and foot pedal, with up to 13 different settings available. You can control one effect parameter using dynamic modulation, but the modulation source and intensity can be set independently for Effect! and Effect2. See “Effects Types & Parameters” on page 63. The SLIDER and $+ dynamic modulation control sources refer to the VALUE slider. This slider can be used to control dynamic modulation in Program Play mode and Combination Play mode, so long as you are not performance editing (j.e., using the VALUE slider to edit parameters). To control dynamic modulation using a foot pedal, set Pedal Assign in Global mode to Effect Control. ‘See “8B Assignable Pedal/SW Setup” on page 173. When a foot pedal that is connected to the7B Effect] Parameters 59 ASSIGNABLE PEDAL/SW connector is operated, MIDI Effect Control [Bn, OC, vv] Controller 12 is output. This controls the effect whose dynamic modulation source is set to PEDAL1. MIDI Effect Control (Bn, 0D, vv] Controller 13 is transmitted when the dynamic modulation source is set to PEDAL2. To control dynamic modulation via MIDI, set the MIDI Channel of the control source to that of the Global MIDI Channel. To control dynamic modulation using control data recorded on the sequencer, set the MIDI Channel of the track that contains the control data to that of the Global MIDI Channel. ‘Note: When performance editing in Program Play mode or Combination Play mode, the VALUE slider cannot be used to control dynamic modulation. Dynamic Modulation Intensity: the dynamic modulation intensity can be set from —I5 to +15 Positive values cause dynamic modulation to increase the value of the effect parameter being controlled. Negative values have the opposite effect. 7B Effect! Parameters Effect parameters are explained in detail from page 63 onwards. 7C Effect2 Setup ‘These parameters are used to set up Effect2. Operation is the same as for “7A Effect! Setup” on page 58. 7D Effect2 Parameters Effect parameters are explained in detail from page 63 onwards. 7E Effect Placement [aes 7E EFFIPANPOT << 7 7E BYEZ LEVEL < Serial ta FR 5 7E9 7E2 7E-3 LoD) Parameter. Range Description ‘Serial (Sera) Parallel + (Parallel 1) Paratol2 Parte! 2) | Effect outing coniguations Parallel 3 (Parallal 3) e Sarat Sue (Genel Seby | (Serial Sub and Parallel Sub x2 ont) Paral! Sub (Parallel Sub) 7E-1 | Etfect Pacement Panpot 3 OFF ‘No signal output C Signa is panned hard left 7e2 99:1-1:99 Panned between L and R (50:50 pan center) Panpot 4 R Signal is panned harg right (this LCD screen appears when Serial, Parallel 1, o¢ Parallel 2s salacted) Level 1k) Set the output vel of each effect when Parallel 3 is Level 1R (A) selected. 7e3 08 Level 2 (L) {this LCD is available only when Parallel placement is Level 2R (A) Selected) X2 effects processors can be used in any one of six placements X3 effects processors can be used in any one of four placements. Placements affect the way in which the four input buses (A, B, C, D) are routed through the effects. ‘The Panpot, Send C Level, and Send D Level parameters are set as part of an individual Program, Combination, or song. The Pan 3 and Pan 4 parameters are set in the Effect! and Effect2 setup. If the Parallel 3 placement is selected, pan 3 and pan 4 are replaced by four independent level controls. When Serial Sub or Parallel Sub is selected on an X2, four outputs can be used60 Chapter 5: Efects (/LMMono, 2/R, 3, 4). When a Serial or Parallel 13 placement is selected, two outputs can be used (I/L/Mono, 2/R). When a GM System On message is received, or the “8F GM Song Mode” function on page 154 is used, the following settings are made: Placement—Parallel3. Effect!—Hall, Effect2—Chorus. When a Program is initialized in Program Edit mode, of a Combination is initialized in Combination Edit mode, the following effects settings are made: Placement—Serial. Effect|—No Effect. Effect2—No Effect Serial Placement yuwono + Pan 8 zn a, Program, combination, Send_fo—>[ Pans or Song Send_}o—>[ Pane With the Serial placement, buses A and B are sent to Effect! Effect2, then output from I/L/MONO and 2/R. Buses C and D are mixed with the output of Effect, sent to Effect2, and then output. Buses C and D allow you to avoid applying Effect! to a sound, or to apply Effectl to a specific sound and then apply Effect2 to all sounds. Parallel 1 Placement = x = ram coann, He -aar Jo aH Tae With the Parallel I placement, buses A and B are sent to Effect, then output from 1/L/MONO and 2/R. Buses C and D are sent to Effect2, mixed with the output of Effectl, then output. Parallel 2 Placement yumono Pan = ‘With the Parallel 2 placement, buses A and B are sent to Effectl, then output from 1/L/MONO- and 2/R. Buses C and D are sent to Effect2, mixed with the input to Effect!, then output. Cn ee ee |Parallel 3 Placement 7E Effect Placement 61 yumono - + = Pan_té i} Program, Lever HL Combination, Send or Song a Level 2 ‘Send Level 2A, With the Parallel 3 placement, buses A and B are sent straight to the outputs. Bus C signal is sent to Effect] and bus D signal is sent to Effect2. The effect outputs, each with independent level control, are then mixed down to the 1/L/MONO and 2/R outputs. This placement works well when playing GM compatible songs. Note: For Serial, Paraltel 1, and Parallel 2 placements, if Pan 3 or Pan 4 is set to off. signals sent to bus C and bus D are not output. Serial Sub Placement (X2 only) Program Combination or Song > 1umono| Pan on ‘Send fe ——__________y os Send_ }o——______________ + With the Serial Sub placement, buses A and B are fed to Effect and Effect2, then output from I/LIMONO and 2/R. Buses C and D and sent straight to outputs 3 and 4, In this case, you can use buses C and D to output dry sounds for use with external effects, Parallel Sub Placement (X2 only) Program Combination ‘or Song . = we | > Tena fe ~ Sj With the Parallel Sub placement, buses A and B are fed to Effect, then output from 1/L/MONO and 2/R. Buses C and D are fed to Effect2, then output from 3 and 4. Note: Outputs 3 and 4 are used only when the Serial Sub or Parallel Sub Placement is selected. You cannot monitor sends C and D using headphones.62 Chapter 5: Effects 7F Effects Copy ‘This function allows you to copy the effect parameter settings from a Program, Combination, or song to the currently selected Program, Combination, or song, Po EFF er = = a a oie swcorimon [Soma ars] eet crate | Ea es mee '$C0-SD8 a Sassen To copy effect parameters, select the effect copy source, the source number, position the cursor on ‘OK2, then press the [4/YES] button, The message “Are You Sure OK?” appears. Press the [A/YES] button to continue, or the {V/NO] button to cancel. The effect parameters are copied to the currently selected Program, Combination, or Song. Pan, Send C, and Send D settings, which are set for oscillators, Timbres, and tracks, are not copied. 7G Effect Copy/Swap This function allows you to copy or swap effect parameter settings between Effect! and Effect2. 78 SUBP FX FateoF 2 7641 Leo Parameter Range Description FX PK? ‘Swap FX1 with FX2 Copy/Swap direction | FX1-+FX2 Copy FX1 10 FX2 cea PRTC FXO Copy FX2 to FX ‘Ok to copy (OK? Executes effect copy/swap To copy/swap effect parameters, set the copy/swap direction, position the cursor on OK?, then press the [A/YES] button, The message “Are You Sure OK?” appears. Press the [/YES] button to continue, or the [‘¥/NO] button to cancel.Etfects Types & Parameters 63 Effects Types & Parameters Different parameters are available for different effects. Effect 0 (No Effect) through effect 47 (Delay/Rotary Speaker) can be selected for Effect! and Effect2. Effect! LCD screens are numbered 7A through 7B. Effect2 LCD screens are numbered 7C through 7D. Effect! LCD sereen numbers are used in this Reference Guide. No Effect 0: No Effect When NO EFFECT is selected, the effect processors are bypassed. Effects can be turned off using “7A Effect] Setup” and “7C Effect2 Setup”. However, for some effects, the high and low EQ are still active. Selecting 0:No Effect allows you to bypass these effects completely. Reverb ‘These effects simulate reverberant acoustics, adding ambience to the sound, we” ii PreDelay Lo Revero aa “yy 7 ah Le Fo tne Delay 1: Hall ‘This effect simulates the reverb characteristics and natural ambience of a medium size hall. 2: Ensemble Hall This effect simulates the reverb characteristics and natural ambience of an ensemble hall. Ideal for string and brass ensembles. Concert Hall This effect simulates the reverb characteristics and natural ambience of a large hall with pronounced early reflections. 4: Room This effect simulates the reverb characteristics and natural ambience of a small room. Large Room This effect simulates the reverb characteristics and natural ambience of a large room with pronounced reverb density. Reverb time settings of about 0.5 seconds produce an effect similar to gated reverb.64 Chapter 5: Effects 6: Live Stage This effect simulates the reverb characteristics and natural ambience of a large, live-perfomance space. 7: Wet Plate This effect simulates the reverb characteristics of a steel-plate reverb, with pronounced density. 8: Dry Plate This effect simulates the reverb characteristics of a steel-plate reverb, with a light density. 9: Spring Reverb This effect simulates the reverb characteristics of a spring reverb. 7 Hall 78 Hatt 23] 78 Halt < Tings.2_Hebne30 [P.Dl¥080ns E.RéC | E0.L Odae HeOOUe 784 782 78-3 Leo Parameter Range Description The time over which the reverb effect wil ast Reverb Time (Time) | 02-9.9 sec Hall type 02-4.9 see Room type 74 00-80 Plate/sprng type High trequency decay High Dame (4.0m) | 0-00% = bright revere 99 = dark raver ms “The dolay between the orginal sound and tne early Pre Delay (POY) | 0-200. eee 78-2 ‘The level of the early reflections Early Reflection Level (eR) 0-99 HalvRoom type 1210 Plate/spring type re [EOtewiEau) 12.412 B Low EQ cut and boost EQ High (H) 12.12 6B High EQ cut and boost For effects 1 to 9, dynamic modulation (7-3) can be used to control the DRY:EFF balance.Early Reflection 65 Early Reflection ‘The Early Reflection effects create the early reflections that are an important element in determining the qualities of an acoustic environment. Using the Early Reflection Time parameter you can create a variety of effects, such as sound thickening and echo-like reflections Dy Sia L Se ee 7 ge 7 in mosh be— EA Tine —>} Presley 10: Early Reflection 1 Early reverb reflections are a crucial element of naturally occurring reverb. They transmit details, such as room size, distance, acoustic damping, etc. This effect emphasizes the low frequency range, and is ideal for percussive sounds such as drums. 11: Early Reflection 2 ‘This effect is similar to Early Reflection 1, although, the level of the early reflections change over time in a different way. 12: Early Reflection 3 This effect applies a reverse envelope to the early reflections. This produces an effect that is similar to playing a tape backwards, and itis ideally to sounds that have a fast attack such as crash cymbals. Tier T]Feeacistert 0] 78 Eaciskert fee tin fre Belave o1sns | ea. Ls02s0 WoSeb Tei 73:2 70-3 (eo [Parameter Tange Description Trea Test teen Tin ; Tones ent _| eam fete 100-800 ms ay rtcton te 10 ma stop eo | pw eay rowan] o-200me The cl bee oral sound a ay EQ Low (EQ.L) 712...412 dB Low EQ cut and boost [eaten 2.01208 | High €0 oat and boca For effects 10 to 12, dynamic modulation (7A~3) can be used to control the DRY:EFF balance.66 Chapter 5: Effects Stereo Delay These effects create stereo delay pattems in which you can set the left and right delay times independently. Using the High Damp parameter, you can make delays decay in a natural way. 13: Stereo Delay This is a stereo delay effect with feedback. The delay time can be set independently for the left and right channels. The high damp parameter can be used to produce a more natural echo effect by gradually attenuating the high frequencies of successive delay repeats. 14: Cross Delay This is a stereo delay effect with independent delay parameters for the left and right channels. The delay outputs are crossed over, and each delay receives the other delay's feedback signal. Thus, the delay repeats appear to move between the left and right Lot =o Fig oa outputs. 76 Stereoblw [78 Steredly ©] 7 Stereola D.TinsL=250 R260 | FE+40H.One30 | EO, L+O0de Hrt0d6 78-1 7a2 78-8 Leo Parameter ‘Description eevee lar) me olay time for the lat channel wm |omen 0-500 Delay time for the lett channel Delay Time Right () | 0-500 me Delay time for the right channel ‘The amount of delay signal that is fed back into the etfect. eee ed Minus values invert the feedback signal phase 7B-2 High trequency decay High Damp (H.0mp) | 0-99% = bright delay 99 = dark delay EQ Low (EQL) 12.1268 Low EQ eut and boost EQ High (4) n12.. 1268 High EQ cut and boost For effects 13 and 14, dynamic modulation (7A~3) can be used to control the DRY:EFF balance. The EQ part of these effects is active even when the Effect is switched off (7-1). To bypass these effects completely, select 0:No Effect.Dual Mono Delay 15: Dual Mono Delay This effect consists of two mono delays with independent delay time, feedback, and high damp parameters for each channel. Dual Mono Delay 67 Delay R Feedback — got 7B O.MOlwL? >) 7BD.N Dla» O] 78 O.N bse? Fe+50H.brela iene LEB net Tas 782 Te te [Parameter Range Bescon [res [Beate oso ns Onley inert et tant | Foedback Lett (FB) | -99...+99% 78-2 The amount of delay signal tha is fed back into the ltt channel effect. Minus values invert the feedback signal phase Tagroaro et Taam 7 re3 [221TH RI |S come a Tre aroun of slay srl ated bac ne aor Feedback Right (FB) | -69...+99% channel effect. Minus values invert the feedback signal phase] High Damp Fight (dm) cee High frequency damping for the right channel For effect 15, dynamic modulation (7A~3) can be used to control the DRY:EFF balance.68 Chapter 5: Effects Multi-Tap Delay In these effects, an equalizer is applied to each effect input, then the signals are fed to (wo independent series-connected delays. The output of one delay is fed back to the input. 16: Multi-Tap Delay 1 This is a two-channel multi-repeat delay. It consists of two parallel delays for each channel. The delay time for each delay can be set independently. The output of delay 2 is fed back to the inputs of delay 1 and delay 2. 17: Multi-Tap Delay 2 This is a two-channel multi-repeat delay with cross panning. 18: Multi-Tap Delay 3 This is a two-channel multi-repeat delay with crossed feedback. Fight Feedback: Feedback =a Delay 2 Delay 1 Delay + Delay 2‘Multi-Tap Delay 69 78 i. TarDb 78 Wtarblel_ Fess LPO HOU, TE2 76-3 re) Parameter Range Description qe [Deaytine (017) [0-800 ms Delay time for delay ¢ Delay Time 2(02T) [0-800 ms Delay time for delay 2 -ecbat The amount of delay signal thats fed back into the effec. ees) reenter [cea ‘Minus values invert the feedback signal phase yo [EOtowEGu | -12..s1208 ‘Low EQ cut and boost EQ High [F128 High EQ out and boost For effects 16, 17, and 18, dynamic modulation (7A-3) can be used to control the DRY:EFF balance.70 Chapter 5: Effects Chorus ‘These are stereo-type effects that use two chorus units. They’re an effective way to add spaciousness and depth to any type of sound: piano, strings, brass, etc 19: Chorus 1 In this chorus effect, the left channel ‘modulation signal is out of phase with the right channel modulation signal. This produces a wide stereo chorus effect. 20: Chorus 2 In this chorus effect, left and right channel modulation signals are in phase. Ss —Q > ues TP tied We chens Fight o-(z0 7B Chorus t 78 Chorus 1 D[ 7B Chorus i < ] 72 2 7 cea [penis rane cen Bay Tne) [oso [oa 7 [aetninetim —_|SOG8 | otto natamipe Sseten va [neste oa [ose Tear nes Spas) [ove-30% | raat ed yes [Stow EOL |=1e..1208 [Low EO and | EQ High (H) H12...+12 68 High EQ cut and boost } For effects 19 and 20, dynamic modulation (7A~3) can be used to control the DRY:EFF balance. The EQ part of these effects is active even when the Effect is switched off (7A-1). To bypass these effects completely, select 0:No Effect.Chorus 71 21: Quadrature Chorus The modulation signals fed to each channel of this stereo chonus effect are 90 degrees out of phase with each other. 22: Crossover Chorus The modulation signals fed to each channel of this stereo chonus effect are 90 degrees out of phase with each other. The chorused signals are mixed with the other channels output. Gaad.tre [Te aund.the O[ Te ased.the resto soseess | heath fe, on ons 78-2 78-3 Tod eo | Parameier ange Beacon en aaa [acesoie Lather ie Deay Then) Oz5O re Th chan iy ire rea [tes Deon tos |o-00 Mouton ep Wed Speed Moa) | 199 Moston pod roa [MosStare | To10.7-10. | Maton warm shape Tag Sho The age twos) | Ec10.e-16__|tomtoio soos a etn ety cot E01) |-72..01268 [ow EO tandbeet band EQ High (H) -12...412 6B High EQ cut and boost For effects 21 and 22, dynamic modulation (7A~3) can be used to control the Mod Speed.72 Chapter 5: Effects 23: Harmonic Chorus This effect splits the signal into two bands: HF (high frequency) and LF (low frequency). The HF band is then fed to the quadrature type chorus, and the LF band is, fed directly to the output. This effect is useful for low frequency instruments such as bass. ae Usa 2 a PET ST Chorus 1 oy Let 76 Harna.0) 3] 7EHarne. cho 7B Hsrns.cho _< pirong “p2ta1 | Meas9 nsdsr=35 | F.Selit Point=ot 74 782 733 LoD) Parameter ‘Range Description jer pDaay Timer (OTT) [0-600 me. ‘Channel 1 delay tne Delay Time 2 (027) _| 0-600 me ‘Channel 2 delay tine qe2 [Med Dephn Moa | 0-09 ‘Modulation depth Mod Speed (ModSP) | 1-09 ‘Modulation speed Frequency Spit Point “The frequency at which the input signals spltinto HF and LF oo [esaapnn [ose sa For effect 23, dynamic modulation (7A-3) can be used to control the Mod Speed.Symphonic Ensemble 73 Symphonic Ensemble 24: Symphonic Ensemble This effect is basically a multiple chorus type effect. It produces a rich, thickening effect, ideal for strings, ‘Symphonic Ensemble 78 Sunr.Ens, > Howe E0.Lr00d6 HrObue 71 78-2 Parameter Range Description ‘Mod Depin (Mod) | 0-99 ‘Modulation depth yee |EOtowieau) 12..01268 Low EO cut and boost EQ High (4) 12.12 6B High EQ cut and boost For effect 24, dynamic modulation (7A~3) can be used to control the DRY:EFF balance. Note: When this effect is selected, the following effect types cannot be selected for the other effect: Choruses 19-23, Symphonic Ensemble 24, Flangers 25-27, Phasers 32-33, Rotary Speaker 34, Tremolos 35-36, Chorus Flanger/Delay 38-39, Delay/Chorus 42, Delay/Flanger 43, Delay/Phaser 46, and Delay/Rotary Speaker 47.74 Chapter 5: Effects Flanger ‘These effects add feedback to a chorus effect. When used on sounds that contain a lot of high-frequency energy, such as cymbals, they not only create modulation effects, they add a sense of pitch to non-pitched sounds, too. 25: Flanger 1 In this effect, inphase modulation is fed to both flanger channels. 26: Flanger 2 In this effect, the left channel modulation signal is in phase and the right channel ‘modulation signal is out of phase. This produces a wide, stereo flange effect. 27: Crossover Flanger In this effect, two flangers are modulated out of phase. The flanged output signals are mixed with the other channels output. wi Feetbek— aH, Tanger aS Quo eH Fight Feedback — y aa anger Guoe it fete, Sree “EFlmset | Fleee Oe Flas DeTangdee Resse | hogst Neasreco. [EPA Lace 0 7841 78-2 =} Deserpon Doty ie Resonance (Res) | 6.299 mount of upc siglo baka heap eedbac ee [Mes Denin (es) —[o-20 ation depth Me Speed MoS) | 1-08 Merlaion seed Fes EOLonEO) —_|-t2..a18a8 | Low EO ean boo EO Hgn (| =12..11248 | High €0 ot and boos For effects 25 to 27, dynamic modulation (7A~3) can be used to control the Mod Speed.Exciter 75 Exciter 28: Exciter This effect increases the clarity of a sound and gives it greater definition. Let Me oka Exciter Exciter Figg oa reece, ope eciter Ench Point: EL Oda HONE 782 763 ico [Parameter Range Description 7B-1__| Blend (Bend) “28.98 Mix of dry and ected signal rae |Egperromererl io es EQtow (EO) [1 nia Low EG eit and boost eS [ea rane T1212 68 High EQ cut and boost For effect 28, dynamic modulation (7A—3) can be used to control the DRY:EFF mix level. ‘The EQ sections of this effect are active even when the effect is switched OFF. To bypass this effect completely, select 0:No Effect. Enhancer 29: Enhancer ‘This is a two-channel enhancer that includes a delay to give a sound more spaciousness. An enhancer makes the sound clearer and ‘more defined, giving the sound more presence and bringing it up front in the mix. & — Enhancer [ST Oelay =] Ms Enhancer Enhancer ©] 78 Enhancer _< Hot. Seot=at 58 0. Tine=25 | E0.LeBige HeOLae 7-2 78-3 78-4 Leb Parameter Description 78-1 Harmonic Density _| 1-09 Level ofthe enhanced signal 78-2 _ | Hot Spot 120) “The central frequency around which sounds are enhanced Stereo wiath (SW) _| 0-29 “The width ofthe stereo image that is opened up by the dela Delay Time (O.Time) | 1-99 Detey time EQ Low EQ.) n12..12 08 Low EO out and boost [4 [easahen peas High EQ cut and boost For effect 29, dynamic modulation (7A-3) can be used to control the DRY:EFF balance.76 Chapter 5: Effects Distortion 30: Distortion This effect can provide everything from subtle distortion through to mega-power distortion—ideal for ripping solos. The Hot ‘Spot and Resonance parameters allow you to tune in for a wah type effect, and the Hot Spot parameter can be controlled in real time using dynamic modulation, 31: Overdrive This effect produces a smooth overdrive. As with the previous distortion effect, dynamic modulation allows real-time control of the wah filter's Hot Spot parameter. Distortion 76 Dist 7B Dist <) te Diet ¢ Orivesiit Ressag [He Seotis Levelta | Ea.Lri2deH 1248 78-1 72 78-3 Leo Parameter Range Description yer [othe Orv) ET Distontion/Overdrive level Resonance (Res) | 0-89 Gain ofthe resonant wah fiter qe [HotSpot tseen [0-09 Wan titer contre frequency Out Level (Level) | 0-29 Distortion output level qe Lato EQL) 12.1268 Low EQ cut and boost EQ High (4) =12...112 48 High EQ cut and boost For effects 30 and 31, dynamic modulation (7A-3) can be used to control the Hot Spot parameter. This is useful for creating a wah-wah type effect.Phaser 77 Phaser ‘These are two-channel stereo phase shifters. Using delay and phase changes, they produce a modulation effect that is clearer than chorus or flanger. These effects are especially suitable for electric piano and guitar. Chorus and flanger produce their effects by modulating the delay time. However, phasers, modulate the phase of the input signal, creating an effect that has a different character to that of chorus or flanger. 32: Stereo Phaser 1 In Phaser 1, the left channel modulation signal is in phase and the right channel Lot Me modulation signal is out of phase. This roduces a wide stereo phaser effect. a c Ay Phaser Cttea a rraser Aig wl 33: Stereo Phaser 2 This stereo effect contains two phasers. In-phase modulation is fed to both channels. | Mo | | LY Phaser | Mod. | A, Phaser Pig 7 ie [ze Phaser 1 Oe Phaser) —< Ned. HeSPO. 69H: | FEA7S. SIN 78-2 733 [ico [Parameter Range Description aette nae ween eat |S Jou The cna reuercy ous hich hase siting yoo [MedDenm toa [0-00 Modulation depth Mod Speed (M.SPO) | 0.03-30 He Modulation speed “The amount of phased signal thats fed back ito the effec ea Feedback (FB) cstahdanie Minus values invert the feedback signal phase moswavaern —[SRe'SM | woataton waste For effects 32 and 33, dynamic modulation (7A~3) can be used to control the Mod Speed.78 Chapter 5: Efiects Rotary Speaker This effect simulates the rotary speaker effect that is popular for organs. 34: Rotary Speaker The effect is popular with organ type sounds. ‘The rotation speed continuously cycles between the two speed settings at a rate determined by the Acceleration parameter. Dynamic modulation can be used to switch Rotary Speaker from slow to fast speed. The rotor speed will change at a rate specified by the Acceleration parameter regardless of how rapidly you move the dynamic modulation controller. 78 Rot >] FE Ret. sek Uibrate Deetheos | Acceleration 734 78-2 co [Parameter Range Description, Vibrato Depth (Vibrato 784 e- | bora os Etfect depth ‘Acceleration poeta lracaamey 118, ‘Time taken to change from one speed to the other 7e3 |SomSpeeais) [1-00 Siow rotation speed Fast Speed (F) 199) Fast rotation speed For effect 34, dynamic modulation (7A-3) can be used to switch from slow to fast speed.Tremolo 79 Tremolo This effect cyclically varies the volume. 35: Auto Pan This effect pans the signal continuously across the stereo image. The speed of panning (Mod Speed) can be set relative to song tempo, or left to produce a natural drift across the stereo image. 36: Tremolo The tremolo effect modulates the signal amplitude to produce regular variations in volume level. oo i 2) “ > | aby N ‘Auto Pan) Vasa A eine Cites Aj Lema Pot e {ea VE Auta Pan [28 fata Pan [78 Auto Fan Sit now hares | hodeo N.SP1.S3He | E1.L r00de Heaode 754 782 78-3 Leo Parameter Range Description Sire (SIN) ; Mod Wavelorm | $0 (SI Modulation wavetorm Siglo! ModSape Modshape 20 78 | sos Snape (Mod fists “ Moshape 099 ‘Shape) aaa yee Mod bent wea) [0-80 Modulation depth Mod Speed (MSP) _| 003-00 He Modulation speed qeg PEatom (eat) [12.4128 Low EO cut and boost EQHign () “12... 48 High EO cut and boost For effects 35 and 36, dynamic modulation (7A-3) can be used to control the DRY:EFF balance. ‘The EQ sections of this effect are active even when the effect is switched OFF. To bypass this, effect completely, select 0:No Effect.80 Chapter 5: Effects EQ 37: Parametric EQ This is a 3-band parametric equalizer, with independent gain and frequency controls for each band. The width of the mid-frequency band is variable. Paramet ut r LL ‘Band EO 7 ‘Band EO Fight ; iy 78 Para, ED Pars. 0 [7B Para. BO 7E Pars, £0 < LouFral2 MidFrade Gaintt2 | Miguiathesa Hi Frag Gaineiz 781 78-2 78-3 784 Leo Parameter Range Description ye [Low Free (Lowrie) [0-29 {Low cutoff frequency Low Gain (Gain) | -12..01208 ‘Low EQ cut and boost yee | MsFrea MiaFia) [0-00 ‘Mid canter frequency Mig Gain (Gain) | -12...012 68 ‘Mid EQ cut and boost 78-3 _ | Mi Wiath (wiawietn) | 0-09 ‘Mid band wicth zea [Hon Frea(HiFa [oe High cutot requency High Gain (Gain) | -12...012 08 ‘High EQ cut and boost For effect 37, dynamic modulation (7A~3) can be used to control the Mid Freq parameter. This is useful for creating a wah type effect.Combination Effects: Serial 81 Combination Effects: Serial Effects 38 and 39 use mono input-stereo output chorus/flangers in series with stereo delays. 38: Chorus-Delay This effect consists of a chorus and delay in series. The input signals are summed, then fed to two chorus units. The modulation signals fed to each chorus are 90 degrees out of phase with each other. Feedback parameters are available for both chorus and delay, : Flanger-Delay ‘This effect consists of a flanger and delay in series. The input signals are summed, then fed to two flanger units. The modulation signals fed to each flanger are 90 degrees out of phase with each other. Feedback parameters are available for both flanger and delay. 7 Cher-Dlw __<)] 78 Chor-Diu__< ho. DTI ins FB+16 | Che. tlodSO N.SP36 | D1y.0T110 FE-10 74 7-2 78-8 Chorus, Flanger ico [Parameter Range Deserpiion Delay Time (CRT) [0-80 me ‘Chorus/Flanger delay time ‘ srount of flected sghal at TOT reedack 3) | -09..099% The amount of efected signal that fed back nto the eect. ‘Mod Depth (Cho. Moa)| 0-89 8 [Mod Speed ase) | 1-09 Delay ep) Parameter Range Description Delay Time (DOT) _| 0-450 ms Delay te (Getin2 ms steps) 78-3 un i into the effect Delay Feechack 0) | 20-00% ‘The amount of delay signal thats fed back into the effect. ‘Minus values invert the feedback signal phase For effects 38 and 39, dynamic modulation (7A~3) can be used to control the DRY:EFF balance.82. Chapter 5: Effects Combined Effects: Parallel Effects 40 to 47 are arranged in parallel. This means that two signals can be fed independently to two separate effects. For Example, with effect 40 (Delay/Hall Reverb), the left channel feeds @ delay, while the right channel feeds a hall reverb. x1 Delay UMONO Hall 2m x2 Delay PAN 3) Flanger PAN4 For details about the individual effects used in these combined effects, refer to the descriptions for effects I to 34,‘Mono Delay/Reverb 83 Mono Delay/Reverb 40: Delay/Hall Reverb This effect consists of two independent effects: delay on the left channel and hall type reverb on the right. a a | 41: Delay/Room Reverb This effect consists of two independent effects: delay on the left channel and room: type reverb on the right. Tosi) |B delavd) O[ milk [bela —< [TinecSiins Fets0 “| Hone ined. Ss H.Onedd | P.01W085ns 73-1 782 73 73-4 Delay rr} arameior Range Description Delay Tine (Tine) | 0-800 ms Delay i Te ‘The amount ‘signal that is fed back into the effect. Feecack r=) | -29...80% ins lus iver foe oecbackslgnal ase 76-2 [High Damp HOme) [0-05% High frequency decay Hall, Room Lc | Parameter Renge Description Reverb Time (Tir 92°99 200 fel) “The time over which the rb effect will last Fo2-a9 see (Room) —o ‘High frequency decay igh Damp (H.0mp) | 0-26% 0. right vero 99 = dark overd al eneronsleas Tre delay Between the oil sound ane ay For effects 40 and 41, dynamic modulation (7A-3) can be used to control the DRY:EFF balance.84 — Chapter 5: Effects Mono Delay/Modulated Delay 42: Delay/Chorus This effect consists of two independent effects: delay on the left channel and chorus on the right. wt a Feedback Delay pial Chorus ight a bell) |e ilwd) O] ie the OF thors ; oni redo nes i 72 78-3 72 Doty uo Parameir ange Bescon Guay Tie Tine) [6006 Sayre 78-1 1@ amount lay signal that is fed bac 1e encanta | ear The amount of aay Sal a sod back rao he oo Minus values invert the feedback signal phase 78-2 _ | High Damp (H.dma) | 0-00% igh requency decay Range Description 089% Mod Speed (MSP) | 009-30 Hz Modulation speed Sine (SIN) os 78-4 | Mod Waveform ane cr) Modulation wavetor For effect 42, dynamic modulation (7A~3) can be used to control the DRY:EFF balance,43: Delay/Flanger This effect consists of two effects: delay on the left channel and flanger on the right. Mono Delay/Modulated Delay 85 TE Dalasi Tine2Stine FESO | H.Dne10 [78 belswiL) OO] 7B Flangeri < Nou?0 H. SPS, 13H 78-1 782 73-3 Delay i) Parameter Range Description Delay Time (Time) | 0-600 me Delay time 781 Feedback (FB) 88.49% ‘The amount of delay signal that is fod back into the effect, Minus values invert the feedback signal phase 78-2 [High Damp (H.Dmp) | 0-99% High requency decay Flanger Leo Parameter Range Description Teg [MesDenin Mos) [0-283 Modulation depth Mod Speed (MSP) | 0.03-00 Hz ‘Modulation speed a a ee ‘The amount of effected signal tat is fed back into the effect, Minus values invert the feedback signal phase For effect 43, dynamic modulation (7A-3) can be used to control the DRY:EFF balance.86 Chapter 5: Effects Mono Delay/Distortion, Overdrive 44: Delay/Distortion This effect consists of two effects: delay on the left channel and distortion on the right. 45: Delay/Overdrive This effect consists of two effects: delay on the left channel and overdrive on the right. Feeback Delay Fight Distortion > bo Lot Ma Feecback — Delay. ight ¢ Overdrive > 78 Dalawl> TingeStns FE*so 7841 Delay LoD Parameter Range Description Delay Time (Tima) | 0-600 ms Delay time 78-4 ‘The amount of delay signal that is fed back into the effect. Feedback (FB) See Minus values ivert the feeaback signal phase Distortion, Overdrive LED Parameter Range Description rea [btve (Orv) er Distortio/Overdrve level Resonance (Res) | 0-39 Gain ofthe resonant wan titer reg [HotSpar(aspoy | 1-29) “The wah fter frequency where it all happens Level (Level) 139) Distortion output levelMono Delay/Phaser 87 Mono Delay/Phaser 46: Delay/Phaser This effect consists of two effects: delay on the left channel and phaser on the right. 7B Delal> | O]7E Prazen(B) <>] 7 PhazercR) < Tine2S0nis FE+80 Nods8 H.SPo, eH [FE-75 73-1 78-3 78-4 Delay Leo Description jay time 784 ‘The amount of delay signal that is fed back into the effect. Minus val 95 invert the feedback signal phase 78-2 [High Damp (H.Dmp) | 0-09% High frequency decay Phaser Lco_| Parameter ange Description [ited estn (wos) [650% Teaser es th (od) on Mod Speed (MSP) | 0.03-00H2 Modulation speed 78-4 | Feedback (F8) -99...490% The amount of phased signal that fed back into the effect. Minus values invert the feedback signal phase For effect 46, dynamic modulation (7A-3) can be used to control the DRY:EFF balance.88 — Chapter 5: Effects Mono Delay/Rotary 47: Delay/Rotary Speaker This effect consists of two effects: delay on the left channel and rotary speaker on the right. Rotary Speaker Fish Ms VE delavily >| 7B Roar? _< Tine2Sons Fe+40_| Acceleratio 78-1 78-2 Dotay Leo) Parameter Range, Description Delay Time (Ti (0-500 ms Belay time 74 “The amount of delay signal hats fed back into the elect. Feedback (F8) 0.00% Minus values iver! the feedback signal phase Rotary Speaker Leo Parameter | Range. Description ‘Acceleration 7e-2 | celeron 1-15 ‘Time taken to change from one speed to the other ye |Sowsneca(S) [1-00 ‘Siow rotation speed Fast Speed (F) 1-29 Fast oation speed For effect 47, dynamic modulation (7A~3) can be used to switch the speed change direction.39 Mono Delay/Rotary90 Effect Parameter Table Far Oe- ae ‘Ensemble Fall 02-0906. ‘Concert Hal 02-98 02 =89see. 02-4900 On= 4a 0-8 O=38 0-3 700 = 800 78 700.= 800m Early Retiecion 100 = 800 ms ‘9 200 me Siareo Delay [0-500 ms. 0 S008 29 05 Cross Dei 0 500 ms. 0 500 me 39-09% Dual Mono Belay 0-300 [58 005 O- % Muit-Tap Belay? 0 200.05, = S00 me ‘Mult-Tap Delay 2 0 500 ms ‘Mult-Tap Delay 3 0 500 me ‘[ehoruet ‘00a S0HE Chorus? 003 30He “Gusdrature Chon 0 250 me ‘Crossover Chorus 0-280 ms Harmonie Chorus ‘0-500 ms ‘Symphonie Ensemble Fianger 7 Fionger2 ‘Crossover Flanger Easier “23-8 Enhancer 1 ‘Distortion tt ‘Overdrive To ‘Stereo Phaser t =o ‘Stereo Phaser 2 0-30 Fotary Speaker O15 “auio SIT 5-709 (198) | 005 ore Tremolo ‘NTA “wo — 99 (-90) | 000s Fe Paramete £a = 20 mio si (0) | © 0-99 ‘Ghorus-Oeiay 0-50 9-100 2a) | 1-08 Flanger-Delay 0 50. 99 — 199% (00) [1-09 ‘DelayMall Revers | 0 500 ms. == 00% 0) | 0~09% ‘Deisyoom Revers | 0 500 me 59-99% (0) | 0-05% DalayiChorus ‘= 500 me <= 018) | 0-0 DatyiFianger = 500 me 38 = 90% 20), ‘DatayDioterion D800 me n09 = 0008 (odd) DelayOvercrive 0 500m 29 = 599% (650) ‘BalayPhaser ‘9= 300m —— 29 — 09% (15) DelayRotay Speaker | 0~ S008 ~~ 280) [99-60% (19) © A parameter that can be controlled using dynamic modulation 2 Dynamic modulation can be used to change the cycle-speed direction Values in parenthesis indicate initial parameter values 1 3) (36), (68) isi (By) 7 ©) @) @ 20), (0) (0) 0) ‘. 9 (22) o (65), ul Te (20) (2, Cay oz) G3) ry Efec 2-99 a9 00% ‘on TA SiN-TAL 99 0-99 ‘e1-8 100 5) sie= 128 (0) “211268 0) 20 9% 08) “99-19% +00) 1-09 (5) = (05), 0-39 1) m12= e126) -39 5) 0-39 (3) © ry Elect (70). iy -Efect (FX) 1@ ry Eoct_(700) “© xy -Efect (7030) © bry Elect tra) ‘9 by ~ Efect (7525) "@ Dy = fect (600) Dry = Efect (7030)[oz a9sec ro (700) Teid-= S10 Tei0= S10 25) 290) (636) (80) a =O 000% == 89% B= 80% TEE =i2- +128 (0) iz 126810) = Tan si ‘SN TA ‘SIN, TA 1-9 160) 39 (50) O50 re 9 450 rs (120) (900), a0 a, 02-9950 Boe 20H 100) Sos- wre (oat) Tait Tost TH ‘&) Dos - core (059) 115 Tor aa i268 Sra = HiS= 128 Hig ae Tae sig r12aB SEs eae a2 1268 i =a 12 12128 “35 <0 Sra Ta 2B E> 2eB se=vi808 =12 12 8. nie o1208 Sie O18 Seer nia rece 2a 2-208 wiz 128 wig n12dB mianiede =a 1208 O29 == 109% 29 — 9% = 1508 0=150m 0-39 3. % 1-93 199 seat = 98 1% 2 Gir Cy oy @, Tap ar Hy ety @ @ ©) oF ‘O ©, 0) a) 3) O, 0) a 0 0) (0) (0) 3) O) ©) ©) [ey (16) a) cl © 9) co co (2 (20) 23) Hie ea Sig= 2a TE=Heae sia o12a8 =2a8 Se eee [ae ia@@ Tig Hie gB si2- sted Taiz a8 mig= iad =a Heeb a =I2 = ¥1208 T= ste ae= eee i212 a8 Sree =e ee m2 1208 nian ade sae <2 128 S12 1208 mign 12 dB nian rizde sa eae na~ riage ona 099% MAGI 20 = 99% Ono 0-99 =a 2% 1) =) (2 cl oo ro) co a = @ @ @, o ) 0) (0) (0) CA cl 0) ©) 4) 23) TAD (75) o 3) co 8) © by Efect Diy = Efect (0 Dy = efect (ey efect (@ Oy Etec! ‘iy Efe Diy Efest Diy = Efect Diy fect Dry efoct (© ry EFect © ry —EFect (©. 0ry = Etect (© Dry Efec 19.09 -Efoct Dy = Erect © Ory ~ Etec (© Ory Efect y= Etec 90 —EFect Dy Efect ‘ry Efoct Dy eect 9 Ory Efect Dy = erect ‘y= Erect ‘iy Etec OnE OnE Diy = erect Dry = Erect Dry = Evert Dry fect ry Eto (© Dry erect 80y eect Dy Etoct (9 Dy Efect © Ory Efect (© Ory ~ erect ©. 577 Efect Dry Efect Oy —Efect Ory Eft (© Oy Efect Effect Parameter Table 12020), (8020) (60.20) azz) 7323) 75.25) (0.20 (60:20) Taz soz) (65:35) (525) (00.20, (ozo) "e050) (8020) (79:30) (75.35) (5050) (60.40) (50:50), 0:50) (2575) (6739) (2050) (6050) (0:50) (5050) (60) 1020) (S050) (050) (0:50) (ose) (20:60) (S00) (50:50) 16020), (50:30) 7030) (65.35) (6050) N5050), co. (20, (25.75) (0070) 9192Sequencer Mode 93 Chapter 6: Sequencer Mode in Sequencer mode you can playback songs and record in real time. In Sequencer Edit mode you can edit your real-time recordings, record in step time, and create patterns in either step time or real time. See “Sequencer Edit Mode” on page 113, As well using the X2/X3 with its own sequencer, you can also use it as a 16-part multitimbral tone ‘generator with an external sequencer. ee Sequencer Specs 10 songs and 100 patterns can be held in memory simultaneously. * 32,000 events can be recorded in 10 songs and 100 patterns (one track or pattern can contain a ‘maximum of 16,000 events). +A song can be up to 16 tracks. + Attack can contain up to 999 measures. , +A pattern can contain up to 99 measures. ‘+ Base Resolution can be either 48 PPQN or 96 PPQN (Pulses Per Quarter Note). ‘+ Effects can be set individually for each song. * Song 9 can be conformed for use with General MIDI. + Song data can be saved to floppy disk in the Standard MIDI File (SMF) format. * SMF files can be loaded into the X2/X3. * Program Change messages can be used to select different Programs. ‘+ EXT mode tracks allow external MIDI device control, + Upto 32 notes are available among tracks. ‘+ All sequencer data is retained in memory when the power is off (we recommend that you save your data at regular intervals). * Sequencer tracks respond to MIDI Controllers such as After Touch and Pitch Bend. See “Controller Event Edit Notes” on page 126 for a list of all usable MIDI Controllers. + Track Programs can be selected using MIDI Bank Select and Program Change messages. See “Using MIDI to Select Programs” on page 4 for details about how the X2/X3 responds to MIDI Bank Select and Program Change messages94 Chapter 6: Sequencer Mode What's in a Song? The following illustration shows what's in a song. Inside a Song CR tock (Gexaoenes [anand teas [Eos Tweed ee a) Tack 1; [Savane roan copmanee sory rete Track 13: [Secegparaneme TT Tekane ee Tack 16: (Seemann [Ta Toot Setting parameters determine the playback environment. Setting Parameters listed in the following table that are marked with a (*) can be adjusted and recorded by the sequencer. During playback, these adjustments will be carried out automatically. This means that the parameter value at any point during playback may be different to its original value. When the [RESET] button is pressed, these parameters are reset to their original values. Setting parameters can be copied from ‘a Combination, See “8E Copy from Combination” on page 153 ‘Setting Parameters ‘Track Data Prog No. Note onott ‘Volume itch Bend Pan ‘After Touch MIDI Ghanne! ‘Prog Change (Include bank Select) Send C* Poly After Send D* Controllers (0-101) ‘Status ‘Bend Range * Transpose * Tune * Vel Window Key Window X2/X3 songs contain a Tempo track. This controls the tempo and time signature of all 16 tracks.What's in a Pattern? 95 What's in a Pattern? ‘As well as songs, you can have up to 100 patterns. By making a repetitive drum phrase into @ Pattern, you can save sequencer memory. Patterns can be played by putting them into tracks. A Pattern can be used in one track only. Patterns can be from 1 to 99 measures long ‘The following illustration shows whats in a pattern, Inside a Pattern Sequencer Data, RAM Cards, & Floppy Disks Sequencer data on a floppy disk must be loaded before you can play, or edit it. Sequencer data on a PROGISEQ data card, however, can be played without loading. Although, you must load it before editing. A PROG/SEQ data card can store up to 7,000 events. See “6D Save Sequencer Data to Card” on page 169. Note that if the amount of free sequencer memory is less than 77%, the sequencer data cannot be saved to card. In this case, save to floppy disk. See “3C Save ‘Sequencer Data” on page 188. Ways to Record Tracks + Real-Time Track Recording: is similar to recording on a tape machine—you select a track, start recording, start playing, then stop. Real-time recording is carried out in Sequencer mode. See “Real-Time Recording” on page 99. + Step-Time Track Recording: allows you enter notes one by one—you select a position, specify the note, its velocity, and length, then insert it into a track. Step-time recording is carried out in Sequencer Edit mode. See “2A Step-Time Track Recording” on page 117. * Patterns: can contain up to 99 measures. They allow you to use sections of song data many times. Patterns can be copied to tracks or put to tracks. Putting a pattern to a track means that ‘you do not have to duplicate (copy) the data. Thus, saving sequencer memory. Any changes ‘made to a put pattern will be reflected in all tracks into which that pattern has been put. This makes it simple to, for example, update the snare drum pattern used in all choruses. Ways to Record Patterns ‘+ Real-time Pattern Recording: this is similar to real-time track recording except the pattern repeats while recording, allowing you to build up pattems by overdubbing. For example, you could record a bass drum in the first pass, a snare drum in the second, hi-hats in the third, and 80 on. See “SA Real-Time Pattern Record/Edit” on page 143 + Step-Time Pattern Recording: allows you enter notes one by one—you select a position, specify the note, its velocity, and length, then insert it into a pattern. See “SB Step-Time Pattern Recording” on page 145. + Copy Data from a Track: you can select a number of measures from a track, and copy the data into a pattern, The pattern can then be edited, and put or copied into other tracks. See “6B Get from Track” on page 148,96 Chapter 6: Sequencer Mode Real-Time Recording & Patterns If a pattern overlaps the specified range for real-time recording, that pattern will be opened automatically when recording stops. However, if there is not enough sequencer memory available to open the pattern, the options YES and NO will appear. Press the (A/YES] button to copy the pattern data into the track, or the [W/NO} button to discard the data just recorded. Entering Sequencer Mode 1) Press the [SEQ] button. SEQ appears on the LCD screen. ‘The numbers at the top of the display correspond to the track numbers. The number of the currently selected track flashes. Normally, there is only one currently selected track, however, for multitrack recording any number of tracks can be selected. When a track is muted, its number disappears, When a track is soloed, all other track numbers disappear. A box underneath a track ‘number indicates that a track contains data. During playback, and when MIDI data is received, this box flashes. Playing Songs ‘This section explains how to play songs. ‘Songs can be in any one of three places: in the internal sequencer memory, on a PROG/SEQ data card, or on a floppy disk. Ifthe song that you want to play is in the sequencer memory or on @ PROG/SEQ data card, proceed to step 1. If it is on a floppy disk, you must load it into the sequencer memory before it can be played. See “IC Load Sequencer Data” on page 180, and “SA. MIDI Data Dump” on page 165. To play Standard MIDI File compatible song data that is on floppy disk, the song data must first be loaded into the sequencer memory. See “SA Load SMF (Standard MIDI File)” on page 191. 1) If you haven't already, press the [SEQ] button to enter Sequencer mode. 2) Press function button [8]. The following LCD screen will appear. 3) Use the VALUE slider, [4/YES] and [¥/NO] buttons, or number keypad to select a song. If the song is on a PROG/SEQ data card, press the (BANK) button, then select the song. 4) Press the [START/STOP] button to start playback. Press the [START/STOP] button again to pause playback. To continue playback, press the [START/STOP] button again. Playback will continue from the point at which playback was paused. To return to the beginning of the song, press the [RESET] button. Tracks whose status is set to EXT will send the corresponding MIDI Bank Select, Program Change, volume, etc., messages, $0 external MIDI devices will be ready to start playback from the first measure. At the end of the song, playback will stop, and the song will return to the first measure. If a Next Song has been specified, that song will played. See “&C Next Song” on page 152.Soloing Individual Tracks 97 Playback from a Specific Measure To start playback from a specific measure in a song, press function button [1] to select the Measure Position & Free Memory LCD screen shown below. Peet ee Position the cursor on the measure parameter (MOOI), use the VALUE slider, [/YES] button, or number keypad to select a measure, then press the [START/STOP] button to start playback. At the end of the song, the song will return to the measure at which playback was started. See “Measure Position & Free Memory” on page 106. Muting Individual Tracks You can mute individual tracks during song playback. 1) Press function button [3]. The following LCD screen appears. 2) Position the cursor on the Tr01 parameter, then use the VALUE slider, [A/YES] and [V/NO] buttons, or number keypad to select the track that you want to mute. See “Track Program, Level, & Pan” on page 106. 3) Position the cursor on the PLAY parameter, then use the VALUE slider, or the [A/YES] and [V/NO} buttons to select MUTE. Select PLAY again for normal playback. Soloing Individual Tracks ‘The Solo function allows you to listen to tracks individually. To solo a track, press function button {2} or [3), then move the cursor to “Tr”. Use the VALUE slider, the [A/YES] and [W/NO] buttons, or the number Keypad to select a track, then double-click function button [2]; SOLO will appear on the LCD. The currently selected track only will be heard. To listen to other tracks, select the Tr parameter, and use the VALUE slider, [A/YES] and (¥/NO] buttons, or number keypad. On the LCD screen shown below, track 3 has been soloed. To cancel the Solo function, double-click function button [2] (TRACK).98 Chapter 6: Sequencer Mode Song Playback Notes You can edit a song's effect settings during playback. This allows you to try different effects and edit effect parameters, just like a real mixdown. Press the [EDIT] button, then function button {7} to access the effects. See “7A~7G Effects” on page 150. Program, level, and pan parameters can also be edited during playback. See “Track Program, Level, & Pan” on page 106. Note: /f you sometimes use an external MIDI clock to synchronize the X2/K3 sequencer, remember to set the X2/X3's Clock Source back to INT when not using that external clock. Otherwise, the X2/X3 will not playback. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. Erase All Sequencer Data To erase all the sequencer data, press and hold down the [SEQ] button and function button (8] (DELETE), then press the X2/K3 power switch to power on the X2/X3. Sequencer free memory will become 100%, Note: This will erase the 10 songs, 100 patterns, and initialize the Setting Parameters. So make sure that you save your important data to either floppy disk or card beforehand. See “6C Save Programs & Combinations to Card” on page 168, “6D Save Sequencer Data to Card” on page 169, and “3A Save All Data” on page 186,Real-Time Recording 99 Real-Time Recording This section explains how to record in real time. 1) Press the (SEQ) button to enter Sequencer mode. 2) Press function button [1], and check the amount of free memory. If you think there isn’t enough free sequencer memory for your new song, save another song to floppy disk ("3C Save Sequencer Data” on page 188), or a PROG/SEQ data card (“6D Save ‘Sequencer Data to Card” on page 169), then erase it from the X2/X3 ("2G Erase Song” on page'131), Alternatively, see “Erase All Sequencer Data” on page 98. 3) Press function button [8]. The following LCD screen appears. 4) Use the VALUE slider, [4/YES] and [¥/NO] buttons, or number keypad to select a new song. 5) Now you must set the song’s base resolution, because once you record something, cannot be changed. Press the [EDIT] button to enter Sequencer Edit mode, then locate the LCD screen shown below, 8B. eke] ‘Set the base resolution to either 1/48 or 1/96. See “8B Song Base Resolution” on page 151. 6) Press the [SEQ] button to return to Sequencer mode. 7) Press function button [2]. The following LCD screen appears. 8) Select a track for recording, Then select a Program, and set the level and pan parameters. See “Track Program, Level, & Pan” on page 106. If you change any of these parameters while recording, the changes are recorded. If you want to record a General MIDI compatible song, see “8F GM Song Mode” on page 154. If you are re-recording tracks, make sure that the track protect parameter is set to off. See “IB ‘Track Status” on page 114. This will be set to off if you are recording a new song. ‘To tum the metronome on and off, press function button (6). ‘To record using quantize, press function button [5]. See “Real-Time Quantize” on page ILI. 9) Press the [REC/WRITE] button. ‘The word REC appears on the LCD screen. 10) Press function button [4]. The following LCD screen appears. we eH B40 Set the song tempo and time signature parameters as required, 11) Press function button [7]. The following LCD screen appears. ‘Our ut aREC If you want to record one track only, set the MultiREC parameter to OFF. If you want to record ‘on more than one track simultaneously, set it to ON, See “Multitrack Recording—MultiREC” on page 104 for more details about multitrack recording,100 Chapter 6: Sequencer Mode 12) Move the cursor to the Recording mode parameter (in this case OVWR), then use the VALUE slider or the [4/YES] and [¥/NO] buttons to select a Recording mode. See “Recording Mode” on page 112. What you do next depends on the Recording mode that you selected. Recording modes are explained in the following sections. In OVWR Recording mode, existing data in the selected track is overwritten from the measure at which you start recording. 1) Follow the steps for “Real-Time Recording” on page 99, and select OVWR as the Recording mode. 2) To select the start measure, press function button [1]. The following LCD screen appears. Position the cursor on the measure parameter (M001), use the VALUE slider, (A/YES) and (¥/NO] buttons, or number keypad to select a measure, 3) Press the [START/STOP] button. After the specified count-in (“8D Metronome” on page 152), recording will begin. Other tracks that contain data play depending on their Track Status (““IB Track Status” on page 114), 4) To stop recording, press the [START/STOP] button. ‘The song returns to the measure at which recording started, Press the [START/STOP] button again to start playback. If you record on a section of a track that contained a put pattern, the put-pattern data and the newly recorded data will be added to the track. Overdubbing—OVDB In OVDB Recording mode, existing data in the selected track is merged with the new data, 1) Follow the steps for “Real-Time Recording” on page 99, and select OVDB as the Recording mode. 2) To select the start measure, press function button [1]. The following LCD screen appears, Free Position the cursor on the measure parameter (M001), use the VALUE slider, (A/YES] and [Y/NO}] buttons, or number keypad to select a measure. 3) Press the [START/STOP] button. After the specified count-in (“8D Metronome” on page 152), recording will begin. Other tracks that contain data play depending on their Track Status (“1B Track Status” on page 114). 4) To stop recording, press the [START/STOP] button. ‘The song returns to the measure at which recording started, Press the [START/STOP] button again to start playback. If you record on a section of a track that contained a put pattern, the put-pattemn data and the newly recorded data will be added to the track. ma aa ee ee eeeReal-Time Recording 101 Auto Punch In/Out Recor: 1 2 3 4 5) 1g—AUTP In AUTP Recording mode, you can re-record a specific measure(s) on a track that already contains data. The old data will be deleted. Follow the steps for “Real-Time Recording” on page 99, and select AUTP as the Recording mode. ‘The options for AUTP appear, as shown below. ult aRECOFF Use the VALUE slider, or (A\/YES] and ['¥/NO] buttons to specify the punch in and punch ‘out measures. Press function button [1]. The following LCD screen appears. Free Position the cursor on the measure parameter (M001), and select a measure that is several measures before the specified punch in measure. Press the [START/STOP] button, After the specified count-in (“8D Metronome” on page 152), playback begins. When the specified punch in measure is reached, recording begins. ‘When the specified punch out measure is reached, recording stops (playback will continue). Press the [START/STOP] button to stop playback. The song returns to the measure at which recording started. Press the [START/STOP] button to start playback. If you don’t like what you just recorded and you want to do it again, return to step 3. If you punch in/out on measures that contain Controller data, such as Pitch Bend or Damper Pedal, Controller may become stuck at a value other than its natural resting place. In this case, you will probably have to use the Event Edit function to correct the data. Alternatively, erase the Controller data using Create Controller Data. See “3D Create Controller Data” on page 135. If you record on a section of a track that contained a put pattern, the put-pattern data and the newly recorded data will be added to the track.102 Chapter 6: Sequencer Mode Manual Punch In/Out Recording —MANP MANP Recording mode is similar to Auto punch in/out except that you use the [REC/WRITE] button, or a pedal switch to punch in/out. 1) Follow the steps for “Real-Time Recording” on page 99, except step 9 (do not press the [REC/WRITE] button), and select MANP as the recording mode. 2) Press function button [1]. The following LCD screen appears. Position the cursor on the measure parameter (M001), and select a measure that is several measures before the point at which you want to manually punch in, 3) Press the [START/STOP] button. Playback will begin. 4) When the point at which you want to punch-in is reached, press the [REC/WRITE] button to start recording. 5) To punch-out, press the [REC/WRITE] button aj Steps 4 and 5 can also be performed using a pedal switch. Connect an optional Korg PS-1 or PS-2 pedal switch to the ASSIGNABLE PEDAL/SW connector. Then, in Global mode, assign the pedal to SEQ punch in/out. See “8B Assignable Pedal/SW Setup” on page 173. Instead of pressing the [REC/WRITE] button in steps 4 and 5, press the pedal switch. If you punch in/out on measures that contain Controller data, such as Pitch Bend or Damper Pedal, a Controller may become stuck at a value other than its natural resting place. In this case, you will probably have to use the Event Edit function to correct the data. Alternatively, erase the Controller data using Create Controller Data. See “3D Create Controller Data” on page 135. If you record on a section of a track that contained a put pattern, the put-pattern data and the newly recorded data will be added to the track. Ce ee ee ee ee ee ee eeae ee eee Se Se eee Real-Time Recording 103 Loop Recording—LOOP 1 2) 3) 4) 5) In LOOP Recording mode, you can add and remove new data while a specified number of measures play continuously (loop). Follow the steps for “Real-Time Recording” on page 99, and select LOOP as the recording mode. The options for LOOP recording appear, as shown below. Loar noe =68i Use the VALUE slider, or [A/YES] and {¥/NO] buttons to specify the punch in and punch ‘out measures, Press function button [1]. The following LCD screen appears. MOGI OES% Free Position the cursor on the measure parameter (M001), and select a measure that is several measures before the specified loop start measure, Press the [START/STOP] button. After the specified count-in ("8D Metronome” on page 152), playback begins. The measure is shown in the center of the LCD. When the specified loop start measure is reached, recording begins. When the specified loop end measure is reached, recording restarts from the specified loop start ‘measure. Data that is recorded on subsequent passes through the specified loop is merged (overdubbed) with the existing data. To stop recording, press the [START/STOP] button. Press the [START/STOP] button to start playback. If you don’t like what you just recorded and ‘you want to do it again, return to step 3, If you record om a section of a track that contained a put pattern, the put-pattern data and the newly recorded data will be added to the track. Deleting All Data while Loop Recording To delete all data while LOOP recording, press and hold down function button [8] (DELETE). For the time that you hold down the button, all data is deleted. Release the button to stop deleting. Deleting Specific Data while Loop Recording When you start loop recording, what you play is added (overdubbed) to the any existing data, and the word [ADD] is shown on the bottom line of the LCD screen. In this case, you can delete only the specified Controller data. After pressing the [START/STOP] button as described above in step 4), press function button [7] to see the Recording mode. By positioning the cursor on [ADD], and pressing the {4/YES] button, you can select [RMV]. In this mode, any note data corresponding. toa keyboard key that you press and hold will be deieted. While using the joystick you can delete only joystick data. Likewise, while applying After Touch you can delete only After Touch data. Record looping must actually be in progress to use this function. Note: When Loop Recording mode is selected, playback also loops.104 Chapter 6: Sequencer Mode Multitrack Recording—MultiREC y 2 3) 4) 5) 6) 7” In MultiREC Recording mode, you can record a number of tracks simultaneously. This mode can also be used to record a number of tracks directly from an external MIDI sequencer. In this case, MIDI data received via the MIDI IN connection is recorded to tracks whose MIDI Channels correspond the MIDI Channels being used by the data, In Global mode, set the Clock Source parameter to EXT. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. When recording from an external MIDI sequencer, the X2/X3 must source its clock from the sequencer. Otherwise, data may not be recorded correctly. See “3A Global MIDI Channel & MIDI Clock Source” on page 160. Press the [SEQ] button to enter Sequencer mode. Press function button [7] to select the Recording mode LCD screen, then set the MultiREC parameter to ON. Follow the steps for “Real-Time Recording” on page 99, and select a Recording mode. You cannot select LOOP. m3 stake Press function button [3] to select the track that you want to record, play, or mute. See “Track MIDI Channel & Mode” on page 108. Press the [REC/WRITE] button to enter Record Ready mode. Start playback on the external sequencer. ‘The X2/X3 sequencer will automatically start recording. This is because the extemal sequencer sends a MIDI Start message to the X2/X3. To stop recording, press the [START/STOP] button on the X2/X3, or stop the external sequencer. When you stop the external sequencer, the X2/X3 sequencer will automatically stop recording. This is because the external sequencer sends a MIDI Stop message to the X2/X3. ‘The X2/X3 sequencer can record the following types of MIDI data from an external device. Note On/Ort Pitch Bend Program Change ‘Channel Pressure After Touch Polyphonic Key Pressure Atter Touch ‘Gontroers 0-101 Jf one track on the external sequencer contains far more data than the other tracks, a memory full message may appear even though there is enough free sequencer memory. In this case, mute the large track, record the other tracks, then record the large track after. ‘See “Controller Event Edit Notes” on page 126 for a list of X2/X3 compatible MIDI Controllers.Synchronization _105 Synchronization ‘The X2/X3 sequencer can be synchronized to other MIDI devices, such as sequencers and drum machines. It can be used as either master or slave device. ‘To synchronize an external sequencer to the X2/X3, connect the X2/X3 MIDI OUT to the MIDI IN of the slave device, as shown below, Master MIDI Clock source: INT MIDI OUT. | MIDLIN Slave MIDI Clock source: EXT Set the Clock Source of X2/X3 to INT (Internal), and the Clock Source of the external sequencer to EXT (External). See “3A Global MIDI Channel & MIDI Clock Source” on page 160. The slave device follows the start/stop operations of the X2/K3 sequencer. The tempo of the slave device automatically matches that of the X2/K3. To use the X2/X3 as a slave device, set its Clock Source to EXT, and set the master device's Clock Source to INT. The X2/X3 follows the start/stop operations of the master device, and its tempo automatically matches that of the master device. Using the X2/X3 as a Multi-Timbral Tone Generator When the X2/X3 is used as a 16-part multi-timbral tone generator with an external MIDI sequencer, Track Program numbers should be set to match those of the corresponding sequencer tracks. To playback GM song data, you should execute the "8F GM Song Mode” function on page 154 beforehand. In this case, you don’t have to match up the Program numbers. In Sequencer mode (1B), set the Track Status to either INT or BOTH. You can use the X2/X3 as an 8-part multitimbral tone generator in Combination Play mode. Note: When song data that contains a GM System On message is received, song 9 is automatically conformed to the GM Standard.106 Chapter 6: Sequencer Mode Real-Time Record/Play Parameters Measure Position & Free Memory ‘These parameters indicate the current measure and the amount of free sequencer memory. Hew Sona Ti Measure Function | Parameter Range Description: Button a Ti [Weassre Poston) [001-309 inion and etc he curent neasure ] ‘The current measure is also indicated by the three large digits on the LCD screen. On the bottom line of the LCD screen, the amount of free sequencer memory is shown (1% is approximately 320 events). Track Program, Level, & Pan ‘These parameters allows you to select a Program and set the volume level and pan for each track. OL: Pian TrOl GOL 127 ONT (2) Tack Function) Button Parameter Range Description Track 1-16 ‘Selecta wack OFF A00-A99 ‘Selecta Program for each track a ‘800-899 c00-c89 (€00-C99 and 000-D99 are available only when a 00-099 PROGISEQ card is inserted) 901-136, Level O27, ‘Set the level for each wack OFF. A, Pan 14A-CNT-148, 8, | Set he pan for each track PRG. ‘Track: this parameter allows you to select a track for recording—the current track. When you play the keyboard, the Program assigned to the track will sound, Programs of other tracks assigned to the same MIDI Channel will also sound. ‘The corresponding track number flashes at the top of the LCD screen, as shown below. track d 00 Program: this parameter allows you to select a Program for each track. If you select OFF, no sound will be produced. Programs can also be selected using MIDI Program Change messages. See “Using MIDI to Select Programs” on page 4. Level: this parameter allows you to set the level of each track. When the X2/X3 receives MIDI ‘Volume Controller No. 7, this setting is changed. The actual volume is determined by this setting ‘multiplied by the MIDI Expression Controller No. 11 data.Real-Time Record/Play Parameters 107 Pan: this parameter is used to pan tracks between buses A and B. These buses feed the effects Processors. See "7E Effect Placement” on page 59. Tracks can be sent to Send C and Send D in ‘Sequencer Edit mode, See “IA Send C & D” on page 114. When PRG is selected, the selected Program's pan settings are used. See “IB Oscillator! Setup” on page 11 and “IC Oscillator? Setup” on page 13. For the X2 Program 340: A. Piano3, however, the pan settings assigned to each key are used. If the selected Program is using a drum kit, the pan settings that have been set in Global mode will be used. See “7A Drum Kit Setup!” on page 170. For Double mode Programs, the pan settings for each oscillator are used. Fora setting other than OFF or PRG, these parameters can be controlled using MIDI Panpot Controller No. 10. See “MIDI Panpot, Send Data” on page 128 for details about the relationship between panpot value and MIDI Controller value. ‘The Program, Level, and Pan parameters can be adjusted during playback. This is useful when, for example, you want to try a different Program for a track. Note that previously recorded parameter changes will reset these parameters during playback. For example, if at the beginning of a song you adjust the volume, but then some volume data that was previously recorded in the track is played, the volume will be reset by the recorded volume data. ‘When recording in real time, you can select other Programs and adjust the Level and Pan parameters. These adjustments are recorded along with other events (notes, etc.), and they can be edited using Event Edit. See “2B Event Edit” on page 121. They can also be adjusted using Create Controller Data, See “3D Create Controller Data” on page 135. Pan adjustments made during playback or recording affect subsequent notes, not notes that are currently playing. The corresponding values of Program, Level, and Pan adjustments recorded in a track are displayed during playback.108 Chapter 6: Sequencer Mode Track MIDI Channel & Mode ‘These parameters allows you to select a MIDI Channel and Track mode for each track. [2] Channel Faneeet | __Perameter Range Description [Teck 16 Solel ack or recording, ding, slong, muting, ee [wot channel (en) [m6 Solel a MIDI Channel er each ack af REC “Track willbe recorded | | Track Mode PLY ‘Track wil playback | MUTE Track mutes Track: this parameter allows you to select a track for recording—the current track. When you play the keyboard, the Program assigned to the track will sound, Programs of tracks assigned to the same MIDI Channel will also sound. ‘The corresponding track number flashes on the LCD screen, as shown below. MIDI Channel: this parameter determines the MIDI Channel that each track uses to send and receive MIDI data. If the selected MIDI Channel is the same as the Global MIDI Channel (Global mode 3A), a G will appear after the Channel number. By assigning two or more tracks to the same MIDI Channel, and selecting different Programs for each, you can play Programs in unison. This is sometimes called layering. In addition, you could record note data on one track, Controller data on another track, and set both tracks to the same MIDI Channel to play one Program. ‘Tracks with a Track Status of EXT use this MIDI Channel to send and receive MIDI data to and from other MIDI devices. Tracks with a Track Status of INT use this MIDI Channel to receive MIDI data, With the BOTH setting, tracks send and receive MIDI data. See “IB Track Status” on page 114. Track Mode: this parameter determines the status of the recording track. When PLAY is selected, data on the track plays. When Mute is selected, data on the track does not play and the corresponding track number disappears from the LCD screen. When REC is selected, the track is armed for recording and the corresponding track number will flashes on the LCD. ‘When a track contains performance data, a small box appears under the corresponding track number. For MultiREC recording (“Recording Mode” on page 112), use the Track Mode parameter to select which tracks you want to play, record, and mute.re ee Real-Time Record/Play Parameters 109 Song Tempo, Tempo Mode, & Time Signature ‘These parameters allows you to set the song tempo, Tempo mode, and time signature. BOLFi ano BN 16-16 [a] Tempo “unction a Parameter Range | Description Tempo ta) 40-240, EXT ‘St the song tempo (EXT when MIDI Clock Source is EXT] MAN | au Recording Tempo Mode REC MAN’ “ ae Playback 14-918 8168 Time Signature (Low base resolution) 16-166 | Time Signature va-5i6 8-108 ‘Time Signature (High base resolution) 16-1616 Tempo: this parameter determines the song tempo. When the MIDI Clock Source parameter is set to EXT (“3A Global MIDI Channel & MIDI Clock Source” on page 160), the tempo value will show EXT. In this case, the tempo is determined by the tempo of the external MIDI device Note: Before adjusting the tempo, set the Tempo mode to MAN. ‘Tempo Mode: this parameter determines how the Tempo track works during playback and recording. Three options, MAN, AUT, and REC, can be selected in Record Ready mode, and two options, MAN and AUT, during playback. Setting the Tempo mode to MAN allows you to adjust the tempo. If AUT is selected, the tempo changes according to the tempo data in the Tempo track, and you cannot manually change the tempo. To record some tempo changes on the Tempo track, press the (REC/WRITE] button, then select. REC. Move the cursor to the tempo value, and press the [START/STOP] button to adjust the tempo as required. To playback the tempo changes, select AUT. If MAN is selected, the recorded tempo changes will not affect recording or playback tempo. Time Signature: this parameter determines the time signature. Available time signatures depend ‘on the song's base resolution: High or Low. See “8B Song Base Resolution” on page 151. The time signature can be set in Record Ready mode after the [REC/WRITE] button has been pressed. 150 Resolution Time Signature 114, 2, 8, 4/4, 5/4, 614, 714, B14, O18 Low 18, 28, 3/8, 4/, 518, 6/8, 7/8, 8/8, 98, 108, 118, 12/8, 13/8, 14/8, 1570, 16/8 1/16, 2/16, 316, 4/16, 5/16, 6/16, 7/16, 8/16, 916, 10/16, 11/16, 12/16, 19/6, 14/16, 18/16, 18/16 14, 28, 316, 4/4, 6/4 High 8, 28, 3/8, 4/8, 68, 6/8, 7/8, 2/8, 98, 1008 1/16, 26, 916, 4/16, /16, 6/16, 7/16, 816, 916, 10/16, 11/16, 12/16, 19/6, 14/16, 18/16, 16718110 Chapter 6: Sequencer Mode —-_= = ‘Once a measure has been recorded, the same time signature is used for all subsequent recordings. A value of *#/#* means that the previous time signature is being used, as shown below. Time signature Recording from the 2nd bar of track 2 tes) Cw Fo] Tack? racoring If you want to change the time signature, change the **/#* value, After recording a different time signature, the time signature of other track measures occurring at the same time will be changed. For example, if you record the second measure of track 2 using 7/8 time, existing second measures on all other tracks will also change to 7/8 time. Time signature = 7/8 Toe (Hwa aay Tse) Track Recording 4 Track? Lome 208 Tso] i ; ; i npn ea ; By assigning different time signatures to measures, you can change the time signature at any point ina song, However, measures that occur at the same time in different tracks cannot have different time signatures. If you change a measure’s time signature by recording or editing, the time signature of other track measures occurring at the same time will be changed. For example, if you change the fifth measure of track 6 to 3/4 time, the fifth measure on all other tracks will also change to 3/4 time. Likewise, if you record the fifth measure of track 6 using 3/4 time, existing fifth measures on all other tracks will also change to 3/4 time. Measures that become longer will have rests inserted into them, and measures that become shorter will not play the data that exceeds the new length of the measure. However, this data will not be lost, and if you change the measure back to its original time signature, the data will play again. —= “ snot ee fi Not playedReal-Time Record/Play Parameters 111 ‘Real-Time Quantize Recording quantize determines how the timing accuracy of your playing is corrected while recording, een Tl auanie Function] parameter an Descriton fin [Aregamauce You Be Neh de DL | rns ectton otecrig For a setting of HI, the quantize value is determined by the song's base resolution without timing correction. See “8B Song Base Resolution” on page 151 For a setting of J everything you play will be recorded at quarter note (crochet) intervals. In the following illustration, the quantize value is set to J). As played Quantized result Recording continuously variable data such as After Touch and joystick uses a lot of memory. You can reduce the amount of memory used by setting the quantize to a value other than HI. However, before recording you should check to make sure that the quantize value is not too low. With too low a value the continuous data may become jerky and unnatural. See “IC After Touch & Velocity Response Curve” on page 157. Metronome This is where you set up the metronome. GisPiane Histronone? CH [6] Metronome Funetion ‘unction| parameter Range Descriation Metronome OFF ‘Metronome off @ Neca oN Metronome fr playback and recording (Metronome) REC Metronome for recorcing only ‘When the metronome is set to ON or REC, the metronome symbol appears on the LCD screen. For the instant that the metronome sounds, the 32-note polyphony is reduced by one. Even when the metronome is set to OFF it will sound during the count-in,112 Chapter 6: Sequencer Mode Recording Mode ‘These parameters allows you to set the Recording mode. [ane RA IRECSOFF (7 Ree mode Function] stn] Parameter Description | ovwn Overwrie (se page 99) ovos Overd (se0 page 100) | Recording Moe | AUT Auto nen (oo 93ge 101) WAN Manual punenin eee page 102) | Looe 009 (6098 109) m 001-998 Masur at whic recording wl sar (UTP & LOOP any) 001-099 Measure at which coring wil end (AUTP & LOOP ony) | pauRemove (aoo} (Loop oni) ira (Loop ond) [aan ame) LORE On mara erg opin] Recording Mode: there are five recording modes. For details about each mode, see the pages listed in table above, When the Recording mode is set to LOOP, playback also loops between the specified start and end measures. Start & End Measure: these parameters are available only when AUTP or LOOP Recording mode is selected. For loop mode recording, function button [8] can be used to delete. See “Loop Recording—LOOP” on page 103. {ADD} / [RMV1: These functions work only for Loop recording. When ADD is selected, played notes will be recorded. When RMV is selected, they will be removed. MultiREC: when this parameter is set to on, you can record up to 16 tracks simultaneously (multitrack recording). This function is not available when the Recording mode is set to LOOP. See “Multitrack Recording—MultiREC” on page 104. When set to OFF you can record tracks individually. Song Select ‘This parameter allows you to select songs for playback and recording. y Range Description el ‘Song Select | so-so ‘Selecta song to play or record Use the VALUE slider, [A/YES] and [¥/NO] buttons, or number keypad to select songs. ‘You can also select songs using MIDI Song Select messages. Sequencer data on a PROG/SEQ data card can be played without loading. Although, you must load it before editing. See “6B Load Sequencer Data from Card” on page 167. To play a song on a PROG/SEQ data card, press the [BANK] button, then select the song. The selected bank is indicated on the LCI or D. To play Standard MIDI File song data that is on a floppy disk, or external MIDI device, you must load the data into the X2/X3 sequencer memory. See “Playing Songs” on page 96.Sequencer Edit Mode 113 Chapter 7: Sequencer Edit Mode In Sequencer Edit mode you can edit your real-time recordings, record in step time, and create patterns in either step time or real time. In Sequencer mode you can playback songs and record in teal time and step time. See "Sequencer Mode” on page 93. Entering Sequencer Edit Mode 1) Press the [SEQ] button. 2) Press the [EDIT] button. SEQ and EDIT appear on the LCD screen. When editing a pattern using LCD screens 5A through 6D, PATTERN appears. co sea M Opening Patterns For many of the edit functions in this mode you will be asked “Pat Open Are You Sure?" (i.e., whether you want to open patterns) when you try to execute them. If you want to continue with the chosen edit function, press the [4/YES] button. In this case, the pattern’s data will be recorded into the track, and the function executed, The pattern itself is unaffected by this. The same result could be achieved by copying the pattern into the track (“4F Copy to Track” on page 142), then executing the edit function. If you do not want to continue, press the [/NO} button. Jn some cases, an error message may appear when trying to execute an edit function, See “Sequencer Mode Error Messages” on page 201. Compare Function If you execute an edit function by mistake, you can press the [COMPARE] button to restore the previous data. For example, if after quantizing a pattern you decide that you do not like the results, press the [COMPARE] button to restore the previous data. If you execute a function when there is not much free memory, the undo function may not be available. In this case, you will be asked whether you want to continue with the chosen function, Press the [A/YES) button to execute the function, or the [¥/NO] button to cancel. Note: The Compare function can only undo the last function executed. So, before executing a number of functions, the results of which you are not sure of. save your sequencer data to floppy disk or RAM card. Quick Undo To reset a parameter to the value that it was when you first selected it, press the [A/YES] and [Y/NO} buttons simultaneously.114 Chapter 7: Sequencer Edit Mode 1A Send C&D 1A-1 ‘These parameters allow you to set the output level of each track sent to buses C and D. These buses feed the effects processors. See “7E Effect Placement” on page 59. The output levels to buses A and B are set in Sequencer mode. See “Track Program, Level, & Pan” on page 106. wot & Ta {eo Parameter | Range Description Trak 116 Selecta wack tat [Sendo () 0-8, PRG ‘Set the output level sent to bus C forthe selected tack ‘Send D(0) 0-8, PRG ‘Set the output level sent to bus forthe selected track Track: this is used to select a track for editing. This parameter is the same for 1B through 1F. Send C, Send D: when PRG is selected, the Send C Send D settings that have been set for a Program in Program Edit mode are used. See “1B Oscillator1 Setup” on page 11 and “IC Oscillator2 Setup” on page 13. If a Program is using a drum kit Multisound, the Send C & D settings that have been set in Global mode will be used when PRG is selected. See “7A Drum Kit Setup!” on page 170 and “7B Drum Kit Setup2” on page 172. Fora setting other than PRG, these parameters can be controlled using MIDI Panpot Controller No. 10. See “MIDI Panpot, Send Data” on page 128 for details about the relationship between panpot value and MIDI Controller value. 1B Track Status 184 ‘These parameters allow you to set the status of each track, and protect tracks. a Frama Sasi = =n Sane nieaionn sos {su eee TEM ayn Spun tne 5 reeoce = oman | Status: this parameter determines the status of each track. ‘When set to INT, a track plays the internal Program selected for that particular track. The data is not output via MIDI. When set to EXT, the track data is output via MIDI. When set to BOTH, track data plays the internal Program selected for that particular track, and track data is output via MIDI. Protect: this parameter allows you to protect tracks against editing, accidental over-recording, and deletion.1C Program Change Filter & Pitch Bend Range 115, 1C Program Change Filter & Pitch Bend Range ‘These parameters determine how a track works with MIDI Program Change messages, and its pitch bend range. (eo | Parameter Range Track (7) 16 Description Select a tack os ENA 10-1 | Program Change Fiter Program Change messages ignored Program Change messages select track Programs [Pen Bend Range [12.18 PAG Set a track's pitch bend range 1C-1 Program Change Filter: when set to DIS, received Program Change messages are ignored. When set to ENA, received Program Change messages select Programs for tracks. To select a Program using a MIDI Program Change message, set the track's MIDI channel so that it matches that of the device sending the Program Change message. These parameters do not affect Program Change messages sent by the X2/X3. Pitch Bend Range: this parameter determines a track’s pitch bend range. For positive values, the pitch will increase as a joystick is moved from left to right. For negative values, the pitch will increase as a joystick is moved from right to left ‘When set to PRG, the pitch bend range specified for the track’s Program will be used. See "6A After Touch & Joystick Control” on page 30. Fora setting other than PRG, MIDI RPN Pitch Bend Range Controller can be used to set the pitch bend range. See “Controller Event Edit Note 1D Transpose & Detune 5” on page 126, These parameters allow you to transpose and detune tracks. 1D TRANG DETINE Trat Too 900 10-4 [eco | Perameter an Description Track) 16 [ Seecta tack 10-1 [Tanspose()___|-24..02 [Ttanenose each rack n semitone steps Detune (©) ~50..450 Detune each wack none cont step (100 cere = + eerone) | ‘These transpose and detune parameters have no effect on a track's MIDI output. MIDI RPN Coarse Tune Controller can be used to set the Transpose parameter. MIDI RPN Fine Tune can be used to set the Detune parameter. See “Controller Event Edit Notes” n page 126.116 Chapter 7: Sequencer Edit Mode 1E Velocity Window ‘These parameters determine the range of note velocities that each track’s Program responds to. icp Parameter Range Description } Tac Te Seca wack ses | Yes Window Ty sar peat ne vcoy window boom rte Velocy Window Top [1-127 Speaiy he vey window tp rae 1) Select a track. 2) Specify the Velocity Window Top and Bottom parameters. These parameters affect the X2/X3 tone generator only. All note data is recorded and transmitted regardless of these settings, Recorded notes outside of the specified range do not playback. Ifthe bottom value is set higher than the top, it will automatically become the top value. Likewise, if the top value is set lower than the bottom value, it will automatically become the bottom value. By setting two or more tracks to the same MIDI Channel, but with different velocity windows, you can record and playback velocity switching Programs. 1F Key Window ‘These parameters determine the range of notes (keys) that each track’s Program responds to. KE? WINE Leo | Parameter Range Description Track (7) 116 rack 1-1 [Key Window Top | 0-1 10 G9 ‘Specity the key window top note Key Window Bottom _| 0-1 G9 ‘Specify the key window bottom note 1) Select a track. 2) Specify the Key Window Top and Bottom parameters. ‘These parameters affect the X2/X3 tone generator only. All note data is recorded and transmitted regardless of these settings. Recorded notes outside of the specified range do not playback. AAs well as using the VALUE slider and the [A/YES] and [¥/NO] buttons to set Key Window Top and Bottom parameters, you can also use a MIDI keyboard as follows. Select a Key Window Parameter so that itis flashing, press and hold down the [ENTER] button, then press the desired key. {Ifthe bottom value is set higher than the top, it will automatically become the top value. Likewise, if the top value is set lower than the bottom value, it will automatically become the bottom value With Global mode Transpose set to 0, the X2.can be set from El to G7. The X3 can be set from C207. By setting two or more tracks tothe same MIDI Channel, but with different key windows, you can record and playback Program splits.2A Step-Time Track Recording _117 2A Step-Time Track Recording ‘This section explains how to record and edit a track in step time. Step-time recording allows you to enter notes one by one, specifying the duration, velocity, and value for each note. This is useful when recording something that is difficult to record in real time. Jf the amount of free memory is low, delete an unnecessary song or some sequence data. See “2G Erase Song” on page 131, and “Erase All Sequencer Data” on page 98. Note: /f you step-time record on a measure that already contains some data, that data will be lost. TA Stor Pa 2 ASUL zat [ico Parameter Range Description pat reek 116 ‘Selecta wack to recordeat ‘Measure (M) 1099 ‘Select measure at which to start recording 1) Select the track that you want to record or edit. 2) Press the [-»] button, then select the measure at which you want to start recording. The following LCD screen appears. ‘The above screen shows 10 measures (I character per measure), with the current measure at the far left. The meaning of each character is explained below. + event exists ~ no data in measure track has finished pattern has been put > pattern overlapping from previous measure 3) Press the [REC/WRITE] button. 4) Press the [START/STOP] button, STEP appears on the LCD screen, as shown below. qmced 2 PA ESTS SONI . GOY t118 Chapter 7: Sequencer Edit Mode 5) 6) ” 8) The value indicated on the top line, left-hand side of the LCD screen indicates the current position within the measure, The current measure is indicated by the three large digits on the LCD screen. ‘The measure number is not shown during recording. (eo Parameter Range Description [ico fame | cto Tine strate (Bae rection « Low) | esignsre [nents ime Signal 6-8/4 treo “Te stratus (ate eslton «High ite tone SDD LS treme Noe ype 22 = _| sino town on Loo) Peat e Tit 3 Tit nae of spacid Vise uaion Neral £ Nat at spol by Note Curaton ber Doted rte of petad Not uration vevies Spec not vlooty Veloty ier Sever oy pes key Toi nh 1.100% Tsong ‘Note C10 G9 |[Note range Fundlon Buona is) Rest Inserts @ rest, (el [ Te Teer ae fe Delete Delete current step and go back one step If you are recording a new track, specify the time signature. If you have already recorded some tracks, the time signature set for those tracks will be selected If you change the time signature here, it will be changed for those tracks, too. Specify the note type and whether it’s a dot, triplet, or normal. ‘The following table shows how normal note durations are affected by dots and triplets. weve] 2 | o | o | J J wom | 2 | do | od |g J 2 ecte Peere ree et te eer 7 Ayatads fad. cette Ee eee eater tim 2) ey] od |G J ° sete A riottd eet ante |e toch Specify the note length from 1 to 100%. A note length of 80% is normal. A note length of 50% makes a note staccato. A note length of 100% makes a note tenuto. Specify the note velocity from 2 to 126. If key is selected, the velocity of the key you press in the next step will be used. The note velocity can be set to even values only.2A Step-Time Track Recording 119 9) Press a key, or play a chord to enter the corresponding notes. When entering a chord, timing is not critical, because as long as one note is held down, all subsequent notes wi be entered at the current step. When all keys are released, the next step is selected automatically, The note type, note value, velocity, and length are displayed when keys are pressed. 10) Repeat steps 6 to 9 to enter more notes, 11) To end step-recording, press the [START/STOP] button. Entering Rests To enter a rest at the current step, specify the note type (step 6) and the note length (step 7), then. press function button [5] (REST). The current position will be moved forward by the amount specified in steps 6 and 7. Entering Ties To tie the previously entered note, press function button (6] (TIE). The note length will be increased by the amount specified in steps 6 and 7. To enter a note that is longer than the specified note type, you can either change the note type, or use a tie. The resultant note length is different for each method, coarge om te J J J Le totane pas seat | eet Ties can also be entered while entering notes. Press and hold down a key, then press function button (6] (TIE). The note length will be increased by the specified note type. Because the entered tie only applies to notes whose corresponding key is held down, you can use this technique to apply different note lengths to individual notes within a chord, as shown below. Note ype soto J Noto type soto J Note type set 10 J Pras incon buton (6 + LF) —— Pras bot ays, Hotang C key Press G kay whan ‘han rlaase key ating down C hey120 _ Chapter 7: Sequencer Edit Mode Deleting Notes Press function bution (8] (DELETE) to delete data at the current step and go back one step. Function button (8] (DELETE) can also be used to enter different note types, as shown in the illustration below. | —— nap sate J serve ae rgese | ete yeti Fret tea So Press and hol Chay Press key whe holding down C ey Step Recording & Controller Data You cannot enter Controller data while step-time recording. However, you can record Controller data in real time, then use bounce track (“2D Bounce Track” on page 129). Alternatively, use event edit (“2B Event Edit” on page 121), or create the controller data (“3D Create Controller Data” on age 135).2B Event Edit 121 2B Event Edit 1 2) 3 4) 5) 6 ”n This section explains how to edit, insert, and delete events recorded in a track. Note type events consist of note value, velocity, and length, Other event types, Pitch Bend, After Touch, Controllers, Program Change, etc., usually consist of just one variable, A Bar Beat event sets the time signature, and a Tempo Change event sets the tempo. End of Track and Pattern In Measure events are displayed, but cannot be edited. Note: When you edit events, you are actually editing data in the track. So, if you make a mistake, ‘you cannot restore the original data. Beware of this while editing. Event Bait Trot NOTESENA 28-1 Leo) Parameter Range Description Track To1-T176, Teme | Edit wack NOTE Note data TAL Controlor data AFT ‘After Touch data apt | Event Fiter BEND Pitch Bend data PROG Program Change data PAFT Polyphonic Atter Touch data Dis Editing disabled DISTENA ENA Eciting enabied Select a track, Disable or enable event types as required. Disabled event types cannot be edited. If you selected the Tempo track, only tempo related events can be edited. Tempo events cannot be disabled Press the [REC/WRITE] button. Press the [START/STOP] button. ‘The following LCD screen appears. qd 2 PS ESTOOUNBDN Use the [1] and [1 cursor buttons to select events. To quickly locate events in a song, press the (START/STOP] button to start playback, press the [START/STOP] button again to stop playback, then enter select this Event Edit function, The ‘measure at which playback was stopped will be selected automatically. Measures that contain patterns cannot be edited. Use the [A/YES] and [¥/NO] buttons, or number keypad to edit event values. When you’ve finished editing, press the [START/STOP] button. The following LCD screens are available for event editing, The tempo LCD screen appears only ‘when the Tempo track has been selected.122. Chapter 7: Sequencer Edit Mode Beat OOL AO0t AR ‘The Beat LCD screen shows the beai. Note Event Tost WOOL FoR EA2 Ubed O72 ‘The note event LCD screen shows note value (C#2), velocity (V064), and length (0:72). ‘Note velocity cannot be set to an odd value. Note events will play as you edit them. Pitch Bend The pitch bend LCD screen shows the pitch bend value (+3281) After Touch Woo, #OOS 1H ETT aS: ‘The After Touch LCD sereen shows the After Touch value (058). Program Change woB1 Boo PROG ‘The Program Change LCD screen shows the bank (A) and Program Change number (125). Controller ioe #005 1:00 TRL 9978123 - Polyphonic After Touch oor #006 100 PAFT c44z035 The polyphonic After Touch LCD screen shows the note value (C#4) and amount of After Touch (098). ‘The Program Controller LCD screen shows the Controller type (007) and Controller value (127).The tempo LCD screen shows the tempo. 28 Event Edit 123 BAR Bariine C-110 60 Note | BEND Pitch bend - ArT Channel Aker Touch Event Type PROG Program Change | cTAL. Controter | PAFT Polyphonic Air Touch | TEMPO “Tempo (Tempo track ony) Beat “4-814 8-168 ‘aso resobition = Low wne-1616 vasa 18-1078 Base resolution = High 1116-1616 Velocity 22126 (or notes) (even number steps) Bend 192.4819 (or Pitch Bend) ‘After Touch o-127 (lor channe) Program Bank A.B, C, 0, 4-127, GM, GMO, --- | (or program changes) Controtier No, o-101 (or contol changes) Poly ter touch Key | C110 69 (lor poly Aor Touch) Tempo 40-240 (or tempo changes) (Tempo track only) Length (.00-#:00, TE Note length (6 nates) Program Number | 00-127 (or program changes) Data Value 0-127 (Control No. = 10 Pan)) Data o-127 Control data (tor control changes) ‘Tempo 40-240 “Tempo change data Function Buttons m_[insen Insert anote event (81 [Devote Delete the current note event ‘The following three values are shown on all event edit LCD screens. They are, from left to right, Current Measure (M001), Event Index Number (#001), and Event Time In Measure (1:00). Use the [7] and [1] buttons, or change the Measure and Index No. values to select events for editing Measure 1-309) Select measure o edt index No. o Event index number Event time 100-285, TE __| Time of eventin measure Each event in a measure has an index number. When an event is deleted, moved, or new events inserted, existing events are re-indexed (reordered). ‘The event time corresponds to the beat in the bar and the beat clock. For example, 2:48 indicates an event 48 clock ticks after the second beat in a measure. Beats are divided into 96 clock ticks (one MIDI Clock tick is equivalent to four X2/X3 clock ticks). However, in Low base resolution (“8B Song Base Resolution” on page 151), beats are divided into 48 clock ticks. So adjustments will be in steps of two.124 Chapter 7: Sequencer Edit Mode Event Edit Notes Time Signature: the following bar beat LCD screen appears at the beginning of each measure. hob) #0 EAR EEATH ma If the time signature (beat) is changed, that change is reflected across all tracks. End of Track: when the end of the track is reached, the following message appears, es: if a measure contains a pattem, the pattern name will be shown, as below. ‘The (H) indicates that the head of the pattern (start) is within the measure. Polyphonic After Touch: the X2/X3 tone generator does not support Polyphonic After Touch. However, this type of event can be recorded and played by the sequencer for use with external MIDI devices, Moving Events Events can be moved within a measure. 1) Select the event that you want to move. 2) Position the cursor on the event time field. 3) Use the [4/YES] and [¥/NO} buttons or the number keypad to change the event time. When events are moved, index numbers are reordered automatically. Deleting Events 1) Select the event that you want to delete. 2) Press function button [8] (DELETE). If you delete an event by mistake, press function button [7] (INSERT) to retrieve it. For tied notes, only the note will be restored, you'll have to add the tie yourself. Inserting New Events 1) Press function button [7] (INSERT) to insert one event just before the currently selected event. 2) Edit the event time and event type as required, If you have just deleted an event, that event will be inserted when function button (7] is pressed. Events can also be inserted into a new track. Although, you must insert some measures first. See “4D Insert Measure” on page 140. Cutting & Pasting Events between Measures You can cut and paste events using the Delete and Insert functions. 1) Select the event, and press function button [8] (DELETE) 2) Select another measure, and press function button [7] (INSERT). The event cut in step 1 will be inserted. Adjust the event data as required.2B Event Edit 125 Tied Notes Notes that overlap bar lines are treated as tied notes. The following LCD screens show a note that overlaps measures 2 and 3, LCD screen A shows the note value and velocity. Length is shown as TIE. LCD screen B shows the same note value and index number as A. However, its event time is shown as TIE, and the length of the tied note is shown, ‘To edit the note value and velocity, use LCD screen A. LCD screen B will be updated automatically, If the note length value on LCD screen A is changed to anything other than TIE, an event time of 1:00 will be set on LCD screen B. To edit the note length, use LCD screen B. If you delete on LCD screen B only, the note will continue to the end of the measure in which it starts Deleting a tied note on LCD screen A will also delete a tied note on LCD screen B, ‘To insert tied A and B notes, insert a note at 1:00 in B, then insert note A and set its note length to TIE. Set the note value and velocity for both notes the same. This procedure also applies to tied notes that overlap measures.126 Chapter 7: Sequencer Edit Mode Controller Event Edit Notes The following table shows which Controllers the X2/X3 supports. Controller a Controtier Value Notes: (0 | Bank Select (SB) | 0-127 'MS® of MIDI Bank Seloct message 1 | Pitch Modulation O(ot-127 Movs the joystick up 2__| VDF Modulation O (off) =127 Move the joystick down lee eee) elect scale (main, su 4 | Foot Contr Reon Select scale (main, sub) 6 | Data Eniry 0-127 For RPN Edit (MS8) > Volume oar Volume *2 'AB pan (s0@ "MIDI Panpot. Send Data" on 10 | Panpot outer EG 11 __| Expression oa7 ‘Same as volume = 12 __| Effect Control o1a7 Erect dynamic modulation 1 13 | Etect Control2 o127 Etfect dynamic modulation 2 32__[BankSelect (iss) | 0-127 {LSB of MIDI Bank Select message“ 38 | Data Entry o-127 For RPN Edi ($8) * 64 | Damper Switch (0-69 (ot, 64-127 (on) 72__| Release Time 064-127 Play mode edit release time * 73__| Attack Time o-64127 Play mode eal atack ime 74__| Brightness o-6s-127 Play mode edit cutot“® (000-013:0 014-0261 (027-040: 2 paces ‘Send ¢ Level 054-067 :4 91 | Revert Level omens orera {(s09 "MIDI Panpot, Send Data" on page 128) (095-107: 7 108-121 :8 122-127: 92 __| Efiect onvott (off, 1-127 (on) tect 1 on/off (000-0130 014-028: 1 027-0402 041-053 :3 a. lene oli, Send D Level ne eee “MIDI Panpot, Send Data* 128) oet00d 6 (see “MIDI Panpot, Send Data" on page 128) 095-107 :7 108-1218 122-127:9) 94 | Eftect onvott (oH, 1-127 (on) Effect 2 onvott 96__| Data increment cy PN data increment > 97 | Data Decrement 0 PN data decrement (0= Pitch Bend Sensitivity 100 | RPN 1= Fine Tune Registered parameter No. (88) °° 2 Coarse Tune 101 RPN 0 Registered parameter No. (MSB) > } Controllers 12, 13, 92, 94, (Effect Control 1 and 2, and Effect 1 and 2 On/Off) use the Controller data on the track that matches the Global MIDI Channel. Note *1: Usually, Bank Select is set as part of a Program Change event. However, some MIDI devices may not respond. In this case, set the MSB (first pair of digits) and LSB (second pair of digits) for the Bank Select message. Refer to the MIDI device's operating manual to sce how it responds to Bank Select messages.2B Event Edit 127 Note *2: The X2/X3 volume is determined by multiplying Volume Controller No. 7 and Expression Controller No. 11. When the [RESET] button is pressed, the volume is reset to its starting value, and expression is set to maximum (127). Note *3: Use RPN to select a parameter for editing, then use the Data Entry parameter to set the selected parameter. Control number 100 (value: 00-02) and 101 (value: 00 fixed) will select a parameter. The following tables show the various parameters that respond to Data Entry Controllers No. 6 and No. 38. Controller No. 08 26 __| Pitch Bena (semitone) Ce) ° o 0 “ Lie ° #12 Control 08 ‘Coarse Tune (serritone) 40 24 82 12 0 ° 88 +4 Controter N 05 38 Fine Tune (cent) 32 00 50 8 00 28 wo 00 ° 6 00 +50 For example, if you wish to set Transpose (Coarse Tune) of a track on MIDI Channel 1 to -12, transmit [B0,64,02] and (B0,65,00} to the X2/K3 to select Coarse Tune RPN. Then send {B0,06,34] and [B0,26,00] to set the value to -12. ‘To select Coarse Tune RPN on most sequencers, you set the MIDI Channel for Control Change to 1, and set Controller 100 to 02, and Controller 101 to 00. To set the value to ~12, set Controller 6 10 52 (which corresponds to -12) and Controller 38 to 00. Note *4: When the value is 64, the Program setting will be used, Settings below 64 reduce the time, and settings above 64 increase the time. Note *5: When the value is 64, the Program setting will be used. Setting below 64 make the sound darker, while settings above 64 make the sound brighter.128 Chapter 7: Sequencer Edit Mode MIDI Panpot, Send Data Panpot MIDIIN Pan Data X20K3 Pan oe A 36 148, 7210) 138, 115 1A, 1619 1A, 20-28 108. 24-27 A 28-32 Ey 33-36 A 37-40 oA aad 5A 15-09) 4a 50-63 aA, 54-57 2a. 58-62 1A 63-66 ent 7-70 18 774 28 75-79 38 80-83 48 04-87 58 88-01 8 92-36 78 97-100 88 101-104 38 105-108 108 108-113, 118. 128 118-121 138, 122-125 148 126-127, A ‘On the X2/X3, use Send Level C controller to: D controller to control ‘Send MIDIIN Send Data o X23 Send 14-26 27-40 4153 54-67 68-80 1-04 95-107, 108-121 12127 control Reverb Depth [Bn, SB, vv}, and Send Level Chorus Depth [Bn, 5D, vv}2C Erase Track 129 2C Erase Track This function allows you to erase a track. Zo rave Trach aL ok 20-4 Leo] Parameter Range Description Tack: = elect rack to erase 4 7, 116 ‘Select rack te OK to Erase Tack | OK? Evecutes track erase 1) Select a track. 2) Position the cursor on OK?, and press the [A/YES] button. Quick Undo If you erase a track by mistake, press the [COMPARE] button to restore it. 2D Bounce Track This function allows you to merge data from two tracks into one. TeateTe 2-1 Range Description ange} _________eseription ‘Souree Wack (i) oct a source Wack 20-1 [ Destination Track (™) | 16 Select a dectinaton tack ‘OK to Bounce Track _| OK? Executes Wack bounce 1) Select the source track. 2) Select the destination track. 3) Position the cursor on OK?, and press the [A/YES] button. If either track contains patterns that have been put into them, you will be asked whether you want to open the patterns. Press the [/YES] button to open the patterns, copy their data to the tracks, and merge as required, or the ['¥/NO] button to ignore the pattern data. ‘The data in the source track will be erased, ‘Track settings such as Program and MIDI Channel are determined by the destiriation track. Note: /f the source and destination tracks both contain MIDI Controller data, the resulting Controller data will probably be unusable. In this case, use the “4B Erase Measure" function on Page 138 to erase the MIDI Controller data before bouncing.130 Chapter 7: Sequencer Edit Mode 2E Copy Track ‘This function allows you to copy data from one track to another. Loo] Parameter Range, Description ‘Source Tack (7) | 1-16 ‘Select a source Wack 26-1 [Destination Tack (7) | 1-16 ‘Selecta destination wack ‘Ok to Copy Track —_[ OK? Executes track copy 1) Select the source track. 2) Select the destination track. 3) Position the cursor on OK?, and press the [A/YES] button, 2F Append Song This function allows you to append a song onto the end of the current song. It can also be used to copy songs. F Berend Song at tcp] Parameter Range ‘Source Song (SONG) | 0-8 2 [oso append song _[ Ox? 1) Select the source song. 2) Position the cursor on OK?, and press the [4/YES] button. Ccument ong ese Track settings such as Program and MIDI Channel are determined by the current song, If the current song has some unused measures at the end of it, delete them, See “4A Delete Measure” on page 137. ‘The source song is not affected by this function. Note: You cannot append songs that have different base resolutions. Song Copy “2F Append Song” can also be used to copy songs. 1) Make sure that there is no data in the current song. If there is, erase it. See “2C Erase Track” on page 129. 2) Select the source song. 3) Position the cursor on OK?, and press the [/YES] button.2G Erase Song 131 2G Erase Song This function allows you to erase all the data in the currently selected song. (eo Parameter Range Description [ha-1 [or erase Song LOX? Cronos song eae 1) Press the [A/YES] button. If you want to erase a song other than the currently selected song, in Sequencer mode, press function button [8] to select the Song Select LCD screen. Select a song, then return to this function to erase it. The song's name is not erased 3A Quantize This function allows you to improve the timing of data recorded in a track. LL 0000 160 017 ake Leo Parameter Range ale Description Tresk TA=T16, Tome Tach) Selecta rack obo quantized Start Measure (| 1-899 Select first measure f0 be quaiied End Measure | 1-000 Select ast measure tbe quartized aah | ouantzeresouston | fo Ado deb J mL ata NTE Nite data Datato Quanize | CNT Centar data (eck 80m) | TT ter ouch data BND Pin bend ata ane PRG Progam Charge data fst 0) 36.098 Quanta tot itenaty o-100% ‘uantze inensiy ‘OK to Quanize | Ox? Eroculs quantang ease 1) Select a track. 2) Select the start and end measures. When the Start Measure and End Measure parameters are selected, the status of the 10 measures after the currently selected measure are shown on the LCD, 3) Set the Quantize Resolution. 4) Select the data to be quantized. This option does not appear when the Tempo track is selected. 5) Set the Offset and Intensity. 6) Position the cursor on OK?, and press the [A/YES] button. ‘This quantize function does not affect note length. If the quantize resolution is set to HI, data will be quantized at the same resolution as that set for the song. See “8B Song Base Resolution” on page 151. In this case, note data is unaffected. This allows you to thin out Controller data and free up sequencer memory.132 _ Chapter 7: Sequencer Edit Mode Recording continuously variable data such as After Touch and joystick uses a lot of memory. You can reduce the amount of memory used by quantizing. However, before quantizing you should. check to make sure that the quantize value is not too low. With too low a value the continuous data, may become jerky and unnatural 3A-2 Data to Quantize: when ATT is selected, Channel After Touch data and Polyphonic After Touch data is quantized. The X2/X3 tone generator does not support Polyphonic After Touch. However, this type of event can be recorded and played by the sequencer for use with external MIDI devices. When CNT is selected, all Controller data is combined into one event. This allows you to thin out Controllers and free up sequencer memory. The following illustrated examples show how notes are affected by the Offset and Intensity parameters > > > i ona fad uantze Ressiton «2 eal | Ha Oncet=0 hiensiy= 100% = PET _— ee oy fst #0, any = 20% oar — ‘Quantize Resouiton = a HS Ofte 24 inensty=100%/ | Ey = uantze Reson = Smeeteesinoray ese | |g EEE sa] ‘Quantze Resolution jefe | Oey eos S|3B Shift Note 133 3B Shift Note This function allows you to shift the pitch of a specified range of notes in specified measures. Note >] 38 Shirt Netw 259135 “J eeasch se00 oy 38-1 382 LCD Parameter Range | Description [rox ee ~ | Sales a rack 36-1 | Start Measure (M) 1-999 Select first measure for note shift End Measure 1-999 Select last measure fr note shit Note Range Botiom | 6-110G8 Selihe lowest note in the range ap-n [NoteRerge Top [o-1969 Selihe highest note in he range ‘Note Shit Amount (8) 28.124 [Amount of pitch shitin semitone OK to Note Sntt__ | OK? [Execuos note shit 1) Select a track. 2) Select the start and end measures. When the Start Measure and End Measure parameters are selected, the status of the 10 measures after the currently selected measure are shown on the LCD. 3) Set the low and high notes of the range. Notes outside this range are unaffected. 4) Set the amount of pitch shift. 5) Position the cursor on OK2, and press the [&/YES] button. If the specified range of measures contains a pattern that has been put into the track, you will be asked whether you want to open the pattern. Press the [/YES] button to open the pattern, copy the pattern data into the track, and pitch shift it, or the ['W/NO] burton to ignore the pattern data. ‘The Note Range Bottom and Note Range Top parameters can also be set by pressing a key on the keyboard while holding down the ENTER] button.134 Chapter 7: Sequencer Edit Mode 3C Modify Velocity This function allows you to modify note velocity over a number of measures. This is useful for creating crescendo type effects, ToT — Parameter ange Seserpton Text) me Seca wack san Measure) | 1-866 Select et measure ore a a End Measure 1-999 ‘Select last measure for note shitt uve (6) = Sar Volos) [2-138 fist ole the weed wa neaaur soa [Enslooty [2-138 iat onthe sled end ensure tent) 0-100% Mes vey neni ‘Oto Moatyvarey [On Ereutes modty velocity 1) Select a track. 2) Select the start and end measures. ‘When the Start Measure and End Measure parameters are selected, the status of the 10 measures after the currently selected measure are shown on the LCD. 3) Select a velocity curve. 4) Set the Start and End Velocity values. 5) Set the Intensity. 6) Position the cursor on OK?, and press the [/YES] button. 3C-2 Intensity: for a setting of 0%, there is no change. For a setting of 100%, note velocities are ‘changed as specified by the Start Velocity and End Velocity parameters. If the specified range of measures contains a pattern that has been put into the track, you will be asked whether you want to open the pattern. Press the [4a/YES) button to open the pattern, copy the pattern data into the track, and modify velocity, or the ('W/NO} button to ignore the pattern data, ‘Start velocity: 2 End velocity: 128 ‘Curve + cune2 cuves ent ena en en ooety oe Vote vow oer Curves cures cuves Yee Voneiy Vowery RANDOM sen sun at ty Van Yee san eet san es San ena Nessie Meow Sooo Nase eae Meese3D Create Controller Data 135 3D Create Controller Data ‘This function allows you to edit controller data such as Pitch Bend and After Touch create ti ©] sh Greate OH mige 1200 ooo | ie a 30-2 [tco | Parameter Range Description (ree Ti. Tomo tack | Soe aver | ap-1 [Stat Measure (My _| 1-900 ‘Select the start measure | [Start Location 7100-895 [ Seecity a postion within the start measure Ens Measore (i) | 1-888 Selec the end measure Endtocatin | r00-08 Speci «postion wih he ond ease ea ee BEND ‘Select @ Controller edt Conroy (RET {Soe te tao sCoioter Event Ect Notes on page 128 for ETo00-101 __| Shao aN conpatie Cont) ERA -2192,.08107 | Pichond End vane (ENO) [ERA 40-240 | Toro ata (onto Toro vac 30-3 ERA, 0-127, Other Controllers: OK = Gri Coma | ogy cue ene conte cata 1) Select a track. 2) Select the start measure and the position within that measure from where you want to edit. ‘When the Start Measure and End Measure parameters are selected, the status of the 10 measures after the currently selected measure are shown on the LCD. ‘The start and end locations correspond to the beat in the bar and the beat clock. For example, 2:48 indicates an event 48 clock ticks after the second beat in a measure. Beats are divided into 96 clock ticks. However, in Low base resolution (“8B Song Base Resolution” on page 151), beats are divided into 48 clock ticks. So adjustments are in steps of two. 3) Select the end measure and the position within the measure where you want to stop editing. 4) Select the Controller that you want to edit. 5) Specify the end value for the Controller data. If you specify ERA, the specified Controller data in the specified range is erased. 6) Position the cursor on OK?, and press the [4/YES] button. In the following example, the start location is set to 3:48, the end location to 4:24, the Controller type is AFTT, and the end value is 100. The value of the After Touch data rises to the new value of 100, between the specified start and end locations. ‘Atertoucn _‘Startlocation End location <>! 7 t Location 272 300 924 348 9:72 400 424 448136 Chapter 7: Sequencer Edit Mode If a pattern is located between the specified start and end locations that have been put into the track, you will be asked whether you want to open the pattern. Press the (/YES] button to open the pattern, copy its data into the track, and edit the Controller data as necessary, or the [W/NO} button to ignore the pattem data. Editing a lot of Controller data uses a large amount of sequencer memory, so, if there isn't much sequencer memory available, you may not be able to edit the Controller data. In this case, thin out the Controller data using the quantize function. See “3A Quantize” on page 131. Alternatively, apply quantization to the data inserted using the Create Control Data function. X2/X3 Programs can be panned to any one of 31 positions. Some MIDI devices can be panned to any one of 128 positions (0-127). However, this type of pan data uses a lot of sequencer memory, so editing uses a lot of sequencer memory. Pan data is best recorded in real time or using Event Edit4A Delete Measure 137 4A Delete Measure This function allows you to delete measures. Unlike “4B Erase Measure” on page 138, this function deletes measures and moves subsequent measures forward. “i Gelete Ness Trot mig3ei73 aa Leo] Parameter Range Description | [Trace TA=T6, ALL Selecta tack 44-1 [Stan Measure aa) [1-899 ‘Select fst measure for deletion End Measure 1-989) Select last measure for deletion 44-2 | OK to Delete Measure] OK? Executes delete measure 1) Select a track. 2) Select the start and end measures. When the Start Measure and End Measure parameters are selected, the status of the 10 measures afier the currently selected measure are shown on the LCD. 3) Position the cursor on OK, and press the [A/YES] button. The start measure, end measure, and any measures in-between are deleted. Subsequent measures after the end measure are moved forward. In the following illustration, measures 3 to 5 have been deleted, and measures 6, 7, and 8 move forward to take the place of the deleted measures. Track Measures that are moved forward use the same time signature as measures in other tracks. For example, in the following illustration, two 3/4 time measures are deleted from track 2. Subsequent ‘measures are moved forward, and set to the same time signature as the measures on track 1 Track 2 San RCO deletion Track? Fa eal say track (wa eee sea aay | sway When ALL tracks are deleted, the Tempo track (with time signature and tempo) is not affected. So, subsequent measures that are moved forward use these time signature and tempo settings. If the Track parameter is set to ALL, the specified measures from all tracks are deleted, including the Tempo track. Ifa note overlaps the range of measures being deleted, that note will be shortened accordingly. Note: Even if part ofa tied note is in the area to be deleted, itis only notes that are actually inside the area that are deleted. This applies to Controller data, 100. If the start measure or end measure overlaps a pattern that has been put into the track, you will be asked whether you want to open the pattem. Press the [&/YES] button to record the pattern data into the track, and delete as necessary, or the [¥/NO] button to ignore the pattern data.