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OB12 Manual - Future Skully Companies

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1. 209 OB e12 z Domain S ynthesizer e LAYER STAT Layer Status if this parameter is set as PROGRAM during recording you can play but not record the phrase bearing in mind the Program settings Part Split Layer Effects etc If TMB SOLO is selected the phrase will be played with the Timbre sounds current at that moment METR STATUS Metronome Status if this parameter is set as ON the metronome will be audible throughout the recording phase If PREC is selected the metronome will only be heard in the Precount phase i e the bar inserted by the instrument before recording starts Lastly with OFF selected the metronome will be disabled METR LEVEL Metronome Level regulates the metronome level You can press button F3 to select the CLEAR function to delete the contents of the Phrase currently selected assigned to the key indicated by the TRIGGER NOTE parameter and present in the set defined by the PHRASE SET field The display will then request confirmation to proceed by means of the following video page RECORD ZET TRIGGER Would you really clear selected phrase to confirm or ESC to abort As the display indicates if the ESC button is pressed the procedure will be aborted while pressing ENTER conf
2. 235 10S MIO gh 236 e 239 11 1 SOFTWARE INSTALLATION P 239 U ERROR MESSAGE aM MD EMI EU RUNE 240 IUE S 8 Tr 241 114 BLOOK DIAGRAM R 243 124 Z Domain Synthesizer OB 12 1 IMPORTANT NOTES 1 1 NOTES ABOUT OB 12 LOOKING AFTER THE PRODUCT Do not apply excessive force to the structures and controls knobs switches Protect the instrument from stresses both in transit and in use The instrument should be transported in its original packaging or equivalent wrapping Do not place the OB 12 close to sources of heat in damp or dusty places or in the vicinity of strong magnetic fields When possible do not place the instrument close to units which produce strong interference such as radios TV sets monitors etc Do not insert foreign bodies or liquids of any kind inside the equipment For cleaning use only a soft cloth or compressed air never use detergents solvents or alcohol Do not expose the instrument to direct sunlight Do not hit the display or apply excessive force to it CONNECTING TO THE ELECTRICAL MAINS e avoid the risk of electric shock do not make the connections with wet hands Make sure that the mains voltage is as indicated
3. TYPE if this parameter is set as REGULAR you will be able to play regular arpeggios in a beat which you can preset Conversely if the option IRREGULAR is selected various irregular arpeggios can be played FAMILY if the TYPE parameter has been set as REGULAR this field allows you to set the arpeggio beat The possible settings are 1 4 1 4t triplet 1 8 1 8t 1 16 1 16t 1 32 If TYPE has been set as IRREGULAR the FAMILY parameter allows you to select one of the seven irregular arpeggio patterns VELOCITY defines the dynamic of the arpeggio notes The possible settings are LINEAR linear dynamic MOST SIGN the note played with the highest dynamic value will assign the dynamic to the arpeggio FIXED 40 dynamic set at 40 FIXED 64 dynamic set at 64 FIXED 100 dynamic set at 100 206 Z Domain Synthesizer OB 12 9 8 PHRASE RECORDER The PHRASE RECORDER allows musical phrases to be recorded and repeated by simply pressing a keyboard key which from now on we will call the pilot key The musical phrase selected will thus be repeated until the key mentioned above is released If the HOLD function is enabled it will not be necessary to keep the key pressed since the musical phrase will be played even after its release If another pilot key assigned to another musical phrase is pressed this phrase will replace the previous one in the playback function To activate deactivate the Hold functi
4. _errects DELAY reeDBacK 1 20 mama velocity osce pwoTH wr o 104 _errects DELAYHIDAMP 30 os L veLoomv LFOrrADETINFL_ o 105 oner DELAY 21 onar _osci rmneL__ o 106 oner _errects DELAY mare 1 22 9 27 veociry osce DTuNe o 107 errects Revers staros 23 06a CarTentoucH status o 108 oa errects _ReveRBLever_ 1 24 omar TarTertoucn curve o 109 0 7 errects Reves rue 1 25 ono CAFTERTOUCH AMP AMOUNTINEL o no 0 127 errects 1 s os _ FLT cUTOFFINFL_ o 1m _errects REVERB preoer 1 27 ono L ArrERTOUCH BALANCE o ne oner errects revene moame 1 s 115 _ BALANCE 2 ir o ne oner tounen 1 o oa AFTERTOUCH BALANCE3INFL 114 0 127 EQUALIZER TYPE 1 1 04 AFTERTOUCH OSC1 PWDTH INFL 115 0 127 EQUALIZER EQ GR LOW 1 2 52 76 AFTERTOUCH OSC2 PWDTH INFL 116 0 127 EQUALIZER EQ GR MIDLOW 1 3 52 76 Co o L ArreRToUcH Lroroscro wr o u7 oner eQuatwer Ea en wo cere a sare TarTerTouch Lro oscen wn o ne 027 f eouatwen caca 1 s 52 75 L ArreRToUcH irorrrb NFL o no gt eauatwen HIGH
5. AAO IHFL WIRE Or OSC SHIFT STATUS activates ON or deactivates OFF the Unison function DETUNE COARSE specifies the detuning in semitones in relation to the original pitch of two timbres This will provide one timbre with standard pitch another transposed downward by the value set and the third transposed by the same value but upward 185 OB e12 zDomain S ynthesizer e DETUNE FINE regulates the fine transposition of the three timbres in hundredths This transposition is applied to the timbres as for the DETUNE COARSE parameter e FINE RND INFL Fine Random Influence specifies as a percentage by how much the pitch of the three timbres specified using the DETUNE COARSE and DETUNE FINE parameters will be modified You can now use the F3 associated to the OSC SHIFT folder to display the video page relating to the transposition by octaves of the two oscillators individually This allows you to use the two oscillators transposed by up to four octaves apart creating deeper more complex sounds to play beyond the keyboard range in both bass and treble direction and to use different pitches in the various Parts which make up a given Program to allow this the TRANSPOSE parameter associated to the Part in question can also be used EDIT EETEOARLD MODE OF 4 861 6 Wave i SHIFT EE SSS OSC HIFT uU LIN NSC SHIFT The video p
6. ER conF c D R R EN EN F d i ss eugoRus OF OVERDRIVE R REVERE D DELAT See ROUTE in which we can see a graph on the left of the screen showing the configuration and position of the algorithms and then the parameters e ROUTER sets the configuration of the algorithms in the effects chain e EFX CONF Effect Configuration establishes the position of the effects in relation to the Router selected Once the effect positioning operations have been carried out you can display the OUT COUPLER video page to set up the outputs This allows you to assign the four buses which you have configured to the four MAIN L Mono R e AUX OUT 1 and 2 outputs or exclusively to the MAIN outputs if these are the only outputs used Press button F2 to select the OUT ROUTE folder and the display will show OUT ROUTE 8241 EagLuna rcr see tre L ALI 3 6 6 1 ALI Zea 5 OUT ROUTE You can use the AUX MODE parameter to decide whether to use the output ports in standard mode by setting AUX MODE as STANDARD or to address the AUX 1 and 2 ports to the MAIN L Mono and R by setting AUX MODE as COUPLED 195 OB e12 zDomain 5 ynthesizer EFFECTS SETTINGS From the EDIT EFFECT video page select field 2 EFFECTS SETTINGS the display will show the video page relating to setting of the parameters of the OVERDRIVE effect This a
7. graphic controls B C feedback of the parametric eq orthe B C o 600 di DELAY FDBK processed signal by MID2 LEVEL region of frequency EQUALIZER Delay FEEDBACK of DELAY around graphic LEVEL PARAME TER controls Q parametric depth of modulation on of EFFECTS eq or of Q o 2K di DELAY MDPT the by MID3 LEVEL frequency around 2 EQUALIZER DELAY KHz graphic eq LEVEL PARAMETER lt speed of modulation on parametric eq orthe HIGH o 6K di DELAY MRAT the delayed signal by HIGH LEVEL region of frequency Dela associates to around 6 KHz graphic EQUALIZER y MOD RATE of DELAY eq ni LEVEL PARAMETER of EFFECTS REV LEVEL associates to LEVEL of REVERB By selecting the PEDAL2 folder you can assign the function of choice to the pedal connected to the PEDAL EXP 2 rear connector The video page is identical to those relating to the PEDAL1 setup procedure 10 6 DIGITAL OUTPUT SETTINGS In this section of the System environment you can set up transmission of the digital signal in S PDIF format Using the DIGITAL OUTPUT port you can pick up the digital signal generated by the instrument useful for high quality recordings in this format From the SYSTEM menu select field 6 DIGITAL OUT the following video page will be displayed DIGITAL OUTFUT SETTINGS T47TUS PRE DIGITAL OL TFLIT SOURCE ALI containing the following settings e STATUS en
8. oRHz4a i Lave ATTACKE TIME DECAYI TIME 53 DECAYI LEVvEL T r DECAY TIME zi EALAHMCE uua OEP TH Containing the following programming parameters e ATTACK TIME ATTACK in the OSCILLATOR COMMON section sets the envelope attack time i e the time from when the key is pressed to when the maximum pitch modification is reached in a range of values from 0 no attack time to 100 maximum attack time DECAY1 TIME DECAY in the OSCILLATOR COMMON section sets the first portion of the envelope decay time or the time from when the oscillator reaches the maximum degree of pitch modification to when the minimum level of DECAY1 is reached e DECAY1 LEVEL regulates the level of the breakpoint between the DECAY1 and DECAY2 segments thus allowing the use of two different time values for the envelope decay The range of values is from 50 pitch modification level the other side of zero from that reached with the ATTACK TIME segment to 50 pitch modification level identical to the maximum reached with the ATTACK TIME throughout the duration of DECAY 1 If this parameter is set as 0 the pitch modification will be annulled with consequent elimination of the DECAY2 segment the envelope is thus concluded e DECAY2 TIME sets the second portion of the envelope decay time or the time from when the pitch modification reaches the value specified by DECAY1 LEVEL to when the pitch modification is
9. p AUTO MANUAL ENABLE LOC1 MANUAL button used to enable the manual Morph MOTION function the button LED then illuminates to display the selection made Pressing the button again disables the automatic function and the LED goes out e ENABLE key pressed to start the Morph function automatic or manual Pressing the button again will interrupt or restart the Morph N B If no manual or automatic Morphs have been selected pressing the ENABLE button has no effect 142 Z Domain Synthesizer OB 12 6 PLAYING the PROGRAMS and TIMBRES Once the connections have been made follow these simple rules to switch on the instrument in order to prevent malfunctions and or damage to the OB 12 and the connected instruments Check that the OB 12 is correctly connected to the rest of the system Check that the amplification and diffusion systems are switched off Set the OB 12 volume MASTER VOLUME trimmer at the minimum level Turn on the instrument using the POWER switch Turn on the amplification system and the diffusion system 6 1 PLAY PROGRAM After the OB 12 has been switched on using the POWER switch the display will show the presentation video pages for a few moments after which the Play Program video page will be activated Keyboard Transpose Program Name Program Location Name and location of the timbre Active Parts in the selected Part As can be seen
10. FOWIER oH FFEOCCELLEEZ HODE 9 in which the following fields be modified e MODE sets the switch on procedure with a choice of normal with NORMAL selected or slow with SLOW selected in which case all the instrument s presentation video pages will be displayed e LOCATION N sets which Program will be recalled when the instrument is switched on 10 8 TOOLS The TOOLS section of the SYSTEM environment groups together a number of useful functions for optimum control of the instrument These functions include the copying of single sections of one Timbre into another Timbre initialisation reset display of the memory occupied by the Phrases or Motions and the information relating to the software versions installed in the instrument To access these functions select field 8 TOOLS in the SYSTEM menu the display will show the video page relating to copying of specific sections of a Timbre SECTION COPY SOURCE TIMERE FEREN TIMERE 1 TARGET TIHERE 6 02S SECTION LFO 1 TIMERE z fjur CEEA TMER HMEM zTAT Svs INFO FRESS TO cory in which you will find the following parameters SOURCE TIMBRE specifies from which Timbre memory location the section specified by the SECTION COPY parameter is to be copied TARGET TIMBRE specifies into which Timbre memory location the section specified by the SECTION COPY parameter present in
11. 179 OB e12 Z Domain 5 ynthesizer affected by the envelope in a range of values from 0 no delay to 100 maximum delay e DECAY BREAKP Decay Breakpoint sets the Breakpoint value for the DECAY period divided into DECAY 1 and DECAY 2 The Breakpoint value specifies the signal level after which DECAY 2 will start in a range of values from 0 signal level zero to 100 maximum sound level e DECAY 2 regulates the second period of time taken to reach the Sustain level by means of the usual range of values from 0 no DECAY 2 section to 100 maximum time to reach the SUSTAIN level e SUSTAIN TIME regulates the SUSTAIN time i e the period of time in which the signal level assumes a fixed value If this period of time is less than the real time for which the key is pressed the signal level will decrease even if the key is not released The range of values is from 0 SUSTAIN section absent to OFF the signal level is no longer controlled and thus remains unchanged until the key is released When the LEVEL folder is selected the third amplifier programming page will be displayed EDIT AHFLIFIER Wave z Or 1 DEFPTH Se L 21 R EMY containing the following parameters AMOUNT regulates the general level of the Timbre in a range of values from 0 no signal to 100 maximum sound level AUTOPAN AU
12. PHRASE EVENT EDITOR The PHRASE EVENT EDITOR allows the contents of the musical phrases recorded with the Phrase Recorder to be shown on the display in the form of note events However the main feature of this function is that you can edit the musical phase whose contents are displayed as you wish by deleting unwanted events for example or creating new ones From the following video page RECORD FHEAZE FHRASE EVENT EOLTOR Select field 2 PHRASE EVENT EDITOR the display will show EVENT EDITOF FLEASE SELECT PHRASE ZET H TRIGGER HOTE Ce ro The SET indicates the Set of phrases containing the one to be monitored while TRIGGER NOTE identifies its pilot key After making the desired selection press key F2 with the GO function the display will show the contents of the musical phrase The video page is subdivided into four columns 1 Hate B4 1 85 1 92 H4 114 2 22 Hote H4 185 ie 1 2 991 Mote 04 114 CLEAR CHANGE IH ERT DOME e The first column on the left indicates the position of the note event inside the Phrase expressed as BAR CROTCHET FRAME e The second column displays the identity of the note e The third column displays the dynamic with which the note has been played e The fourth column displays the duration of the event expressed in Frames You can use the encoder or the CURSOR keys to scroll through all the events and select the one whi
13. rN When generating sound the OB 12 emulates the subtractive synthesis technique without doubt the most widely used in the old but still effective analog synthesizers With this type of synthesis the timbre is created by generating a waveform with a high harmonics content which is then filtered to attenuate the unwanted harmonics The resulting sound is sent to the amplifier in order to control its width These filtering and amplification processes will provide the sound required 134 Z Domain Synthesizer OB 12 5 2 PROGRAM TIMBRE and SYSTEM The internal memory is mainly subdivided into four large sections 1 the memory section reserved for the PROGRAMS and thus the PROGRAM operating environment 2 the memory section reserved for the TIMBRES TIMBRE operating environment 3 the memory section reserved for the SYSTEM UTILITIES SYSTEM operating environment 4 the AUTOMATION section comprising the ARPEGGIO PHRASE RECORDER and MOTION RECORDER functions We will now take a detailed look at the first three sections THE PROGRAMS The OB 12 contains 256 Programs 128 in bank A and 128 in bank B completely programmable and all memorisable A Program can be set with up to four Parts containing one Timbre each and offers the possibility of configuration with four different timbres Naturally this example is purely guideline since it is not always necessary to set a Program with four parts and thus with four
14. to regulate the attack time of the amplifier DECAY SUSTAIN RELEASE envelope meaning the time the sound takes to reach the maximum signal level once the note has been played AMOUNT e DECAY Decay Time this slider allows you to regulate the decay time meaning the time um from when the signal reaches the maximum level to when it reaches the Sustain condition SUSTAIN e SUSTAIN Sustain Level regulates the level of maintenance of the signal The duration of AUTOPAN this segment is controlled by the Sustain Time parameter displayed in the EDIT FILTERS ADV ENV display page see point 8 5 e RELEASE Release Time regulates the release time meaning the time from when the key is released to when the sound is no longer present Volume See next the example of a typical ADSR Attack Decay Sustain Release envelope applied to the amplifier which therefore specifies how the level of the sound changes over time A A Key On Key Off e AMOUNT regulates the volume of the Timbre Clockwise rotation provides higher sound volumes This control therefore allows you to set different volumes for the various Timbres which make up a Program the general volume of which can be controlled using the MASTER VOLUME trimmer e LFO1 DEPTH this trimmer provides two specific functions When the LED of the AUTOPAN button is on the trimmer regulat
15. 1 szw irorawe D wr o 120 osz7 couatwen carantow 7 sawe CarTerTouch osciew eL o 121 0 127 eQuatizer caran wi s 52 76 CAFTERTOUCH OSC2DTUNE NFL o 122 027 f couatwen o 5276 CAFTERTOUCH LFOTRATE wet o 128 0 127 eauatwer EQran 1 10 526 CarTERTOUCH LFO2RATEFL o 124 0127 eauatwen tar men o 5276 INKS EFFECTS 52 76 064 PART SETTING PART4LO KEY 1 so 259 1L If the parameter is set as CUSTOM the video page will change to CONMTINHUOUS CONTROLLER PHIDI SETTING SET T LMG SLIDER FEATE H e LILDER EUWT TOMS displaying the following parameters SLIDER selects the control to which a Control Change is to be assigned All the trimmers 226 Z Domain Synthesizer OB 12 sliders on the front panel can be selected SECTION not selectable displays the section containing the control specified with the SLIDER parameter e CCN Control Change Number assigns the Control Change to the control specified with the SLIDER parameter Using function key F2 to select the BUTTONS folder allows you to display the video page relating to the exclusive system messages CONTINUOUS CONTROLLER SETTINGS LIOERS ELITTOHZZ You can use the SEND SYS EX parameter to decide whether to
16. AweureR AuromN o 4 06a LosciLaron2 PwwpEPTHLEO o 2 ona toz waveseiecr o 77 03 COSGILLATOR 2 PWM DEPTHLFO2 o 2s ony 102 ME o or 2 o 2 on o namo o o Poscitarone svo 0 ro beer o 1s 0 17 CosciLaTon 2 Keb TRACK o 26 06a ro o s 9 27 TOScILLATOR 2 FIXED PCH RANGE o 27 ona o o 71 ome 225 OB 12 zDomain 5 ynthesizer NRPN NRPN DATA ENTRY NRPN NRPN DATA ENTRY SECTION PARAMETER MSB LSB LSB SECTION PARAMETER MSB LSB LSB Foe pepTHonamp o so PARTSETTNG 1 eo 2008 onson Ssmus f o s 064 PARTSETTNG PantitRanse 3 o sa76 unison DETUNE FNE o e1 onoo PART sETTNG 2 TRANS 1 02 seme UNISON bEruwE COARSE o e2 0 24 PARTSETTNG PARTS TRANSP 1 f e 526 UNISON FINE mw irt o ss ona PART sErTING 1 see voice RESERVE o 64 112 Busserne PARTiBUS so 05 oscisue o o eass sussermna Paarz eus 0 os osc suet o 14 se sussermna 1 a os veoonv sus o s oe susser
17. Oberheim VISCOUNT Joint vrEnrTURE Z Domain Synthesizer MANUALE OPERATIVO OPERATING MANUAL IMPORTANT SAFETY INSTRUCTIONS WARNING READ THIS FIRST WARNING RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS RISQUE DE CHOC LECTRIQUE NE PAS OUVRIR This symbol is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shok to persons This symbol is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE AND OBJECTS FILLED WITH LIQUIDS SUCH AS VASES SHOULD NOT BE PLACED ON THIS APPARATUS DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL INSTRUCTIONS PERTAINING TO A RISK OF FIRE ELECTRIC SHOCK OR INJURY TO PERSONS Read these instructions E Keep these instructions 3 Heed all warnings 7 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with dry cloth 7 Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers
18. LED illuminates or disables LED off VELOCITY AFTERTOUCH use of the note velocity to control generation parameters which can be assigned using the CONTROLLERS section of the EDIT TIMBRE display menu point 8 9 AFTERTOUCH enables LED illuminates or disables LED off use of the Aftertouch to control generation parameters which can be assigned using the CONTROLLERS section of the EDIT TIMBRE display menu point 8 9 7 14 USING the RIBBON CONTROLLER The Ribbon Controller allows the user to modify two generation parameters simultaneously by simply placing a finger on and or moving it over its surface This allows you to modify the tone as if you were using the knobs on the front panel The OB 12 Ribbon Controller is illustrated below RELATIVE HOLD 1 1 Here the parameter Here the parameter Here the parameter assumes the maximun assumes the assumes the maximun negative value nil value positive value PARAMETERS WITH CENTRAL ZERO Here the parameter Here the parameter Here the parameter assumes the assumes half of assumes the minimun value the maximun value maximun value PARAMETER WITH POSITIVE VALUE ONLY To assign the parameters you wish to control using this device use the EDIT CONTROLLERS display menu point 8 9 As you can see as well as the Ribbon Controller there are also two buttons close to it as follows e RELATIVE when this function is active the Ribbon Controller neutral position t
19. OB 12 z Domain S ynthesizer 10 EDIT SYSTEM The SYSTEM operating environment comprises all the functions used for optimum setting of operation of the OB 12 The System functions do not relate to sound generation or Program setting but this does not make them any less important In fact the System environment allows you to set all the MIDI parameters such as channel assignment filter regulation the assignment of Program Changes to the programs the MIDI Clock setting data Bulk Dump etc As well as the MIDI you can assign further functions since this can already be done at the Program level to the pedals connected to the PEDAL connectors Another utility function is the setting of the output port for the digital signal the pitch in Hz of the instrument the setting of the display and further functions relating to the internal memory To enable the System operating environment press the SYSTEM button in the MODE amp SET UP section of the front panel from any video page The display will show the System main menu EDIT 1 COMMON S FOoOT CTRL COMTROLS B DIocIAL OUT lt YeGLOEAL ETUF TOOLS from which the following functions can be recalled 1 MIDI COMMON setup of the MIDI channels reception and transmission filters and MIDI Program Map 2 MIDI CONTROLS assignment of Control Changes to the panel trimmers sliders and enabling of transm
20. PLAYING THE PROGRAMS AND TIMBRES ener 143 6 1 PLAY PROGRAM N tte tette tette rette 143 6 2 PLAY 145 7 USING THE 8 RM 146 7 1 SETTING THE FIRST WAVEFORM OSC 1 ccsccccsseceesecsesseseesecsessesecsetsessesensetseeeeees 146 7 2 SETTING THE SECOND WAVEFORM OSC 2 eees 148 7 3 MODIFYING THE PARAMETERS COMMON TO OSC 1 AND OSC 2 OSC COMMON 150 7 4 MODIFIYNG THE TIMBRE FILTERS ccccccccoscsesccsecsessesessessesseesesessessesseetssesseateseeeee 152 7 5 VOLUME CONTROL AMPLIFIER cccssecsesscsessscsecsecsesscsessessesseasesessessssseseeseeseaeeeeeee 155 7 6 MODULATION THE SOUND CYCLICALLY LFO1 isisisi 156 7 7 MODULATING THE SOUND WITH THE MODULATION WHEEL LFO2 157 7 8 SETTING THE KEYBOARD KEYBOARD etes 158 7 9 ADDING EFFECTS TO THE SOUND EFFECTS eee 160 7 10 EQUALIZING THE SOUND EQUALIZER rete 161 7 11 REGULATING THE GENERAL VOLUME VOLUME eee 162 7 12 USING THE PITCH AND MOULATION WHEELS e 162 7 13 ENABLING THE VELOCITY AND AFTERTOUCH ees 163 7 14 USING THE RIBBON CONTROLLER etes 163 8 EDIT TIMBRE RM 164 8 1 EDIT OSCILLATOR 1 teret tette 165 8 2 EDIT OSCILLATOR 2 erret rettet tereti tetas terae tear ases 168 8 3 EDIT OSCILLATOR COMMON csssccsessessssess
21. Phrase Recorder or the movements carried out on the panel controls Motion Recorder in the form of MIDI data During playback the sequencer section will send the MIDI data to the sound generation section which will generate the sounds The MIDI data can also be sent during playback to remote MIDI units by means of the MIDI OUT connector allowing the sound to be generated by means of these units 133 OB e12 z Domain 5 ynthesizer HOW DOES THE OB 12 PRODUCE THE SOUND In theory a sound whether an imitation of an acoustic instrument or a completely new surreal sound can be generated with the aid of just three fundamental circuits an oscillator to generate the basic waveform and control its pitch a filter to control the character of the sound an amplifier to control the volume In order to render the signal produced by these three components variable over time envelope generators are used they specify how the signal is to change over time We will therefore have one envelope dedicated to the oscillator to determine how the pitch will change over time one envelope dedicated to the filter to determine how the brightness will change over time and one envelope dedicated to the amplifier to regulate the volume over time At a later point when we discuss editing of a timber section 8 we will describe the various sections of a synthesizer in greater detail OSCILLATOR ENV b BALANCE LN NL 2
22. The parameters used are the following LOW 60 enhances attenuates the signal in the frequency region with centre 60 Hz HIGH 200 enhances attenuates the signal the frequency region with centre on 200 Hz TYPE MODE sets the equalizer mode MID LOW 600 enhances attenuates the signal in the frequency region with centre on 600 Hz MID CENTER 267 enhances attenuates the signal in the frequency region with centre on 2 KHz 199 OB e12 Z Domain S ynthesizer e MID HIGH 6K enhances attenuates the signal in the frequency region with centre on 6 KHz If these equalization parameters and therefore not TYPE are set at 12 you will obtain attenuation of the signal of 12 dB conversely setting them at 12 will give an enhancement of 12 dB If the parameters are set at 0 the signals will be unaffected by the influence of the equalizer If you now wish to set the equalizer as parametric set parameter TYPEZPARAM EDIT EQUALIZER 1 EaLunparck LOL lt TYFE HID FREQ HIO c In this case the parameters the following LOW LOW enhances attenuates the signal the frequency region with centre on 60 Hz HIGH HiGH enhances attenuates the signal with frequencies over 6 KHz MODE sets the equalizer mode e MID FREQ Mid Frequency MID sets the region of frequencies in the medium r
23. When function key F3 is pressed the following video page will be displayed DI FLA Y 2LArFFIH S SET UP FFREOGRAHM ERE FREEZE TIHE FOT LINK HODE ZHCOLCHE TURE DI FLAY FOER 0H allowing you to adjust the following setting parameters e ACTS ON PROGRAM specifies whether Swapping will also be carried out from the PLAY PROGRAM video page YES or only in the Timbre environment NO 235 OB e12 Z Domain 5 ynthesizer e FREEZE TIME sets the period of time in seconds for which the video page which generated the Swapping is displayed after which the display will return to display of the previous video page unless the Display Hold is active LED of the DISP HOLD button on e POT LINK MODE Potentiometer Link Mode specifies whether the user wishes to set the parameter controlled by the control which generated the Swapping immediately with the value assumed by the control itself by selecting HOOK or to wait until the control reaches the value shown on the display and then start to modify the value on the display by selecting VALUE This function can sometimes be useful if the user wishes to display a given programming page by just moving a panel control without modifying the value of the parameter associated to it The last section of the GLOBAL SETUP function relates to setting of the OB 12 switch on mode To access the relative video page select the POWER ON folder The video page comprises
24. signal received as input while the pitch of the other is slightly and cyclically by means of a modulant The final sound obtained is a little fuller richer and spacious than the original EDIT CHORUS OFS o eei EaLuna rcrb FATE ed DEFTH 53 FFEE LDELAY E LEVEL amp z rIoHED OVERORLVE CHORUS DEL AY REVERE The following effect parameters can be set e STATUS CHORUS inserts the Chorus effect in the effects chain INSERTED or bypasses it BYPASSED e RATE regulates the modulation speed of the effect on the input signal e DEPTH regulates the modulation depth of the effect on the input signal 196 Z Domain Synthesizer OB 12 FEEDBACK sets the feedback of the processed signal meaning how much signal leaving the algorithm is to be returned to the input PRE DELAY regulates the delay time for activation of the effect With short delay times you will obtain a more immediate Chorus longer Pre Delay times add an acoustic background effect to the sound LEVEL LEVEL with the LED of the LEVEL PARAMETER button off regulates the level of the signal leaving the Chorus effect PARAMETER KNOB ASSIGNED TO defines which of the parameters shown in the video page can be regulated using the trimmer associated to the Chorus effect the second from the left in the EFFECTS when the LED of the LEVEL PARAMETE
25. specifies whether the user wishes to set the parameter immediately with the value assumed by the control on the panel by selecting HOOK or to wait until the control assumes the value shown on the display by selecting VALUE and then proceed to modify the parameter Refer to point 10 7 for further information about setting the function 5 3 The AUTOMATION SECTION The term AUTOMATION refers to the section in the OB 12 which allows the performance of automatic operations triggered using the special controls on the front panel As well as controlling the start of the automation this section allows the user to set and personalise it both using the display and by means of the panel controls The AUTOMATION section is subdivided into two large categories the NOTE automation functions the GENERATION automation functions The note automation functions include the ARPEGGIO and PHRASE RECORDER functions while those relating to generation are the MOTION RECORDER and MORPH functions We will now take a detailed look at these four functions ARPEGGIO By means of this function the OB 12 allows you to perform arpeggios by just playing a note ora chord on the keyboard You can set the mode time and playing pattern of the arpeggio the range in octaves and the synchronisation with a remote MIDI unit The ARPEGGIO function belongs to the Automation memory section but it is correlated to the Program environment so it is possible to have o
26. 1 3 4 5 6 Frequency 1X 2X 3X 4X 5X 6X Harmonic content Harmonic content Harmonic content of a sawtooth wave of a triangolar wave of a square wave Using a DCO it is easy to obtain a waveform but the nature of the resulting sound is flat and uninteresting The waveform has an accuracy and constancy not found in the natural sounds mankind is used to including the sounds of acoustic instruments What s more if the aim is to create less real sounds using simple waveforms does not guarantee the generation of complex unnatural sounds In order to solve this problem the OB 12 uses two oscillators the first of them will be described here capable of generating three main totally configurable waveforms as we have seen they are a sawtooth wave a triangular wave and a square wave which are then added together to create a sum of the three initial waveforms The diagram in the next page will help you to understand this combination of waveforms 165 OB e12 Z Domain S ynthesizer Level Level Time 2 50 bevel vel Time i Triangle Level 70 Triangle Level 80 tms Time H n Time Se Level you can also annul one waveform the triangular one for example to produce a waveform which is different again Level Level Triangle Off 9 Level When the OSCILLATORHR 1 option is selected in the SCOPE video page from PLAY PROGRAM or PLAY TIMBRE the display will show the sum of the three main wav
27. 2 3 SUSTAIN FILTER 1 FILTER2 e FREQUENCY regulates the filter cut off frequency Turning the trimmer anti clockwise increases the cut off frequency Depending on the type of filter the significance of the cut off frequency varies refer to the description of the FILTER 1 button with regard to operation of the filters in relation to the cut off frequency e KBD TRACK Keyboard Tracking you can use this trimmer to vary the behaviour of the filter in relation to which key is pressed on the keyboard Intermediate values will keep the trigger frequency the same throughout the keyboard range This means that higher notes will have a softer sound than lower notes with fewer partials Turning the trimmer completely to the right will increase the harmonics in the higher notes so that they are Keyboard Tracking 0 brighter while the lower notes are darker Conversely if the trimmer is turned completely to the left the higher notes will have even fewer harmonics than in the standard setup trimmer in central position The lower notes will therefore be brighter and the higher notes darker Frequency octave ee Keyboard Tracking 50 Keyboard Tracking 50 e RESONANCE regulates the resonance coefficient As the diagram shows the resonance causes an enhancement of the frequencies close to the cut off frequency value Increasing the resonance will give greater selectivity in establishing the frequen
28. 31 DIGITAL OUTPUT connector You can use this socket to collect the digital signal generated by the OB 12 in order to connect the instrument to DATs digital mixers CD mastering units etc 32 AUX OUT connectors Extra connectors from which the analog signal generated by the OB 12 can be collected 33 MAIN OUT connectors Main connectors from which the analog stereophonic signal produced by the OB 12 can be collected If you are using a monophonic unit for amplifying or recording the signal connect the L MONO connector only 34 PHONES connector You can connect a set of headphones to this connector in order to monitor the sound of the OB 12 without the aid of amplified monitors The signal will still be present at the MAIN and AUX outputs 4 CONNECTIONS 4 1 SPEAKERS and MONITORS In The output signal at the MAIN OUT L M oo poo MONO and R AUX OUT 1 and 2 Emm M t i amplified listen to the sound produced by the OB INN NE ig 12 you will have to connect the connectors T to remote amplifiers or to amplified speakers monitors It is also advisable always to use a stereophonic system to allow you to appreciate the sound and effects generated by the OB 12 to the full 9 a O Left powered In addition the instrument offers the considerable advantages of the BUS SETTINGS function in the PROGRAM environment allowing each s
29. CURRENT LOCATION field displays the current memory location and DESTINATION the one where the Program will be saved By default the two fields offer the same memory location in this case if the memorisation procedure is concluded the Program will be overwritten with consequent loss of the original settings Pressing the F1 button will confirm the memorisation procedure and the display will show everything with the Pop Up menu WRITE FPROGRAM CURRENT 901 EaLuparck DE pipes FRESS Please Wait Storing in flashtt IRITE From the video page shown previously pressing the F5 allows a new name to be assigned to the Program in this case the display will show WRITE FROGRAM ASSIGN FROGRAM MAHE L CcucATIOH za udGe Hana Deam IHS CAPS OH DELETE DOME You can now use the encoder or number keypad to assign a new name to the Program displayed in square brackets As the screen printing on the panel shows each number pad button offers three letters of the alphabet as well as the number associated to it Moreover the function keys can be used to recall the following functions INS F1 function inserts a space before the character on which the cursor is located CAPS ON OFF F2 function selects the type of character uppercase lowercase e DELETE F3 function deletes the character on which the cursor is located To confirm the name assigned to the Program press button F4 221
30. LFO2 on OSC 1 on OSC 1 FILTERS OSCILLATOR1 PWM DEPTH balance between OSC 1 BALANCE 1 of pulse width modulation 7 attack time of the ATTACK of BALANCE 1 and OSC 2 OSC COMMON OSCIPWMEG EG on OSC 1 AMPL ATK AMPLIFIER envelope AMPLIFIER balance between WAVE MIX of the saw BALANCE 2 of saw wave level generated decay time of the DECAY of BALANCE2 OSC OSC COMMON OSC2 SAW LV by OSC2 Ea AMPL DECAY AMPLIFIER envelope AMPLIFIER balance between WAVE MIX of the BALANCE 3 of triangle wave level sustain level of the SUSTAIN of BALANCE 3 OSC 1 OSC 2 RING OSC2 TRI LV triangle wave of AMPL SUST MODULATOR and NOISE OSC COMMON generated by OSC2 OSCILLATOR2 AMPLIFIER envelope AMPLIFIER WAVE MIX of the attack time of the OSC 1 ATTACK of square wave level release time of the RELEASE of OSC COM AT and OSC 2 envelope OSC COMON OSC2 PUL LV generated by OSC 2 AMPL REL AMPLIFIER envelope AMPLIFIER OSCILLATOR2 OSC CTRL assigned decay time of the OSC 1 DECAY of square wave pulse width AMOUNT of OSC COM DE and OSC 2 OSC2PUL WD generated by OSC2 AMPLIFIER ENV DEPTH on modulation depth of LFO1 LFO1 DEPTH of modulation depth of LFO1 LFO1 DEPTH of OSC1COM EN OSC 1 envelope depth NS IR OSC2 LFO1DP OSCILLATOR AMPL LFO1D AMPLIFIER a pulse with modulation PM DEPT OSC2COM EN OSC 2 envelope depth OSC 2 of OSC2PWMLFO 1 depth of LF
31. MODE AND F0 31 30 00 04 007901 20 F7 PWM LFO1 LFO2 EG OSCILLATOR 1 FO 31 30 00 04 004C 01 4D F7 LAYER KEYBOARD MODE AND FO 31 30 00 04 00 7 01 1F F7 SAW ON OFF OSCILLATOR 2 FO 31 30 00 04 00 4D 01 4C F7 SINGLE KEYBOARD MODE AND F0 31 30 00 04 007B 01 1E F7 TRIANGLE ON OFF OSCILLATOR 2 FO 31 30 00 04 00 4E 01 4B F7 PROGRAM MODE amp SET UP FO 31 30 00 04 00 7C 01 1D F7 PWM LFO1 LFO2 EG OSCILLATOR 2 FO 31 30 00 04 005001 49 F7 TIMBRE MODE amp SET UP FO 31 30 00 04 00 7D 01 1C F7 SYNC OSCILLATOR 2 FO 31 30 00 04 005101 48 F7 PANEL SCAN MODE amp SET UP FO 31 30 00 04 00 7E 01 1B F7 KBD TRACK OSCILLATOR 2 FO 31 30 00 04 005201 47 F7 SYSTEM MODE amp SET UP FO 31 30 00 04 00 7F 01 1A F7 FILTER 1 FILTERS FO 31 30 00 04 00 5301 46 F7 EFFECTS MODE amp SET UP FO 31 30 00 04 010001 18 F7 FILTER 2 FILTERS FO 31 30 00 04 005401 45 F7 WRITE MODE amp SET UP FO 31 30 00 04 010101 17 F7 ROUTING FILTERS FO 31 30 00 04 005501 44 F7 AUTOMORPH MODE amp SET UP FO 31 30 00 04 01 0201 16 F7 AUTOPAN AMPLIFIER FO 31 30 00 04 0057 01 42 F7 MANMORPH MODE amp SET UP FO 31 30 00 04 010301 15 F7 MONO KEYBOARD FO 31 30 00 04 005801 41 F7 MOTION 1 AUTOMATION FO 31 30 00 04 01 0501 13 F7 PORTAMENTO KEYBOARD FO 31 30 00 04 00 5901 40 F7 MOTION 2 AUTOMATION FO 31 30 00 04 01 06 01 12 F7 UNISON KEYBOARD FO 31 30 00 04 00 5A 01 3F F7 MOTION REC AUTOMATION FO 31 30 00 04 010701 11 F7 LEGATO KEYBOARD FO 31 30 00 04
32. O O PROGRAM 0 127 0 127 Use Bank Select messages to CHANGE True select Banks Program and Timbre SYSTEM EXCLUSIVE Tune X SYSTEM Clock Can be switched On Off REAL TIME Commands CHANNEL CHANGED 1 16 1 16 0 0 O Note OFF X X O CONTROL 0 127 0 127 See chapt 10 2 for more SYSTEM Song Pos AUX Local On Off MESSAGES All note Off Active Sense Reset MODE Default Mode 4 Mode 3 4 On each Messages CC 126 127 126 127 Altered Mode 3 4 Mode 3 4 CHANGE informations COMMON Song Sel X NOTES Mode 1 Omni On Poly Mode 2 Omni On Mono O YES Mode 3 Omni Off Poly Mode 4 Omni Off Mono X NO FCC RULES NOTE This equipment has been tested and found to comply with the limits for a Class B digital Device persuant to Part 15 if the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction may cause harmful interference to radio comunications However there is no guarantee that the interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determinated by turning the equipment off and on the user is encuraged to try to correct the interference by one or more of the followi
33. PHRASE RECORDER SETTINGS this allows you to enable or disable the function and Set of phrases associated to the Program active at that moment regulate the metronome tempo and enable a keyboard zone and the Program Parts and therefore the timbres for performance of the musical phrase Another called RECORD PHRASE can be recalled by pressing the REC button in the PHRASE section of the front panel and enables the recording or monitoring of a given phrase PHRASE RECORDER SETTINGS From the EDIT PROGRAM MENU select field 7 PHRASE the display will show the video page relating to the main settings of the Phrase Recorder RECORDER SETT OHzA maiEaLunparck zTATLUZ EIEM SET i TEMFO 12 GEMERAL RE in which the following parameters can be set STATUS ON OFF of the PHRASE section enables ON or disables OFF the Phrase Recorder e SET sets the Set of phrases active when the Program is recalled 207 OB e12 Z Domain S ynthesizer TEMPO TAP TEMPO of the PHRASE section sets the metronome tempo for performance of the phrases in a range of 25 250 BPM If there are MIDI Clock messages on the MIDI IN port and its assignment to this function has been enabled see point 10 3 the value of this parameter will be that specified by the MIDI message When the KEYBOARD folder is selected the display will show the video page for definition of the keyboard range and the Part
34. PITCH SHIFT RNG Pitch Shift Range RANGE this option allows the pitch to be set in a range of 24 semitones so that the pitch of the second oscillator is varied in relation to the first The resulting waveform in the OSC COMMON suction will be even more complex as the signal is more spacious and richer in unharmonic and harmonic partials e PITCH SHIFT FINE Pitch Shift Fine FINE regulates the fine tuning of the second oscillator in a range of 1 2 semitone If the Tracking is disabled the display shows the following fields EDIT O2CILLATOREZ ONS 8 881 HL LARE Lac 1 HOD DEFTH T2425 DEFTH LFOL S4 LFO z 23 En Tz wYvHc STATUS FITCH KREVYE TRE FIXED FITCH CRS e in which we can see that the PITCH SHIFT RNG and PITCH SHIFT FINE parameters have been replaced by e FIXED PITCH CRS Fixed Pitch Course RANGE sets the frequency of the signal generated by the second oscillator and thus its fixed pitch FIXED PITCH FINE Fixed Pitch Fine FINE provides fine tuning of the fixed pitch of the signal leaving the second oscillator 170 Z Domain Synthesizer OB 12 8 3 EDIT OSCILLATOR COMMON As we have already described the waveform leaving the two oscillators is the sum of three basic waveforms and is therefore a complex waveform The OSC COMMON section mixes the two waveforms to create the most widely varying comb
35. Portamento meaning the continuous change in pitch between a note and the one played after it For a clearer understanding of this function look at the illustration below Portamento Time 184 Z Domain Synthesizer OB 12 MODE MONO and LEGATO this Level parameter can be used to set the keyboard as polyphonic by setting the parameter as POLY or monophonic by Monophonic setting it as MONO The Legato function can also be used by selecting the l re eee LEGATO option in this case MONO Key On Key On Key Off mode will also automatically be selected Using a polyphonic keyboard allows more Level than one note to be played at once up to 12 in standard conditions of use while if the keyboard is monophonic you will not be able to play more than one note at the same moment this may cause problems A A A i E3 A3 E3 A3 on some occasions but at other times it Key On Key On Key Off may be useful for example when playing the timbres of wind instruments or old analog synthesizers which had polyphony of one note i e they were monophonic The Legato function only available with monophonic keyboard allows a succession of notes to be played without interruption This means the attack on the following note is eliminated and only the pitch is changed The diagrams which follow illustrate operation of the Legato Time Monophonic with Legato MONO PRIORITY defines the priority for selection of the note t
36. Width Modulation Depth From EG PWM DEPTH of the OSC 2 section assigned to EG regulates the depth of modulation of the pulse width generated by Osc 2 by the envelope generator EG The range of values is 50 maximum modulation with envelope reversed 0 no modulation 50 maximum modulation 169 OB e12 zDomain 5 ynthesizer SYNC STATUS SYNC activates SYNC STATUS ON and deactivates SYNC STATUS OFF the synchronisation of the waveform leaving Osc 2 with that generated by Osc 1 This OSC 1 means that whenever the Osc 1 waveform returns to its Starting point the Osc 2 waveform will also be reset or returned to its cycle start thus obtaining a more complex waveform e PITCH KEYB TRK Pitch Keyboard Tracking KBD TRACK of the OSCILLATOR 2 section activates PITCH KEYB TRK YES deactivates PITCH KEYB TRK NO the Tracking function This function is widely used to control the filter as we will see later and the oscillator With the function enabled the oscillator pitch and thus the signal it generates varies depending on which key is pressed in this case each key corresponds to one note When this function is disabled the frequency of the signal generated by Osc 2 will no longer depend on the key pressed but on the FIXED PITCH CRS and FIXED PITCH FINE parameters which specify its pitch OSC 2 Pitch octave 2 4 C6 Keyboard Tracking OFF Keyboard Tracking ON
37. above this video page displays the name and memory location of the Program the keyboard transposition KT Keyboard Transpose field the Parts enabled and the Timbre contained in the Part currently selected shown in reverse in the display field enabled for display of the active Parts Part 1 for example in the illustration Whenever you wish to display this video page press the PROGRAM key in the MODE amp SET UP section You can then scroll through all the 256 Programs using the encoder or the number keypad in which you can also use the BANK key to select the memory bank confirming with ENTER if you use the second option You can also use the PART1 PART2 PART3 PART4 buttons to show on the display which Timbre is contained in the Part concerned and modify all the parameters relating to the selected Part If one of these buttons is pressed when its Part is not selected in the Part Settings video page no selection will be made N B In view of its function if the KEYB MODE function is set as SINGLE in the Program currently in use pressing one of the PART keys will change the timbre being played as well as displaying the Timbre contained in the Part concerned 143 OB e12 zDomain S ynthesizer As the above illustration shows the video page contains three folders called SELECTION INFOS and SCOPE plus an EDIT field displaying a function The folder currently selected is SELECTION since it is open and its conte
38. and use the instrument As well as giving an analog feeling the OB 12 also uses the most sophisticated digital technology for signal generation and processing We said analog feeling because the OB 12 is the natural evolution of the analog synthesizers which have shaped the history of music Although not perfect limited storage capacity unstable tuning and limited polyphony due to their analog nature itself these synthesizers were controlled by means of a vast number of knobs which made them extremely easy to use With the advent of digital synthesizers this ease of use has been lost somewhat as all the generation controls have been shifted into software programming pages The OB 12 has been developed to combine this user friendliness with the best sound generation and processing technologies The front panel is subdivided into various sections containing the controls dedicated to the various blocks of the generation chain TOTAL MEMORISATION The OB 12 offers the user 256 Programs all modifiable and memorisable Each Program can contain up to 4 parts so that you can divide the keyboard into 4 zones each with a different timbre In addition to this the instrument also offers 256 Timbres also totally modifiable and memorisable AUTOMATION The OB 12 offers automated systems for the most widely varying functions For example you can make use of a completely configurable arpeggio and a Phrase Recorder in which you can memo
39. annulled The range of values assumed by this parameter is from 0 DECAY2 time portion absent and pitch modification annulled when the modification reaches the DECAY1 LEVEL and 100 maximum time value for the second decay portion Now select the ENV DEPTH Envelope Depth folder the video page relating to regulation of the envelope depth separately for the two oscillators will appear EDIT OSC COMMON NzA eoi Hight Wave N OSCILLATOR i EE DSCILLATOREZ EALAMCE EH ELCOFE 172 Z Domain Synthesizer OB 12 containing the following parameters OSCILLATOR1 DEPTH assigned to OSC 1 regulates the depth of the envelope or the amount by which the pitch of the signal generated by the first oscillator will vary over time in a range of values of 50 maximum envelope i e maximum pitch variation O no envelope i e pitch variation zero and 50 maximum negative envelope e OSCILLATOR2 ENV DEPTH assigned to OSC 2 regulates the depth of the envelope or the amount by which the pitch of the signal generated by the second oscillator will vary over time in a range of values of 50 maximum envelope i e maximum pitch variation 0 no envelope i e pitch variation zero and 50 maximum negative envelope 8 4 EDIT FILTERS As we have seen in section 5 which explains how sound is generated the OB 12 emulates the subtractive synthesis technique for sound generation With this type of synthesis the ti
40. carry out a Swapping operation the display will show an L in square brackets against the parameters which have been linked 200 Z Domain Synthesizer OB 12 To display the video page relating to setting of the Links select the field 5 LINKS from the EDIT PROGRAM menu The display will show EDIT LINKS ON 4 881 E3LuLDpack PHRASE REC P FAFTE HIDI FATE LEOL FHRASE EECnOEBBEE FABTZ OFF MIDI cLE This first video page allows you to make Links assigned to LFO1 As the illustration shows the video page indicates the four Parts in which a Link can be set to the LFO1 of the Timbre present in the selected Part The possible settings are OFF no Link function selected The LFO1 RATE works independently ARPEGGIO the LFO1 RATE is linked to the ARPEGGIO TEMPO Each Arpeggio beat coincides with the start of the modulant wave generated by It is not possible to control the RATE with the trimmer of the same name but only by means of the ARPEGGIO TEMPO PHRASE REC the LFO1 RATE is linked to the PHRASE RECORDER TEMPO Each bar of performance of the phrase coincides with the start of the modulant wave generated by LFO1 It is not possible to control the RATE with the trimmer of the same name but only by means of the PHRASE RECORDER TEMPO MIDI the LFO1 RATE is linked the MIDI Clock supplied as input to the MIDI IN port Each Clock corresponds to a n
41. different timbres As well as containing the Timbres the Program also allows the addition of effects and equalization of the sound generated by the timbres regulation and performance of arpeggios configuration of the outputs and other useful functions which we will be looking at later Refer to section 9 of this manual for all necessary information about the Programs In addition section 7 describes the panel controls of the sections associated to the Programs Effects Arpeggio Phrase Recorder and Equalizer You can access the PROGRAM operating environment which is also preselected when the instrument is switched on by pressing the PROGRAM button in the MODE amp SET UP section of the central panel Once the selection has been made the LED of the key illuminates and the following video page appears in confirmation FROGRAM a a81 BALUDARK i 1 MIGHT WAVE SELECTION THE TIMBRES A Timbre is the basis of the sound you produce using the Program However while you cannot play a Program unless it contains at least one Timbre the Timbre itself can be played on its own regardless of the Program settings by enabling the Timbre operating environment The OB 12 memory contains 256 Timbres 128 in bank A and 128 in bank B The internal structure of the Timbre is essentially as shown below As the diagram in the next page shows this generation chain consists of four main components OSC 1 and OSC 2 which generate
42. dynamic curve drawn on the left of the display assigned to the note The curves are as follows LIGHT Light dynamic response curve in which the maximum dynamic values are reached quickly FEEL LIGHT Variation on the LIGHT curve featuring a hardening in the central zone High dynamic values can still be reached LINEAR Straight also known as standard curve so that the pressure applied to the key is converted into a dynamic in direct proportion FEEL HEAVY Slightly hard dynamic curve which is still fairly linear so that the maximum dynamic values can still be reached HEAVY Hard dynamic response curve with which strong pressure has to be applied to the key to reach high dynamic values CUSTOM Custom dynamic curve which has zero response for low dynamic values applied to the key and an almost linear response leading to the maximum dynamic values starting from medium levels of pressure applied to the key REVERSED 1 Reversed curves reverse the logic of the dynamic in other words low levels of pressure on the key give high dynamic values generated by the instrument and vice versa This curve has a linear but reversed trend REVERSED2 Reversed curve with values which remain high even with medium strong pressures on the keyboard When the level of force applied to the key is increased to the maximum the dynamic generated will fall sharply The AFTER T folder can now be selected to display the video page relating t
43. frequency equal to that of LFO2 1 2 filter cut off frequency half an octave higher than that of LFO2 1 filter cut off frequency one octave higher than that of LFO2 14 1 2 filter cut off frequency 1 5 times higher than that that of LFO2 2 filter cut off frequency two octaves higher than that of LFO2 3 filter cut off frequency three octaves higher than that of LFO2 OFF filter disabled 8 8 EDIT KEYBOARD MODE The purpose of the KEYBOARD MODE section is to set the modes of the keyboard and its transposition This allows use of the Portamento and Unison function set the keyboard in monophonic mode with addition of Legato or polyphonic mode and regulate the transposition of the oscillators and thus of the notes played on the keyboard From the EDIT TIMBRE MENU video page select the 8 MODE field and the display will show the following editing page EDIT KEYEOARD MODE ON 4 8 1 HiSht Wave FORTAM STATUS MEE FORTAM TIME MODE FOLY FRIORITY TIHE WOLCE RESERVE 1 OSC SHLFT containing the following parameters PORTAM STATUS Portamento Status PORTAMENTO enables or disables the Portamento function Portamento allows you to make changes in pitch between a note and the one played after it within a given period of time and not simultaneously with the pressure on the key so that the intermediate tones are produced PORTAM TIME Portamento Time TIME sets the time of the
44. instead of the previous one THE MOTION RECORDER The MOTION RECORDER function allows the user to record and repeat movements of trimmers or sliders on the OB 12 front panel This enables you to vary the sound continuously without moving the controls on the panel The data relating to the movements of the controls on the panel can be recorded in two memory locations Motion Location 1 and Motion Location 2 independent from the Program each of them is able to contain two minutes of recording i e 16000 events with resolution of 96 t p q n Refer to point 9 10 for further information relating to this function The panel selection relative to this automated function containing the commands LOC 1 this button is pressed to start the sequence recorded in Motion Location 1 The LED of the key concerned will illuminate and remain constantly on with AUTO MANUAL ENABLE a small break at the end of each loop When the key is de qe p LOC1 LOC2 REC MOTION pressed again the repetition will stop and the LED will MORPH go Out LOC 2 this button is pressed to start the sequence recorded in Motion Location 2 The LED of the key concerned will illuminate and remain constantly on with a small break at the end of each loop When the key is pressed again the repetition will stop and the LED will go out REC this button is pressed to start the recording Record Motion procedure or the procedure for displaying o
45. location to another with a time value If MEASURE is set the Morph time can be set with a value in bars e TIME displayed if TYPE TIME sets the Morph time meaning the time taken to pass from one Program or Timbre to another e MEASURE displayed if TYPEZMEASURE sets the number of bars taken to carry out the Morph 9 10 KEYBOARD TRANSPOSE The KEYBOARD TRANSPOSE allows transposition of the whole keyboard in semitones Unlike transposition applied to the individual Parts or individual oscillators transposition of the whole keyboard is useful when the user wishes to play beyond its normal range in a treble or bass direction while retaining the difference in pitch between the Parts EETE TREAHI FOZIER OhH z244 5 i Ea3LuLDpack nmunp Mt ALLAN TFiAHZFOZE EEEEI TFEAHZFECOcIE N B When the keyboard is transposed the MIDI Note On messages will be sent to the MIDI OUT function in relation to the transposition Conversely the messages received by the MIDI IN port will be unaffected by the transposition However refer to point 10 1 for details of setting of the MIDI channels assigned to the Parts 214 Z Domain Synthesizer OB 12 9 11 MOTION RECORDER The MOTION RECORDER automation feature present in the OB 12 allows the user to save and repeat as a loop a series of events generated on the sections of the front panel in the form of trimmer and or slider movements This allows loops of these events to be pl
46. of the OB 12 main structure the oscillator supplies the basic waveform for creation of the sound desired The OB 12 oscillators Oscillator 1 and Oscillator 2 are able to generate a sound using three main waveforms which are sawtooth waveform or ramp e triangular waveform square waveform or pulse using the panel controls on the display you can mix or delete the three waveforms to allow you to obtain the solution you require We will now take a look at the controls on the panel WAVE MIX you can use these three sliders to mix the three waveforms WAVE MIX which will then form the output of the first oscillator As described on the panel the first slider controls the level of the sawtooth waveform the second controls the triangular waveform and the third the square waveform LFO1 DEPTH V WAVE CTRL PWM DEPTH LFO1 LFO2 EG e WAVE SELECT you can use these keys to activate deactivate the waveform associated to them The LEDs above the keys display the status of the waveform according to the following rule 8 Q WAVE SELECT LED on waveform present LED off waveform deactivated WAVE CTRL Wave Control this trimmer regulates the second parameter i e in addition to the level controlled by the sliders relating to the waveform currently selected The parameter control correspondence is d
47. recalls the menu for connection of the effects and the WRITE key enables the procedures for saving Programs or Timbres depending on the operating environment active N B Modifications made to the fields present in the SYSTEM environment are saved automatically 129 OB e12 Z Domain 5 ynthesizer 24 Rotary encoder and CURSOR keys The rotary dynamic Encoder allows you to select the Program or Timbre of your choice to increase or decrease the value of the parameter currently selected or to position the cursor on the chosen field in the option selection menu e g in the Edit Program Menu The CURSOR keys provide the same cursor positioning function 25 Number keypad Number keypad for entering the values of parameters or for typing the names of Programs and Timbres during saving operations You will press the ENTER button to confirm settings made or to start procedures when the system prompts this There is also a BANK button for selecting the Program or Timbre memory bank and and signs for entering number values where negative and positive values are present 26 AUTOMATION section This section actually contains two different functions The first relates to the Morph meaning the possibility of passing from one Program or Timbre to another in a programmable period of time or using the MODULATION wheel while the second relates to the Motion or two memory locations in which all the movements carried out on the panel contr
48. set as OFF the Auto Morph Tempo will not be linked to the MIDI message mentioned The top right hand corner of the bitmap diagram also shows the MIDI Clock transmission speed in bpm Bits Per Minute 230 Z Domain Synthesizer OB 12 10 4 BULK DUMP The Bulk Dump procedure allows the OB 12 s internal programming data to be sent in the form of exclusive system MIDI messages to the MIDI OUT port This function can be used to send the internal programming of the OB 12 to another analog instrument in order to set it identically to the transmitter instrument or to another remote memorisation unit such as a Personal Computer or a sequencer in order to create backup copies of the data which can therefore be restored in case of accidental loss of the internal settings To access the Bulk Dump procedure setting video page select the field 4 BULK DUMP from the SYSTEM menu The display will show the following video page HIDI ELLE DLHFE FECOCEDLFEE Ts SFEEO SECT IOP FROM LOCATION 4 881 9 Lave TO LOCATION 4 GE64 Milky Liao FRES 2 TO START The procedure setting parameters are the following TX SPEED sets the transmission speed for exclusive system data to allow optimum adaptation of the transmission to the memorisation times of the receiver instrument The transmission modes are the following SLOW low speed transmission in case of connection with machines no long
49. that produces heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wider blade or the third prong are provided for your safety If the provided plug does not fit in to your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped NOTE The socket outlet shall be installed near the equipment and shall be easily accessible SAVE THESE INSTRUCTIONS Z Domain Synthesizer OB 12 CONTENTS 1 IMPORTAN
50. the musical phrase If a remote MIDI CLOCK source is connected the value of this parameter will be that specified by the MIDI message Any manual settings will be ignored 140 Z Domain Synthesizer OB 12 ON OFF this button allows you to activate or deactivate the Phrase Recorder function The status of the function will be displayed by the LED on the button concerned in accordance with the following rule LED on function active LED off function disabled When the button is kept pressed for at least two seconds the display will show the video page containing the parameters for performance of the phrases REC this key enables the Record Phrase function used to record a musical phrase An Event Editor is also available for displaying and modifying the data contained in a Phrase When the key is pressed the LED illuminates and the OB 12 presets for recording of the musical sequence showing the video pages for the function on the display HOLD of the ARPEGGIO section this button provides the same function as for the ARPEGGIO automation function The LED displays the function status following the usual rule LED on function active LED off function disabled When this function is enabled the musical phrase the OB 12 is playing will continue to be performed even when the keyboard key enabled to Start the Phrase pilot key is released When another pilot key is pressed the phrase associated to it will be played
51. the sound changes over time A Key Off e ENV DEPTH Envelope Depth you can use this filter to regulate the depth of the envelope applied to the filter Turning the trimmer clockwise from the centre increases oN the modification of the timbre when it is turned anti SY clockwise from the central position the modification will be increased in the opposite direction while with the qe trimmer in the central position the envelope will not affect the filter cut off frequency e LFO1 DEPTH regulates the depth of the modulation by LFO1 of the timbre with cyclic variation of the signal Guto req leaving the filter generating wah wah type effects for example With the knob turned completely to the right the filter will be affected by the maximum LFO 1 modulation depth with the knob central the filter will be unaffected by the modulation and with the control turned completely to the left the maximum modulation depth will be applied but with opposite phase to the first condition 154 Z Domain Synthesizer OB 12 7 5 VOLUME CONTROL AMPLIFIER The amplifier controls the volume of the sound varying it in relation to time when required This section allows you to set the envelope which will control the amplifier and the distribution of the sound within the stereophonic panorama The Amplifier section is as follows ATTACK Attack Time this slider allows you
52. to allow the internal circuits to set themselves up with the new settings WARNING Do not try to change the files for the up dating of the software 239 OB e12 zDomain S ynthesizer If the first software installation has not succeeded because for ex of transmission faults the instrument cannot be switch on in the normal way as in such a case the internal memory content is not the correct one In such a case please proceed with the updating procedure manually by pressing button ESC when you switch it on The display will show Waiting for MIDI Data and will wait for the MIDI messages concerning the software that has to be installed 11 2 ERROR MESSAGES CRC ERROR ERROR Turn off and reload data It occured an error in the installation of the software up date error in reading the datas transmission interruption etc Swithc off the instrument and start the installation procedure see par 11 1 DATA LOSS DETECTED PROGRAM DATA LOSS DETECTED PROGRAM 26 IS INVALID There is a loss Program datas by switching the instrument off during the memorization The screen displays the unusable Program datas compared to the maximun number and one in the check phase The unusuable Program will be replaced by default Program DATA LOSS DETECTED TIMBRE DATA LOSS DETECTED TIMBRE 286 IS IHUHLILD There is a loss Timbre datas by switching the instrument off during the memorization The scree
53. to abort the function Another function available in this video page can be recalled using button F3 INSERT and allows another note event to be inserted in the musical phrase Therefore when this button is pressed an event will be inserted before the note currently selected with e note identity C4 dynamic 127 e duration 96 You can then use the CHANGE command to vary the above values and set the event you require As for the other functions use the ENTER to confirm the operation or the ESC button to abort the insertion of the note event After making the changes you require select the DONE command with the F4 button to save them or press ESC to abort 212 Z Domain Synthesizer OB 12 9 9 AUTO MANUAL MORPH The MORPH function allows the sound produced by a Program or a single Timbre to be transformed into another sound generated by another Program or Timbre During the time you may listen to all variarions of the continuous parameters like F 1 FREQ for example concerning the sound generation creating extraordinary effects The non continuous parameters i e ON OFF will be set automatically as per the final location Moreover if the pages relative to the generation sections are displayed while this function is in progress you can observe the changes in the parameters from one Timbre to the other Therefore the Program Timbre which generates the original sound will be known as the startin
54. which it is transmitted Please refer to the IN FLT video page concerning the displayd MIDI messages types The display will show the following video page OUT FILTER SETUP lt Or FE SBYS Ex OFF SBY S RT CHANNELS IH FLT OIT FLT FRG You can how use function key F4 to display the MIDI PROGRAM MAP video page allowing you to assign the incoming Program Changes freely to the individual Programs or Timbres With the function disabled Program Change 1 will recall Program or Timbre A 001 depending on the Bank Select messages Thanks to the MIDI Program Map you can assign Program A 023 to Program Change 1 for example if this is done when the instrument receives this PG it will activate Program A 023 and not A 001 You can also assign another PG to a Timbre so when this PG is received the Timbre associated to it will be activated As we have described when the MIDI Program Map is disabled the instrument s Program Change gt memory location associations are standard You can use the BANK SELECT MSB and BANK SELECT LSB to select whether to recall Program or Timbre memory locations The BANK SELECTS are used as follows RECALLED MEMORY SECTION bank A of TIMBRE section 0 BANK SELECT MSB BANK SELECT LSB 64 127 bank of TIMBRE section section 64 127 64 127 ae M section The video page relating to the MIDI Program Map comprises HIDI FROG
55. 00 5B 01 F7 BANK NUMERIC PAD FO 31 30 00 04 01 0801 10 F7 OCT KEYBOARD FO 31 30 00 04 00 5C 013D F7 0 SPACE NUMERIC PAD FO 31 30 00 04 01 09 01 OF F7 OCT KEYBOARD FO 31 30 00 04 00 5D 01 F7 1 ABC NUMERIC PAD FO 31 30 00 04 01 0A 01 OE F7 OSC SHIFT KEYBOARD FO 31 30 00 04 00 5E 01 3B F7 2 DEF NUMERIC PAD FO 31 30 00 04 01 OB 01 OD F7 LEVEL PARAMETER EFFECTS FO 31 30 00 04 00 5F 013A F7 3 GHI NUMERIC PAD FO 31 30 00 04 01 0C 010C F7 OVERDRIVE EFFECTS FO 31 30 00 04 00 6001 39 F7 4 JKL NUMERIC PAD FO 31 30 00 04 01 0D 01 0B F7 CHORUS EFFECTS FO 31 30 00 04 00610138 F7 5 MNO NUMERIC PAD FO 31 30 00 04 01 OE 01 OA F7 DELAY EFFECTS FO 31 30 00 04 00 6201 37 F7 6 PQR NUMERIC PAD FO 31 30 00 04 01 OF 01 09 F7 REVERB EFFECTS FO 31 30 00 04 006301 36 F7 7 STU NUMERIC PAD FO 31 30 00 04 01 1001 08 F7 TAP TEMPO ARPEGGIO FO 31 30 00 04 00650134 F7 8 VW X NUMERIC PAD FO 30 31 00 04 01110107F7 ON OFF ARPEGGIO FO 31 30 00 04 00 66 01 33 F7 9 YZ NUMERIC PAD FO 31 30 00 04 01120196 F7 DISPLAY CURSOR CURSOR 0 __ 02 OU OSCILLATOR 1 OSCILLATOR 1 J OSCILLATOR 2 AUTOPAN AMPLIFIER PORTAMENTO lt KEYBOARD KEYBOARD OSC SHIFT KEYBOARD J EFFECTS 00 ARPEGGIO 22 OB e12 7 S ynthesizer 10 3 MIDI SYNC This section of the SYSTEM menu allows you to set the parameters relating to the MIDI Cl
56. CH BEND PITCH Activating the MORE folder displays the video page relating to activation or deactivation of the PITCH and MODULATION wheels You can use PITCH for real time control of the Timbre pitch while MODULATION allows regulation of the modulation depth of LFO2 on the sections to which the modulant signal is sent EDIT CONTROLLERS OWS 04 881 HL LARE Lave FIT WHEEL zTATLUZ INM FAMGE 7 HOO WHEEL VELOCITY OF TER T FEIEEDONM This video page displays the following parameters PIT WHEEL STATUS Pitch Wheel Status enables ON or disables OFF the PITCH wheel e RANGE sets the range PITCH in semitones e MOD WHEEL STATUS Modulation Wheel Status enables ON or disables OFF the MODULATION wheel 190 Z Domain Synthesizer OB 12 8 10 WRITE TIMBRE After making all the desired settings you can use the WRITE TIMBRE procedure to save the timbre you have edited in one of the 256 memory locations assigned to the Timbres From any Timbre environment video page press the WRITE button in the MODE amp SET UP section of the front panel and the display will show WRITE TIHERE CURRENT LoOrcaTrIOH a ODi HL LIRE Wave DE TIHMATICOHz cODODL Hidht Lave FRESS TO OR TO ABORT The CURRENT LOCATION field displays the current memory location and DESTINATION the one where the Timbre will be saved By default the two fields offer the same m
57. Domain Synthesizer OB 12 9 4 EDIT EQUALIZER Another selection relating to configuration of a Program is the EQUALIZER This function allows you to make use of an equalizer in order to be able to control the tone of the sound you are producing One very important functional feature of the Equalizer is the fact that it can be configured as either parametric or graphic A parametric equalizer consists of three sections Two analog sections are used to attenuate enhance two opposite frequency bands low pass and high pass while a third can be positioned without restriction in a medium frequency range This allows the user to set not only the frequencies to be affected but also their enhancement attenuation and the band width A graphic equalizer on the other hand allows control of given preset frequency bands and attenuation enhancement of these bands are the only operations possible Gain Gain 60Hz 200Hz 600Hz 2KHz 6KHz Low Gain amp i High Gain Freq Mid B C Mid Freq GRAPHIC PARAMETRIC EQUALIZER EQUALIZER From the EDIT PROGRAM MENU video page select field 4 EQUALIZER the display will show 3 E3LuDack HIGH TYFE GRAFHIC MID LOW i CEHTERE HIGH The parameter allowing definition of the equalizer operating mode is TYPE Therefore if a graphic equalizer illustrated by the above video page is required set TYPE GRAPHIC
58. GE regulates the tuning of Osc 2 in a range of 24 semitones When the trimmer is in the central position there is no change in the pitch The main feature of these two controls is that they put the second oscillator out of tune with the first This allows you to generate effects giving space to the sound and harmonisation between the two oscillators if the difference in pitch is set for example at 5 7 semitones PWM DEPTH Pulse With Modulation Depth this trimmer can be used to regulate the depth of modulation of only the square waveform generated by Osc 2 by the source specified by means of the button below the trimmer itself This button allows selection of the following as source of the modulating signal the first low frequency oscillator 149 OB e12 zDomain 5 ynthesizer LFO2 the second low frequency oscillator EG the envelope generator The selection will be confirmed by illumination of the corresponding LED N B If you have deleted the square waveform by means of the WAVE MIX slider or the WAVE SELECT button referred to this signal you will not be able to hear any acoustic effect generated by this control e KBD TRACK Keyboard Tracking you can use this button to choose between standard use of the keyboard with the Keyboard Tracking function active so that each note corresponds to each single key or with the function disabled giving generation of the same note regardless of which keyboar
59. IDI Clock messages on the MIDI IN port and its assignment to this function has been enabled see point 10 3 the value of this parameter will be that specified by the MIDI message When button F2 is pressed the display will show the video page relating to assignment of a keyboard section and Parts to the arpeggio HRPEGGLIO SETTINGS ncoH 24 8W i Ea3LuLDpack SPLIT KEY FAETI oHM FAFRFTZ OFF FART Son 4 TEC FEL FATTE 205 OB 12 zDomain 5 ynthesizer The parameters displayed perform the following functions SPLIT KEY sets the split key for definition of the keyboard section in which arpeggios can be performed If notes beyond the split point are played they will not be used for an arpeggio but will be played normally with the Parts to which the Arpeggio has not been assigned This allows you to use the Arpeggio as accompaniment and the Parts not associated to this function for playing the solo lines As well as the usual data input devices encoder number keypad this parameter can also be set using the keyboard key which acts as split for the section PART1 2 3 4 these options allow you to set which Part and therefore which Timbre is to perform the arpeggio If the PATTERN folder is now selected the display will show the video page for setting the type of arpeggio HRPEGGLIO SETTINGS ncoH 24 85 i Ea3LuLDpack TYFE SS LR REGULAF _ FAHILT FORTA ELI Es wELCCITT LIPMEdmuUF
60. LE STATUS WAVE SELECT relating to the waveform concerned activates TRIANGLE STATUS ON deactivates TRIANGLE STATUS OFF the triangular waveform TRIANGLE LEVEL WAVE MIX relating to the triangular waveform regulates the level of the signal in a range from 0 signal level zero to 100 maximum signal level TRIANGLE WRAP WAVE CTRL assigned to this waveform sets the degree of deformation of the waveform in a range from 0 waveform not modified to 100 maximum deformation Using this parameter will allow you to add a large number of overtones to the fundamental If you now select the PULSE folder you will select the page for programming the square pulse waveform generated by the first oscillator The video page displayed is as follows EDIT O2CILLATOREiI ONS 4 881 HL LARE Lave FLULZE ZTATL FLULZE LEVEL FULESE LIDTH comprising the following parameters PULSE STATUS WAVE SELECT relating to the square waveform activates PULSE STATUS ON deactivates PULSE STATUS OFF the waveform concerned PULSE LEVEL WAVE MIX associated to the square waveform regulates the level of the square waveform in a range between 0 signal level zero and 100 maximum signal level PULSE WIDTH WAVE CTRL assigned to the waveform concerned regulates the pulse width in a range between 0 minimum pulse width and 100 maximum pulse width Setting this parameter with minimum or maximum values allows you to
61. Motion From the menu described above select field 1 RECORD MOTION with button F1 the display will show the video page containing the recording parameters RECORDER LoCATIONM idi TIHE SIGH 4 HETFiOH TATUE ZOM RECORD HOoDEZCOVVERDLIE FIfETEOH LEVvEL amp CLEAR ro The recording can now be set with the following parameters LOCATION sets the location in which the sequence of events to be recorded will be saved or containing the Motion to be modified TEMPO TEMPO or TAP TEMPO of the PHRASE section regulates the metronome tempo with which the Phrase is to be recorded in a range of 25 250 BPM e MEASURE sets the number of bars measures of which the Motion to be recorded consists If the preset number of bars is exceeded during recording the data which follow the events generated after the last bar will be recorded in a new loop and will overwrite or replace see RECORD MODE parameter the events generated previously A Motion with a maximum length of 32 bars can be recorded e RECORD MODE sets the type of recording If OVERDUB is selected the data are over recorded so each new event generated will be added to those already present recorded in a previous session or loop If the parameter is set as REPLACE each new datum regardless of the trimmer slider which generates it will replace those already present If no new events are generated the data rec
62. O The display will show the first video page relating to the settings of this function HAPEGGLIO SETTINGS ocH 24 85 i Ea3LuLDpack STATU PREE HOLDE Dorm 1 oct TEHFO z1z RE the parameters this video page contains are the following e STATUS Arpeggio Status ON OFF in the ARPEGGIO section activates ON or disables OFF the Arpeggio function 204 Z Domain Synthesizer OB 12 e MODE MODE sets the arpeggio mode as follows UP the arpeggio is performed cyclically from the lowest to the highest note as shown in the diagram DOWN the arpeggio is performed cyclically from the highest to the lowest note as shown in S UP amp DOWN UP and DOWN LEDs on the arpeggio is performed cyclically from the lowest to the highest note and vice versa as shown in the diagram 4275 RANDOM RND the arpeggio notes will be played at random as shown in the diagram gor yd e RANGE RANGE sets the range of the arpeggio in octaves The possible settings 0 oct arpeggio range one octave 1 oct arpeggio range one octave above the one played 2 oct arpeggio range two octaves above the one played 3 oct arpeggio range three octaves above the one played TEMPO TEMPO or TAP TEMPO of the ARPEGGIO section sets the arpeggio time in a range of 25 250 BPM If there are M
63. O1 DEPTH of the FILTERS section regulates the depth of modulation of the signal originating from LFO1 on the timbre of the signal leaving the FILTERS section by modifying the filter cut off frequencies and varying them continuously The range of values is from 50 maximum modulation O no modulation 50 maximum modulation with phase the reverse of the signal obtained from KEYB TRACKING Keyboard Tracking KBD TRACK of the FILTERS section Sets the keyboard tracking depth relative to the cut off frequency of the filters depending on which key has been pressed on the keyboard In the case of a low pass filter values close to zero mean that the cut off frequency remains the same across the entire keyboard range This means that higher notes will provide a softer sound than the lower notes with fewer partials When the parameter is set with values close to 50 there will be an increase in the harmonics in the higher notes so that they will be brighter while the lower notes are darker Conversely if the parameter is set with values close to 50 the higher notes will have even fewer harmonics than in the standard configuration trimmer in central position Therefore the lower notes will be brighter while the higher notes will be darker FREQUENCY Filter 1 Frequency FREQUENCY parameter identical to the parameter of the same name in the FILTERS video page which sets the cut off frequency of the first filter at the envelo
64. O1 on osc 2 2999180 a LFO1 di LFO2 RATE LFO2 signal frequency RATE of LFO2 OSC COMMON lid ET OSCILLATOR2 WAVE MIX of the saw PWM DEPTH OSC1 SAWL 999 wave level generated Wave of OSCILLATOR OSC2PWMLFO2 Pulse with modulation assigned to LFO2 of LFO2DP OS1 918191 de of LFO twopur by OSC 1 1 depth of LFO2 on OSC 2 OSCILLATOR2 on OSC 1 PWM DEPTH assigned to saw wave OSC2PWMEG assigned to EG of LFO2 DP OS2 of OSCILLATOR1 OSCILLATOR2 WAVE MIX of the triangular wave level cut off frequency of FREQUENCY of modulation depth of LFO2 OSC1 TRI L generated by OSC 1 FILT FREQ FILTERS FILTERS LFO2 DP FLT on FILTERS MODULATION WAVE CTRL triangle wave modification assigned to triangle OSC1 TRI WR generated by OSC 1 wave of OSCILLATOR1 WAVE MIX of the OSCIPULLV 599908 square wave of FILT ATK o FILTERS PORTAM TIM i OSCILLATOR1 OSC CTRL assigned h OSC1 PUL WD ss to square wave of FILT DECAY OSCILLATOR1 odulation depth of OSC 2 tain level of th WAVE CTRL modulation depth of LFO2 on OSC 2 saw wave modification generated by OSC 1 pulse width modulation OSC1 SAW SP depth of EG on OSC 2 MODULATION RESONANCE of lati hof LF FILT RES resonance of FILTERS Ee LFO2 DP AMP O2 MODULATION trasposition of the notes decay time of the FILTER envelope DECAY of FILTERS PIT
65. OE amp z rIocHED OVERORLVE CHORUS DELAY The video page contains the following parameters STATUS CHORUS inserts the Reverb effect in the effects chain INSERTED or bypasses it BYPASSED TIME sets the reverb time meaning the time for which the sound is propagated and reflected inside a room in a range of values from 0 2 sec to 24 sec e TYPE sets the type of environment in which the reverb occurs The possible options are the following HALL 1 reverb in a large hall with highly reflective walls such as a church HALL 2 reverb inside a room smaller than the LARGE HALL and with less reflective rooms such as a concert hall ROOM 1 reverb in a medium sized room with not very absorbent walls ROOM 2 reverb in a small room with highly absorbent walls VOCAL reverb picked up with a microphone PLATE reverb generated by means of a metal plate using the simulation method of the 708 PRE DELAY regulates the cut off frequency of a low pass filter capable of eliminating all frequencies above that set e LEVEL LEVEL with the LED of the LEVEL PARAMETER button off regulates the level of the signal leaving the Reverb effect e PARAMETER KNOB ASSIGNED TO defines which of the parameters shown in the video page can be regulated using the trimmer associated to the Reverb effect the first from the left in the EFFECTS when the LED of the LEVEL PARAMETER key is on 198 Z
66. OM ATT OSC 1 and OSC 2 OSC COMON OSC2 SAW LV generated by Osc 2 of OSCILLATOR envelope 2 WAVE MIX of the decay time of the DECAY of triangle wave level OSC COM DEC OSC2 TRI LV triangle wave of osccowoeo OSC 1 and OSC 2 OSC COMMON oscemuw generated by OSC 2 OSCILLATOR ENV DEPTH on S WAVE MIX of the OSC1COM ENV OSC 1 envelope depth OSC 1 of OSC2 PUL LV rated bv OSC 2 square wave of OSC COMMON cde dd OSCILLATOR2 ENV DEPTH on square wave pulse OSC CTRL assigned OSC2COM ENV OSC 2 envelope depth OSC 2 of OSC2 PUL WD width generated by to square wave of OSC COMMON OSC 2 OSCILLATOR2 WAVE MIX of the saw saw wave level modulation depth of LFO1 DEPTH of f ILLATOR LV cnerated by 299 OSC2 LFOTDP LFO1 on OSC 2 OSCILLATOR2 fae aan wade level WAVE MIX of the pulse with modulation PWM DEPTH OSC1 TRI LV ied by OSE triangular wave of OSC2PWMLFO 1 depth of LFO1 on assegnato a LFO1 di india du uid OSCILLATOR1 OSC2 OSCILLATOR2 alah wees level WAVE MIX of the pulse with modulation PWM DEPTH OSC1 PUL LV qu square wave of OSC2PWMLFO 2 depth of LFO2 on assigned to LFO2 of generated by OSC 1 OSCILLATOR 1 OSC 2 OSCILLATOR2 fined WAVE CTRL PWM DEPTH saw wave modification OSC1 SAW SP assigned to saw wave OSC2PWMEG assigned to EG of generated by OSC 1 oF OSCILLATOR OSCILLATOR2 pulse width modulation depth of EG on OSC 2 WAVE CTRL assigned to triangle cut of
67. PARAM Parametric parametric equalizer GRAPH PARAM e Q The names and functions of the controls VI M DE he relating to operation of the equalizer vary depending on the type of equalizer adopted We will now see how they act on the signal MID MODE GRAPHIC e 60 enhances attenuates the signal in the frequency region centred on 60 Hz Gain e 200 enhances attenuates the signal in the frequency RN O N R region centred on 200 Hz e 600 enhances attenuates the signal in the frequency region centred on 600 Hz e 2K enhances attenuates the signal in the frequency region centred on 2 KHz e 6K enhances attenuates the signal the frequency region centred on 6 KHz For all the sliders the totally down position corresponds to an attenuation of the signal of 12 dB at that specific frequency In the central position there will be no effect on the sound while with the slider fully up there will be an enhancement of the signal of 12 dB MID MODE PARAM e LOW regulates the enhancement attenuation of the Gain TP Id S signal with frequencies below 60 Hz Tcr e MID sets the region of the medium band frequencies of High Gain the signal to be enhanced attenuated Freq e FREQ Frequency regulates the enhancement Eno ien attenuation of the area of frequencies set using the MID trimmer 161 OB e12 zDomain S ynthesizer Q sets the b
68. PTH folder is now selected the display will show the parameters for regulating the quantity of modulation to be applied to the various sections EDIT LFO ON 4 881 HL LARE Lave DEFTH OW ofc 1 DEPTH OW Ozc 0 DEFTH Off FILT e DEPTH OW S21 DEPTH ON OSC 1 DEPTH with DEPTH SELECT on OSC 1 regulates the depth of the frequency modulation by LFO2 on the signal leaving Osc 1 e DEPTH ON OSC 2 DEPTH with DEPTH SELECT on OSC 2 regulates the depth of the frequency modulation by LFO2 on the signal leaving Osc 2 DEPTH ON FILT Depth on Filters DEPTH with DEPTH SELECT on FILTERS regulates the modulation depth by LFO2 on the signal leaving the Filters section e DEPTH ON AMP Depth on Amplifier DEPTH with DEPTH SELECT on AMPLIFIER regulates the depth of the width modulation by LFO2 on the signal leaving the Amplifier section If the LPF folder is now selected the video will display the parameters relating to the low pass filter to be applied to the signal leaving the LFO2 183 OB e12 z Domain S ynthesizer EDIT LFO ON 4 881 HL LARE Lave CUTOFF MME DEF TH e CUTOFF RATIO sets the cut off frequency of the filter referred to above in relation to the frequency of the signal leaving the LFO specified with the RATE parameter The values which can be selected are the following 1 2 filter cut off frequency half an octave lower than that of LFO2 0 filter cut off
69. Pan in the Amplifier all in cyclic mode We will now take a detailed look at this section e RATE regulates the frequency of the modulating signal Turn the knob clockwise to increase the frequency of the signal and thus the modulation rate e FADE sets the time in which the level of the modulating signal will reach the maximum modulation value specified with the LFO1 DEPTH trimmers in the various generation sections Turn the trimmer clockwise to increase this delay WAVE SELECT Level Time Level ese eee eee eee Time Fade Time Time 156 Z Domain Synthesizer OB 12 AA sawtooth or ramp the signal passes triangular starting from a minimum immediately from a maximum to a level the signal rises to a maximum minimum value value in a given period of time then returns to the minimum level in the same period of time Level Level Time Ls ru square the signal assumes two p random the signal assumes random single values values Level Level Time Time 7 7 MODULATING the SOUND with the MODULATION WHEEL LFO2 LFO2 works in exactly the same way as LFO1 with the sole difference that the amount of modulation can be adjusted using the MODULATION wheel The panel section comprises e RATE regulates the frequency of the modulating signal Turn the trimmer clockwise to increase the frequency of the signal e DEPTH regulates the maximum mo
70. R key is The DELAY folder can now be selected to display the video page relating to the effect of the same name The Delay or echo supplies separate repetitions of the signal If feedback is added or in other words if part of the delayed signal leaving the algorithm is returned to the effect input you can obtain a succession of repetitions each with a lower dynamic level than the previous ones A modulated Delay i e a Delay Chorus can also be obtained by means of the MOD DEPTH and MOD RATE parameters EDIT DELAY ON 4 881 Ealubark STATUS p eee TIHE EX FEEDEA CKE zB HoOD DEFTH B4 LEVEL 54 49 FAFEZAHETEFE KEHOE amp z rIocHED TO gt FEEDEACH OVERORLVE CHORUS REVERE The programming parameters are the following STATUS CHORUS inserts the Delay effect in the effects chain INSERTED or bypasses it BYPASSED TIME sets the time which passes between one repetition and the next in a range of values from a few milliseconds TIME 0 to 800 msec TIME 100 FEEDBACK sets the quantity of signal to be sent to the delay line input and thus the repetition decay time HI DAMP displays the cut off frequency used by a low pass filter which eliminates all the frequencies above that set from the repetitions of the modulated line If this parameter is set with a relatively high value it is able to re create the sound of an analog delay or a tape echo in which the suc
71. RAH SETTINGS T a4 TLS Sor FRG RECELYED 1 LocaTIOH TYFE FROGRAM 001 1 FLT OUT FUT containing the following programming parameters e STATUS enables ON or disables OFF the MIDI Program Map PRG RECEIVED Program Change Received selects the Program Change which recalls the memory location set using the LOCATION TYPE and BANK NUMBER parameters 224 Z Domain Synthesizer OB 12 e LOCATION TYPE selects the type of memory location which will be recalled on reception of the PG concerned If PROGRAM is set Programs will be recalled while selecting TIMBRE obtains recall of the Timbres e BANK NUMBER sets the memory location the name of which is displayed on the right which will be recalled on receipt of the PG defined with the PRG RECEIVED parameter 10 2 MIDI CONTROLS This function allows setting of the Control Change and Sys Ex messages which can be assigned to the controls on the instruments front panel For the trimmers and sliders you can use a standard setup or personally create the control Control Change associations From the EDIT SYSTEM MENU select field 2 MIDI CONTROLS the video page for assigning the CCs to the trimmers and sliders will be displayed CONTINUOUS CONTROLLER PHIDI SETTING SET T LMG BRA LIOERS EWT TOMS containing the SETTING parameter If this parameter is set as PRESET as in the illustration y
72. RAMETERS attack time of the AT TACK of PANEL CONTROLS ON PANEL ATTACK of OSC COMON CONTROLLED PARAMTERS attack time of the OSC 1 and OSC 2 envelope SELECTIONS DECAY of OSC COMMON decay time of the OSC 1 and OSC 2 ENV DEPTH on OSC 1 of OSC COMMON ENV DEPTH on OSC 2 of OSC COMMON PWM DEPTH of attack time of the modulation depth to the 7 decay time of the modulation depth to the PWM DEPTH of FILTERS envelope ENV DEPTH of time for reach the max FLT ENVDPT FILTERS LFO1 FADE T level of LFOT signal FADE of LFO1 balance between BALANCE 1 of modulation depth of BALANCE 1 OSC 1 and OSC 2 OSC COMMON OSC1 FM panen 2 on OSC 1 Ep prose TOR balance between BALANCE 2 OSC 1 OSC 2 and RING MODULATOR balance between OSC 1 0OSC 2 RING MODULATOR and NOISE BALANCE 3 BALANCE 3 of OSC COMMON OSC2 DTUNE of OSC 2 of OSC 2 e INFLUENCE sets the influenced of the Velocity in controlling the parameter specified in the PARAMETER field If TYPE CURVE is set the dynamic of the notes is no longer fixed but varies depending on the pressure on the key and the dynamic curve EDIT CONTROLLERS 9 214 HL LARE Lave wELCOCITTY T a TLS OP TYFE CURVE FEEL LIGHT FAFAHETEF zAIHFE APMHCOLIHT IHFLLUEHMCE eo OF TERT ROIEBEOM 187 OB e12 z Domain 5 ynthesizer displaying the following parameter CURVE displays the name of the
73. RE Lave D og x x x 2 DELAY IE FADE TIME EH VELCOCFEE displaying the following parameters e DELAY TIME sets the delay time i e the time from when a note is played and therefore from when the oscillator starts to generate a given signal to when the signal leaving starts to modulate the signals of the various sections to which it is applied The range of possible values is from 0 no delay to 100 maximum delay FADE TIME regulates the time in which the signal generated by LFO1 will reach the maximum width regulated using the LFO1 DEPTH parameters present in the various sections once a keyboard key has been pressed in a range of values from 0 maximum width reached immediately to 100 maximum period of time to reach the width specified with the LFO1 DEPTH parameters If the LPF folder is now selected the video will display the parameters relating to the low pass filter to be applied to the signal leaving the LFO1 EDIT LFO i ocohH z4a O2B i HL LARE Lac q CUTOFF ME LJ E EH ELCOFE CUTOFF RATIO sets the cut off frequency of the filter referred to above in relation to the frequency of the signal leaving the LFO specified with the RATE parameter The values which can be selected are the following 1 2 filter cut off frequency half an octave lower than that of LFO1 0 filter cut off frequency equal to that of LFO1 1 2 filter cut off frequency half an
74. TOPAN if active AUTOPAN ON you will have cyclic shift of the signal on the stereo front guided by LFO1 In case of AUTOPAN OFF the stereophonic distribution of the signal will be governed by the PAN L and R parameter LFO1 DEPTH 1 1 DEPTH of the AMPLIFIER section with AUTOPAN OFF this parameter regulates the depth of the width modulation of the signal obtained from Signal generated Time LFO1 on the signal leaving the AMPLIFIER section The range of values is 50 maximum width modulation with phase opposite to the modulant signal O no Level modulation 50 maximum modulation Width MEM modulation of the signal allows cyclic variation of its amplifier output level providing various tremolo effects Intermediate values will provide intermediate modulant g signal widths Resulting signal Time With AUTOPAN ON it regulates the cyclic shift of Bd the signal from the Left channel to the Right channel 180 Z Domain Synthesizer OB 12 Left In case AUTOPAN is off and WAVE SELECT In case AUTOPAN is on and WAVE SELECT of LFO1 is setted as sawtooth of LFO1 is setted as sawtooth wave first selection to the left first selection to the left and sets the distribution over the stereo panorama of the signal leaving the AMPLIFIER section and thus of the final Timbre sound 8 6 EDIT LFOT The main function of an LFO Low Frequency Oscillator is to generate a l
75. TS NOTES cccceccescessecsesecsessesscsucsessessesersecsessesucsassesaesacsacsssesacsussessesatsatseraeeaes 125 1 1 NOTES ABOUT OB 12 125 1 2 NOTES ABOUT THE MANUAL ccccsscscssessssccsessessessesessessesreseesesscssesessessesseseesesseaeaeeees 125 2 MAIN CHARACTERISTICS s cescessessessccessessessesucsessessesusssesessesuesaesessesassassassesaceuesateesaceacees 126 3 CONTROLS AND CONNECTORS csessssecsessesecscsessessesscsessesscsucsessessesarsussessesacsucsassesaceaess 127 3 1 THE FRONT PANEL tertie 127 3 2 THE CONTROL CENTER SECTION teen 129 3 3 THE REAR PANEL eerte tt rtt 130 4 CONNECTIONS cccsssessccessessecsesscsessessesucsussecsesecsussssesuesucsarscsacsucsasssacsacsussesaesatesesesacsaceeess 131 4 1 SPEAKERS AND MONITORS cscsccscsssssssesscssesessessssssesssevesessessesesscsscsessessestesesseeeeee 131 4 2 MIXING CONSOLE ccsccscssssecsecscssssvcsesessucssesessessesscsesstsnearesessessestesessessesssetsaeeseateseeeee 132 d MID DIES 132 5 HOW TO BE 12 IS ORGANISED sccsccssseceesecsesseceesucsessessesutsussesacsucsassssesarsansesseseess 133 5 1 MAIN STRUCTURE cccscsssccsecsessesessessessesucsscsesucssesscsesacssssesessessssresessesscsteseeseeseaeseeees 133 5 2 PROGRAM TIMBRE AND SYSTEM ettet 135 5 3 THE AUTOMATION SECTION eeetetee tte 138 6
76. TTACK DECAYLIL 5 SUSTAIN 45 RELEAZE LEVEL containing the following controls ATTACK ATTACK of the AMPLIFIER section sets the time the signal takes to reach its maximum level once a note has been played The values available range from 0 no ATTACK time to 100 maximum ATTACK time DECAY 1 DECAY of the AMPLIFIER section regulates the time taken to reach the SUSTAIN level or DECAY 2 level if present from the maximum level The range of values is from 0 no DECAY time to 100 maximum DECAY time SUSTAIN SUSTAIN of the AMPLIFIER section sets the SUSTAIN level or the level the signal maintains until the key is released unless the SUSTAIN TIME is shorter than this period The range of values is from 0 no signal after the DECAY to 100 maximum signal level until the key is released e RELEASE RELEASE of the AMPLIFIER section sets the time taken for the signal level to be annulled after the key is released in a range of values from 0 no signal on release of the key to 100 maximum signal release time You can now select the ADV ENV folder to access the second page for programming of the envelope applied to the amplifier EDIT AMPLIFIER 0283 Hight Wave Po wi DECAY EREAKF DECAYZz TIHE LEVEL Featuring the following parameters e DELAY sets a delay time from when a key is pressed to when the signal level starts to be
77. VERDRIVE simulates an amplifier brought to saturation Can be used when creating timbres which simulate a guitar CHORUS adds space and depth to the sound DELAY produces delayed copies of the signal such as the echo effect REVERB simulates the diffusion of the sound in enclosed environments bearing in mind the reflection and absorption of the walls the controls on the panel are LEVEL PARAMETER OVERDRIVE CHORUS REVERB EFFECTS e OVERDRIVE adds bypasses the Overdrive effect e CHORUS adds bypasses the Chorus effect e DELAY adds bypasses the Delay effect e REVERB adds bypasses the Reverb effect For all the buttons the same logic applies LED on effect active LED off effect disabled LEVEL PARAMETER this button allows you to set whether the four trimmers associated to the four effects are to be used to regulate the level of each algorithm LED off or a parameter defined in the EFFECTS SETTINGS video pages 160 Z Domain Synthesizer OB 12 7 10 EQUALIZING the SOUND EQUALIZER This section allows you to make use of a mutually exclusive graphic or parametric GRAPHIC equalizer used to regulate the equalization of the sound The section relating to the equalizer comprising the following controls e MID MODE defines the type of equalizer FREQ GRAPHIC graphic equalizer
78. ables ON and or disables OFF transmission of the digital signal SOURCE specifies the output section from which the signal is to be taken 234 Z Domain Synthesizer OB 12 10 7 GLOBAL SETUP The GLOBAL SETUP section allows you to adjust the setting of the instrument s general parameters such as the pitch display adjustment Swapping function see point 5 2 and switch on procedures To access these functions from the EDIT SYSTEM MENU select field 7 GLOBAL SETUP the display will show the first video page relating to the pitch of the instrument HASTER TUNE FREQ FELN Hz TIHE SLWGFRP LING FOWER OM Containing the FREQ Parameter allowing adjustment of the pitch in a range of frequencies for A4 from 427 5 Hz to 452 9 Hz You can now select the DISPLAY folder to access the video page for setting up the display The video page comprises DI FLA Y SETTINGS IES TESTI LOCO COMTRGAST 7 zLHAEBFEIMOG FoOLEF COM in which you can agjust the following parameters LCD MODE sets the display operating modes as follows NORMAL standard display white on black REVERSE reverse display black on white e CONTRAST regulates the contrast of the display for optimum adaptation to the angle assumed between the display and the observer The SWAPPING folder on the other hand gives access to setting of the Swapping function described in full in point 5 2
79. activates the Velocity VELOCITY of VELOCITY KEYBOARD SENSE it activates and disactivated the OSC2 SYNC syncronisation between OSC 1 and SYNC of OSC 2 VEL TYPE OSC 2 DSGEKEYBN E AFTERTOUCH FILTER ROUT nes TER AFTERT TYPE PITCH BEND FLT 2 UBH MODULATION it cyclically changes the Velocity type it activates and disactivates the Aftertouch AFTERTOUCH of KEYBOARD SENSE it cyclically changes the Aftertouch types it activates and disactivates the PITCH wheel it activates and disactivates the MODULATION wheel g o m z Q 2 o E gt lt JJ D o m lt 3 o a D o 100 N c gt 2 The F2 button allows you to select the SWITCH2 folder and display the video page relating to the second pedal connected to the PEDALS SWITCH2 connector Follow the instructions provided for the settings of Switch1 for the Switch2 video page By selecting the PEDAL1 folder you can now display the video page relating to the settings of the expression pedal connected to the PEDALS EXP 1 connector 202 Z Domain Synthesizer 12 FOOT CONTROL SETUP ON 4 01 FART FUMCTION LFOL MIM iz 73 SWITCH FEDAL FEDAL containing the following parameters PART defines the Part to which the function specifi
80. addition the display shows the keyboard range of the Parts in the Program the line of the selected Part is thicker and the keyboard keys associated to the Part are in reverse Now select the SCOPE folder and the display will change to SCOPE oH a 5 51 EaLupack ELECTION You can use the SCOPE parameter controlled by means of the encoder or the number keypad to display FILTER the envelope of the filters in the Timbre currently active AMPLIFIER the envelope of the amplifier present in the Timbre currently active FIITER AMPLIFIER the overlapped envelopes of the filters and the amplifier OSCILLATOR 1 the sum of the waveforms generated by the first oscillator present in the Timbre contained in the Part currently active OSCILLATOR2 the sum of the waveforms generated by the second oscillator present in the Timbre contained in the Part currently active 144 Z Domain Synthesizer OB 12 6 2 PLAY TIMBHE As well as playing an entire Program the OB 12 also allows the user to play the Timbres individually From any video page press the TIMBRE button in the MODE amp SET UP section of the central panel the system will leave the Program environment and enable the Timbre present in the Part currently selected As you will see in the KEYBOARD MODE amp PART SELECT section of the central panel the keyboard mode will be set as SINGLE the LED of the SINGLE key illuminates since the selecte
81. age consists of the following parameters OSC 1 SHIFT OCT and or OCT with OSC SHIFT on OSC 1 increases or decreases the pitch of the first oscillator in a range of two octaves OSC 2 SHIFT OCT and or OCT with OSC SHIFT on OSC 2 increases or decreases the pitch of the first oscillator in a range of two octaves N B When the oscillators are transposed the MIDI Note On and Note Off messages received by the MIDI IN port will be played on the basis of the transposition carried out Conversely the Note On messages since the Note Off is sent like Note On with Velocity 0 sent to the MIDI OUT port will not be affected by the transposition 8 9 EDIT CONTROLLERS Thanks to the Velocity and Aftertouch sensitive OB 12 keyboard the CONTROLLERS section of the EDIT TIMBRE MENU allows specific generation control parameters to be assigned to the Velocity the Aftertouch and the Ribbon Controller and enabling and disabling of the PITCH and MODULATION wheels N B the Ribbon Controller the Velocity and the Aftertouch are controlling the assigned parameters according to the value of the parameter when assigning a parameter with 0 value the concerning control will not have any sound variation From the EDIT TIMBRE MENU select field 9 CONTROLLERS the display will show the video page relating to the assignment of parameters to the Velocity The Velocity dynamic is the speed at which the keyboard key is press
82. ain changes in tone without changing the pitch of Osc 1 by adjusting the FINE and RANGE trimmers of the OSCILLATOR 2 section If the modulation is not noticeable enough lower the slider OSC1OSC2 of the OSCILLATOR COMMON section 147 OB 12 z Domain S ynthesizer LFO1 DEPTH regulates the depth of the frequency modulation by LFO1 first low frequency oscillator on the pitch with cyclic variation of the Osc 1 signal thus generating vibrato effects With the knob turned completely to the right Osc 1 will be affected by the maximum depth of LFO1 modulation With the knob in central position the oscillator will be unaffected by the modulation and when it is turned completely to the left the modulation depth will be at the maximum but with opposite phase to that obtained with the knob turned to the right 7 LFO1 DEPTH In case WAVE SELECT of LFO1 is setted as sawtooth wave first selection to the left PWM DEPTH Pulse With Modulation Depth this trimmer can be used to regulate the depth of modulation of only the square waveform generated by Osc 1 and thus not the outcome of the three basic waveforms by the source specified by means of the button below the trimmer itself This button allows selection of the following as source of the modulating signal the first low frequency oscillator LFQO2 the second low frequency oscillator EG the envelope generator The selection will be confirmed by illu
83. and deactivating the functions referred to above by pressing and releasing a keyboard key for the Arpeggio and Phrase Recorder and using the LOC1 LOC2 buttons for the Motion Record and the AUTO button for the Auto Morph You can also set the section Motion 1 Motion 2 and Auto Morph to which incoming MIDI Real Time messages will be sent But we will now see how to set the parameters associated to the MIDI Clock From the SYSTEM menu select option 3 MIDI SYNC the display will show the following video page Tx MIDI CLOCK SETTINGS zZTATLZ PEE nnnnrn MULTIPLIER 2 Tx CLOCK Rsm CMO CLOCK containing the following parameters e STATUS activates ON and or deactivates OFF transmission of the MIDI Clock e SOURCE sets the section from which the MIDI Clock is to be generated This MIDI message can be linked to the following sections LFO1 the MIDI Clock transmitted will be synchronised to the LFO1 RATE parameter LFO2 the MIDI Clock transmitted will be synchronised to the LFO2 RATE parameter ARPEGGIO the MIDI Clock transmitted will be synchronised with the Arpeggio TEMPO parameter PHRASE RECORDER the MIDI Clock transmitted will be synchronised with the Phrase Recorder TEMPO parameter e MULTIPLIER sets the multiplication factor of the MIDI Clock in relation to the parameter to which it is linked For example if this parameter is set at 2 0X the messa
84. and width of operation on the frequency set with the MID trimmer e HIGH regulates the enhancement attenuation of the signal with frequencies higher than 6 KHz The trimmers which regulate the amount of action on the signal LOW FREQ and HIGH operate exactly as described for the graphic equalizer For the MID and Q trimmers higher slider positions set higher values of the parameters they control e BYPASS sets whether the Equalizer section is to be bypassed LED on or not LED off 7 11 REGULATING the GENERAL VOLUME VOLUME This section allows you to regulate the volume of the Program and therefore not of the individual timbre e MASTER VOLUME you can use this slider to regulate the final volume of the Program 7 12 USING the PITCH and MODULATION WHEELS There are two wheels beside the OB 12 keyboard allowing the user to e PITCH control the general pitch of the instrument with consequent sending of MIDI Pitch Bend messages MODULATION control the depth of modulation by the LFO2 on the sections specified in the section of the same name control the Manual Morphing effect control the parameters associated to the Aftertouch As well as the two wheels the WHEEL MODE section also contains the controls enabled for assignment of functions to the MODULATION wheel This section therefore contains the following controls STND M MORPH Standard Manual Morph enables the two modes f
85. ange of the signal to be enhanced attenuated MID B C Mid Boost Cut FREQ regulates the enhancement attenuation of the area of frequencies equal to that set with the MID FREQ parameter MID Q QJ regulates the band width of operation in the medium range specified with the MID FREQ parameter If the LOW MID B C and HIGH parameters are set at 12 you will obtain attenuation of the signal of 12 dB conversely setting them at 12 will give an enhancement of 12 dB If the parameters are set at O the signals will be unaffected by the influence of the equalizer 9 5 LINKS The LINKS function allows the RATE parameter of LFO1 and of CHORUS effect and the DELAY TIME to be linked to the TEMPO parameter of the ARPEGGIO or the PHRASE RECORDER and to the MIDI Clock message present on the MIDI IN port All this is in order to guarantee perfect synchronisation of the above sections or with a remote MIDI instrument oee also point 10 3 for further information concerning MIDI synchronisation N B If the MIDI signal referred to above is not present on the MIDI IN port in case of Link to the MIDI Clock the parameters linked to it will be set with the respective lowest value In order to provide information about the status of the parameters which may be linked when the video pages relating to the parameters referred to above are displayed from the Program environment therefore in order to display the LFO1 Rate you will have to
86. ayed back in order to obtain continuous modifications of the timbric structure of the sound even while songs are being performed with no need for the player to remove his or her hands from the keyboard A Motion meaning a series of panel control movements will enable you to create complex changes in tone both in what you are playing on the keyboard and in arpeggios and playback phrases For the Motion Recorder function the instrument has two associated memory locations in which the user can record 16000 events with a resolution of 96 t p q n equivalent to a two minute recording The front panel section contains the LOC1 and LOC2 buttons which recall the two memory locations in which the MORER panel movements are recorded and the REC for activating the procedure for recording and or modifying a Motion The LED on the buttons themselves indicates the status of the p da Q function When on the LEDs of the buttons LOC1 and VOTI LOC2 show that the Motion is being played back whenever the playback loop ends the LED will go out for a moment The REC button LED indicates whether or not the recording modification procedure is active You can use the TEMPO trimmer or TAP TEMPO button of the Phrase Recorder section to regulate the metronome time for performance of the Motion If the Phrase Recorder is already active the Motion will be performed with the metronome tempo value assigned to the Phrase in order to guara
87. c 1 and Osc 2 Turning the trimmer clockwise from the centre increases the modification of the pitch when it is turned anti clockwise from the central position the INE modification will be increased in the opposite direction while with the trimmer in the central position the envelope will not affect the pitch Envelope Depth The envelope is assigned to the oscillators by means of the button under the trimmer ENV DEPTH The LEDs under the trimmer will display the assignment made in accordance with the following logic LED OSC 1 on envelope assigned to the first oscillator LED OSC 2 on envelope assigned to the second oscillator 151 OB e12 zDomain 5 ynthesizer 7 4 MODIFYNG the TIMBRE FILTERS As we have mentioned when discussing the synthesis technique used by the OB 12 the signal generated by the oscillators is rich in harmonics or in other words it has a very wide frequency content The filter can be used to attenuate specific harmonics or a given range of frequencies in order to obtain the desired sound with regard to the timbre quality In fact the OB 12 FILTER section uses two filters which can be set up exactly as required with regard to type cut off frequency and their interconnection The filter control section is the following FILTERS FREQUENCY TRACK ENV DEPTH SERIAL PAR SPLIT im m 7 ESNA ROUTING RESONANCE LP BP HP x
88. can be informed about both the envelope referred only to the ADSR parameters graph with continuous line and the envelope referred to the Env Depth F 1 Freq and F 2 Delta parameters graph with dotted line If the ADV ENV folder is now selected the user can display the second page relating to the envelope to be applied to the filters This video page comprises EDIT FILTER OF 8 881 Hrid3hbt Lave z DELAY DECAY EREAKF DEC ATE SISTIN TIHE the parameters displayed are the following DELAY sets a delay time from when a key is pressed to when the filter cut off frequency starts to be affected by the envelope in a range of values from 0 no delay to 100 maximum delay DECAY BREAKP Decay Breakpoint sets the Breakpoint value for the Decay period divided into Decay 1 and Decay 2 The Breakpoint value specifies the cut off frequency after which Decay 2 will start in a range of values from 0 minimum cut off frequency to 100 maximum cut off frequency DECAY 2 regulates the second period of time taken to reach the Sustain level by means of the usual range of values from 0 no Decay 2 section to 100 maximum time to reach the Sustain level SUSTAIN TIME regulates the Sustain time i e the period of time in which the cut off frequency assumes a fixed value If this period of time is less than the real time for which the key is pressed the cut off frequency of the filters will decrease or increase if envelop
89. can be used to select the four video pages relating to definition of the Parts Here we will describe the first page which is identical to the later pages and can therefore be taken as reference for them all First of all under the heading i e where the name of the video page and of the Program of reference appear there is a drawing of the OB 12 keyboard which shows the range the keys displayed in reverse of the Part currently selected The following parameters are then present e STATUS activates ON and or deactivates OFF the Part in question If it is disabled it will not be possible to play the Timbre it contains If no other Part is present in the keyboard zone to which the Part in question is associated that portion of the keyboard will not produce any sound e TIMBRE assigns a given Timbre displaying its memory location to the Part e LEVEL regulates the level of the Part If LEVEL 0 is set the part in question will not produce any sound e TRANSPOSE sets the transposition of the Part and not of the keyboard in a range of 12 semitones e LO KEY sets the lowest note of the portion of the keyboard associated to the Part As well as using the usual data input tools you can also select the desired value by pressing the keyboard key itself HI KEY sets the highest note of the portion of the keyboard associated to the Part As well as using the usual data input tools you can also select the desired value by pr
90. cedure When the WRITE key is pressed again the initialisation procedure will be carried out if ESC is pressed it will be aborted You can now select the MEM STAT folder to display the video page relating to the information concerning the internal memory assigned to the Phrases and Motions yet unused MEMORY STATISTICS RECORDER FREE FREE FHR ET 1i S4218 MOTION 4 e455 FHR ET MOTION c BEBBII FHR ET Press FHR ET 4 E4356 ZECT COFY IHIT THEF IMFO As you can see the video page contains an easily interpreted table containing inthe PH RECORDER column the four PHRASE SETS inthe first FREE column the memory space in bytes still not used for each PHRASE SET inthe MOT RECORDER column the two MOTION locations inthe second FREE column the memory space in bytes still not used for each MOTION The last utility function in the TOOLS section is SYS INFO selected using the F4 function key which provides information about the main data concerning the softwares installed 23 OB e12 Z Domain 5 ynthesizer SYSTEM CFI EFEL 1 u DATE FEE DSF REEL 1 u DATE FEE eben ZECT COFY IHMIT THER lt displaying the following information CPU REL displays the release version of the CPU software currently installed in the instrument DATE displays the date of creation of the CPU softwa
91. cessive delayed repetitions have a warm sweet timbre LEVEL LEVEL with the LED of the LEVEL PARAMETER button off regulates the level of the signal leaving the Delay effect MOD DEPTH Modulation Depth regulates the depth of modulation on the delayed signal MOD RATE Modulation Rate regulates the speed of modulation on the delayed signal PARAMETER KNOB ASSIGNED TO defines which of the parameters shown in the video page can be regulated using the trimmer associated to the Delay effect the second from the right in the EFFECTS section when the LED of the LEVEL PARAMETER key is on 197 OB e12 zDomain S ynthesizer To conclude selecting the REVERB folder allows you to display the page relating to programming of the Reverb effect Reverb originates as the sum of the various acoustic reflections produced by a sound in a natural environment you clap your hands inside a large reflective environment such as a church you will hear a strong resonance which gradually dies away this is due to the church s internal reverberation The acoustic response of a specific type of reverb depends on a large number of factors These include the size and design of the room the material with which it is lined and many other aspects The Reverb algorithm is able to reproduce all these factors digitally EDIT REVERE ON 4 881 Ealubarck TYFE HALL 1i Li FRE OELAY LEVEL zd kH
92. ch you require by placing it in the zone of the screen in reverse 211 OB e12 zDomain 5 ynthesizer You can use the function keys to perform the functions described on the display in relation to the selected note Therefore button F1 enables the CLEAR function used to delete the selected note event The display will then request confirmation before proceeding 1 28 Hate B4 185 12 1 92 Note Ad zB a uou really I Lhe 1 EHMTER to confirm or ESC to abort As the Pop Up menu states if the ENTER is pressed the note event will be deleted while ESC will abort the deletion command Button F2 is associated to the CHANGE command allowing you to change the value of the parameters relating to the selected note event After this button is pressed the display will show a cursor on the position value of the note 1 Ed Hate B4 1 85 e 188 92 H4 114 2 22 Hote 185 ie Mote 04 114 ERR CHANGE IH ERT DOME If the cursor is located in the first column default when the function is accessed you can vary the position of the note event within the Phrase After using the CURSOR keys to locate the cursor in the second column you can change the identity of the note in the third column you can change its dynamic and in the fourth column the duration To modify this parameters you can use also the keys of the keyboard Press ENTER to confirm the settings made or the ESC button
93. cies affected by the enhancement 152 Z Domain Synthesizer OB 12 Level Level Level Frequency Frequency Frequency Cutoff Freq Cutoff Freq Cutoff Freq Level Level Level Frequenc Frequenc 6 Frequenc Increasing the Giton Fed q y Cutoff Freq d Cutoff Freq y resonance value T Level Level Frequency Frequency Cutoff Freq Cutoff Freq Cutoff Freq Level Level Level Frequency Frequency f Frequency Cutoff Freq Cutoff Freq Cutoff Freq LOW PASS BAND PASS HIGH PASS CAUTION Excessively high resonance coefficient values might trigger unwanted oscillations e ROUTING you can use this button to select the type of connection between the two filters as follows FILTER 1 FILTER 2 SERIAL FILTER 1 FILTER 2 i FILTER 1 PARALLEL SPLIT FILTER 2 The selection made will be shown by illumination of the corresponding LED e FILTER 1 sets the type of filter as follows LP Low Pass Filter you can use this filter to attenuate all the frequencies above the cut off frequency giving a darker softer sound HP High Pass Filter you can use this filter to attenuate all the frequencies below the cut off frequency giving a sharper brighter sound Band Pass Filter you can use this filter to attenuate all the frequencies not present in the area surrounding the cut off frequency The LED against the code identifying the type of filter illuminates to disp
94. controlled by means of the PITCH wheel AFTER STATUS Aftertouch Status displays whether the Aftertouch is active e MODUL STATUS Modulation Status informs the user whether the MODULATION wheel is active KEYB MODE keyboard Mode displays the mode of use of the keyboard RIB 1TO Ribbon 1 To displays the first parameter controlled by the Ribbon Controller RIB 2TO Ribbon 2 To displays the second parameter controlled by the Ribbon Controller The video page recalled using the SCOPE folder is identical to the video page of the same name in the PROGRAM operating environment the meaning of which has already been explained in point 6 1 refer to this for the information required 145 OB 12 z Domain S ynthesizer 7 USING the PANEL Using the panel allowing real time modifications is one of the main features of the best synthesizers For this reason we will first describe all the functions which can be recalled using the controls on the front panel Points 7 1 to 7 7 illustrate the sections used to edit the Timbre to create the desired sound Points 7 8to 7 15 describe the sections relating to additional functions such as added effects equalization using the wheels and the Ribbon Controller etc which are also placed on the front panel since they are just as important as the functions described in the previous points 7 1 SETTING the FIRST WAVEFORM OSC 1 As we have already seen in our illustration
95. ction of the front panel Displayed before the Displayed after the change of the change of control ENV DEPTH potentiometer FROGRAM a aet BALUDARK EDIT OSC ONE 4 801 Wave F OSCILLATOR BEE Peedeveee BpozciILLaTokz a 1 If DISPLAY HOLD function In case function DISPLAY HOLD is active the screening remains is not active till a new display 4 1 NIGHT WAVE EE E TION ENV DEPTH jv DEP 05 1 OSC2 The OB 12 also allows the user to set the Display Swapping function to his own requirements in order to obtain the best from this important useful function After pressing the SYSTEM button select option 7 GLOBAL SETUP The display will show HASTER TUNE FREQ EERE Hz TIHE DI FLAY zLHAFEPFIMOG FoOLEF COM now select the SWAPPING folder to access the function set up 137 OB e12 7 S ynthesizer DI FLA Y 2LArFFIHMS SET UP FFROGRAHM ERE FREEZE TIHE FOT LINK HODE ZHCOLCHE TURE DI FLAY See POWER OM which contains the following settings e ACTS ON PROGRAM use this parameter to enable the function in Play Program mode but not in Edit Program mode e FREEZE TIME here you can set the time for which the video page is to remain on the display before the display again shows the video page present before the Swap provided the DISPLAY HOLD is not active LINK MODE Potentiometer Link Mode
96. ctions and signals a MIDI Error supposing that the connection has been interrupted or the connected device has been switched off System Exclusive Messages are those instructions which can only be interpreted by device identical to the one which generated them These messages include the BULK DUMP data i e the device s programming instructions These instructions contain the programming parameters normally saved in a memory location They are used to transfer these parameters from one device to another of similar kind or to save them in a remote memorisation unit such as a computer or a sequencer allowing them to be restored in case of accidental loss or cancellation Another system exclusive message is the one used to identify the transmitter instrument if the receiver instrument requests this 242 Z Domain Synthesizer OB 12 lt q O lt Y mM LHS L331 NVd 0 1091 NAD AN3 w3 zon Hld3d AN3 051 YOLVYANAD ASION NOININOO HOIVTIIOSO cO41 YOLVINGOW cO11 con O41 O41 NSD ANA pieogqhey 243 MIDI IMPLEMENTATION CHART Oberheim Viscount OB 12 Date 04 03 2000 Z Domain Synthesizer Version 1 0 FUNCTION TRANSMITTED RECOGNIZED REMARKS BASIC DEFAULT 1 16 1 16 NOTE 24 96 127 NUMBER True Voice 127 PITCH BENDER
97. d CLEAR F1 for deleting the data present when the key itself is pressed If RESET button F3 is selected the recording will be returned to bar 1 1 After you have played the Motion you require select the DONE option using button F3 to save the data in the Motion Location already selected The display will then signal that saving is in progress RECORD Please Wait Store Mot iant MOTION EVENT EDITOR The MOTION EVENT EDITOR allows the contents of a Motion to be shown on the display in the form of events generated by the panel controls This function also allows you to modify the contents of the Motion of your choice as you wish by deleting unwanted events for example or creating new ones From the Motion Recorder Main Menu RECORDER 1i RECORD HOTION EVENT EOLTOR MoT Cor Select field 2 MOTION EVENT EDITOR the display will show the page for selection of the Motion whose contents are to be displayed HoTIOH EVENT EDITA FLEAZE SELECT MOTION LOCATIGOH E ruo Use the PLEASE SELECT MOTION LOCATION option to select the Motion to be monitored then press button F2 and the display will show its contents As can be seen the video page is divided into three columns e first column on the left shows the position of the event within the Motion expressed in BAR CROTCHET FRAME 219 OB e12 z Domain 5 ynthesizer e The second column indicates the tri
98. d Osc 2 With the slider in the lowest position only the signal received from Osc 1 will be present while as the slider is raised the amount of signal received from Osc 2 will increase and the proportion of the Osc 1 signal will decrease until with the slider completely up only the signal generated by Osc 2 is present With the slider in the central position identical amounts of the Osc 1 and Osc 2 signals will be present The second 150 slider RING MOD balances the signal received from the first slider i e Osc 1 Osc 2 with the Ring Modulator As the slider is raised the amount of Ring Modulator signal increases The third slider NOISE balances the signal received from the second slider i e Osc 1 Osc 2 Ring Modulator with the white noise As the slider is raised the amount of white noise increases ATTACK Attack Time regulates the Attack Time parameter of the oscillator envelope meaning the duration of the initial modification attack in the pitch DECAY Decay Time regulates the Decay Time parameter of the oscillator envelope meaning the duration of the initial modification decay in the pitch Z Domain Synthesizer OB 12 OSCILLATOR COMMON OSC2 RING MOD NOISE P NA ENV DEPTH OSC1 OSC2 BALANCE ENV DEPTH Envelope Depth you can use this trimmer to regulate the depth of the envelope applied to Os
99. d note has been pressed Use the FINE and RANGE trimmers to regulate the pitch of the signal and thus of the note generated The LED will display the status of the function in accordance with the following logic LED on function active LED off function disabled Pitch octave 2 C4 C6 Keyboard Tracking OFF Keyboard Tracking ON 7 3 MODIFYNG the PARAMETERS COMMON TO OSC 1 and OSC 2 OSC COMMON In this section you can regulate the balancing between the two oscillators a Ring Modulator and white noise and specify the envelope of the two oscillators i e how the tuning will change over time The Ring Modulator multiplies the two waveforms emitted by Osc 1 and Osc 2 to produce a signal formed by a large number of harmonic and unharmonic partials not present in the original signals The main feature of the Ring Modulator is that it makes the sound more metallic dissonant and almost out of tune White noise is a wide band non periodic signal containing all the frequencies in the audible band which you can use to add a slight hiss to the original signal It is useful when simulating sounds containing noises or unharmonic elements The OSC COMMON section containing the following controls e BALANCE these three sliders regulate the balancing of the oscillators the Ring Modulator and the Noise in accordance with a clearly defined logic The first slider on the left regulates the balancing between Osc 1 an
100. d timbre will be present throughout the keyboard range The display will then show the Play Timbre video page Timbre Volume FLAY TIHEFE w COLLE 53 NIGHT WAVE Timbre Location SELECT Lor Timbre Name As well as the name of the Timbre and the location in which it is memorised the display also shows its volume After locating the cursor on this field the encoder or number keypad can be used using the usual procedures to enter the desired value You can use the PART buttons to recall and edit the Timbres contained in the selected part As for the Play Program video page this page also consists of three folders called SELECTION INFOS and SCOPE plus the EDIT function field Now select the INFOS folder the display will show nH24 A GOm Di HL LARE Lave YEL zTATL LIHEdmuF F E zTaATL OP COURSE AFTER 2TATLU Z OFF MODUL ZTATLUIZ oM EETE HOLDE LEGATUO RIE iTO LFOL RATE RIE TO FILT FRE SELECT LOM LMF os SCOFE This video page shows the status of the main system controllers with the following fields e VEL STATUS Velocity Status informs the user whether or not the keyboard velocity control is active VEL TYPE Velocity Type displays the type of velocity selected P B STATUS Pitch Bender Status informs the user whether the PITCH wheel is active P B COURSE Pitch Bender Course displays the range of values
101. ddition with the Timbre operating environment active you can perform a Morph of two timbres with the screen showing the message PLAY TIMBRE instead of PLAY PROGRAM In this case the automatic Morph time depends on the setting made in the Program currently selected 213 OB e12 Z Domain S ynthesizer The SRC Source field indicates the starting memory location whether referred to a Program or a Timbre while DST Destination displays the destination location You can use the encoder or the number keypad to set the destination location since the starting location is automatically set with that active when the function is activated After making the desired settings in case of automatic Morph pressing the ENABLE button will activate the function In case of manual Morph the function will be carried out immediately when the MODULATION wheel is turned to its minimum setting or pressing the above button this button can also be used to interrupt and restart the function Pressing AUTO or MANUAL again depending on which Morph has been selected disables the function The EDIT PROGRAM MENU also allows you to regulate the parameters associated to the automatic Morph From the menu described above select field 8 AUTO MORPH SET the display will show ALTO MORPH ZET pem in which you can set e TYPE setting this parameter as TIME allows you to set the period of time taken to pass from one
102. dium values and then soft again 188 Z Domain Synthesizer OB 12 for high pressure values DELAYED Curve which delays the emission of data which are not generated until high pressures are applied to the key after which high Aftertouch values are reached easily INVERTED Inverted Aftertouch curves have the same properties as reversed Velocity curves PARAMETER selects the generation parameter for which the influence of Aftertouch control is to be set by means of the INFLUENCE field This is the list of the parameters available and the relative panel controls CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON SERES PARAMETERS PANEL SEE PARAMTERS PANEL AMOUNT of OSC2 LFO1D modulation depth of LFO1 DEPTH of AMP AMOUNT AMPLIFIER OSC2 LFO1D LFO1 in OSC 2 OSC2 FREQUENCY of FLT LFOID modulation depth of LFO1 DEPTH of FLT CUTOFF filter cut off frequency FILTER FLT LFO1 D LFO1 inFILTER FILTER balance between BALANCE 1 of modulation depth of LFO1 DEPTH of BALANCE 1 OSC 1 and OSC 2 OSC COMMON AMP LFO1 D LFO1 in AMPLIFIER AMPLIFIER balance between BALANCE 21 of frequency modulation BALANCE2 05 1405 2 BALANCE 2 of OSC1 FM depth of OSC 2 in FM of OSC 2 RING MODULATOR OSC 1 balance between OSC 1 0SC 2 RING BALANCE 3 of MODULATOR and OSC COMMON NOISE OSC1 PWDTH ai ue a LFO1 RATE LFO1 signal frequency of LFO1 OSC2 PWDTH LFO2 RATE LFO signalfrequ
103. dulation depth this is then regulated by the MODULATION wheel which sends it to the various sections e WAVE SELECT specifies the waveform of the modulating osci signal The waveforms are the same as those generated by LFO1 osce e DEPTH SELECT this button allows you to specify the section FILTERS on which you are regulating the maximum LFO2 modulation depth by means of the DEPTH trimmer O AMPLIFIER WAVE SELECT DEPTH SELECT 157 OB e12 Z Domain S ynthesizer 7 8 SETTING the KEYBOARD KEYBOARD This section of the panel allows you to regulate the transposition of the oscillators and the keyboard modes The section contains the following controls which as the illustration shows are subdivided into four subsections PORTAMENTO When the Portamento is active the pitch tuning of each HP E d s new note played is not reached instantaneously and 1 N separately but by means of a gradual shift of definable OSC SHIFT duration KEYBOARD e TIME sets the Portamento time meaning the time the pitch takes to change between the two notes Turn the trimmer J clockwise to increase the Portamento time Tonality e PORTAMENTO use this button to enable disable the Portamento status following the usual logic Portamento Time LED on function active LED off function disabled UNISON The UNISON function allows you to play three voices simulta
104. e is inverted regardless of the status of the key pressed released The range of values is from 0 Sustain section absent to OFF the cut off frequency is no longer controlled and thus remains unchanged until the key is released This video page also shows the envelopes referred both to just the ADSR parameters continuous line and to the Env Depth F 1 Freq and F 2 Delta parameters dotted line 178 Z Domain Synthesizer OB 12 8 5 EDIT AMPLIFIER The main function of an amplifier is to control the level of the signals received from the oscillators and the filters Amplifiers may be Voltage Controlled Amplifiers VCAs or as in the OB 12 Digitally Controlled Amplifiers DCAs VCAs consist of operational or differential amplifiers while in the case of DCAs since all it takes to amplify a digital wave is to multiply its numerical width values by a given factor amplification is carried out by applying a width modulation to the oscillators However it is preferable to the keep the two blocks oscillator and amplifier conceptually separate for the sake of clarity As for the filter an ADSR envelope described in point 8 4 can be used to check the level of the signal for amplification over time We will therefore now take a look at the display pages relating to programming of the amplifier parameters From the EDIT TIMBRE MENU page select option 6 AMPLIFIER EDIT AMPLIFIER 28414 Wave A
105. e received will be played on the basis of the Split settings present on the instrument at that time If the MODE parameter is set as MULTI the video page will change to HIDI zETLIF i S CHAHHEL z 7 4 35 FLT OUT FUT FRG In this case you will be able to assign one channel to each individual Part The CHANNEL 1 2 3 4 fields identify the four Parts to which the MIDI channel can be assigned For example if CHANNEL 1 2 set the message generated with Part 1 will be sent on MIDI channel 2 just as messages received on channel 2 will be played by Part 2 regardless of the keyboard zone assigned to the Part concerned This allows you to obtain optimum multi timbre setups by sending the messages in relation to the Part being used to play as well as recording the channelled messages on a sequencer During reception on the other hand the main feature of this setting is that it allows the Part split settings to be ignored so that the Parts can be played throughout the whole keyboard range After selecting the IN FLT folder using the F2 function key you can display the video page relating to the setup of the MIDI filters on the incoming messages If a message is filtered i e with the filter set as ON it will be ignored Therefore if the reception filters are activated the messages subject to the action of the filter will no
106. eL o 1 oomen Fitters resonance o e 0127 OSCILLATOR 1 TRIANGLE status o 2 O Max Level Frens ENVELOPE DEPTH o sea omer TRIANGLE LeveL o 2 ona Fiers o e ome LosciLaron Pulse starus o s oswax Level FicTeRs KBD TRACK o se om7 Purse LeveL o s ona rues noume o 9 Losciiaron saw snare o a ona saanee o 9 27 LosciiAron TRIANGLE o s ona ruens rueR N o co o putse wora o 6 ona Fiers Feren o o 0 Foscmuwoni mm o os awpurien attack 0 0 7 LosciLaron i oroe o s o 1e7 awpurien ocni o a Cosciaron 1 o o ona awpurien susTAN o 2 omr OSCILLATOR 1 PwMDEPTHLFO2 o 1o ona AmpLirien o 3 or o n ona awpurien o a or Coscitaton 2 o s Decay o 45 omr COSCILLATOR 2 TRIANGLE LEVEL o 16 ona awpurien o 6 or 2 Porse eve AMPLIFIER SUSTANTIME 9427 2 Purse wir o 20 ona awpurien o e 127 2 f o 2 oax
107. easures of which the phrase to be recorded consists If the preset number of bars is exceeded the data which follow the notes played after the last bar will be recorded in a new loop and will overwrite or replace see REC MODE parameter the notes played previously Musical phrases with a maximum length of 32 bars can be recorded TIME SIGN Time Signature sets the time signature of the recording to be made The values available are 2 4 3 4 4 4 5 4 3 8 5 8 6 8 7 8 9 8 12 8 REC MODE sets the type of recording If OVERDUB is selected the data are over recorded so each new note will be added those already present recorded in a previous session or loop If the parameter is set as REPLACE each new datum will replace those already present If no new events are present the data recorded in previous sessions or loops will be retained REC MODE OVERDUB REC MODE REPLACE 6 4 These are the 4 These are the 2 memorized notes 2 memorized notes h These are the notes These are the notes 2 2 played in the second loop played in the second loop 3 These are the E 4 amp These are the memorized notes memorized notes J These are the notes y x These are the notes 2 played in the third loop 2 played in the third loop j These are the i Eg f 2 These are the memorized notes i memorized notes
108. ecsessessesessesecsscsecsessessesvesesassteatesessesseaeeeees 171 8 4 EDIT FILTERS RM 173 8 5 EDIT AMPLIFIER cccccesscssccseceecsesessessesusssesecsesssevesscsesssssearesesaessessesessesessssteaeeasaeseeeee 179 181 8 7 EDIT LFO 2 183 8 8 EDIT KEYBOARD 184 OB e12 z Domain 5 ynthesizer S S EDI Ud NTC ERU DENM NE 186 O19 TIMBRE NER ERR ME 191 EDIT PROGRAM cornea 192 SEDIT PART 193 C 194 194 94 EDIT EQUALIZER HE 199 ICINE e a E 200 FOOF OONTROL E TUP ee eee 201 IF FA AG SETTING 204 JS T HBRASEHEGOHDEI esee tree nen ee ee eo RM eee 207 PAO IN Pa MORPH C 213 9 10 KEYBOARD TRANSPOSE 214 MOTON REORDER M 215 S2 WRITE asecu m 221 EDIT SYSTEM M c Q 222 10 1 Dice e 222 10 2 PESO NOE T 225 Oecd uc Cp n 228 iU CULE DOMP 231 TOS FOOT CONTROL GEF qe 232 106 DIGITAL OUTPUT SETTINGS Tm 234
109. ed the STOP message will be sent Depending on the setting of the STOP AS parameter reactivating the Motion will send the START STOP or CONTINUE messages MOTION REC2 when Motion 2 is activated the START message will be sent When it is interrupted the STOP message will be sent Depending on the setting of the STOP AS parameter reactivating the Motion will send the START STOP or CONTINUE messages AUTO MORPH when the automatic Morphing is activated the START message will be sent When performance of the Morphing is interrupted the STOP message will be sent Depending on the setting of the STOP AS parameter reactivating the function concerned will send the START STOP or CONTINUE messages e STOP AS defines which MIDI Real Time messages will be transmitted when the section with which they are associated is activated and or disabled The table below indicates the messages sent depending on the setting of the parameter STOP AS STOP STOP AS CONTINUE START START Function stop STOP PAUSE Next function start START CONTINUE The next video page displayed by pressing the F3 function key allows you to set the parameters relating to the MIDI Real Time messages received 229 OB e12 zDomain S ynthesizer Ax COMMAND SETTINGS STATUS maa m 1 EP EE DESTIN 4UTO Tx CLOCK Tx CHL CLOCK these are the parameters displayed in the video page STATUS enables ON or disables OFF the recept
110. ed and released This function therefore allows you to play the keyboard keys in a way which gives extra expressiveness to the timbres without having to use the panel controls Normally the note velocity is associated to the signal level but using this function you can assign the cut off frequency for example to the Velocity in order to extend the spectrum of the timbre being played in relation to the force with which a key has been pressed So in short the huge advantage of this function is that several parameters can be controlled without having to take your fingers off the keyboard 186 Z Domain Synthesizer OB 12 EDIT CONTROLLERS OW 0 881 HL LARE Lac wELCOCITTY by means of the Velocity T a4 TLS TYFE FF SFL D YH vVALLIE S7 FAFAHETEF zAIHFE AMHCOLIHT IHFLLUEHBMCE eo AFTEF T FIEEnDOM STATUS VELOCITY ONJ enables ON or disables OFF control of the generation parameters TYPE sets the type of dynamic A fixed dynamic can be obtained by setting the parameters as FLAT or various dynamic curves can be obtained by selecting CURVE see next video page illustration DYN VALUE Dynamic Value regulates the value of the fixed dynamic PARAMETER selects the generation parameter for which the influence of Velocity control is to be set by means of the INFLUENCE field This is the list of the parameters available and the relative panel controls CONTROLLED CONTROLS ON SELECTIONS PA
111. ed by the pedal The functions which can be assigned to the pedal are described in the table on next page CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON SEE PARAMETERS PANEL SERE PARAMTERS PANEL LEVEL PARAMETER of EFFECTS DISABLED OVD DRIVE degree of Overdrive Associated to DRIVE of OVERDRIVE LEVEL PARAMETER master volume of the MASTER VOLUME of of EFFECTS MASTER VOL instrument VOLUME CHOR LEVEL di associates to LEVEL of CHORUS LEVEL PARAMET EH control of the Manual modulation speed of of EFFECTS MAN MORPH Morph ope on CHOR RATE Chorus associates to RATE of CHORUS LEVEL PARAMETER LEVEL PARAMETER of EFFECTS modulation depth of of EFFECTS OVD LEVEL associated to LEVEL of CHOR DEPTH Chorus associates to DEPTH OVERDRIVE of CHORUS 233 OB 12 z Domain 5 ynthesizer CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON 2S ECHOS PARAMETERS PANEL PEERU DONS PARAMTERS PANEL LEVEL PARAMETER feedback of the of EFFECTS CHOR FDBK processed signal by associates to REV PRDLY Reverb associates to PRE Chorus FEEDBACK of DELAY of BEVERB CHORUS LEMEE A AME TER the delay to activate of EFFECTS LOW or 60 of CHOR PRDLY Chorus associates to PRE LOW LEVEL dinis EQUALIZER DELAY of CHORUS Pis i LEVEL PARAMETER adeo dioe m of EFFECTS FREQ o 200 di DELAY LEV Delay ievel associates to LEVEL of MID1 LEVEL EQUALIZER DELAY aroun
112. ed with the FUNCTION parameter refers When other Parts are selected the function assigned to the previous Part remains in the memory FUNCTION assigns the function to the expression pedal for the Part specified with the parameter of the same name MIN and MAX set the minimum and maximum values of the parameter controlled by the pedal The parameters which can be assigned to the expression pedal are the following CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON PELEAS PARAMETERS PANEL SEES PARAMETERS PANEL square wave pulse OSC CTRL assigned DISABLED none OSC1 width generated by to square wave of OSC 1 OSCILLATOR1 time for reach the max modulation depth of LFO1 FADE level of LFO1 signal FADE of LFO1 OSC1 FM OSC2 on OSC 1 FM of OSCILLATOR1 modulation depth of LFO1 DEPTH of LFO1 RATE LFO1 signal frequency RATE of LFO1 OSC1 LFO1DP LFO1 on OSC 1 OSCILLATOR1 pulse with modulation PWM DEPTH BALANCE 1 Ue dg aH ea OSC1PWMLFO 1 depth of LFO1 on assigned to LFO1 of l OSC 1 OSCILLATOR1 balance between BALANCE 2 of pulse with modulation PWM DEPTH BALANCE2 OSC 1 OSC 2 OSC COMMON OSC1PWMLFO2 depth of LFO2 on assigned to LFO2 of RING MODULATOR OSC 1 OSCILLATOR1 balance between OSC 1 OSC 2 RING BALANCE 3 of pulse width modulation DEPTH assigned to EG of BALANCE 3 OSC1PWMEG es and OSC COMMON depth of EG on OSC 1 OSCILLATOB1 attack time of the ATTACK of NES WAVE MIX of the saw OSC C
113. efined by the keyboard range assigned to them while with the LAYER button the active Parts can be played along the entire keyboard The SINGLE button enables only the Part whose LED associated to one of the PART buttons is illuminated The PART1 PART2 PART3 PART4 buttons allow you to activate the part of your choice when playing in SINGLE mode and display and or edit the timbre associated to it 22 Buttons for display operations This group of buttons includes an ESC key for exiting from the video page or the function currently shown on the display Four buttons F1 F2 F3 F4 are provided for selecting pages in addition to the one displayed at that moment and for enabling any functions shown on the display in line with the button concerned There is also a DISP HOLD Display Hold button used when the Swapping function is active this function allows immediate display of a video page relating to a parameter which has been modified using the relative control on the panel and the Display Hold button allows the new page to be kept on the screen preventing the return to the previous video page 23 MODE amp SET UP section You can use the PROGRAM TIMBRE SYSTEM buttons to select the operating environments of the same names The PANEL SCAN button allows you to set the programming parameters in accordance with the values assumed by the controls on the panel when the button is pressed The EFFECTS key
114. eforms in real time see point 6 1 We will now look at how to regulate the first oscillator In the EDIT TIMBRE MENU video page select field 3 OSCILLATOR 1 the display will change to EDIT O2CILLATOREiI ONS 8 881 HL LARE Lave Zak STATUS PEE LEVEL SFPRESAO 42 This video page contains the settings of the sawtooth waveform generated by the first oscillator The video page consists of the following parameters SAW STATUS WAVE SELECT relating to the waveform concerned enables SAW STATUSZON disables SAW STATUS OFF generation of the waveform concerned e SAW LEVEL WAVE MIX relating to the waveform concerned regulates the level of the signal in a range from O signal level zero to 100 maximum signal level SAW SPREAD WAVE CTRL assigned to the waveform concerned sets the degree of modification of the waveform in a range from 0 waveform not modified to 100 maximum modification Values of this parameter higher than 0 will give make the sound seem out of tune and give it a feeling of space Now select the TRIANGLE folder and the display will show the video page relating to the settings of the triangular waveform generated by the first oscillator The video page comprises 166 Z Domain Synthesizer OB 12 EDIT O2CILLATOREiI ONS 8 881 HL LARE Lac TRIANGLE ZzTATUZ s TEIAHMGLE LEWEL 76 TRISAHGLE MAAF 35 TRIANG
115. egato LED on function active 9 LED off function disabled E3 A3 E3 A3 Key On Key On Key Off Since this function can only be used with the keyboard in monophonic mode activating it also activates the MONO function if this has not already been enabled OSC SHIFT In this subsection of the KEYBOARD you can regulate the transposition of the oscillators thus varying the pitch of the signal which they generate by octaves This allows you to make use of two or more pitches using two or more timbres and therefore two or more Parts Another feature of the Osc Shift is that it allows you to play beyond the keyboard range e g by playing a bass sound with notes lower than those actually available on the OB 12 keyboard e OCT decreases the oscillator pitch by one or more octaves The LEDs display the pitch status as follows 1 pitch one octave lower 2 pitch two octaves lower e OCT increases the pitch by one or more octaves The LEDs display the pitch status as follows 1 pitch one octave higher 2 pitch two octaves higher OSC SHIFT sets the oscillator displayed by means of the OSC 1 OSC 2 LEDs whose pitch is being modified 159 OB e12 Z Domain S ynthesizer 7 9 ADDING EFFECTS the SOUND EFFECTS The OB 12 offers an effects section with which you can add four fully configurable algorithms to your sound The OB 12 allows you to make use of the following algorithms O
116. emory location in this case if the memorisation procedure is concluded the timbre will be overwritten with consequent loss of the original settings Pressing the F1 button or WRITE button will confirm the memorisation procedure and the display will show everything with the Pop Up WAITE TIHERE CURRENT LoOraTrIOH a ODi HL LIRE MAVE Please Wait Storina in flashtt Conversely if the F4 button is pressed from the video page shown previously you can assign a new name to the Timbre in this case the display will show WAITE TIHERE ASSIGN TIHERE LocaTIoHza az d uad 3 IHS CAPS UM DELETE DOME You can now use the encoder or number keypad to assign a new name to the Timbre displayed in square brackets As the screen printing on the panel shows each number pad button offers three letters of the alphabet as well as the number associated to it Moreover the function keys can be used to recall the following functions e INS F1 function inserts a space before the character on which the cursor is located e CAPS ON OFF F2 function selects the type of character uppercase lowercase e DELETE F3 function deletes the character on which the cursor is located After typing the name of your choice press button F4 DONE function and assignment of the new name will be completed 191 OB e12 Z Domain S ynthesizer 9 EDIT PROGRAM As we have already explained in point 5 2 a Pro
117. ency RATE of LFO2 BALANCE 3 OSC2 DTUNE fine tuning of OSC 2 FINE of OSC 2 e INFLUENCE sets the influence of the Aftertouch in controlling the parameter specified in the PARAMETER field You can now use the F3 key to select the RIBBON folder thus displaying the video page relating to the assignments of parameters to the Ribbon Controller This device allows you to control both the parameters relating to sound generation by moving a finger over the surface of the control EDIT CONTROLLERS 9 214 HL LARE Lac FUMIO T DOM 8 oT HIH 16 Mass 1 FURMCT CONE lt VELOCITY OF TERT FUNCTION 1 assigns the first function to the Ribbon Controller FUNCTION 2 assigns the second function to the Ribbon Controller MIN and MAX referred to FUNCTION and 2 set the minimum and maximum values of the parameters to which they refer 189 OB 12 zDomain 5 ynthesizer CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON SPLECHONS PARAMETERS PANEL SE PARAMTE RS PANEL pare chs PARAMTERS PANEL DISABLED none owe OSC1 LFO1DP OSCILLATOR1 FILT REL FILTERS envelope FILTERS PWM DEPTH time for reach the max pulse with modulation ENV DEPTH of OSCILLATOR1 PWM DEPTH LFO1 RATE LFO1 signal frequency RATE of LFO1 OSC1PWMLFO2 pulse with modulation assigned ip LFO2 of FILT LFO1D modulation depth of LFO1 LFO1 DEPTH of depth of
118. enrich the harmonic spectrum of the sound If you now select the MOD folder you will display the parameters relating to the signals which will modulate Osc 1 The video page comprises EDIT O2CILLATOREiI ONS 8 881 HL LARE Lave osc FREQUENCY MODULATION 1 MHODULATION DEFTH DEFTH FROM LFO 41 DEFTH FROM DEFTH FROM TRIANGLE containing the following options OSC 2 FREQUENCY MODULATION FM sets the depth of modulation of the frequency of the signal generated by Osc 1 by the signal originating from the second oscillator LFO1 MOD DEPTH 1 1 Modulation Depth LFO1 DEPTH of the OSCILLATOR 1 section regulates the depth of the frequency modulation of the signal originating from LFO1 on the signal leaving the first oscillator The range of values is 50 maximum frequency modulation with 167 OB e12 z Domain 5 ynthesizer opposite signal phase originating from LFO1 0 no modulation 50 maximum modulation PWM DEPTH FROM LFO1 Pulse Width Modulation Depth From LFO1 PWM DEPTH of OSCILLATOR 1 section assigned to LFO1 regulates the depth of modulation of the pulse width PWM Pulse With Modulation generated by Osc 1 by The range of values is 50 maximum modulation with opposite phase 0 no modulation 50 maximum modulation PWM DEPTH FROM LFO2 Pulse Width Modulation Depth From LFO2 PWM DEPTH of the OSC 1 section assigned to LFO2 regulates t
119. er at the state of the art NORMAL transmission suitable for standard modern machines FAST high speed transmission for machines with especially short memorisation times e SECTION defines the internal memory section on which the Bulk Dump is to be carried out The following sections can be sent all the internal programming Program Timbre Phrase Recorder Motion Recorder operating system System TIMBRE the Timbre memory locations PROGRAM the Program memory locations PHRASE RECORDER the phrases recorded with the Phrase Recorder and the corresponding Trigger Notes MOTION RECORDER the two Motions OPER SYSTEM CPU the CPU operating system OPER SYSTEM DSP the DSP operating system SYSTEM PARAM the parameter settings in System environment e FROM LOCATION only available for the Program Timbre Phrase Recorder and Motion Recorder sections sets the first location on which the Bulk Dump is to be carried out e TOLOCATION only available for the Program Timbre Phrase Recorder and Motion Recorder sections sets the last location on which the Bulk Dump is to be carried out As the video page shows pressing the ENTER key starts the Bulk Dump In this case the display will show 231 OB e12 zDomain 5 ynthesizer HIDI BULK DUMP PROCEDURES DUMPING FLEZAIE WAIT zd COMPLETED which displays a progression bar with the relative percentage value o
120. es writing of scores saving and editing of musical patterns real time controls by PC of the OB 12 internal parameters etc 132 Z Domain Synthesizer OB 12 5 HOW TO BE OB 12 IS ORGANISED 5 1 MAIN STRUCTURE MM 5 1 MAIN STRUCTURE Essentially the OB 12 consists of five main sections CONTROL SECTION The control section consists of the velocity and Aftertouch sensitive 49 key keyboard and the controls on the panel lf the OB 12 is piloted by a Master Keyboard or by another MIDI controller the control section is also assumed by ID the connected MIDI devices Whenever you press a keyboard key or a button for example on the control panel a message is sent to the sound generation section or to the sequencer section in case of use of the Phrase Recorder and or the Motion reus Herode Recorder Motion Recorder Outputs This section of the OB 12 generates the sound you f SOUND GENERATION SECTION program using the panel controls or the display The data TAE REEL received from the control section from the sequencer section in case of playback of Phrases or Motions or from Control section the MIDI IN port in case of connected MIDI units inf
121. es the amount of signal which will be affected by the Pan function In the central j position the sound will not move within the stereophonic ee panorama In either of the extreme positions the sound will be completely affected by the Pan effect and in opposite directions depending the chosen end of the of LFO1 is setted as sawtooth first selection to the left trimmer scale 155 OB e12 zDomain S ynthesizer When the AUTOPAN LED is off the trimmer regulates the depth of modulation by LFO1 on the sound volume thus generating tremolo effects In case AUTOPAN is on and WAVE SELECT of LFO1 is setted as sawtooth wave first selection to the left AUTOPAN this button establishes whether is to be assigned to the Pan i e cyclic shift of the signal from right to left in this case the LED will illuminate If the LED is off the Autopan function will not be available and LFO1 will modulate the signal level in cyclic mode N B If you are using mono outputs MAIN OUT L MONO or AUX 1 or AUX 2 on its own the Pan effect will not be audible 7 6 MODULATING the SOUND CYCLICALLY LFO1 As we have already seen LFO1 Low Frequency Oscillator generates a waveform which when required will modulate the signal present in the sections we have described so far This allows you to vary the pitch of the sound in the Osc 1 and 2 sections the timbre in the Filters and the volume
122. escribed in the OSC1 PARAM section To hook this control to the waveform parameter of your choice press the relative WAVE SELECT button or move the slider related to the waveform 146 Z Domain Synthesizer OB 12 The parameters is Sawtooth wave modification of the SPREAD parameter Triangular wave modification of the WRAP parameter Square wave modification of the WIDTH parameter these parameters assume the following functions SPREAD Defines the degree of deformation of the sawtooth waveform If the parameter is set with values above zero the sound will be slightly out of tune this effect will increase as the value becomes higher WA the SPREAD value WRAP Defines the degree of deformation of the triangular waveform In this case the greater the deformation the more overtones are added to the sound generated by the signal NN RE the WRAP value WIDTH sets the pulse width of the waveform The trimmer can be turned to the minimum or maximum setting to enrich the harmonic spectrum of the sound H HE FAP EEE ee the WIDTH value FM Frequency Modulation detines the depth of the frequency modulation of the signal generated by Osc 1 by the signal originating from the second oscillator As the knob is turned clockwise the modulation depth increases The resulting sound will be rich in overtones suitable for metallic timbres and sound effects In addition you can obt
123. essing the keyboard key itself N B In order to have a better MIDI compatibility with any eventual connected instrument LO KEY and HI KEY parameters are setted beyong the real keyboard range When a given Part is transposed the MIDI Note On messages since the Note Off is sent like Note On with Velocity 0 relating to the Part concerned will be sent to the MIDI OUT port on the basis of the transposition Conversely the Note On messages received by the MIDI IN port will not be affected by the transposition However refer to point 10 1 with regard to the settings of the MIDI channels assigned to the Parts 193 OB e12 z Domain S ynthesizer 9 2 BUS SETTINGS This Edit Program section allows you to assign each individual Part to a given output bus This enables you to exploit the extraordinary feature of having each single Part on each single connector guaranteeing easier mixing procedures outside the instrument Another very important feature of this section is that it interacts with the effects Routing see point 9 3 Routing Configuration since when a Part and thus a Timbre is assigned to given outputs and the effects or effect is are placed on the buses of the outputs concerned you can obtain the most widely varying Timbre gt effect configurations From the EDIT PROGRAM MENU select field 2 BUS SETTINGS the display will show EJS SETTINGS ON 4 881 E3Lupack containing the BUS parameter which indicates the dest
124. ew cycle of the modulant wave generated by LFO1 It is not possible to control the RATE with the trimmer of the same name but only by means of control of the MIDI Clock of the transmitter device Selecting the EFFECTS folder now allows you to set the Links assigned to the RATE parameter of the CHORUS effect and the DELAY TIME The video displayed is as follows EDIT LINKS ON 4 881 Ea3LuLDpack CHORUS ARFEGGIO CINK TORERE RATE RECORDER MIDI amp SLE DPELAY TIME LIHE TozOFF EFFECTS where we can see the two LINK TO fields in line with the sections to be linked i e CHORUS RATE and DELAY TIME The possible settings are identical to those for the LFO1 RATE You may therefore refer to the description given previously Clearly in this case the parameter to be Linked will not be the LFO1 RATE but the CHORUS RATE and or the DELAY TIME 9 6 FOOT CONTROL SETUP This section allows specific functions to be assigned to the pedals which can be connected to the rear connectors In view of their operating mode the switch pedals can be used to control two state or on off functions in other words you can activate or deactivate the note Sustain or a waveform for example On the other hand the expression pedals can be assigned continuous functions such as control of the LFO1 modulation frequency filter envelope attack time etc As described in point 10 5 functions can also be assigned to the pedals i
125. f frequency of FREQUENCY of wave of FILT FREQ FILTERS FILTERS OSCILLATOR 1 triangle wave OSC1 TRI WR modification generated by OSC 1 203 OB 12 zDomain 5 ynthesizer CONTROLLED CONTROLS ON CONTROLLED CONTROLS ON SEE LODS PARAMETERS PANEL SE ENTORNS PARAMETERS PANEL Dm L __ By selecting the PEDAL2 folder you can assign the function of choice to the pedal connected to the rear PEDAL EXP 2 connector The video page will be identical to that relating to the PEDAL1 setting 9 7 ARPEGGIO SETTINGS The ARPEGGIO function allows arpeggios to be performed by playing a chord on the keyboard or pressing just one note and creating octave arpeggios on it The HOLD function activated using the button of the same name in this section allows you to play arpeggios even after the keyboard notes have been released Notes played subsequently will replace the previous ones with the arpeggio mode active You can therefore use regular arpeggios by selecting the beat required or irregular arpeggios for which there are a choice of Patterns This section of the Program environment allows you to set the modes the range in octaves and the tempo of the arpeggio and the keyboard section and Parts affected by the function This section is independent of the PART SETTINGS the arpeggio notes will be performed with the Timbres present in the Parts enabled for the function From the EDIT PROGRAM MENU select field 6 ARPEGGI
126. f the portion of the data transmitted Conversely the ESC key can be pressed to abort the Bulk Dump procedure with consequent confirmation in the form of the display MIDI BULK DUMP PROCEDURES DUMPING DUMPING amp EORBTEL To reload the data in the instrument connect the transmitter device to the MIDI IN port On receipt of the MIDI data the UPDATING PROCEDURE see point 11 1 will be displayed after which the instrument will reset itself to allow the internal circuits to set themselves up with the new settings 10 5 FOOT CONTROL SETUP As we have seen in point 9 6 of this manual the OB 12 allows specific functions to be assigned to the pedals which can be connected to the rear sockets We have already discussed how to assign functions to the pedals in the Program environment with definition of various assignments on the basis of the Parts which the Program comprises In this case the functions assigned to the pedals depend on the Program selected On the other hand if functions are assigned to the pedals in the System environment they will remain active regardless of the Program selected You can therefore use more common functions with the aid of the assignments in the System environment and use more customised functions suitable for the selected Program with assignment of functions in the Program environment To access the video pages for assignment of the functions to the pedals select
127. field 5 FOOT CTRL in the EDIT SYSTEM MENU The display will show the following video page CONTROL FOLARIT Eg FUNCTION FROGRAM UF FEDAL in which the setting parameters of the footswitch pedal connected to the PEDAL SWITCH 1 connector can be modified e POLARITY sets the polarity of the pedal connected Consult the information provided on the pedal or on its information sheets for details of the exact setup e FUNCTION assigns the function to the footswitch pedal The functions which can be assigned are the following 232 Z Domain Synthesizer 12 CONTROLS ON CONTROLS ON SELECTIONS FUNCTIONS PANEL SELECTIONS FUNCTIONS PANEL LOC2 of DISABLED No function applied BERN MOT2 ST STP Motion Location 1 start stop AUTOMATION it cyclically activates and AUTO of PROGRAM UP Sn eroe OIM AUTO MORPH isactivates the Morph AUTOMATION PROGRAM singe Pragramreward Encoder MANUAL it cyclically activates and MANUAL of DOWN MORPH disactivates the Manual Morph AUTOMATION ON OFF of ENABLE of ARP ON OFF Ar peggio on off ABPEGGIO START MORPH start of selected Morph AUTOMATION it cyclically activates and it cyclically activates and HOLD of Ribbon ARP PHR HLD disactivates the HOLD function of HOLD of ARPEGGIO RIB CTL HLD disactivates the Hold of the Ribbon Arpeggio and Phrase Recorder Controller Arpeggio mode change with the it cyclically activates and seque
128. function 8 PHRASE REC regulation of the PHRASE RECORDER function 9 AUTO MORPH SET regulation of the MORPH function 0 KEYB TRANSPOSER definition of the keyboard transposition Let us now take a detailed look at the functions applied to the Program Alongside the name or code of the parameter whose function is being discussed in round brackets you will find the full name of the panel control found in the section whose contents are being explained used to modify the parameter in question If the description of the panel control is accompanied by reference to the section in which it is found this means that the control in question also appears in other sections 192 Z Domain Synthesizer OB 12 9 1 EDIT PART SETTINGS The main feature of a Program is that it can be subdivided into four Parts to which one Timbre each is assigned This allows you to play a multi timbre Program and also assign the Parts to different zones of the keyboard in order to obtain different sounds for example you can play Parts 1 and 3 in a given zone of the keyboard and Parts 2 and 4 in another position by simply using the same Program From the EDIT PROGRAM MENU select field 1 PART SETTING the display will show EDIT FART SETTINGS OhH z Obnl E3LuLDa3rcF Ta TIS OP LEVEL LO KEY PEREN TREAHZFEDOZE e FAFTA As you can see buttons F1 F2 F3 F4
129. g or origin Program Timbre while the one which generates the final sound will be called the destination Program Timbre The OB 12 allows you to perform two types of Morph e anautomatic Morph with which the sound transformation takes place within a programmable time or number of bars amanual Morph with which you can control the passage from one Program Timbre to another by means of the MODULATION wheel The minimum position of the MODULATION wheel will be associated to the starting location and its maximum position to the destination location Intermediate positions of the MODULATION wheel will correspond to intermediate parameter interpolation conditions N B The Manual Morph can only be controlled by means of the MODULATION wheel if the M MORPH LED in the WHEEL MODE section is on see also point 7 12 In this position only the destination Program or Timbre will be present In this position only the starting Program or Timbre will be present MODULATION The buttons in the AUTOMATION section can be used to select the two types of Morph the AUTO button enables the automatic Morph while MANUAL activates the manual Morph When the selection is made the display will show Dst 5154 SpaceSound BH src 1 BaluDark SELECTION in case of automatic Morph If the manual Morph is activated the message AUTO MORPH in the video page heading will be replaced by MANUAL MORPH In a
130. ge will be transmitted 228 Z Domain Synthesizer OB 12 at twice the speed of the signal for example the arpeggio tempo or the LFO Rate with which itis synchronised The values available range from 0 1X to 10X Pressing the F2 function key displays the video page relating to the MIDI Real Time messages transmitted Tx COMMANO SETTINGS STATUS H m ur EP SOURCE 10 STOP Az zTOF Tx CLOCK Rsm CMO CLOCK These are the parameters which can be adjusted e STATUS enables ON and or disables OFF transmission of the MIDI Real Time messages e SOURCE specifies the system from which the Start Stop and Continue instructions are to be taken The possible choices are ARPEGGIO when the Arpeggio is activated by pressing a keyboard key the MIDI START message will be sent When the key is released interrupting the Arpeggio the STOP message will be sent Depending on the setting of the STOP AS parameter pressing a key again will send the START STOP or CONTINUE messages PHRASE REC when a Phrase is recalled by pressing a keyboard key the MIDI START message will be sent When the key is released interrupting the playing of the phrase the STOP message will be sent Depending on the setting of the STOP AS parameter pressing a key again will send the START STOP or CONTINUE messages MOTION REC1 when Motion 1 is activated the START message will be sent When it is interrupt
131. gram is able to contain up to four Timbres This is possible because the Program can be divided into Parts to which a given Timbre a given portion of the keyboard and a specific function of the pedal connected to the rear connectors can be assigned As for the TIMBRE operating environment you can also define the various functions associated to the PROGRAM Display the PLAY PROGRAM video page using the PROGRAM button in the MODE amp SET UP section of the central panel FROGRAM a a81 BALUDARK 1 1 MIGHT WAVE SELECTION The functions of the INFOS and SCOPE folders have already been explained in point 6 1 We will now examine the functions used to set a Program Press button F4 to select the EDIT field the display will show the EDIT PROGRAM MENU EDIT FROGRAM 1 SETTINGS EBE FOOT CTRL Z ELI ZETTIPMOZ Z EFFECTZ FHEAZE REC Ad ECGLALTZEF AL TO LINKS TRAaAMSFPOLSER in which you can recall the following functions 1 PART SETTINGS definition of the Parts and their assignment to the keyboard zones 2 BUS SETTINGS assignments of the outputs present on the rear panel to the Parts 3 EFFECTS activation and regulation of the effects and their connection 4 EQUALIZER setting of the equalizer 5 LINKS setting of the LINKS function 6 FOOT CTRL assignment of the functions to the pedals 7 ARPEGGIO setting of the ARPEGGIO
132. he depth of modulation of the pulse width generated by Osc 1 by LFO2 The range of values is 50 maximum modulation with opposite phase 0 no modulation 50 maximum modulation PWM DEPTH FROM EG Pulse Width Modulation Depth From EG PWM DEPTH of the OSC 1 section assigned to EG regulates the depth of modulation of the pulse width generated by Osc 1 by the envelope generator EG The range of values is 50 maximum modulation with envelope reversed 0 no modulation 50 maximum modulation FREQUENCY MODULATION IN THE OB 12 The OSCILLATOR 1 section offers two types of frequency modulation that performed by the second oscillator Osc 2 and that carried out by the two low frequency oscillators LFO1 and LFO2 In the first case the frequencies of the modulant signal received from Osc 2 and the carrier the Osc 1 signal assume almost the same value This means that the spectrum content of the modulated carrier signal is considerably enriched In this case while the carrier determines the height and intensity of the signal the modulant establishes its timbre In case of modulation by the first or second LFO the modulant signal received from the LFO has much lower frequency than the carrier signal If the carrier is thus modulated with a triangular waveform a vibrato effect is produced while modulating with a square waveform provides a trill effect Level Signal generated byLFO Pv eve Signal generated T
133. he force with which the key was pressed Note messages are expressed as a number from 0 to 127 with Middle C represented by the number 60 241 OB e12 zDomain 5 ynthesizer e Note Off this message is transmitted when the key pressed previously is released When it is received the sound of the note of that key is deactivated Each Note Off message includes the following codes Note Off a key has been released Note Number which key has been released Velocity dynamic force with which it has been released N B The Note On message with Velocity 0 is considered as equivalent to a Note Off message The OB 12 sends the Note On message with Velocity 0 e Pitch Bend this message indicates the position assumed by the PITCH wheel e Aftertouch this message transmits the value of the pressure applied to a key after it has been depressed There are two types of Aftertouch messages the channel Aftertouch which transmits the value of this control regardless of the test pressed and polyphonic Aftertouch which specifies the key to which the pressure has been applied e Program Change this message is used to select programs since many instruments have a large number of memories each corresponding to a given program or timbre Once the correspondence between the number assigned to the memory and the Program Change number is known you can select the type of sound you require e Control Change these are control messages often associated
134. he position which does not produce any variation of the sound or the central position for controls with positive and negative values and the far left position for controls with positive values only is assumed on the basis of where the control surface is first touched HOLD when this function is selected each variation of the parameter or parameters assigned to the Ribbon Controller will be maintained even after the finger is removed from the control surface 163 OB 12 z Domain S ynthesizer 8 EDIT TIMBHE The Edit Timbre function allows the user to set all the parameters relating to the chain for generation of a given sound Section 7 Using the panel has already illustrated the functions of all the controls needed to create the main parameters of a sound The display pages allow you to define additional settings for total control of the editing of a timbre This section explains all these settings However anyone who has decided to skip section 7 is advised to read that section of the manual before proceeding with this section For the procedures for selection of the menus and parameters refer to point 6 1 Play Program From any video page press the TIMBRE button in the MODE amp SET UP section of the front panel You have now selected the TIMBRE operating environment and the display will show FLAY TIHERE WOLUME 1 aeai NIGHT WAVE SCOFE The video pages which can be recalled by se
135. ich the filters reach the maximum cut off frequency once the key has been pressed with values from 0 no attack time to 100 maximum attack time DECAY 1 DECAY of the FILTERS section regulates the first decay time or a first section of 177 OB e12 zDomain 5 ynthesizer time taken to reach the DECAY 2 value or the SUSTAIN value if the DECAY 2 moment of time is not present from the moment when the maximum cut off frequency maximum level of the ATTACK section is reached The values available range from 0 DECAY 1 time annulled to 100 maximum time taken to reach DECAY 2 or SUSTAIN SUSTAIN SUSTAIN of the FILTERS section regulates the SUSTAIN level i e the filter cut off frequency kept stable until the key is released see also SUSTAIN TIME The range of values is from 0 after DECAY 2 the cut off frequency goes back to that set using the F 1 Freq and F 2 Delta parameter to 100 maximum variation of the cut off frequency until release of the key RELEASE RELEASE of the FILTERS section sets the release time i e the time the cut off frequency takes to reach the value set with the F 1 FREQ and F 2 RATIO parameters The range of values is from O the cut off frequency goes back to that set with F 1 Freq and F 2 Delta to 100 maximum period of time taken to return to the values of the cut off frequency set with the parameters mentioned above Thanks also to the display section which shows the envelope graph the user
136. ilters with total configuration with regard to their type low pass band pass and high pass and parameters of use Level Low pass filter Frequency Cutoff Freq Level High pass filter Frequency Cutoff Freq Level Band pass filter Frequency As can be seen the two filters can be set as e LOW PASS LP high pass filter which attenuates all the frequencies above the cut off frequency This attenuating action will affect all the harmonics above those present at the cut off frequency thus giving the sound a darker and or softer timbre e HIGH PASS HP high pass filter which attenuates all the frequencies below the cut off frequency Therefore all the harmonics below those which coincide with the cut off frequency are attenuated the resulting sound will be sharper and brighter e BAND PASS BP band pass filter which attenuates all the frequencies not present in a band having its centre at the cut off frequency e FLAT no LED on in this case the filter is not enabled and does not operate in any frequency area In addition to this the user can set the envelope of the two filters meaning how the filter cut off frequency will change thus regulating the timbre of the sound in relation to time An envelope generator supplies a time curve as output in real time This is used to pilot the three main components of a synthesizer described previously within the synthesis chain Generally the filter and amplifier are contr
137. ime by oscillator eve Resulting signal Eee Time 8 2 EDIT OSCILLATOR 2 For sound generation the OB 12 offers two oscillators having output waveforms which are already complex i e not the single triangular pulse or ramp waves This makes available two complex signals which can be added together by means of the OSC COMMON section The combinations of waveforms which can be obtained generated by the second oscillator are infinite in number and are displayed by setting the SCOPE parameter of the video page of the same name at OSCILLATOR2 see point 6 1 To set this section of the generation chain select option 4 OSCILLATOR 2 in the EDIT TIMBRE MENU video page With regard to setting of the waveform the display video pages relating to the three primitive waveforms are identical to those already discussed for Osc 1 as follows EDIT O2CILLATOREZ ONS 8 881 HL LARE Lave Zak STATUS PEE SAL LEVEL TRIANGLE 168 Z Domain Synthesizer OB 12 EDIT O2CILLATOREZ ONS 8 881 HL LARE Lave TRIANGLE STATUS Maa TRIGHGLE LEWEL 76 TRIANGLE EDIT O2CILLATOREZ ONS 8 881 HL LARE Lave FULSE STATUS PEE FLULZE LEVEL z FLULZE WIDTH TRIANGLE As can be seen the SAW and TRIANGLE video pages differ from those displayed for Osc 1 in that the SAW SPREAD and TRIANGLE WRAP parameters are not present while the PULSE is identical Refer to the descriptions of the pages relating to the first oscillato
138. ination connector s of the Part to which the video page refers This parameter can be set with the following procedures MAIN STEREO the Part is sent to the MAIN OUT L Mono and R connectors MAIN MONO L the Part is sent to the MAIN OUT L Mono connector MAIN MONO R the Part is sent to the MAIN OUT R connector AUX STEREO the Part is sent to the AUX OUT 1 and 2 connectors AUX MONO 1 the Part is sent to the AUX OUT 1 connector AUX MONO 2 the Part is sent to the AUX OUT 2 connector To display the video page relating to the part for which you wish to make these settings use the function keys N B Equalizer will not affect the AUX outputs signal 9 3 EDIT EFFECTS The OB 12 section relating to the effects for processing of the sounds is an important useful feature The instrument makes available four main types of algorithm fully programmable and configurable within the effects chain OVERDRIVE 16 types of distortion effects which simulate various amplifiers brought to saturation CHORUS algorithm capable of modulating the signal to add depth and space to the sound DELAY by adding delayed copies to the original signal this algorithm enables you to obtain delay and echo effects REVERB effect capable of simulating 16 types of room and reproducing their sound characteristics such as the reflection and absorption of the walls As we have said in addition to programming the type and characteri
139. inations As well as this the resulting waveform can be combined with the result of the mixing of Osc 1 with Osc 2 with a Ring Modulator and white noise THE RING MODULATOR This function modulates or more technically multiplies two signals in our case the one from the first oscillator with the one generated by the second oscillator with a ring modulation technique The resulting sound features a large number of harmonic and unharmonic partials not present in the harmonic spectrum of the original signals making it more metallic dissonant and almost out of tune WHITE NOISE When creating a timbre it is sometimes necessary to bear in mind noises present in the original sounds or unharmonic elements This is done using white noise generators White noise is wide band non periodic signal containing all the frequencies in the audible band which you can use to add a slight hiss to the original signal Harmonic content of white noise In addition this section of the generation chain allows Envelope Depth you to define the envelope which will control the two oscillators The envelope concerned will specify how the frequency of the signals generated by Osc 1 and Osc 2 will vary over time or in other words how the pitch of the sound will vary over time Time Key On For further information about the envelopes refer to point 8 4 From the EDIT TIMBRE MENU select point 2 OSC COMMON the display will show the f
140. ing this function once a keyboard key pilot key is pressed the OB 12 performs a musical phrase recorded previously continuing to play it in a loop until the key concerned is released provided the HOLD function is not active The OB 12 allows recording of up to four Sets of musical phrases each with maximum capacity of 16000 notes and minimum resolution of 96 The MIDI data relating to the Phrase being played will be transmitted on the MIDI OUT port except for any filters enabled for the note messages Point 9 7 describes all the display procedures relating to this function N B The ARPEGGIO and PHRASE RECORDER automation functions are mutually exclusive so if the Arpeggio is active and the Phrase Recorder is selected the former is disabled and vice versa The panel section dedicated to the Phrase Recorder comprise the following controls e TEMPO this trimmer allows you to regulate the metronome tempo for performance of the arpeggio The range of values is from 25 BPM Beats Per Minute with the trimmer turned completely to the left to 250 BPM with the trimmer turned completely to the right e TAP TEMPO as for the Arpeggio this button allows you to set the metronome tempo for performance of the musical sequence The LED on the button displays the current metronome tempo and if the key is pressed twice the OB 12 will calculate the time between one press and the next in order to set the tempo for performance of
141. ingle part of a Program to be assigned to each individual output thus assuring spectacular acoustic effects For example fiokipeweredbox if each of the four Parts of a Program contains a different timbre and each single part is assigned to each single output you will be able to listen to each timbre by means of a different diffuser or monitor You will also be able to address the signal present on the MAIN OUT outputs to amplified diffusers and to listen to the signal present on the AUX OUT outputs by means of a monitor Instead of the monitor you can also listen to your sound on headphones by taking the signal from the PHONES connector Right powered box 131 OB e12 zDomain S ynthesizer 4 2 MIXING CONSOLE Connecting the OB 12 to a mixing console will allow you to obtain excellent advantages with the possibility of using four outputs For example you can address the MAIN OUT connectors to two channels or to one stereo channel and the AUX OUT connectors to two different channels so that the signals on the outputs can be processed differently This solution is especially useful when for example you wish to process the individual Parts of a Program differently from each other 4 3 MIDI UNITS The OB 12 can be MIDI connected to Master Keyboards Sequencers another synthesizer or a Personal Computer MIDI interface thus allowing the use of the most sophisticated musical softwar
142. ion of MIDI Real Time messages DESTIN Destination specifies the system to be controlled by the Real Time commands The possible choices are MOTION REC1 the Real Time messages control the starting and interruption of Motion 1 MOTION REC2 the Real Time messages control the starting and interruption of Motion 2 AUTO MORPH the Real Time messages control the starting and interruption of the automatic Morph If the RX CLOCK folder is now selected using function key F4 it will be possible to display the video page relating to setting of the MIDI Clock message being received The video page displayed is the following DVERALL CLOCK lt Ta J1 EP JLILILILIL FHEAZE 2 a rmm MORPH OFF TX CLOCK in which the following parameters can be seen ARPEGGIO sets the multiplication factor from 0 1X to 8X of the incoming MIDI Clock assigned to the Arpeggio If the parameter is set as OFF the Arpeggio Tempo will not be linked to the MIDI message mentioned PHRASE sets the multiplication factor from 0 1X to 8X of the incoming MIDI Clock assigned to the Phrase Recorder If the parameter is set as OFF the Phrase Recorder Tempo will not be linked to the MIDI message mentioned e AUTO MORPH sets the multiplication factor from 0 1X to 8X of the incoming MIDI Clock assigned to the automatic Morph If the parameter is
143. irms it In this case the display will inform the user that the data in the Phrase are being deleted RECORD FHEAZE TRIGGER Please Wait Delete Phraset If the GO function is selected using the F4 button the recording procedure will be started The display will show RECORD FHEAZE RECORDING DH SET 1 AMD TRIGGER Ce CURRENT MEWSURE 1 1 3 RESET TORT DOME The START command can now be selected using the F2 button to start recording RECORD PHRASE RECORDING DH SET 1 TRIGGER Ce CURRENT MEASURE 1 23 RESET TOF CLEAR DOME The CURRENT MEASURE parameter shows the numbers of the bars as they pass useful during over recording to allow optimum placing of any added notes while the TEMPO field indicates the metronome tempo for the recording The screen also contains the STOP F2 command for stopping the recording and CLEAR for deleting the data present when the key itself is pressed If RESET button F1 is selected the recording will be returned to bar 1 1 210 Z Domain Synthesizer OB 12 After you have played the musical phrase of your choice select the DONE option using button F3 to save the data in the Set already selected of the Phrase Recorder memory The display will indicate that saving is taking place by means of the following video page RECORD FHEAZE k TRILL Please Wait Store Phraset
144. irst page of the section concerned EDIT COMMON oRHz4 a 9 1i HL LARE MAVE EALAHCE1 BET EALAHCEZ qe EALAHMHCE Fe EALAHMHCE EH VELCOFE EH v DEFTH in which you can set the three mixing functions described at the start of this section using the following parameters BALANCE 1 BALANCE OSC 1 gt OSC 2slider regulates the balancing of the signals obtained from Osc 1 and Osc 2 in a range between 0 Osc 1 signal only and 100 Osc 2 signal only Intermediate values will give intermediate balances between the two signals 171 OB e12 Z Domain S ynthesizer BALANCE2 BALANCE RING MOD slider regulates the quantity of signal obtained from the first balancing block which will be modulated by the Ring Modulator in a range of values from 0 no modulation by the Ring Modulator to 100 signal totally modulated by the Ring Modulator Intermediate values will give intermediate quantities of modulated signal e BALANCES BALANCE NOISE slider sets the balancing between the signal obtained from the second balancing function and the white noise in a range of values between 0 no white noise and 100 white noise only Intermediate values will give intermediate balances between the two signals We will now move on to setting of the envelope dedicated to the two oscillators described by the diagram at the start of the section When the ENVELOPE folder is selected the display will change to EDIT 02C
145. ission of exclusive system messages assigned to the controls 3 MIDI SYNC setting of the MIDI Clock Start Stop and Continue messages in reception and transmission 4 BULK DUMP activation of the Bulk Dump procedure 5 FOOT CONTROL assignment of system functions to the pedals 6 DIGITAL OUT enabling of the DIGITAL OUTPUT rear connector 7 GLOBAL SETUP system global settings 8 TOOLS utility function relating to the internal memory of the instrument the settings made in the System environment are automatically saved when another operating environment is selected 10 1 MIDI COMMON The MIDI COMMON section comprises four subsections called MIDI Channels Setup MIDI In Filter Setup MIDI Out Filter Setup and MIDI Program Map Settings We will now take a detailed look at these sections From the EDIT SYSTEM MENU select field 1 MIDI COMMON the display will show the video page relating to the MIDI Channels Setup function HIDI SETIF HODE FLT OUT FUT FRG 222 Z Domain Synthesizer OB 12 The purpose of this function is setting of the procedure for reception and transmission of MIDI messages with consequent definition of the channels This video page contains the MODE parameter which defines this procedure by setting this parameter as GLOBAL you can set the single MIDI channel for reception and transmission of messages using the CHANNEL option In this case the messag
146. key deletes the Motion while the ESC button can be pressed to abort the deletion procedure If the contents of the Motion are deleted the display will show the operation by displaying the pop up menu RECORDER M TIN LocCATIONM Please Wait ENTE Delete Hot iont From the previous video page pressing button F2 associated to the GO function starts the recording procedure One very important feature of the Motion Recorder is that as well as moving the controls you wish to record you can also play on the keyboard in order to check the quality of the Motion immediately N B Only continuous controls i e trimmers and or sliders can be saved in a Motion This means that the pressing of a button will not be recorded If the GO function is then selected the instrument will enable recording and the display will show RECURD ING OH LOCATION 4 CURRENT 1 141 44 RESET STARAT DOME You can now select the START using the F2 button to start recording RECORDING OF LOCATION 4 CURREMT MEASURE 1 1944 RESET TOF CLEAR DOME 218 Z Domain Synthesizer OB 12 The CURRENT MEASURE parameter shows the numbers of the bars as they pass useful during over recording to allow optimum placing of any added notes while the TEMPO field indicates the metronome time for the recording The screen also contains the STOP F2 command for stopping the recording an
147. l multi instrument sounds The same type of information transfer is used for recording MIDI sequences A PC or a sequencer can be used to record the MIDI data transmitted by the OB 12 or by any other instrument When these recorded data are sent to the OB 12 it automatically plays back the recorded performance CAUTION Always use cables of the best quality for the MIDI connections to and from the OB 12 You are also advised never to use cables more than 5 metres long MIDI Channels MIDI is able to transmit a multitude of digital data by means of a single cable and therefore a single connector thanks to the MIDI channels There are 16 MIDI channels so the MIDI messages are processed when the channels of the receiver and transmitter devices correspond The OB 12 is able to receive and transmit information on one or four MIDI channels simultaneously see point 10 1 Main MIDI messages transmitted and received by the OB 12 MIDI includes various types of messages used to communicate various types of data MIDI messages can be subdivided into messages managed separately on each channel and messages dedicated to the entire system The channel messages include e Note On this message is transmitted when a note is played i e when a keyboard key 15 pressed Each Note On message includes the following codes Note On when a key was pressed Note Number the key and thus the relative note which has been played Velocity dynamic of the note t
148. lay the selection has been made If no LED is on the filter will be disabled FLAT condition e FILTER 2 the procedure for selecting the type of the second filter is identical to that described for FILTER 1 The behaviour of the various types of filters is described in the next page 153 OB e12 5 ynthesizer Level Level Level LP BP HP LP BP HP LP BP HP we o XC o o X FILTER1 FILTER1 FILTER1 Frequency Frequency Frequency A A A Cutoff Freq Cutoff Freq Cutoff Freq e ATTACK Attack Time this slider allows you to regulate the attack time of the filter envelope meaning the time the sound takes to reach the maximum cut off frequency when the note has been played e DECAY Decay Time this slider allows you to regulate the decay time meaning the time from when the filter reaches the maximum cut off frequency to when it reaches the Sustain condition e SUSTAIN Sustain Level regulates the level of maintenance of the cut off frequency value The duration of this segment is controlled by the Sustain Time parameter displayed in the EDIT FILTERS ADV ENV display page see point 8 4 e RELEASE Release Time regulates the release time meaning the time from when the key is released to when the filter no longer affects the sound oee next the example of a typical ADSR Attack Decay Cutoff Freq Sustain Release envelope applied to the filter which therefore specifies how the character of
149. lecting the INFOS and SCOPE folders have already been described in point 6 2 We will now examine all the procedures for modifying the sound generated by the OB 12 Select the EDIT function the display will change to EDIT TIMERE 2 050 J LFO Z OZCILLATOR L d OZCILLATORER coONHTEOLLEFRFI E FILTEFE This video page shows the menu for editing a Timbre It consists of the following sections 1 LFO1 regulation of the parameters relating to the first low frequency oscillator 2 OSC COMMON regulation of the common parameters of Osc 1 and Osc 2 3 OSCILLATOR 1 setting of the parameters for control of oscillator 1 4 OSCILLATOR 2 setting of the parameters for control of oscillator 2 5 FILTERS regulation of the parameters relating to the two filters 6 AMPLIFIER regulation of the amplifier setting parameters 7 LFO2 setting of the controls of the second low frequency oscillator 8 MODE setting of the keyboard modes unison and oscillator transposition 9 CONTROLLERS setting of the Velocity Aftertouch Ribbon Controller and PITCH and MODULATION wheels As you will see when modifications are made to the parameters of the various sections each change is shown on the display not only numerically but also in graphic form to give a full understanding of what is being adjusted To make the various sound generation sections clearer the poi
150. lgorithm allows the distortion required to be inserted in the effects chain Conventional 60s style light distortions can be obtained but the instrument can also produce powerful sounds typical of contemporary rock music The video page is as follows EDIT OVERDRIVE 981 Ta TLS p ee DRIVE 11 TYFE HODERM OO LEVEL FAFEZAHETEFE KEHOE amp z rIoHED TOSDRLVE CHORUS DELAY REVERE containing the following programming parameters STATUS OVERDRIVEJ inserts the Overdrive effect in the effects chain INSERTED or bypasses it BYPASSED e DRIVE regulates the degree of distortion of the signal e TYPE sets the type of simulated amplifier brought to saturation e HI DAMP regulates the cut off frequency of a low pass filter capable of eliminating all the frequencies above that set to allow control of the signal timbre e LEVEL LEVEL with the LED of the LEVEL PARAMETER button off regulates the level of the signal leaving the effect e PARAMETER KNOB ASSIGNED TO defines which of the parameters shown in the video page can be regulated using the trimmer associated to the Overdrive effect the first on the left in the EFFECTS section of the front panel when the LED of the LEVEL PARAMETER key is on Now use the F2 button to select the CHORUS folder and thus display the page for programming the effect The Chorus is generated using two lines one remains unchanged
151. luding the performance mode enabling of the Portamento or Unison status and transposition of the oscillators by octaves 10 EFFECTS section Here you can enable and set the level of a parameter assigned by means of the programming pages of the four effects offered by the OB 12 i e Overdrive Chorus Delay and Reverb 11 ARPEGGIO section Here you can activate and set the basic characteristics of the function used to arpeggio chords or single notes being played on the keyboard 12 PHRASE section This section allows you to enable and set the PHRASE RECORDER system used to record a musical phrase and repeat it or play phrases already memorised at the touch of a keyboard key 13 CONTROL CENTER section This section contains all the commands for display operations for assignment of parts to the keyboard and for the MOTION and MORPH functions See point 3 2 CONTROL CENTER Section for further information 14 EQUALIZER section This section allows equalisation of the sound using an equaliser which can be configured as graphic or parametric 15 VOLUME section This section contains the MASTER VOLUME slider for control of the instrument s overall volume 16 PITCH and MODULATION wheels You can use the PIT CH wheel to make various continuous adjustments to the tuning in a sharp or flat direction The MODULATION wheel on the other hand can be used to set the quantity of signal from the LFO 2 to be used to modulate the
152. mbre is created starting from a waveform with a high harmonic content in our case the sum of the signal produced by the two oscillators the Ring Modulator white noise and the modulations of the various signals which is then filtered to eliminate or attenuate the superfluous and or unwanted harmonics The name subtractive synthesis therefore derives from the fact that harmonics are subtracted by a filter Analog synthesizers used normally to use VCFs Voltage Controlled Filters with voltage control used to vary the cut off frequency This allowed real time control from a panel and above all by an envelope generator In modern synthesizers VCFs have been supplanted by DCFs Digitally Controlled Filters which not only guarantee immunity from noise but also offer unlimited flexibility of use DCFs are produced in software version with DSPs Digital Signal Processors Let us see for example how a square waveform is modified by the action of the filter in the various mode and cut off frequency configurations Naturally the above diagrams are only an example of the waveform leaving the filter since as we have seen the waveforms generated by the two oscillators are much more complex 173 OB 912 Z Domain Synthesizer Naturally the above diagrams are only an example of the waveform leaving the filter since as we have seen the waveforms generated by the two oscillators are much more complex The OB 12 makes available two f
153. mination of the corresponding LED N B If you have deleted the square waveform by means of the WAVE MIX slider or the WAVE SELECT button referred to this signal you will not be able to hear any acoustic effect generated by this control 72 SETTING the SECOND WAVEFORM OSC2 As for Oscillator 1 Oscillator 2 also generates the basic waveform of the sound you are creating Therefore the two waveforms can be mixed using the BALANCE sliders in the OSC COMMON section to obtain the most widely varying sound combinations Since the functions of these two sections are virtually identical the panel section is also very much the same As we can see the controls relating to the second oscillator are WAVE MIX you can use these three sliders to mix WAVE MIX the three waveforms which will then form the output of the second oscillator As described on the panel the first slider controls the level of the sawtooth waveform the second controls the triangular waveform and the third the square waveform t PWM DEPTH LFO1 LFO2 EG e WAVE SELECT KBD TRACK 0 4 0 Q0 148 Z Domain Synthesizer OB 12 WAVE SELECT you can use these keys to activate deactivate the waveform associated to them The LEDs above the keys display the status of the waveform according to the following rule LED on waveform present LED off wavefo
154. mmer slider whose movement has been recorded e The third column displays the value assumed by the control at that moment The encoder or the CURSOR keys can be used to scroll through all the events and select the one you require setting it in the display zone in reverse You can use the function keys to perform the functions described on the display in relation to the selected note Therefore button F1 enables the CLEAR function used to delete the selected note event The display will then request confirmation before proceeding 1 1 461 Envelope Re lease 1 1 41 Ampl Enve lope Decay 1 a HE ERE Enue Lope Decay 1 uou really clear the event E 1 EXTER to confirm or ESC to abort As the Pop Up menu states if the ENTER key is pressed the event will be deleted while ESC will abort the operation You can use button F2 to enable the CHANGE command allowing you to change the value of the parameters relating to the selected event After this button is pressed the display will show a cursor on the position value of the event 1 1 861 Ampl Enve lope Re lease 1 1 81 Ampl Enve 1 ia Ml 1 46 Amol Envelope Decay 1 1 1 146 Ampl Envelope Re lease 1 1 11 Ampl Envelope Decay 1 CLEAR CHANGE IH ERT DOME If the cursor is located in the first column default when the function is accessed you can vary the position of the event within the Motio
155. mna 1 e os wee o se errects 1 2 9 vetoomv cone o 07 errects Excon 3 e 1223 o se maa errects xwoc 3 a 9 AMP AMOUNT INFL_ o so Errecrs OVERDRIVE STATUS veroomv _Awp atcKinrL o oo errects overoawe rever 3 16 oner Aue oecavr NFL_ o or errects 7 00a rircurorr wr o o2 errects ovegoavE vec 1 16 _ 99 0 27 EFFECTS OVERDRIVE HIDAMP 0 94 0127 f EFFECTS CHORUS STATUS 1 95 027 CHORUS LEVEL o 96 0127 EFFECTS CHORUS verocmv BALANCE 2INFL_ o 97 oner EFFECTS cHORUS DEPTH 23 ar veLocmv s wr o os 027 __errects CHORUS FeEDBACK 1 24 veLoomv oscoarekr we o 09 EFFECTS CHORUS PREDELAY 25 omno veLocmv o moo oner errects 1 26 0 04 _ o 101 errects bewavieve 1 27 07 vetociry osccooerue rt o 102 oner errects 26 9 27 osci pwoTH NFL o
156. n After using the CURSOR keys to locate the cursor in the second column you can change the type of control recorded while in the third column you can change the value assumed by the control in the selected moment of time To modify this parameters you can use also the controls on the front panel Press ENTER to confirm the settings made or the ESC button to abort the function Another function available in this video page can be recalled using button F3 INSERT and allows another note event to be inserted in the Motion When this button is pressed a movement of the LFO1 section RATE trimmer with value 50 will be inserted before the event currently selected You can then use the CHANGE command to vary the above values and set the event you require As for the other functions use the ENTER to confirm the operation or the ESC button to abort the insertion of the event After making the changes you require select the DONE command with the F4 button to save them or press ESC to abort 220 Z Domain Synthesizer OB 12 9 12 WHITE PROGRAM The WRITE PROGRAM function allows a Program to be saved in one of the 256 memory locations assigned to it To enable the function press the WRITE from any Program environment video page the display will show WRITE FECuGFEUM CURRENT LoOrcaTIOM 4 a OD OlL DE ZTIHMATICOH z ZOmDmi Ea3LuLDpack FRESS TO OR ABORT The
157. n displays the unusable Timbre datas compared to the maximun number and one in the check phase The unusuable timbres will be replaced by INIT TIMBRE 240 Z Domain Synthesizer OB 12 11 3 MIDI WHAT MIDI IS The MIDI Musical Instrument Digital Interface allows instruments of different makes and types to communicate with each other by means of this clearly specified protocol of codes This makes it possible to create systems of MIDI instruments offering much greater versatility and control than would be possible with isolated instruments To make this communication possible all MIDI instruments have two or three 5 pin DIN connectors called MIDI IN Connector by means of which the device receives the MIDI data emitted by other units MIDI OUT Connector by means of which the device transmits the MIDI data it has generated to other units MIDI THRU This connector used to connect several units in series emits the MIDI data exactly as received by the respective MIDI IN port For example most instruments equipped with MIDI interface transmit MIDI messages which specify which note has been played and with what dynamic through the MIDI OUT connector If this connector is connected to the MIDI IN of another MIDI instrument such as a synthesizer or an expander this device will respond precisely to the notes played on the transmitter instrument This allows in you in effect to play two instruments at once and obtain specia
158. n the System environment in this case the function is independent of the Program selected However in the Program environment you can assign different functions to the same pedal for the different parts which make up a Program The pedal will carry out both the functions assigned in a System environment and the functions assigned in a Program environment 201 OB 12 zDomain 5 ynthesizer From the EDIT PROGRAM MENU video page select field 5 FOOT CTRL The display will show FOOT CONTROL SETUP OH zA egi FART E FUNCTION ZLHITCHi SWITCH FEDAL FEDAL This video page allows a given function to be assigned to the foot switch pedal connected to the PEDALS SWITCH 1 connector The parameters displayed are e PART defines the Part to which the function specified with the FUNCTION parameter refers When other Parts are selected the function assigned to the previous Part remains in the memory e FUNCTION assigns the function to the foot switch pedal for the Part specified with the parameter of the same name The parameters which can be controlled are the following SELECTIONS FUNCTIONS n On SELECTIONS FUNCTIONS ee on PANEL DISABLED no function applied AUTOPAN the notes played after having SUSTAIN pressed the pedal will remain LFO1 WAVE hanging till it will be released it activates the Timbre following the TIMBRE UP LFO2 WAVE it activates the Timbre previous to TIMBRE DOWN the
159. ncy MODE of ARPEGGIO RIB CTL REL disactivates the Relative of the id oia MODE UP uP DOWN UP DOWN RANDOM Ribbon Controller Arpeggio posi WI de MODE of ARPEGGIO OVD BYPASS bypass activation cyclical of OVERDRIVE of MODE DW RANDOM UP DOWM DOWN UP IUS PERS single Arpeggio range change with RANGE of CHORUS of ARP OCT UP eaa ione ed ARPEGGIO CHOR BYPASS bypass activation cyclical of Chorus EFFECTS ARP OCT DW m d A DEL BYPASS bypass activation cyclical of Delay DELAY of EFFECTS PHR ON OFF Phrase Recorder on off ON OFF of PHRASE REV BYPASS bypass activation cyclical of Reverb LOC1 of bypass activation cyclical of BYPASS of MOT1 ST STP AUTOMATION EQ BYPASS Equalizer EQUALIZER You can use the F2 key to select the SWITCH2 folder and display the video page relating to setting of the second pedal connected to the PEDALS SWITCH2 connector Refer to the information given for the settings relating to Switch1 for the Switch2 video page If you now select the PEDAL1 folder you can display the video page relating to the settings of the expression pedal connected to the PEDALS EXP 1 connector FOOT CONTROL FUMCTIONMN LFOL HIH iz M s ZLHITCHI SWITCH FEDAL FEDAL The parameters which can be modified are the following e FUNCTION assigns the function to the expression pedal e MIN and MAX set the minimum and maximum values of the parameter controll
160. ne type of arpeggio for each program Refer to point 9 6 Arpeggio Settings for further information about this function The front panel section dedicated to the arpeggio comprise the following controls e TEMPO this trimmer regulates the metronome tempo for performance of the arpeggio The range of values is from 25 BPM Beats Per Minute with the trimmer turned completely to the left to 250 BPM trimmer turned completely to the right 138 Z Domain Synthesizer OB 12 TAP TEMPO this button allows you to set the metronome tempo of the arpeggio by pressing the button itself The LED on the button displays the current metronome tempo and if the key is pressed twice the OB 12 will calculate the time between one press and the next in order to set the arpeggio tempo If a remote MIDI CLOCK source is connected the value of this parameter will be that specified by the MIDI message Any manual settings will be ignored HOLD this button allows the user to enable the HOLD function by means of which the OB 12 will perform the arpeggio even after the keyboard keys have been released With the function disabled when the keyboard keys are released the arpeggio will cease The button LED displays the status of the function in accordance with the following rule ARPEGGIO LED on function active LED off function disabled With the function active if another note or another chord is played after the one on which the instr
161. neously by pressing one key on the keyboard enriching the sound and giving it more body When this function is used the polyphony will be reduced to 4 notes e UNISON activates and disables the Unison function following the rule LED on function active LED off function disabled MONO This subsection allows you to set the keyboard mode i e polyphonic or monophonic If the monophonic keyboard is used the Legato function will also be available Using a polyphonic keyboard allows more than one note to be played at once while if the keyboard is monophonic you will not be able to play more than one note at the same moment this may cause problems on some occasions but at other times it may be useful for example when playing the timbres of wind instruments or old analog synthesizers which had polyphony of one note i e they were monophonic 158 Z Domain Synthesizer OB 12 The Legato function only available with monophonic keyboard allows a succession of notes to be played without interruption This means the attack on the following note is eliminated and only the pitch is changed Level MONO Monophonic this button allows you to set the keyboard as monophonic following the rule Monophonic LED on keyboard monophonic 2 Tine LED off keyboard polyphonic n e LEGATO this button allows you to enable the Legato function following the Level logic Monophonic with L
162. ng measures Reorient or relocate the receiving antenna Increase the separation between the equipment and receiver Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced Radio Tv technician for help The user is cautioned that any changes or modification not expressly approved by the party responsable for compliance could void the user s authority opearate the equipment
163. ns of the FILTER 1 IN and FILTER 2 IN parameters to be sent separately to the two filters If BALANCE 0 is set the signal will be sent only to FILTER 1 with BALANCE 100 the signal will only be present on FILTER 2 Intermediate values of this parameter will provide intermediate balances between the quantities of signal sent without distinction to the two filters FILTER 1 IN selects the source section from which the signal to be sent to FILTER 1 is to be obtained FILTER 2 IN selects the source section from which the signal to be sent to FILTER 2 is to be obtained The values which can be assigned to the FILTER 1 IN and FILTER 2 IN are as follows OSC MIX signal obtained from both the oscillators added when desired to the Ring Modulator and white noise OSC 1 signal obtained from the first oscillator OSC 2 signal obtained from the second oscillator RING MOD signal obtained from the ring modulator Ring Modulator of the OSC COMMON section NOISE while noise only Noise of the OSC COMMON section If the NEXT function is now selected the display will show the two pages relating to the programming of the envelope to be applied to the filters The first page comprises SDECAYi 1 SUSTAIN 7 RELEASE 43 EDIT FILTER OFS4 881 HL LARE MAVE EMY containing the following programming parameters ATTACK ATTACK of the FILTERS section sets the time in wh
164. ntee perfect synchronisation between the two sections To deactivate the Motion press the LOC1 or LOC2 button associated to it AUTO MANUAL ENABLE PLAYING BACK A MOTION During playback you can use a Motion in two different ways In one operating mode a Motion is activated while you are playing Therefore during the performance you press the LOC1 or LOC2 button associated to the Motion you require and the sound will start to change when the Motion starts to be played back The change of the sounds starts after having pressed MOTION1 or MOTION2 Motion On In the other mode of use you activate the Motion you require before starting to play This means you can make use of variations in the timbric structure of the sound right from the beginning of your performance arpeggio or Phrase 215 OB e12 Z Domain 5 ynthesizer The change of the sound starts having pressed a key on the keyboard Motion On Note On In both cases to stop playback of the Motion press the relative button The LED in question will go out to confirm that the function has been disabled When the playback ends the sound will have the timbric structure set at the end of the Motion to restore the original settings select the Program or Timbre again N B the MIDI data relating to the controls modified using a Motion will be transmitted to the MIDI OUT connector Consult point 10 2 for details of assignmen
165. nts are shown in reverse The function buttons beneath the display can be used to select the folder or function in line with the button concerned Therefore in this video page you can select SELECTION with button F1 INFOS with button F2 SCOPE with F3 and EDIT with F4 Use the CURSOR keys to select the options in the video pages and modify them with the encoder or the number keypad In video pages which do not contain any parameters whose values can be modified such as the Edit Program Menu video page you can use the encoder as well as the CURSOR keys to select the options displayed Another rule to be noted is that while the folders display the current page and additional pages of the same menu the options not contained in a folder correspond to operations For example EDIT means editing CLEAR delete GO proceed etc These rules apply to all video pages shown on the display Refer to them for all the video pages described in the manual Now select the INFOS folder the display will show IHFO Z noRH 24 85951 EaLuDparck This video page contains the main information about the Program i e Part displays the part for which the information is being displayed and the timbre associated to the part concerned The PART button can be used to select the part required Level the level of the Timbre contained in the Part concerned Output the rear panel outputs associated to the Part In
166. nts which follow will not appear in the same sequence as on the panel and on the display from the EDIT TIMBRE MENU video page instead reference will be to their position within the generation chain and therefore as 164 Z Domain Synthesizer OB 12 they have been described in section 7 Alongside the name or code of the parameter whose function is being discussed in round brackets you will find the full name of the parameter and of the panel control found in the section whose contents are being explained used to modify the parameter in question If the description of the panel control is accompanied by reference to the section in which it is found this means that the control in question also appears in other sections of the front panel 8 1 EDIT OSCILLATOR 1 In real musical instruments there is always a mechanism which transforms a mechanical action pressing a keyboard key for example or a fluid dynamic effect blowing into a wind instrument for example into an energy wave the sound wave This energy or the sound wave is the basis for creating a sound In synthesizers the basic waveform is generated by the oscillators Oscillators may be analog VCO Voltage Controlled Oscillator or digital DCO Digitally Controlled Oscillator as in the case of the OB 12 Oscillators normally generate three fundamental waveforms e asawtooth waveform or ramp e atriangular waveform e asquare waveform or pulse H i
167. o be played in mono mode When a note has priority it means that those played before or after it will not be performed by the instrument When the TIME option is selected the note played will be the one associated to the key pressed last with HIKEY set the note taking priority over the others will be the highest while if LOWKEY is set the lowest note takes priority VOICE RESERVE sets the minimum number of voices the instrument must play for the part considered The OB 12 automatically adapts its maximum polyphony to the complexity of the timbre and what is being performed on the keyboard This means that certain notes may be eliminated from the performance This parameter allows the user to inform the instrument of the minimum number of voices which must always be performed at the expense of what is being performed with other Parts If the UNISON folder is now selected it will be possible to display the parameters relating to the function of the same name This function allows the timbre to be played at the chosen moment as if three identical timbres were really active simultaneously giving a sound with more body In this case the polyphony will be reduced by one third since the instrument is generating three timbres simultaneously instead of one You can also set the timbres out of tune with each to make the sound even deeper and more complex EDIT KEYTEOGRO MODE Of 4 861 6 Wave STATIS DETLIHE COAFEZE d DETLIHE
168. o setting of the Aftertouch Unlike the Velocity the Aftertouch is the pressure applied to a given key after it has been pressed Thanks to this function you can control several parameters after a keyboard key has been pressed by applying further pressure to the key EDIT CONTROLLERS 9214 HL LARE Lac Ta TLS Sor CURVE zZOFTI FARFAMETERZFLT CLUTOFF INFLUENCE amp 4 wELOCITT FIEEDON containing the following parameters STATUS AFTER ONJ activates ON or deactivates OFF the Aftertouch CURVE selects the Aftertouch curve shown on the left of the display The curves which can be selected are SOFT1 Light response curve which allows high Aftertouch values to be reached quickly SOFT2 Response curve less light than SOFT1 which still guarantees that high Aftertouch values are reached quickly although in a more controllable manner LINEAR Straight response curve so that the pressure applied to the key after it has been depressed naturally is converted in linear proportion into Aftertouch data HEAVY1 Although a certain degree of linearity is maintained with this curve it will be more difficult to reach high Aftertouch values HEAVY2 Hard curve in which strong pressures will have to be applied to the key to reach high Aftertouch values CUSTOM Curve with responses which are not uniform throughout the range of values This curve is soft for low levels of pressure on the key heavy for me
169. ock for synchronisation of the Phrase Recorder the Arpeggio LFO1 and LFO2 with remote MIDI units If for example you are using a remote sequencer to control the OB 12 sound generation section and you are also playing on the instrument s keyboard by synchronising the Arpeggio or LFO1 or LFO2 with the sequencer performance time identified by the MIDI Clock transmitted by the sequencer itself you can use an arpeggio tempo and or LFO1 2 modulation frequency identical to the sequencer performance tempo You can also synchronise the OB 12 Phrase Recorder recording time with the performance time of a remote sequencer to ensure perfect recording of the data contained in the sequencer N B Some MIDI instruments only transmit MIDI Clock messages during recording and or playback Consult the user manuals of these units to check the exact MIDI Clock transmission mode Moreover if the remote MIDI instrument connected to the OB 12 transmits MIDI Real Time STOP messages at the end of the playback the synchronisation might not take place correctly Other settings in this function concern the MIDI Real Time START STOP and CONTINUE messages transmitted and received The OB 12 is able to transmit these MIDI messages on the basis of the commands used on the Arpeggio the Phrase Recorder the Motion Recorder and the Auto Morph This means that you can send these MIDI messages to start and stop a MIDI sequence recorded in a sequencer for example by activating
170. octave higher than that of LFO1 1 filter cut off frequency one octave higher than that of LFO1 14 1 2 filter cut off frequency 1 5 times higher than that that of LFO1 2 filter cut off frequency two octaves higher than that of LFO1 3 filter cut off frequency three octaves higher than that of LFO1 OFF filter disabled Using this filter is useful if modulant signals different from the standard signals generated by the LFO are required 182 Z Domain Synthesizer OB 12 8 7 EDIT LFO2 As for LFO1 LFO2 allows you to modulate the signal in the various generation sections of the OB 12 with a low frequency signal The main feature of the second low frequency oscillator is that the quantity of modulation can be regulated by means of the MODULATION wheel on the left of the keyboard From the EDIT TIMBRE MENU select option 7 EDIT LFO2 The display will show EDIT ON 4 01 Hi3ht Wave WAYE TYFE SGU4RE SE DEF TH This video page contains the following programming parameters WAVE TYPE WAVE SELECT of the LFO2 section sets the waveform of the signal leaving LFO2 The possible choices are SAW sawtooth waveform TRIANGLE triangular waveform SQUARE square waveform RANDOM waveform which assumes random levels RATE RATE of the LFO2 section regulates the frequency of the signal leaving LFO2 in a range of values from 0 minimum frequency to 100 maximum frequency If the DE
171. olled as in the OB 12 by an ADSR envelope ADSR being the acronym of Attack Decay Sustain and Release Level ATTACK DECAY SUSTAIN RELEASE TIME TIME TIME 1 DECAY2 Time 174 Z Domain Synthesizer OB 12 An ADSR envelope is therefore subdivided into ATTACK Time the time which passes from when a key is pressed to when the maximum level is reached DECAY Time the time taken to pass from the maximum level to the SUSTAIN level SUSTAIN Level the level at which the signal remains as long as the key is kept pressed HELEASE Time time the level takes to return to zero once the key has been released In this example we have been talking about level as we will see when we are dealing with the filter this is really the operating frequency of the filter The envelope which controls a signal level is applied to the amplifier see point 8 5 But now we will move on to the Filters section programming pages From the EDIT TIMBRE MENU select field 5 FILTER and the display will show EDIT FILTER ON 4 801 Hight Wave FILTER N F i FREQ 18 FILTERZ HIGH Fass F Z DELTA a lt F FILTERS DEF TH ROUT containing the following programming parameters FILTER1 FILTER 1 sets the type of the first filler by means of the values LOW PASS BAND PASS HIGH PASS and FLAT already described F 1 FREQ Filter 1 Frequency FREQUENCY regulates the c
172. ols over a given period of time can be recorded You can use AUTO and MANUAL buttons to recall the automatic or manual Morph functions while the ENABLE key allows you to start the procedure concerned The LOC1 and LOC2 can be used to recall one of the two Motion Locations while the REC key enables recording of the movements of the panel controls 3 3 The REAR PANEL ii MIM poo M da haa PEDALS DIGITAL AUX OUT MAIN OUT TN OUT THRU IN EXR2 EXP1 SWITCH SWITCH1 8 1 L Mono m3 27 POWER switch Switch used for turning the OB 12 on and off 28 AC INPUT connector Connect the power supply lead provided with the instrument to this connector 29 MIDI connectors Connect the MIDI units you wish to use together with the OB 12 to these connectors The MIDI OUT connector sends the MIDI messages generated by the OB 12 while the MIDI THRU connector sends the MIDI codes received by the MIDI IN port i e the input port for MIDI messages generated by a remote MIDI unit 30 PEDALS connector Connect the leads from remote pedals to which you have assigned functions by means of the 130 Z Domain Synthesizer OB 12 internal programming parameters to these connectors Connect expression pedals to the EXP 1 Expression 1 and EXP 2 Expression 2 connectors and footswitch pedals to the SWITCH 1 and SWITCH 2 ports
173. on press the button of the same name in the PHRASE section of the front panel One very important feature of the Phrase Recorder is that while a given musical phrase is being repeated with the Hold function active you will be able to vary the parameters relating to generation of the sound to obtain continuous variation of the timbre with which it is performed What s more once you have set the correct keyboard split point and the Parts assigned to the Phrase Recorder you will be able to play without restriction in the keyboard zone not enabled for this function while the phrase is being repeated The internal memory enabled for the recording of phrases is divided into four SETS one of which can be assigned to each Program Each Set can be viewed as a memory bank in which the recorded phrases can be saved Therefore a key can be configured as the pilot key of four phrases each saved in one Set If the phrases are then placed in the desired Sets you will be able to use given groups of phrases depending on the Program active at the time In theory the Phrase Recorder can contain up to 196 musical phrases in fact the memory associated to it can contain 16000 notes Thanks to the MEMORY STATISTIC section in the SYSTEM environment see point 10 8 you can be constantly informed about the amount of memory available The PHRASE RECORDER function is divided into two programming sections One can be recalled from the EDIT PROGRAM MENU and is called
174. on the display and modify the contents of the musical phrases in the memory RECORD PHRASE The RECORD PHRASE function allows the user to record new musical phrases or to modify existing phrases and to save them inside the Set of choice also assigning their pilot key We will now see how to record a musical phrase In the video page described above select field 1 RECORD PHRASE the display will show the video page for preparation for recording 208 Z Domain Synthesizer OB 12 RECORD SET TRIGGER iza MEASURE TIHE SIGH 444 OVERLDLIE LAYER TAT FROGRAM HETFEOH LEVvEL 2 CLEAR mo containing the following programming parameters SET establishes the Set in which the musical phrase to be recorded will be saved or which contains the phrase to be modified TRIGGER NOTE defines the pilot key meaning the keyboard key enabled to start the musical phrase The value can also be entered by pressing the keyboard key of choice In case of over recording or modifications of songs already in the memory this parameter can also be used to recall a phrase once the relative pilot key is known This allows display of the relative recording parameters TEMPO or TAP TEMPO of the PHRASE section regulates the metronome tempo with which the Phrase is to be recorded in a range of 25 250 BPM MEASURE sets the number of bars m
175. on the lower panel CONNECTING TO OTHER INSTRUMENTS e Always use good quality screened cables When disconnecting cables from sockets always take hold of the connector and not the cable itself when coiling them do not allow knots or twists to form Before making the connections ensure that the other units especially amplification and diffusion systems you are about to connect are switched off This will prevent noisy or even hazardous signal peaks 1 2 NOTES ABOUT the MANUAL Take good care of this manual Read all the information provided in this manual carefully You will avoid wasting time and will obtain the best performance from your instrument Codes or numbers in square brackets refer to the names of buttons sliders or trimmers on the instrument panel For example RATE means the RATE trimmer Illustrations and display pages are for information only and may differ from those actually shown on the LCD 125 OB e12 z Domain S ynthesizer 2 MAIN CHARACTERISTIC REAL TIME CONTROL EFFECTIVENESS The OB 12 is a synthesizer designed to be fully controllable in real time the main feature of the famous analog synthesizers And the huge advantage this provides is a user friendliness which was perhaps being lost with the latest digital synthesizers with programming procedures too complex for many people to attempt However this does not mean the OB 12 offers limited potential You will realise this as you read this manual
176. one actually active in Part PORTAMENTO in activates and disactivated the saw WAVE SELECT of OSC1 SAW wave generated by OSC 1 SAW of OSC 1 UNISON in activates and disactivated the WAVE SELECT of OSC1 TRIANG triangular wave generated by OSC 1 TRIANGLE of OSC 1 MONO POL Y in activates and disactivated the WAVE SELECT of LEGATO of OSC1 PULSE square wave generated by OSC 1 PULSE of OSC 1 LEGATO KEYBOARD OSC2 SAW in activates and disactivated the saw WAVE SELECT of OSC 1 suiFT i m poe ana por or wave generated by OSC 2 SAW di OSC 2 SHIFT on OSC1 T OCT and OCT of in activates and disactivated the WAVE SELECT of OSC2 TRIANG triangular wave generated by OSC 2 TRIANGLE of OSC 2 OSC 2 SHIFT in activates and disactivated the WAVE SELECT of OSC2 PULSE square wave generated by OSC 2 PULSE of OSC 2 it activates and disactivates the Autopan function AUTOPAN of AMPLIFIER it activates cyclically the 4 waves of WAVE SELECT of WAVE SELECT of LFO2 PORTAMENTO of KEYBOARD UNISON of KEYBOARD MONO of KEYBOARD it activates cyclically the 4 waves of LFO2 it activates and disactivates the Portamento function it activates and disactivates the Unison function it cyclically varies the keyboard mode monophonic and polyphonic in activates and disactivates the legato function U gt m r A lt gt 20 5 z 3 D SHIFT on OSC2 it activates and dis
177. ope In the Timbre operating environment the user can set up the keyboard modes and pitch and the dynamic Velocity and Aftertouch controls Section 7 of the manual illustrates all the panel controls relating to the Timbre settings Section 8 contains all the display settings relating to the Timbre operating environment To access this operating environment press the TIMBRE key in the MODE amp SET UP section of the central panel Once the selection has been made the LED of the key illuminates and the following video page appears in confirmation FLAY TIHERE WOLUME 1 aeai NIGHT WAVE SCOFE THE SYSTEM The SYSTEM operating environment allows the user to make use of all the utility functions which are not essential for the purposes of the generation and diffusion of the sound but which allow configuration of the whole system and therefore not of the individual Programs or Timbres to individual requirements These utilities include all settings on the MIDI mode filters MIDI Program Map assignment of Control Changes to the controls synchronisation data Bulk Dump assignment of functions to the pedals setup of the digital output display contrast swapping etc Refer to section 10 of the manual for all information concerning the System operating environment 136 Z Domain Synthesizer OB 12 To access this operating environment press the SYSTEM button in the MODE amp SET UP
178. or use of the MODULATION wheel i e for modulating the signals by means of LFO2 STND LED on or for controlling the Manual Morph function M MORPH LED on Refer to point 9 9 for further information concerning use of the IMODULATION wheel for controlling the Manual Morph N B control of the Manual Morph can only be assigned to the MODULATION wheel if this function is active STND M MORPH AFTERTOUCH e AFTERTOUCH EXCHANGE with this function active button LED on the parameters controlled with the Aftertouch can only be controlled by means of the MODULATION wheel while the depth of modulation by LFO2 the LFO2 DEPTH parameter will be controlled by the Aftertouch N B control of the Manual Morph is independent of the setting of this function You can therefore control this function by means of the MODULATION wheel in both cases 162 Z Domain Synthesizer OB 12 7 13 ENABLING the VELOCITY AFTERTOUCH The KEYBOARD SENSE section contains the controls for enabling and disabling the Velocity and or the Aftertouch You can use the Velocity meaning the dynamic applied to the keyboard keys to control up to 19 sound generation parameters see point 8 9 while the Aftertouch meaning the force applied to the key after it has been depressed can be used to regulate up to 14 generation parameters see point 8 9 The relative front panel section is as follows e VELOCITY enables
179. orded in previous sessions or loops will be retained REC MODE OVERDUB REC MODE REPLACE 72 Slider LOW moviment Memorized events Potentiometer FREQUENCY m ET Potentiometer FREQUENCY moviment ni movimen Slider LOW moviment Memorized events Memorized events Memorized events Slider LOW moviment K CN Slider LOW moviment Memorized events Memorized events 217 OB e12 z Domain S ynthesizer e TIME SIGN Time Signature sets the time signature of the recording to be made The values available are 2 4 3 4 4 4 5 4 3 8 5 8 6 8 7 8 9 8 12 8 METR STATUS Metronome Status if this parameter is set as ON the metronome will be audible throughout the recording phase If PREC is selected the metronome will only be heard in the Precount phase i e the bar inserted by the instrument before recording starts Lastly with OFF selected the metronome will be disabled METRON LEVEL Metronome Level regulates the metronome level You can use button F1 assigned to the CLEAR function to delete the Motion displayed by the MOTION LOCATION parameter When the above key is pressed the display will ask confirmation before proceeding RECORDER M TI H LOCA TIONM Would you really clear selected Mot ton EHTER confirm or ESC to abort As the display indicates pressing the ENTER
180. orm keyboard sliders switches ecc the sound generation section of how and when it is to produce the sounds and on what time scale The OB 12 has maximum polyphony of 12 notes meaning that it is able to produce a maximum of 12 notes simultaneously If the control section sends data for a larger number of notes the last notes received by the sound generation section will take priority while the first ones will be gradually deactivated as subsequent notes are received Remember this during your performances EFFECTS SECTION You can use this section to add four effects which can all be used indiscriminately to the signal sent by the sound generation section These effects all typical of the sound of the best synthesizers are Overdrive to add distortion Chorus to add space to the sound Delay echoes or delays on the original sound and Reverb reverberation of the sound EQUALIZER SECTION This section allows you to make use of a totally programmable equalizer The main feature of the OB 12 equalizer is that it can be configured in parametric or graphic mode Using the graphic equalizer you can regulate the high and low frequencies and medium frequency bands which can be set with the trigger frequency band width and enhancement attenuation value of your choice The graphic equalizer allows you to work on five preset frequency bands SEQUENCER SECTION This section allows you to record a keyboard performance
181. ou can use the standard Control Change assignment Refer to the table below for details of this assignment NRPN NRPN DATA ENTRY NRPN NRPN DATA ENTRY SECTION PARAMETER MSB LSB LSB SECTION PARAMETER MSB LSB LSB waere o 72 s FIXEDPITCHFINE o 28 mema o 0 127 OSCILLATOR 2 PITCH SHIFT RANGE o 29 40 88 For betay we o 74 oscitaton 2 PITCH suigr INE o so mma ror Fade o 75 o7 Fens _artack ror cutorr aano o ve 0 7 Fers o 992 OSC COMMON 0 os SUSTAN 0 50 9 27 Losc cowwoN BALawcE2 o ona Fiers Release 5 127 Fosc cowwoN BALANCE s o ss ony Forens DELAY 0 5 9 2 Losc cowwow attack Te o se Ficrens o se omer Fosc cowwoN TIME o s o Fun _becave o 57 9 7 Losc cowwoN bEcavrieveL o ss Fitters susTante o om7 common pecaya Time o so ona Firens o s 92 common osc peer o 12 Ficrens Farrequency o so common osca o o1 ona Futenetvre o o o sawstatus o 1 o wax tever Fiers 2 6 or Cosciiaron i sawiev
182. ow frequency signal which can be used as modulant for the signals leaving the synthesizer s main blocks such as the oscillators the filter and the amplifier The OB 12 allows not only regulation of the frequency of the output signal but also setting of its waveform and regulation of its envelope and the parameters of a low pass filter associated to the LFO Discussing the parameters relating to the OB 12 sections we have already discussed the effects obtained by modulating the sound leaving the blocks referred to above using the signal obtained from and LFO2 We will therefore now look at the programming pages of the first LFO From the usual EDIT TIMBRE MENU page select field 1 EDIT LFO1 The display will show EDIT LFO i OhH 2u Zwmi Hi3hHt Wave Wave TTFE TRIANGLE RATE EEEI EH ELCOFE e WAVE TYPE WAVE SELECT sets the waveform of the signal leaving the first LFO The possible choices are SAW sawtooth waveform TRIANGLE triangular waveform Level Level Time SQUARE square waveform RANDOM waveform which assumes random levels Level Level Time Time 181 OB e12 S ynthesizer RATE RATE of the LFO1 section regulates the frequency of the signal leaving the LFO1 in a range of values from 0 minimum frequency to 100 maximum frequency Now select the ENVELOPE folder the display will show the video page relating to programming of the envelope EDIT LF i 9281 HL LA
183. pe point of origin It is also displayed in this video page to allow faster programming of this section If we now select the ROUTING folder it will be possible to display the parameters relating to the connection configuration of the two filters EDIT FILTER 21 HL LARE Lave Fal 2 ROUT IMG e FILTERS DEF TH ROUT ROUTING ROUTING sets the connection between the two filters using the values SERIAL serial connection previous video page PARALLEL parallel connection EDIT FILTER OhHz 5oi HL LARE Lac ROUT IMG 149 FILTERS DEF TH ROUT containing the parameter BALANCE regulates the balancing of the signal from the OSC COMMON section to be sent separately to the two filters If BALANCE O is set the signal will be sent only to FILTER 1 with BALANCE 100 the signal will only be present on FILTER 2 Intermediate values of 176 Z Domain Synthesizer OB 12 this parameter will provide intermediate balances between the quantities of signal sent without distinction to the two filters SPLIT connection in which the user can set which signal will be sent individually to the two filters EDIT FILTER OFS 0 881 HL LARE Lac ROUT IMG EALAMCE FILTER i IlH OzC FILTER 2 IN osc i FILTERS DEFTH ROUTING containing the following parameters BALANCE regulates the balancing of the signal from the section specified by mea
184. r for the information you require By selecting the MOD folder you can how display the video page relating to the oscillator modulations and pitch EDIT O2CILLATOREZ ONS 8 881 Lave 1 HOD DEFTH T2425 DEFTH LFOL S4 LFO z z23 En Tz wYHc STATUS FF FITCH FITCH ZHIFT e TRIANGLE containing the following settings LFO1 MOD DEPTH 1 1 Modulation Depth LFO1 DEPTH of the OSCILLATOR 2 section regulates the depth of the frequency modulation of the signal originating from LFO1 on the signal leaving the second oscillator The range of values is 50 maximum frequency modulation with opposite signal phase originating from LFO1 0 no modulation 50 maximum modulation PWM DEPTH FROM LFO1 Pulse Width Modulation Depth From LFO1 PWM DEPTH of OSCILLATOR 2 section assigned to LFO1 regulates the depth of modulation of the pulse width PWM Pulse With Modulation generated by Osc 2 by LFO1 The range of values is 50 maximum modulation with opposite phase 0 no modulation 50 maximum modulation PWM DEPTH FROM LFO2 Pulse Width Modulation Depth From LFO2 PWM DEPTH of the OSC 2 section assigned to LFO2 regulates the depth of modulation of the pulse width generated by Osc 2 by LFO2 The range of values is 50 maximum modulation with opposite phase 0 no modulation 50 maximum modulation PWM DEPTH FROM EG Pulse
185. r modifying the events contained in a Motion Motion Event Editor with display of the pages relating to the procedures and the recording parameters 141 OB e12 z Domain 5 ynthesizer The PHRASE RECORDER section TEMPO trimmer and TAP TEMPO button can be used to regulate the metronome tempo for repetition of the Motion If the Phrase Recorder is already active the Motion repetition tempo will be affected by the values set for the Phrase Recorder THE MORPH You can use the MORPH automated function to move from a starting Program to another destination Program in a period of time which can be programmed or controlled using the MODULATION wheel during which all the parameters which differ in the two Programs are interpolated i e varied continuously Point 9 8 of this manual describes all the display procedures for programming this function To Morph Programs or Timbres simply select the operating environment associated to them by pressing the PROGRAM and TIMBRE buttons in the front panel MODE amp SET UP section In this position only the destination Program or Timbre will be present In this position only the starting Program or Timbre will be present MODULATION The Morph section comprises three buttons e AUTO button used to enable the automatic Morph which will be displayed by illumination of the button LED When the relative key is pressed again the function is disabled and the LED goes out MORPH
186. re release DSP REL displays the release version of the DSP software currently installed in the instrument DATE displays the date of creation of the DSP software release 238 Z Domain Synthesizer OB 12 11 APPENDIX 11 1 SOFTWARE INSTALLATION The OB 12 offers the immense advantage that the internal software packages for the instrument supplied by Oberheim can be installed by just sending the data by means of the MIDI IN port This means you will not have to open the instrument and fit the chip containing the software each time First connect the OB 12 to a Personal Computer or a sequencer as shown in the diagram mM M ooo M aa PEDALS DIGITAL AUX OUT MAIN OUT OUTPUT OUT THRU 2 L Mono T g MIDI OUT MIDI OUT SEQUENCER When sending the MIDI datas OB 12 will automatically abilitate the updating procedure and show on the display As can be seen the video page indicates the section being installed in the instrument the file size the version the date and time of creation of the program and a series of asterisks displaying the portion of the program installed When the procedure is complete the instrument will reset itself
187. rise musical phrases ready for recall by pressing a keyboard key You can also use a Motion Recorder in which you can memorise specific motions of the panel controls which can all be repeated at the touch of a button and a Morphing function enabling you to trasform a sound to another and to listen to all the continuous variations as you do so CONTROLS As well as the usual trimmers and buttons for control of sound generation the OB 12 allows you to use PITCH and MODULATION wheels for real time control of the tuning of the timbres the first and the depth of modulation by the LFO 2 the Morph or the parameters assigned to Aftertouch the second What s more there is also a Ribbon Controller after assigning the various generation parameters to this controller you can then control them by just running a finger over its Surface 126 Z Domain Synthesizer OB 12 3 CONTROLS and CONNECTORS 3 1 The FRONT PANEL OSCILLATOR COMMON ATTACK DECAY Z Domain Synthesis 1 LFO 1 section This section of the front panel contains the controls relating to the LFO 1 Low Frequency Oscillator 1 The LFO 1 is the first low frequency oscillator in the generation chain capable of generating a waveform which modulates the sound cyclically 2 OSCILLATOR COMMON section Here you will find the controls for the common settings of the OSCILLATOR 1 and OSCILLATOR 2 sections These controls allow yo
188. rm deactivated WIDTH this trimmer controls the pulse width of the square waveform The trimmer can be turned to the minimum or maximum setting to enrich the harmonic spectrum of the sound SYNC Synchronisation this button activates LED on and or deactivates LED off the synchronisation of the waveform leaving Osc 2 with that generated by Osc 1 This means that whenever the Osc 1 waveform returns to its starting point the Osc 2 waveform will also be reset or returned to its cycle start As the diagram below shows the result is a more complex waveform OSC 1 YNC OSC 2 If the synchronisation effect is not very noticeable increase the first slider on the left OSC1 OSC2 in the OSCILLATOR COMMON section LFO1 DEPTH regulates the depth of the frequency modulation by the LFO1 first low frequency oscillator on the pitch with cyclic variation of the Osc 2 signal thus generating vibrato effects With the knob turned completely to the right Osc 2 will be affected by the maximum depth of LFO1 modulation With the knob in central position the oscillator will be unaffected by the modulation and when it is turned completely to the left the modulation depth will be at the maximum but with opposite phase to that obtained with the knob turned to the right FINE regulates the fine tuning of Osc 2 in a range of 50 hundredths of a semitone When the trimmer is in the central position there is no change in the pitch RAN
189. s associated to the Phrase Recorder RECORDER T ETT OH z 01 BaluDack Labium nm SPLIT HKEY FAETI oHM FAETZ OH FAET UOM ad e SPLIT KEY sets the split key for definition of the keyboard zone in which the Phrase Recorder can be recalled If a note beyond the split point is played the Phrase Recorder cannot be activated even if the key concerned is acting as pilot key for a given musical phrase However you will be able to play freely in this zone of the keyboard by means of the Parts not assigned to the Phrase Recorder with the phrase being repeated as an accompaniment for example As well as the usual data input devices encoder number keypad this parameter can also be set using the keyboard key which acts as split for the section PART1 2 3 4 these options allow you to set which Part and therefore which Timbre is to perform the musical phrases If a Part is assigned to the Phrase Recorder it will no longer respond to the notes played on the keyboard RECORD PHRASE MAIN MENU We will now see how to record a musical phrase When the REC button in the front panel PHRASE section is pressed the display will show the main menu of this function RECORD FHEAZE FHRASE EVENT EDITORA in which the user can select 1 RECORD PHRASE selecting this field enables the function for recording a musical phrase 2 PHRASE EVENT EDITOR this option allows you to show
190. section of the central panel Once the selection has been made the LED of the key illuminates and the following video page appears in confirmation EDIT 1 S FOOT CTRL CONTROLS B DIocIAL OUT Z HIDI lt YeGLOEAL SETIF TOOLS THE DISPLAY SWAPPING FUNCTION As we will see below the OB 12 has a huge number of parameters and controls on the front panel used to generate the type of sound desired It may often occur that when the Play Program video page is displayed i e not the Program editing video pages the user wishes to modify a given control on the panel and check the value associated to it without switching from the Program to the Timbre operating environment for the purpose At other times it may useful to display a timbre editing page immediately by just moving a control on the panel without having to carry out the entire display procedure to obtain display of the video page concerned The DISPLAY SWAPPING function allows the user to display a given menu page by just changing the position of a control whose parameter is present in the video page This means that the video page can be displayed momentarily to check the value of the parameter whose panel control is being used or the user can freeze it and then move around the menus relating to the video page displayed by simply pressing the DISP HOLD Display Hold button in the Control Center se
191. send ON or not to send OFF the exclusive system strings assigned to the panel controls SWITCH SECTION SYSTEM EXCLUSIVE SWITCH SECTION SYSTEM EXCLUSIVE F1 DISPLAY FO 31 30 00 04 00 39 01 60 F7 MODE F2 DISPLAY FO 31 30 00 04 003A 01 5F F7 RANGE F3 DISPLAY FO 31 30 00 04 003B 01 5F F7 ON OFF F4 DISPLAY FO 31 30 00 04 003C 015D F7 REC LEFT CURSOR FO 31 30 00 04 00 3D 01 5C F7 TAP TEMPO UP CURSOR FO 31 30 00 04 003E 01 5B F7 MODE RIGH T CURSOR FO 31 30 00 04 003F 015A F7 BYPASS DOW N CURSOR FO 31 30 00 04 00400159 F7 HOLD ENCODER UP CURSOR FO 31 30 00 04 00410158 F7 RELATIVE ENCODER DOWN CURSOR FO 31 30 00 04 00420157 F7 VELOCITY ESC DISPLAY FO 31 30 00 04 00430156 F7 STND M MORPH ENTER NUMERIC PAD FO 31 30 00 04 00440155 F7 AFTERTOUCH WAVE LFO 1 FO 31 30 00 04 00450154 F7 AFTER EXCHANGE W AVE LFO 2 FO 31 30 00 04 00 46 0153 F7 DISP HOLD DISPLAY FO 31 30 00 04 00740125 F7 DEPTH LFO 2 FO 31 30 00 04 0047 01 52 F7 PART 1 KEYBOARD MODE AND FO 31 30 00 04 00750124F7 OSC 1 OSC 2 OSCILLATOR COMMO FO 31 30 00 04 00 48 01 51 F7 PART 2 KEYBOARD MODE AND F0 31 30 00 04 00 7601 23 F7 SAW ON OFF OSCILLATOR 1 FO 31 30 00 04 00 49 0150 F7 PART 3 KEYBOARD MODE AND FO 31 30 00 04 007701 22 F7 TRIANGLE ON OFF OSCILLATOR 1 FO 31 30 00 04 00 4A 01 4F F7 PART 4 KEYBOARD MODE AND FO 31 30 00 04 00780121 F7 PULSE ON OFF OSCILLATOR 1 FO 31 30 00 04 00 4F 01 4A F7 SPLIT KEYBOARD
192. sound to carry out manual MORPH procedures and to check the parameters assigned to the Aftertouch 19 amp Oberheim QB e 2 17 WHEEL MODE section This section contains the controls for setting the functions of the MODULATION wheel 18 KEYBOARD SENSE section Contains the controls for enabling the Velocity and the Aftertouch 19 Ribbon Controller This device allows you to control various parameters by just moving a finger along its surface 128 Z Domain Synthesizer OB 12 3 2 The CONTROL CENTER SECTION Z Domain Synthesis 7 STU 8VWX 9 YZ 4 JKL 5 MNO 6 PGR 1 ABC 2 DEF 3 GHI DISP HOLD BANK OSPACE ENTER SPLIT LAYER SINGLE PROGRAM TIMBRE SYSTEM AUTO MANUAL ENABLE PARTI PART2 PART3 PART4 PANEL SCAN ROUTERS WRITE LOC1 LOC2 REC MOTION PART SELECT SET UP KEYBOARD MODE AND PART SELECT 4 20 Display Backlit liquid crystal display of 240 x 64 pixels for displaying the names of the Programs and Timbres and all the functions relating to programming of the OB 12 Thanks to this generously sized display all operations will be easier and learning about the programming parameters will be more intuitive with the aid of specific bitmap or calculated graphic references 21 KEYBOARD MODE AND PART SELECT section In this section you can set the procedure for assigning Parts to the keyboard Using the SPLIT button the Parts active in the Program will play in separate sections of the keyboard d
193. stics of the effects thanks to the Effect Routing function the instrument allows selection of 11 setups relating to the configuration of the effects within the buses which collect the signal from the sound generation section and send it to the outputs These setups can then in turn be configured with regard to the position of the algorithms within the effects chain As already described in 9 2 Bus Settings thanks to this 194 Z Domain Synthesizer OB 12 algorithms within the effects chain As already described in 9 2 Bus Settings thanks to this function you can associate the effect of your choice to one or more Timbres in order to set the configurations best suited to the sound required We will therefore now see how to proceed with configuration of the EFFECTS section From the EDIT PROGRAM MENU select field 3 EFFECTS the display will show the page enabled for selection of the effects section the user wishes to display EDIT EFFECT 1 ROUTIHMG COPME IICOGLEFEZOT ILCOM EFFECT SETTINGS containing two selection fields 1 ROUTING CONFIGURATION section relating to the configuration and positioning of the algorithms within the output buses 2 EFFECT SETTINGS section enabled for programming of the effects ROUTING CONFIGURATION From the EDIT EFFECT video page just described select field 1 ROUTING CONFIGURATION The display will show EFFECTS ROWTING 8921 Ealubarck ROUTER sIEINIESTNIETSTZ V
194. t be acquired regardless of the channel on which they are received The following is the video page HIDI FILTERS SETIF MOTE m FG OFF cCc D0FF AFTERT o SYS Ex OFF l SYS RT 0H FLT OUT FUT FRG showing the types of message to which the reception filter can be applied e NOTE enables ON or disables OFF the filter for the note messages e PG Program Change enables ON or disables OFF the filter for the Program Changes messages e CC Control Change enables ON or disables OFF the filter for the Control Change messages AFTERT Aftertouch enables ON or disables OFF the filter for the Aftertouch messages e PB Pitch Bender enables ON or disables OFF the filter for the Pitch Bend messages SYS EX System Exclusive enables ON or disables OFF the filter for the System exclusive messages 223 OB 12 zDomain 5 ynthesizer e SYS HT System Realtime enables ON or disables OFF the filter for the System Real Time messages You can now select the OUT FLT folder with function key F2 to display the video page relating to setting of the MIDI filters on outgoing messages Filtering a message by setting the filter as ON means not transmitting it These filters are also independent of the channel setting Therefore a message for transmission will be affected by the action of the filter regardless of the channel on
195. t of Control Changes to the panel controls As well as normal playback of a Motion you can also vary the sound by controlling the panel trimmers or sliders by hand If you move a control whose movement was recorded in the Motion the new value of the trimmer slider in use will have priority over the Motion recording When manual control of the trimmer slider finishes the variation in sound will again depend on the event recorded in the Motion FREQUENCY variation Start to move Stop to move recorded in the Motion FREQUENCY FREQUENCY Naturally however when a control is moved by hand in a given direction for example from O to 100 if the recorded movement of the same control varies in the opposite direction from 100 to 0 you risk cancelling out the effect produced by the Motion If you move a trimmer slider for which no movement was recorded the effect it produces will be added to those generated by the Motion MOTION RECORDER MAIN MENU When the REC of the AUTOMATION section is pressed the display will show the Main Menu relating to the Motion section RECORDER l REECORD Z HoOTIOH EVENT EOLTOR MoT Cor In this menu you can select the following functions 1 RECORD MOTION function for recording a Motion 2 MOTION EVENT EDITOR function for displaying the contents of a pre recorded Motion 216 Z Domain Synthesizer OB 12 RECORD MOTION We will now see how to record a
196. the Timbre set with the SOURCE TIMBRE parameter is to be copied 236 Z Domain Synthesizer OB 12 SECTION COPY sets the section to be copied into the Timbre specified by the TARGET TIMBRE parameter When the WRITE key is pressed the instrument will show a Pop Up menu with the request Are you sure to ask for confirmation of the procedure When the WRITE key is pressed again the copying procedure will be carried out if ESC is pressed it will be aborted Now pressing the F2 function key in other words selecting the INIT TIMBRE folder gives you access to the functions for initialising one or more Timbres Initialising a Timbre means setting it up with simple settings from which the creation of a new timbre can be started The video page relating to this function is the following TIMERE DEFAULT FROM TIMERE TO TIHERE TIMERE 1 FRESS Ele TO cory SECT COPY l INFO in which the following setup parameters can be adjusted e FROM TIMBRE sets the first Timbre memory location to be initialised e TO TIMBRE sets the last Timbre memory location to be initialised The memory locations in the interval between the one specified in FROM TIMBRE and the one indicated for TO TIMBRE will undergo initialisation When the WRITE key is pressed the instrument will show a Pop Up menu with the request Are you sure to ask for confirmation of the pro
197. the two waveforms which as we will see can be the result of three signals for each oscillator FILTERS programmable combination of two filters which attenuate the unwanted harmonics of the signals produced by the oscillators and thus control the brightness of the sound AMPLIFIER which controls the level of the signal leaving the filters and then by a further five sections which control the four main ones 135 OB e12 zDomain 5 ynthesizer OSC ENV which acts on the oscillators and establishes their behaviour over time and thus defines how the pitch will change over time FILTER ENV which sets how the filters will behave over time and thus how the character of the sound will change over time AMP ENV which regulates the behaviour of the amplifier and thus determines how the volume will change over time LFO1 low frequency oscillator used to modulate the signal when required on the four main components LFO2 like LFO1 but controllable using the MODULATION wheel LFO1 LFO2 It cyclically modulates It cyclically modulates the sound the sound ep DAE l OSC 2 FILTERS AMPLIFIER It generates the first p It generates the second Jd They adjust the Jd It adjust the basic wave and specifies basic wave and specifies sound tone signal level the intonation the intonation OSC ENV FILTER ENV AMP ENV It states the It states the It states the oscillator envelope filters envelope amplifier envel
198. to the sliders or pedals used to add expressiveness to the performance allowing definition and if required real time control of the timbre parameters including for example the volume CC n 7 or the Portamento time CC n 5 etc The Control Change messages also include the NRPN Non Registered Parameter Numbers LSB and MSB which specify which control on the OB 12 panel has been regulated and the Data Entry LSB message specifying the value it has assumed The system messages are subdivided into three categories System Common Messages System Real Time Messages and System Exclusive Messages Of these categories the OB 12 does not handle the System Common Messages The System Real Time Messages comprise Clock a MIDI message used to synchronise MIDI instruments connected together This message is sent 24 times for each crotchet e Start message used to position the MIDI instrument at the beginning of a song or a Phrase as in the OB 12 and start playback or recording e Continue this message allows the playback recording to be restarted from the bar after the last Stop carried out e Stop this message interrupts the playback recording e Active Sensing this message is transmitted to keep the dialogue between the connected MIDI devices active and is sent every 300 msec if no other MIDI messages are transmitted If a MIDI instrument does not receive MIDI messages or a fresh Active Sensing after 300 msec it deactivates its fun
199. u to set the envelope of the oscillators and their balancing since they are able to generate two different waveforms to control the tuning of the sound 3 OSCILLATOR 1 section These controls allow you to set the characteristics of the first oscillator for generation of the first basic waveform which however will already be complex of the sound you are about to create 4 OSC 1 PARAM Oscillator 1 Parameter section This section describes the functions of the WAVE CTRL control knob in the OSCILLATOR 1 section 5 OSCILLATOR 2 section As for the OSC 1 section here you can set the characteristics of the second waveform which is the basis of the sound generated by the second oscillator 6 FILTERS section This section contains the controls relating to the characteristics envelope cut off frequency and resonance to name the most significant of the filter i e the combination of FILTER 1 and FILTER 2 by means of which you can modify the brightness of the sound over time 7 AMPLIFIER section Here you can set the characteristics of the amplifier used to regulate the level of the sound over time 127 OB e12 Z Domain S ynthesizer 1 LFO 2 section This section contains the controls relating to the settings of the second low frequency oscillator controllable by means of the wheel on the left of the keyboard marked MODULATION 2 KEYBOARD section Here you can adjust a number of parameters relating to the keyboard inc
200. ument is playing the arpeggio the new notes will replace the ones on which the arpeggio was previously based ON OFF button for enabling or disabling the Arpeggio function The button LED displays the status of the function in accordance with the following rule LED on function active LED off function disabled If this button is pressed for at least two seconds the Arpeggio setting video page will be displayed MODE this button allows selection of the arpeggio mode The settings available are UP the arpeggio is performed cyclically from the lowest to the highest note s25 DOWN the arpeggio is performed cyclically from the highest to the lowest note 7 5 UP amp DOWN UP and DOWN LEDs on the arpeggio is performed cyclically from the lowest to the highest note and vice versa 139 OB e12 Z Domain S ynthesizer 75 RANDOM RND the arpeggio notes are played at random gi gt e RANGE this button allows you to set the range in octaves of the arpeggio The ranges available are 1 arpeggio range two octaves 42 arpeggio range three octaves 3 arpeggio range four octaves no LED on the range of the arpeggio is limited to the notes played If just one note is played no arpeggio will be performed the note itself will simply be repeated THE PHRASE RECORDER The PHRASE RECORDER is another automated function Us
201. ut off frequency of the first filter in correspondence with the point of origin of the envelope FILTER2 FILTER 2 sets the type of the second filter by means of the values LOW PASS BAND PASS HIGH PASS and FLAT already described F 2 DELTA Filter 2 Ratio sets the variation Delta in semitones of the cut off frequency of the second filter compared to that of the first filter The values cover a range from 96 eight octaves below F 1 Freq to 24 two octaves above F 1 Freq RESONANCE RESONANCE sets the resonance coefficient of the filter which can be used to emphasise enhance the harmonics present in the cut off frequency area to create a more distinct sound The values which can be assigned to this parameter range from O no resonance to 100 maximum resonance Look at this graphics on par 7 4 for a clearer understanding of the resonance effect Now select the DEPTH folder and the display will show EH VELOFE 1 DEFTH EDIT FILTER 2 HL LARE Lac FREQUENCY 175 OB e12 z Domain S ynthesizer containing the present parameters ENVELOPE DEPTH ENV DEPTH of the FILTERS section regulates the depth of the envelope applied to the filters in a range of values from 50 maximum envelope so maximum variation of the sound timbre 0 no envelope so no variation of the sound timbre and 50 maximum negative envelope LFO1 DEPTH LF

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