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Kurzweil PC3A Musician`s Guide

1. Effect Chains Chain Chain Chain 3701 Accdn Booth 3734 Bright Y EQ2 3767 Radio Pop EQ 3702 BRASS EQ Comp 3735 Artis K Pop EQ 3768 Concert GrandEQ4 3703 SynTrem 3736 Darkn Distant 3769 Soundboard 4 3704 InfinSynCathedr 3737 Artis Pluck EQ1 3770 ModJazz K3 3705 Delay Platel 3738 ArtisY EQ 3771 Upright EQ2 3706 SEM TRIdw 3739 Bebop Piano 3772 Pianarma EQ Cm4 3707 SynthLeaddw 3740 ModJazz K1 3773 JSP Comp amp EQ2 3708 SynPadDW 3741 Piano Pad 3774 Recital Piano 3 3709 AGT EnhCDdw 3742 Delay Piano 3775 ArtEQCMPas2 3710 CasterTremdw 3743 Mono EQ 3776 Weapon Chain2 3711 LesTremdw 3744 RecitalHall 3777 MarquisPiano3 3712 StdioCasterRigdw 3745 BigChorusPiano2 3778 ClassicBLesFstv4 3713 PercVerb1 3746 Lrg Ambience 1 3779 Concert GrandEQ6 3714 Soundboard 3 3747 Ambient Pno EQ 3780 Indie Piano 3715 Tremolo BPM 3748 Blown Spkr Ins 3781 ArtEQDW8 3716 Pianarama verb 3749 Recital Piano3 3717 Solaris 3750 FMnKEQ 3718 SolarisGateLazer 3751 FMHall 3719 Existential Taps 3752 ConcertK litel 3720 URage CmpRvb 3753 ConcertK lite2 3721 LintBuster LD 3754 Soundboard as 3722 RSessionGTR 3755 ConcertK 4sc 3723 JSP Comp amp EQ 3756 damper verb 3724 Weapon Chain 3757 ConcertK EQonly 3725 Artis KHall 3758 Artis YGrand2a 3726 Artis LrgKHal
2. ID Shift Pattern ID Shift Pattern 85 here comes da3 200 asl 86 moving 1 87 moving2 88 moving3 89 where s one 90 where s one 2 91 happyone 92 happy one2 93 crafty1 94 crafty3 95 crafty4 96 crafty5 97 candol 98 cando3 99 chromoupl 100 Rising Minor 101 Minor 7 Pattern 102 Oct5thup down 120 Major1A 121 Major1B 122 Major 1C 123 Minor 1A 124 Minor1B 125 Minor1C 126 48StepTemplate 127 24StepTemplate 128 16StepTemplate 129 8StepTemplate 130 OctaveRhythm1 131 Minor Var 1 132 Drum Beat 1 D 64 PC3A Objects V 2 3 Arpeggiator Velocity Patterns Arpeg giator Velocity Patterns ID Velocity Pattern ID Velocity Pattern ID Velocity Pattern 1 PseudoSine 29 pat12B 84 echo1 2 LoHi 30 pat12C 85 echo2 3 HiLoLo 31 pat12D 86 echo3 4 HiLoLoLo 32 pat24A 87 echo4 5 HiLoLoHiLoHi 33 pat24B 88 echo5 6 6 pattern 34 pat24C 89 echo6 7 12 patternA 35 pat24D 90 echo7 8 12 patternB 36 LoHi2 91 echo8 9 X0 37 tripl 92 echo9 10 0X 50 1 4notetriplet 93 echo10 11 X00 51 16ths Pattern 1 94 echo ll 12 XX0 52 16 Note Pattern2 95 echo12 13 X000 53 Rhythm 1 96 echo13 14 XX00 54 Rhythm2 97 echo14 15 XXX0 70 Bass1 98 ec
3. Cantroler Destination Description Number Name 159 ArpGliss Arpeggiator Gliss 0 63 off 64 127 on See The ARPEGGIATOR 2 Page on page 7 49 160 SusLatch For Arpeggiator Latch Pedals mode 0 63 off 64 127 on See The ARPEGGIATOR 2 Page on page 7 49 161 Panic Panic 162 SoloZn Solo Zone 163 RiffOn Riff On See Riffs on page 7 55 164 RiffOff Riff Off See Riffs on page 7 55 165 RiffDur Riff Duration See Riffs on page 7 55 166 RiffVel Riff Velocity See Riffs on page 7 55 167 RiffDly Riff Delay See Riffs on page 7 55 168 TapTempo Tap Tempo See TEMPO on page 11 11 169 KB3Mutes KB3 Mutes in Setup Mode values of 63 and below disable the Bank buttons for controlling KB3 programs in that setup and a values above 64 enable them 170 Arp Shift Sets ARPEGGIATOR values for Shift to negative 0 63 off 64 127 on See The ARPEGGIATOR Page on page 7 42 171 ShiftPatt Selects one of the 128 patterns in the current ARPEGGIATOR ShiftPatt Bank See The ARPEGGIATOR Page on page 7 42 172 ShiftPBank Acontroller value selects the corresponding ShiftPatt Bank for the ARPEGGIATOR page of a controller s zone For example controller value 2 selects ShiftPatt bank 2 controller value 7 selects ShiftPatt bank 7 SeeThe ARPEGGIATOR Page on page 7 42 173 VelPatt Selects one of the 128 patterns in the current ARPEGGIATOR VelPatt Bank See The ARPEGGIATOR Page on page 7 42 174 VelPBank Acontroller value se
4. Effect Chains Chain Chain Chain 3213 BPM Pad ChDeRv 3246 Gated Plate 3279 Synth Bass CDR 3214 supersaw 2 3247 Van EQ 3280 BOC Deverb 3215 Slow Phase 3248 WarmCruncher2 3281 Gtr Niceverb 3216 BPM Trance 3249 Scorb4Tap Rv BPM 3282 TripleCaster1 3217 Lazer DUB 3250 Scorb olo BPM 3283 TripleCaster2 3218 Krafty Monks 3251 Here Lil Boy 3284 TripleCaster3 3219 dist Booth 3252 DiPulsulator 3285 TripleCaster4 3220 Delay Plate 3253 PadmePlecks BPM 3286 TripleCaster5 3221 Dist Booth Dly 3254 ToodleTrem 3287 TripleCaster6 3222 Sonny More 3255 ToodleDelay 1 8 3288 TripleCasterWah 3223 JSP Synth CDL 3256 Zap Chamber 3289 TripleCasterEQ 3224 Synkerl 3257 CasterTrem 3290 TripleCaster31 3225 SynCompMul 3258 LesTrem 3291 TrumpetWah 3226 Shred Gtr 3259 AS Laser Reverb 3292 E Bow 3227 Shred Gtr Wah 3260 as Laser Reverb 3293 1 2 1 4DlyBPM 3228 ChunkyG1 3261 NuBeautyDist 3294 Phase 3229 AuxGtrEchplex 3262 AmbientPanner 3295 EQVelMorphL 3230 Synth Delay 1 4 3263 NuBeautyDist2 3296 EQVelMorphR 3231 Bari Sax 3264 HammerDulceComp 3297 HF Stim 3232 Electric Mermaid 3265 Dulcimer Chorus 3298 InstantHillbilly 3233 Solo Trumpet 3266 HammerDulceRoom3 3299 HoRnYFlAnGePaRtY 3234 FLIP n Chorus 3267 HammerDulceComp2 3300 BRASS EQ Comp 3235 FLIP n Delay 3268 LesChorus 3301 MouthyFilter 3236 RedHot Dst Cho 3269 EG
5. Anti Aliased Oscillators Aliased Oscillators Size Name Type Size Name Type 1 Block LPNOIZ noise low pass filter 1 Block SINE 2 Blocks SINE SAW SINE TRI SAW SQUARE RES NOISE noise low pass NOISE filter with resonance SQUARE SINE 3 Blocks PWM Pulse Width Modulation SAW 4 Blocks SYNC SAW NOISE SUPER SAW SW SHP Sawtooth Shaper TRIPLE SAW 2 Blocks SHAPED SAW 8 Blocks SYNC SQUARE master gt gt PWM Pulse Width Modulation gt gt SYNC SQUARE slave 4 blocks each 6 54 Program Mode Function Soft Buttons Setting Up The Sync Square Oscillator The Sync Square oscillator is actually comprised of two oscillators a master and a slave set up to emulate the way sync square oscillators worked on classic analog synthesizers To create a program using Sync Square select Default Program 999 Select none on the keymap page Select user on the Ampenv page for an amp envelope On the ALG page select Algorithm 5 at the top of the page Use the cursor buttons to select the function block and use the alpha wheel to select the SYNC SQUARE master gt gt function Next press the lt lt soft button to change soft button pages until you see DupLyr Press DupLyr to duplicate the layer creating layer 2 In layer 2 on the ALG page change the function block to gt gt SYNC SQUARE slave and set the Alt Input parameter to Layer 1 The final step is to go to Layer 1
6. co pa Destination Description Name 70 83 MIDI 70 83 MIDI Controllers 70 83 84 Portamen Portamento control best with mono voices value is relative to key range makes pitch momentarily slide to a note 85 90 MIDI 85 90 MIDI Controllers 85 90 91 GM Reverb With PC3A in General MIDI mode controls Reverb send level 92 MIDI 92 93 GM Chorus With PC3A in General MIDI mode controls Chorus send level 94 95 MIDI 94 95 MIDI Controllers 94 95 96 Data Inc Equivalent to pressing the plus button 97 Data Dec Equivalent to pressing the minus button 98 NRegParL Non Registered Parameter Least Significant Byte 99 NRegParM Non Registered Parameter Most Significant Byte 100 RegParL Registered Parameter Least Significant Byte 101 RegParM Registered Parameter Most Significant Byte 102 108 MIDI 102 108 MIDI Controllers 102 108 109 MIDI 109 Set s arpeggiator velocity when ARPEGGIATOR velocity is set to MIDI 109 mode 110 119 MIDI 110 119 MIDI Controllers 110 119 120 Sound Off Stops all sound in the corresponding channel 121 RstCtls Reset Controllers to defaults in the corresponding channel 122 Local 123 Notes Off Sends Note Off Message to all playing notes in the corresponding channel 124 Poly 125 Omni 126 Mono On 127 Mono Off 128 Pitch Pitch values above and below 64 bend the pitch up and down respectively 129 PitchRev Pitch values above and below 64 bend the pitch down and up respectively 130 PitchUp Pitch values above 0
7. 12 4 Song Mode and the Song Editor Pan Song Mode The MAIN Page highest numbered zone that uses that channel will set the volume for tracks that use that channel If Exit Volume is set to NONE the value for Entry Volume is used If Entry Volume and ExitVolume are set to NONE then the track for that channel uses the volume set for that channel in MIDI mode on the Channels page If there is no zone that uses certain channels used by your song then those channels in your song will use the volume setting of those channels in MIDI mode on the Channels page You can set an initial pan position the balance between the Left and Right audio channels for the playback and recording of each track as a value between 0 and 127 A value of 64 is center If the channel of the RecTrk or the control channel contains any panning data controller 10 the change will be reflected as the Pan parameter s value in real time as well as on the MIXER page Also changing the Pan value while recording will write Pan automation controller 10 messages to the current RecTrk s event list Initial Pan Settings Each song file does not automatically save your Pan setting for each track To make a song save your Pan settings for each track you must write an initial Pan value for each track Initial Pan is the Pan setting that will be used when your song is played back from the start of bar 1 An initial Pan setting is essentially a Pan automation message
8. D 16 PC3A Objects V 2 3 Setups Setups Press the Info soft button for controller information ID Setup ID Setup ID Setup 1 Ridin w Giorgio 134 Black Cow Split 158 Oldies 2 BigBottomPiano 135 Some Loving Splt 159 Funk 3 Gospel B3 amp Piano 136 Piano amp Pad 160 Latin Danzhall 4 PianoPercolation 137 PedalsModeW Beat 161 Metal 5 Jazz Trio Split 138 AnaBanana 162 Growth Pad 6 Piano Steel Pad 139 Sanctuary 163 Morricone s Fall 7 Kinetic Keys 140 World Beneath 164 Strings Old amp New 8 Introspektakular 141 DeepBurn 165 MonoBass amp ArpSt 9 Evolving Pno Pad 142 SyncScene 166 Jazz Bass Piano 10 Hip Hodyssey 143 MeanClav Rhds 167 Bass KB3 Split 11 Blues Piano amp Bass 144 Bigband P Bttn1 168 Zep KB3 Pianet 12 ETtheExistential 145 MeanPianet Piano 169 ElectricBass EP 13 Funky Bass Split 146 Oldtimey Blues 170 ARP amp Bass 14 Bowed Piano 147 OldR amp B 171 Fretless Split 15 PC3ALyr Default 148 Old School Jam 172 Big Lead 16 PC3ASpltDefault 149 Brooklyn Smoov 173 SynBass Lead 126 Internal Voices 150 Country 174 Play 127 ClearSetup 151 RockrollinA 175 MovieBuildup 128 DefaultSetup 152 HipHop 176 GuitarEnsemble 129 TeknoRiff Sw 1 8 153 Jazz 177 BignWarmPn Gt 130 BluesJam in G 154 Reggae 178 Joni Split 131 Techno Substance 155 World 179 StrangeLands
9. In general you should select a nonstandard intonation map when you re playing simple melodies as opposed to chords in a particular musical style When you use intonation maps based on pentatonic scales you ll normally play pentatonic scales to most accurately reproduce those styles Editing Intonation Maps To edit an intonation map or create a new map select an existing map and press the Edit button to bring up the EditIntonationMap screen see below Intonation maps are based around a root key shown on the right of the top line of the screen Use the chan up down buttons to change the root key this is the same as changing the Int Key parameter see Intonation Key Int Key below Intonation Key is not saved with the intonation map Use the cursor to move between note steps each of which is labeled by its difference in keyboard steps from the root Each step can be shifted by 200 cents 100 cents 1 half step Use the alpha wheel alphanumeric pad or plus minus buttons to enter the desired cent shift amount for each step da ha i On la E E Press Delete to delete the map from memory Press Rename to rename the map and save Pressing Save gives you the option to save the map or rename and save To create a new map edit an existing map and choose Rename when saving Press Exit to return to Master page 2 When exiting the editor it will automatically give you the option to save the map if changes have b
10. MIDI velocity is greatest at medium strike velocity Velocity Curve Crossfade Below medium strike velocity MIDI velocity is less than with Linear curve above medium strike velocity MIDI velocity is greater than with Linear curve The next four velocity curves are Reverse Linear Rvrs Linear Reverse Expand Rvrs Expand Reverse Compress Rvrs Compress and Reverse Crossfade Rvrs Crossfade These taper velocity in reverse of the five curves we just covered For example Reverse Linear s response is such that striking a key harder will produce a lower volume striking it softer will produce a higher volume and so on This provides a convenient way to achieve negative scaling by letting you set one parameter instead of two O K 64 Strike Velocity Velocity Curve Reverse Linear as you hit the keys harder increase the velocity MIDI velocity decreases proportionally Velocity Curve Reverse Compress MIDI velocity is more at medium strike velocity than Reverse Linear curve Velocity Curve Reverse Expand MIDI velocity is less at medium strike velocity than Reverse Linear curve Velocity Curve Reverse Crossfade Below medium strike velocity MIDI velocity is greater than with Reverse Linear curve above medium strike velocity MIDI velocity is less than with Reverse Linear curve 7 15 Setup Mode The Key Velocity KEY VEL Page Low Velocity LoVel HighVelocity HiVel MIDI Velocity LoVel a
11. Programs ID Program ID Program ID Program 3350 MandStrm5th 4ths 3381 Classic SynBrass 3466 Kit 11 KirkeeB 1 3351 Mandolin amp BanjoSW 3382 Jubilee Trumpets 3467 Kit 12 25th Anniv 3352 BanjoStrumma 3383 7thHeaven Saxes 3468 Kit 13 LA A Kit1 3353 3Str Mand Banjo 3384 Expressive Bone 3469 Kit 14LAA Kit2 3354 3Str Mandolin 3385 Solo Bari Sax 3470 Kit 15 LA A Kit3 3355 3Str Banjo 3386 Solo Tenor Sax 3471 Kit 16 LAB Kit1 3356 Mandocaster 3387 Solo Alto Sax 3472 Kit 17 LA B Kit2 3357 Elec Mandolin 3388 Solo Trombone 3473 Kit 18 LA B Kit3 3358 ShortStrumma 3389 Solo Trumpet 3474 Kit 19 Pomele 3359 LongStrumma 3390 Electric Mermaid 3475 Kit 20 KirkeeB 2 3360 Solo Mandolin 3391 Steel Panther 3476 Kit 21 J Geils 3361 Super 8 Brass 3392 XHarmonicStIDrum 3477 Kit 22 Tightie 3362 Session Hornz 3393 Stereo Marimba 1 3478 Kit 23 Low Rock 3363 MiamiBrassSectns 3394 Marimba 2 3479 Kit 24 Drum amp Bass 3364 UniSaxSection 3395 Rich Marimba 3480 Kit 25 Flabby 3365 Mr West Horns 3396 Lonely Marimba 3481 Kit 26 Boxy Tubs 3366 Mancini Brass 3397 Rubber Marimba 3482 Kit 27 West Boxy 3367 Dr StAb N SwEIl 3398 Marimba Abyss 3483 Kit 28 Big Buzz 3368 Unison Trumpets 3399 Metal Marimba 3484 Kit 29 Schnizzle 3369 Mostly Saxes 3400 SynRkrdMalletMW 3485 Kit 30 Bonzo sRm 3370 High End Horns 3401 Serious FM 3486 Kit 31 Old Traps 3371 Split SectionSW 3456 Kit 1 Open Rock 3487 Kit 32 Fat Boy 3372 SAX Sus olo MPhn 3457 Kit 2 SquashRock 3488 Kit 33 ModernRok
12. RISK OF ELECTRIC SHOCK dangerous voltage within the product s enclosure that may be of DO NOT OPEN sufficient magnitude to constitute a risk of electric shock to persons CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK The exclamation point within an equilateral triangle is intended DO NOT REMOVE THE COVER to alert the user to the presence of important operating and NO USER SERVICEABLE PARTS INSIDE maintenance servicing instructions in the literature REFER SERVICING TO QUALIFIED SERVICE PERSONNEL accompanying the product SAFETY INSTRUCTIONS 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with dry cloth 7 Do not block any of the ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 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 wide blade or the third prong are provided for your safety If the provided plug does not fit into 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 c
13. 3 Select the Vol parameter and adjust it with the alpha wheel while the sequencer is recording Any changes to the Vol parameter will be recorded as data in the current track i Si 2 I VET ESC CS mara 3 3 r Cursra 1625 TemPo 106 6 FPecTrk 1 att Ban 64 Modes Merde Prod DOLORE g Locat 1 il Track Fi 4 Whenyouare finished press the Stop button You will be able to review and save your changes just as in Step 4 of Part 3 see above Part 6 c Erasing Volume Automation If you ve saved a song with volume automation and you wish to change or remove it afterwords follow the steps below to erase a selection of volume automation 1 In Song mode press the Edit button with anything except the Prog parameter selected This brings you to the current songs EditSong COMMON page m leae i racket de Time Sig 4 v4 FH Track 1 DrumTrks 1 z 3 4 G 6 TT amp Midilst L L L L L L L L Play stom JTRACK TEWENT Sawe 2 On the EditSong COMMON page press the TRACK soft button see below This brings you to the EditSong TRACK page 15 12 Tutorial Song Mode Eg sors LUM ET Teme IFEI 6 TimeS19 f 4 FR Track DrumTrks 1 z 3 4 G 6 TT amp Midilst L L L L L L L L stor TRACK PzWENT Save TE 3 On the EditSong TRACK page set the Function parameter to Erase see below ze val 1 1 8 Ta 1 15 1 Events AL Use the Chan Zone bu
14. 3207 Woodhouse Groove 3234 Electra 3208 Sandstorm Dubai 3235 G Rocker 3209 Funkro 3236 Buena Vista 3210 House Dub Clips 3237 ConSalsa 3211 70s Trucker 3238 P Horns 3212 ARP Beats 3239 Marimba Roll 3213 The Islands 3240 Spanky D 19 PC3A Objects V 2 3 Effect Chains Effect Chains Chain Chain Chain 1 Little Booth 32 Stereo Chorus 63 Ring Modulation 2 Soundboard 33 Dense Chorus 64 Frequency Offset 3 Small Dark Room 34 Soft Flange 65 Lazer Tag Flange 4 Sax Chamber 35 Wetlip Flange 66 Fallout PitchLFO 5 Small Hall 36 Flanged Taps 67 Reverse Reverb 6 Medium Hall 37 Slow Deep Phaser 68 Reverse Reverb 2 7 Green Room 38 Fast amp Slow Phaser 69 Oil Tank Reverb 8 Opera House 39 Phaser EGT 70 Laser Reverb 9 Real Nice Verb 40 Thin Phase Sweep 71 Gated Laserverb 10 Empty Stage 41 Tremolo BPM 72 ReverseLaserverb 11 Med Drum Room 42 Simple Panner 73 Envelope Followr 12 AbbeyPianoHall 43 Thin Phase Sweep 74 Envelope Filter2 13 Predelay Hall 44 Leslie start 75 Trip Filter 14 Sweeter Hall 45 SubtleDistortion 76 Stereoizer 15 Concert Hall 46 EPiano Distortzn 77 Barberpole Phzr 16 Symphony Hall 47 Distortion EQ 78 Laser Dly Reverb 17 Cathedral Chorus 48 Ray s EP 79 Degenerator 18 DeepChorsDlyHall 49 Scooped Distort 80 Basic Delay 1 8 19 Omni Stage 50 Burning Tubes 81 Arp Delay Loop 20 Cla
15. Effects Overview Sale es londed ch 906 Medium Hall gli OQutPute AU D Hod Override Hone Send Levels and Pre Post Ins l 2 3 436 rag 1 E CE P F E FP F F E fe F F a E IG ii 12 13 ki F F F F Parameter Range of Values Default Override No Yes No Chain Chain List 0 None Output auto Pri Sec auto Mod Override Control Source List None Send Level p 96 to 24 dB p Pre Post Insert p pst pre p Override This parameter switches on or off the Aux override Set Override to Yes to select an override Aux Chain on this page the Chain parameter appears see below Set Override to No to use the aux chains of the program on the current channel or the program on the specified Aux Effects channel in Setup or Song mode If Override is set to No the top line of the page displays the Aux Chain that is loaded for the current program as well as the current channel In the case of the page shown above the Aux 1 Chain of the current program is 906 Medium Hall2 and the current channel is 6 Notice that in Program mode if an Aux effect is overridden in Effect mode the top line of the PROGEX or LYR_FX page in the Program Editor indicates that corresponding Chain does not use up any DSP units Since the Chain specified for the program is not applied the PC3A does not allocate resources for it i TERI DI SI Hod Override eS OutePuts di Send Leve
16. Musician s Guide KURZWEIL Part Number 910568 001 IMPORTANT SAFETY amp INSTALLATION INSTRUCTIONS INSTRUCTIONS PERTAINING TO THE RISK OF FIRE ELECTRIC SHOCK OR INJURY TO PERSONS WARNING When using electric products basic precautions should always be followed including the following 1 Read all the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product 2 This product must be grounded If it should malfunction or break down grounding provides a path of least resistance for electric current to reduce the risk of electric shock This product is equipped with a power supply cord having an equipment grounding conductor and a grounding plug The plug must be plugged into an appropriate outlet which is properly installed and grounded in accordance with all local codes and ordinances DANGER Improper connection of the equipment grounding conductor can result in a risk of electric shock Do not modify the plug provided with the product if it will not fit the outlet have a proper outlet installed by a qualified electrician Do not use an adaptor which defeats the function of the equipment grounding conductor If you are in doubt as to whether the product is properly grounded check with a qualified serviceman or electrician 3 Do not use this product near water for example near a bathtub washbowl kitchen sink in a wet basement or near a swimming pool or the like This product should o
17. Pressing Retry restarts recording from the same point you last started recording at Yes saves the song with the performance you just recorded Whatever was played back when you pressed PlayNew will be the version of the song saved when you press Yes The save as dialog will be displayed ars Save Ney Sond as Gal RePlace Hew Sond 3 Fename Save Cancel Use the Alpha Wheel buttons or Alphanumeric Pad to choose a free ID location to save the song or choose a used ID location to overwrite a previously saved song with your new version When overwriting a song file the save as dialog displays Replace followed by the name of the file being replaced Press Rename if you would like to change the song s name Press Save to save the song or Cancel to return to the previous screen If you decide not to save or rename No returns you to the Song mode page in which you were last recording Changes to the current song are not saved though the sequencer will remember changes to certain settings from the MAIN and BIG pages These settings are Tempo Merge Erase Mode Locate track mute status Time In Time Out Song End Loop Punch and Metron To permanently save these changes with the song make sure to choose Save from the soft button menu before powering off or loading a new song Alternatively you will be prompted to save these changes upon loading a new song if the MAIN page settings were changed while rec
18. The lower the level the greater the distortion At 0 dB the hottest of signals will toggle between only two quantization levels thereby producing a square wave Every 6 dB added doubles the number of quantization levels reducing the noise and getting closer to the original signal If the signal has a lot of headroom available signal level before digital clipping then not all quantization levels will be reached Range is 0 to 144 dB Headroom sets the available signal level before digital clipping Setting this properly prevents the signal from getting too loud at low levels of DynamRange You want to have it match the amount of level still available above the input signal this is done by finding the DynamRange level at which the signal starts getting louder and setting Headroom to match the DynamRange value Range is 0 to 144 dB DC Offset adds a positive DC Offset to the input signal which allows you to alter the position where digital zero is with respect to your signal At low DynamRange settings this can cause the output to sputter Range is Off 79 0 to 0 0 dB LaserVerb LaserVerb is a type of reverb which produces a delayed train of closely spaced reflections or impulses As time passes the spacing between the impulses gets wider which creates a discernible buzzy pitch that gets lower as the spacing increases The signal can be fed back into itself to extend the effect Dly Coarse is the overall delay length which contr
19. s DSPCTL page and turn the Level parameter all the way down to 96dB this ensures that you will only hear the output of the slave oscillator on layer 2 which is the intended function of Sync Square Now the Sync Square oscillator should be working The Syncoff parameter Sync Offset is the main parameter for shaping the tone of this sound Syncoff sets the sync offset between the master and slave square waves in each corresponding oscillator which changes the shape of the waveform output by the slave oscillator The Sync Square oscillator is most expressive when the Syncoff parameter modulated during performance Use the DSPMOD page to assign an envelope or continuous controller like the Mod Wheel for this parameter to hear the effect see The DSP Modulation DSPMOD Page on page 6 30 as well as The DSP Control DSPCTL Page on page 6 29 and Common DSP Control Parameters in Algorithm Basics on page 6 23 for details on setting up modulation and other ways to control parameters and see The Envelope 2 ENV2 and Envelope 3 ENV3 Pages_on page 6 44 for details on using envelopes as modulation sources See Advanced Use Of KVA Oscillators below for some similar examples of how to set and control modulation for oscillator specific functions and other parameters To add a DSP function to the Sync Square oscillator you ll need to use cascade mode For example to add a filter duplicate one of the layers to create layer 3 On layer 3 select th
20. s output You can also have the volumes of all three layers turned up which will mix the signal of all three layers You could in the same program also decide to run layer 4 into 5 into 6 into 13 into 25 if you wanted Any of the 32 layers can go into any other layer 6 27 Program Mode The Algorithm ALG Page The Cascade mode algorithms very much like triple mode on a K2600 start at ID 101 Note in the above figures how algorithm 101 looks very similar to algorithm 1 Each Cascade mode algorithm corresponds to its non cascade equivalent which has the same ID number minus 100 For example algorithm 105 is a cascade mode version of algorithm 5 On the Alg page select which layer you want to have running through your cascade layer with the Alt Input parameter Make sure to turn down the Amp volume on your source layers if you only want to hear what s coming out of the final cascade layer Dynamic VAST The Dynamic VAST editor is yet another particularly powerful feature of the PC3A that allows you to edit the wiring of an algorithm With Dynamic VAST literally thousands of wiring schemes are possible Using Cascade mode in conjunction with Dynamic VAST gives you almost infinite control over your program s sound and behavior by enabling you to create your own unique complex algorithms To enter the Dynamic VAST editor select the ALG Algorithm page by pressing the ALG soft button Highlight the Algorithm parameter selec
21. 15 iB 4 The events in the PC3A are similar to events of other sequencers with a single major difference the Note events are stored as a single big event i e one PC3A Note event is comprised of the note on and note off events All other events are stored as single events on the PC3A The fields on the STATS page are e Max the maximum number of notes events in memory e Used the total number of notes events being used Free the number of notes events that are free e Part the number of partitioned events which are events for which space in memory is allocated This is technical information of importance only to engineers and maybe a few power users e Song the total number of events including notes in the current song e Temp the total number of events in the temp buffer the temp buffer is used when grabbing events from a different song e Riffs 1 16 the total number of events in each riff 12 18 Song Mode and the Song Editor Song Editor The COMMON Page The Song Editor In general you ll get to the Song editor pages by pressing the Edit button any time you re in Song mode There s one exception if the Program parameter is currently highlighted on the display you ll enter the Program editor when you press Edit There are a few conventions shared by all of the Song editor pages Displayed at the top of each Song editor page is the name of the page and the currently selected track
22. 3373 Bullit Brass 3458 Kit 3 Full Room 3489 Kit 34 80 sPower 3374 Brass Knickers 3459 Kit 4 East Space 3490 Kit 35 WoolyPckt 3375 Lo Brass Fanfare 3460 Kit 5 CopperRing 3491 Kit 36 Reso King 3376 Wah Trumpet 3461 Kit 6 Birch Wood 3492 Kit 37 Los Feliz 3377 Morning Trumpet 3462 Kit 7 DeadRocker 3493 Kit 38 Mahogany 3378 Spunky Sax 3463 Kit 8 Ring tone 3494 Kit39 80 s PTS 3379 Bari Maniblow 3464 Kit 9 Gadd sLair 3495 Kit 40 FabFringe 3380 GB Hornz Syn 3465 Kit 10 Hinomaru 3496 Kit 41 LouStools D 13 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 3497 Kit 42 Orngcrush 3528 Recrd Start Stop 3559 PERC Carnival 3498 Kit 43 Static 3529 5 Kits Templte 1 3560 HIT n Rung 1 3499 Kit 44 LiteBrite 3530 Aud Kik Snr Mono 3561 HIT n Rung 2 3500 Kit 45 Brush 1 3531 Aud Kik Sn Streo 3562 HIT n Rung 3 3501 Kit 46 Brush 2 3532 Stereo KickDrums 3563 HIT n Rung Keys 3502 Kit 47 PillowFuz 3533 Mono Kick Drums 3564 KEY SoftBars 3503 Kit 48 Thigpen 3534 StereoSnareDrums 3565 KEY XyLoomBa 3504 Kit 49 Fnessence 3535 Mono Snare Drums 3566 KEY Asian Metal 3505 Kit 50 Proc Pop 3536 Tom toms 3567 KEY TablaBars 3506 Kit 51 Jersey 3537 Hi hats 3568 KEY SlitBars 3507 Kit 52 HardKnock 3538 Rdes amp Crshs amp Rolls 3569 KEY GourdBars 3508 Kit 53 CoralBox 3539 E Perc SoundFX 3570 KEY MamboBars 3509 Kit 54 Cold Cash
23. 519 Shakers Down j1 550 kCastanet Hit Trumpet Trombone 520 Shakers Upj3 551 kCastanet Up Soft Trumpet 521 Clave env2b jk 552 kSleigh Bells Harmon Mute Trp 522 Clave elaltcstn 553 kTriangle rel Tuba 523 Maracas Dwn env1 554 kChimes 614 Harp 524 Cross Stick gtl 555 kCelesta 615 Harp Arpeggios 525 Maracas Down gtl 556 kXylophone 618 Nylon String Gtr 526 TumbaOpenigfa 557 kHarp 620 Glockenspiel PC3A Objects V 2 3 Samples Sample ID Sample Sample K250 Choir 656 Solo Viola 808 Cowbell K250 Pipe Organs 657 Solo Cello 808 Kick Chimes 658 Fast Solo Cello 808 Snare Xylophone 659 Solo Double Bass 909 Clap Timpani 660 PizzStrngs Left 909 Closed Hat Orch Bass Drum 661 PizzStrngs Right 909 Open Hat kGlockenspiel 666 Trem Strngs Left GM Applause Orch Crash 667 Trem Strngs Right Fret Noise Orch Crash jk1 670 kChiff GM Bird Stereo Tam Tam 671 Bagpipe Gunshot Tam Tam Left 672 Bottle Ice Rain Tam Tam Right 673 Chiff Syn Drum Triangle 674 HarmPick Telephone Dark Triangle 675 Harm Wave Sine PC2ROM1 Triangle rel 676 GM Jazz Gtr Metrobell Tambourine Roll 677 GMCleanStrat kEDrum2 Clap Tambhit 678 Strat Mutes kWoodblock Snare Roll 679 Koto Woodblock short Snare Hit 680 Mbira GM 808 Kick Woodblock 681 Orchestra Hit Vibraslap GM Sleigh Bells 682 Belltree GM Hi Guir
24. 7 55 Setup Mode The Ribbon Configuration RIBCFG Page Riff Setting the Riff parameter to On will enable the riff feature for the current zone in setup mode Setting this parameter to Off will disable the riff for this zone Song Select the song you wish to use in the Song parameter by using the Alpha Wheel buttons or the alphanumeric pad Start Use the Start parameter to specify the riff start point The time format is Bar Beat Tick Bar can be set to any bar in the sequence and Beat can be set to any beat in that bar beat range is dependent on time signature Tick can be set from 0 to 959 Since there are 960 possible start points within a beat you can specify your riff to start on any common beat subdivision moments and a few uncommon ones The following Tick values correspond to the following beat subdivision moments Beat Subdivision Beet euadivision Tick Value Moment Quarter note 1st 0 1st 0 8th note ond 480 1st 0 8th note triplet 2nd 320 3rd 640 1st 0 2nd 240 16th note 3rd 480 4th 720 1st 0 2nd 192 16th note quintuplet 3rd 384 4th 576 5th 768 1st 0 2nd 160 3rd 320 16th note triplet sextuplets Ah 480 5th 640 6th 800 Table 7 5 Subdivision Values 7 56 Setup Mode The Ribbon Configuration RIBCFG Page Stop Use the Stop parameter to specify the riff stop point Like the Start parameter the time format
25. Ballpark Stop 924 Wah B3 Echoplx 955 GM Synth Kit 841 2 Viol 925 Sweet n Nice 956 GM Jazz Kit 842 Pro Piano 926 Soft Chords 957 GM Brush Kit 843 Big Pop Piano 927 SputtringingB3 958 GM Orch Kit 897 Ezra s Burner 928 MelvinC 959 VAST1 3Ch Perc 898 HotTubeGospel 929 AllOut 960 VAST1 3 Ch Perc2 899 B3 Midrange 930 J sComper 961 Fisher s VAST B3 900 Blues amp Gospel 931 Brother Jack 962 Ripply Six 901 Prog B3 Perc2 932 ModelOne 963 Ripple Siner 902 Prog B3 Perc3 933 Thick Gospel 964 Ripple Thump 903 Tube B3 Perc 934 Growler B 965 Ripple RevDrum 904 Prog B3 Perc4 935 Ready 2 Rock 966 Dark RevDrum 905 BrgtTubeScream 936 Thimmer 967 SpacerLead 906 Zepelin Solo 937 The Real ABC 968 Ripple Sine2 907 Argent B3 938 GospelSpecial 969 Ripple Thump2 908 MusselShoalsB3 939 InThe Corner 970 Blues Harmonica 909 XtremTubeB3Pre 940 NightBaby 971 WheelBowCello 910 Classic Traffic 941 GimmeSome 972 WheelBowViola 911 WarmB3 942 The Grinder 973 WheelBowFiddle 912 WarmerB3 943 Mean Bean 974 Electric Cello 913 ChrsEchoOrgan 944 Dew Dropper 978 Classic MiniBass 914 SlowPhaseOrgan 945 TwoOut 979 TalkWahPoly Syn 915 RoomB 946 JsAllOut 980 MeanWahMono 916 Lord sDirtBomb 947 MySunday 981 Bass Pedal 917 Mellow Mitch 948 Good Starter 982 SyncSqr Template 918 Sly s Revenge 949 Sacrificer 983 CarpenterSndtrck 919 LateNig
26. Controller events have two editable values Controller Type and Controller Value Defined controllers are referred to by their names Controller Type Control Source List 0 to 127 Controller Value 0 to 127 Tempo Change 20 00 BPM to 400 00 BPM Table 12 1 MIDI event Value Ranges Soft Buttons on the EVENT Page Cut Removes the currently selected event from the Event list and temporarily stores it in a memory buffer so that you can immediately paste it into a new location Copy Makes a duplicate of the currently selected event and temporarily stores itin a memory buffer so that you can immediately paste it into a new location Paste Inserts the most recent cut or copied event into the Event list at the currently selected Bar Beat Tick location The pasted event will share the same location with the event that already existed at that location in the Event list but it will appear before the pre existing event New Inserts a new event by duplicating the current event Done On the View page returns to the EVENT page On the EVENT page returns to the COMMON page Tempo Track To access the tempo track use the channel up down buttons to navigate to track 1 then press channel down The tempo track functions the same as the other tracks except the only event type available is tempo change 12 33 Storage Mode Storage Mode Page Chapter 13 Storage Mode Use Storage mode to load s
27. Effects Overview This means the compression can kick in before an attack transient arrives In the SoftKneeCompress and HardKneeCompress effects delay is really only useful in feed forward configuration FdbkComprs is Out For other compressors the delay can be useful in feedback configuration FdbkComprs is In The range is 0 to 25 ms Ratio is the amount of gain reduction imposed on the compressed signal adjustable from 1 0 1 no reduction to 100 1 and Inf 1 Threshold is the level in dBFS decibels relative to full scale above which the signal begins to be compressed Adjustable from 79 0 to 0 dB MakeUpGain allows additional output gain to compensate for gain reduction in the compressor It is essentially the same parameter as Out Gain with which it is summed The minimum is 79 0 and the maximum summed gain MakeUpGain Out Gain is 24 0 dB Expansion Effects containing Expanders have these controls Atk or Exp Atk Attack how fast the expander turns off when the input signal rises above the threshold level adjustable from 0 0 to 228 0 ms Rel or Exp Rel Release how fast the expander turns back on after the signal drops below the threshold level adjustable from 0 to 3000 ms Ratio or Exp Ratio how much the gain is reduced below the expansion threshold adjustable from 1 1 0 no expansion to 1 17 extreme downward expansion Threshold or Exp Threshold the level below which the signal is expanded
28. Fedal Relense 2 oo Tbe Van livyvL co m t P s 3701 Roc 1510 Ib Yorn Yn DTivL co son Recital Fiano IE GHE The first time you power up or after a reset your instrument will be set to operate on MIDI Channel 1 as shown at the far right of the top line above Set the volume at a comfortable level You ll get the best signal to noise ratio if you keep the PC3A at full volume and adjust the level from your mixing board You may also want to adjust the display contrast and brightness There are two small knobs on the rear panel of the PC3A for this purpose 2 5 Startup Startup the Details USB Storage Port You can plug a USB mass storage device such as a thumb drive into the PC3A for backing up archiving sharing your work and updating your software Any size USB mass storage device will work though thumb drives are recommended for their portability durability and low price The USB Storage port is on the back panel of the PC3A but it is easily accessible from the front of the instrument A USB connector will only fit into the port if oriented properly so don t force it into the port as this may damage your PC3A or USB device If you are having trouble inserting your USB connector into the port try flipping the connector over Note Most USB thumb drives are compatible with the PC3A but some older USB thumb drives and larger USB bus powered driv
29. Harmonic Low High Velocity Tracking 0 to 100 Low Harmonic Drawbar 1 to 9 High Harmonic Drawbar 1 to 9 Steal Bar Drawbar 1 to 9 Percussion This is where you turn the percussion effect on or off Percussion is created by a decaying envelope applied to one of the nine drawbars The percussion effect is single triggered which means that once it s triggered it won t trigger again until all keys or whatever you re using to trigger notes go up So if no keys are down and you play a chord percussion gets applied to all notes in the chord and in fact to all notes that are triggered during the short duration of the percussion envelope Once the envelope runs its course any notes you play while at least one key is held down get no percussion You can turn percussion on or off by pressing Bank button 5 labeled Percussion On Off Bank button 5 also sends and responds to MIDI CC 73 values 64 127 On values 0 63 Off Volume This parameter switches between loud and soft percussion settings The actual amplitude is set on the PERC2 page You can toggle between loud and soft by pressing bank Button 6 labeled Percussion Loud Soft Bank button 6 also sends and responds to MIDI CC 71 values 64 127 Loud values 0 63 Soft Decay This parameter switches between fast and slow percussion settings The actual decay rate is set on the PERC2 page You can toggle between slow and fast decay by pressing Bank button 7 labeled Percus
30. Koto GM Power Kit 381 Temple Block 3 424 Mbira GM Elec Kit 382 Temple Block 4 425 Orchestra Hit GMWhstle metbell 383 BassDrum Timpani 428 GMApplause GM Room Tom Lyr 384 ChurchBell 429 FretNoise GM Synth Kit 385 Pizz Strngs Left 430 GMBird GM Elec Tom Sine 386 PizzStrngs Right 431 Gunshot GM SynthTom Cnga 387 Stereo Pizz Strg 432 IceRain GM Jazz Kit 394 Trem Strngs Left 433 SynDrum GM Brush Kit 395 TremStrngs Right 434 Telephone GM Brush Stir 396 Stereo Trem Strg 435 Sine PC3 GM Orch Kit 397 Stereo Trem Str2 450 Belltree GM Applause 400 Solo Violin 451 Cuica Hi 808 Hats 401 Solo Viola 452 Filtersnap HiQ 808 Congas 402 Solo Cello 453 Guiro Timp stretch 404 Solo Double Bass 454 GMScratch Mel Tom KM 405 Bass Cello 455 Whistle 808 cym 406 Bass Cello VIn 456 Chinese Cymbal Rev Cym D 47 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap Keymap 497 Dry Kitnw54v 528 TempleBlock1 ign k909 Clap 498 Dry Set 1 4v 529 Tuned TBlocks 1 kXylo rel alt 499 Dry Set 2 4v 530 Tuned TBlocks 2 kSleigh Loop 500 Amb Set 1 4v 531 Solo Cello alt1 kAgogo Hi 501 Kurz Hats 532 Solo Cello alt2 kAgogo Lo 502 ElecSet14v 533 Double Bass alt2 kCowbell 503 PercLayers4kits 534 Double Bass alt3 kTriangle Mute 504 Tamb4D
31. Old Control Source List 0 to 120 The Old Controller is set to the Controller type that you wish to remap This Controller data must already exist on the current track in order to apply it to the New Controller type New Control Source List 0 to 120 The New parameter is set to the Controller code you wish to have use the existing values once used by the Old Controller to produce a different effect Song Editor The EVENT Page Every type of recorded MIDI event is visible from this page You can view and change these events if necessary Each track displays its initial program volume and pan at the top of its event list You can also access the tempo track instructions below Location Bar Beat Tick Event Type and Value Initial Program Volume Pan The top line of the page displays the current song position in the center and the currently selected track and corresponding channel on the right Use the Chan Layer buttons to select an active track to view and edit the MIDI events recorded on it 12 31 Song Mode and the Song Editor Song Editor The EVENT Page To scroll through the events make sure the location Bar and Beat in the first column is highlighted Use the Alpha Wheel the Up and Down cursor buttons or the Plus Minus buttons As you scroll through the events each event is executed by the sequencer In the case of Note events you will hear the note played although the dura
32. PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 3218 Les Mutes 3249 Steel Guitar Atk 3280 Syn Voices 2 3219 Caster Mutes 3250 Perc Atk 1 3281 Perc Voice 3220 Caster Sustains 3251 Perc Atk 2 3282 Jazz Organ 3221 BariSax 18RT 3252 Perc Atk 3 3283 Church Organ 3222 Miami 1stTpt 3253 Wood Bars 3284 Draw Organ 3223 Dual Elec Piano 3254 Oboe Wave 3285 Reed Organ 3224 Hard Elec Piano 3255 Clav Wave 3286 Fretless Bass 3225 Soft Elec Piano 3256 Elec Piano Wave 3287 Midi Stack 3226 Voices 3257 Bell Wave 3288 Hbell 3227 Dual E Bass 3258 Ping Wave 3289 Glass Rim Tone 3228 Elec Pick Bass 3259 Organ Wave 1 3290 Bagpipe 3229 Elec Slap Bass 3260 Organ Wave 2 3291 Filter Snap Finger Atk Bass 3261 Organ Wave 3 Applause Tenor Saxophone 3262 Organ Wave 4 Glass Rim Tone Sax no Altissimo 3263 Organ Wave 5 Orch Pad Chirp 3264 Organ Wave 6 Heaven Bells FM Bell Trans 3265 Organ Wave 7 MIDI Stack Waterphone 3266 Partials 13 20 Synth Brass Metal Clank 3267 Partials 21 30 DigiBass TimbaleShell Atk 3268 Partials 16 21 AnaBass Cowbell Atk 3269 Very Dull Square Mini Saw Timbale Atk 3270 Buzzy Square Dist Harmonics Bell Attack 3271 Hi Formant Wave Ghatam Bass Tone Clave Atk 3272 ExtDynPrtls1 Small Ghatam Wood Bar Atk 3273 ExtDynPrtls2 Ghatam Shell Conga Tone Atk 3274 ExtDynSaw Ghatam Slap Conga Slap Atk 3275 Me
33. Repeat the process on other zones using the same song for the riff but using a different SrcTrack for each zone To create a setup with a single riff that plays multiple instrument parts set SrcTrack to ALL Each track of the sequence will play its track through the zones which have corresponding MIDI channels MIDI channels are set for each zone on The Channel Program CH PROG Page of the Setup Editor see page 7 4 Re Channel Use the Re Channel parameter when the current zone s MIDI channel and the channel that the riff was recorded on are not the same When Re Channel is set to On the track selected for the SrcTrack parameter will play through the MIDI channel of the current zone For example if you want to use a riff on zone 2 MIDI channel 2 and the riff was recorded on track 4 MIDI channel 4 you will need to turn Re Channel on If you were to do this and keep Re Channel set to Off the riff would play using the program from zone 4 instead of zone 2 When Re Channel is set to On and ALL is selected for SrcTrack all of the tracks of the sequence will play through the MIDI channel of the current zone Note Track numbers don t have to match MIDI channel numbers in Song mode though they do by default A song that uses non default MIDI channels for its tracks can cause some confusion when using it as a riff For example using a riff on zone 1 you could set the riff s SrcTrack parameter to 1 and expect the riff to play on zone
34. Retrig Thresh 96 0 to 0 0 dB in 0 5 dB increments Note Attack Normal Hard PercHard Note Release Normal Hard KeyClick This is where you turn Key Click on or off With KeyClick set to Off you may still hear a click depending on your Note Attack and Note Release settings see below Volume This parameter sets the level of the keyclick the noise decays from the level you set here This level is scaled by the drawbar levels as well as the expression pedal level Keyclick volume can also be scaled by MIDI CC 89 value 0 96 dB value 127 the level set for the Volume parameter Values between 0 and 127 scale between 96 dB and the level set for the Volume parameter When using CC 89 the value displayed for the Volume parameter will not change Decay Sets the basic decay time of the noise envelope Smaller values produce a shorter burst VelTrk Controls the degree to which key velocity affects the key click volume A value of zero means that the key velocity has no effect on the key click volume which is like a real tone wheel organ Other values add volume as the velocity increases 6 65 Program Mode KB3 Editor The KEYCLK Page Pitch Sets the basic pitch of the key click noise relative to the highest tonewheel s pitch The pitch is controlled by a steep lowpass filter applied to white noise The filter s cut off frequency is controlled relative to key number higher keys move the cutoff frequency up lowe
35. SWPRG7 SWPRG8 Table 7 3 Switch Controllers The Controller Destination List The table below contains the available values for the Destination parameter for each controller in scrolling order Note that the PC3A has destinations with Controller Numbers greater than 127 there are 128 MIDI Controllers as dictated by the MIDI spec Any data sent to destinations with a Controller number outside of the MIDI range i e more than 127 are sent as a PC3A specific protocol and are thus not sent as MIDI data and not sent through MIDI Out Controller Corresponding mo Destination Description Number Name 0 OFF Bank By default when you enter 0 or Clear for the Destination parameter the destination will be assigned to OFF To select Bank as the destination use the Alpha Wheel or buttons 1 MWheel Default assignment for Mod Wheel 2 Breath Default assignment for Breath Controller 3 MIDI 03 4 Foot Default assignment for CC Pedal 2 Table 7 4 Controller Destination List 7 21 Setup Mode Controllers Corresponding Cantroler Destination Description Number Name 5 PortTim Monophonic PC3A programs respond to this Controller if portamento is turned on 6 Data Almost all PC3A programs have this Controller assigned to filter frequency or brightness Volume MIDI Volume Balance MIDI Balance MIDI 09 10 Pan MIDI Pa
36. Shift Limit and Limit Option parameters You must latch at least two notes to get a result When Glissando is on all notes played in the arpeggiation range get latched although you won t necessarily get meaningful results from all latched notes In general try to get each subsequent note you latch to be a change in direction For example try latching the following sequence of notes C4 C5 G4 G5 C5 C6 G4 G5 The glissando changes direction around each change in direction of the latched notes SyncTo The SyncTo parameter determines what an arpeggiator will sync to An arpeggiator can sync to another arpeggiator a riff or a song playing from Song mode You can choose a specific arpeggiator or riff to sync to by setting SyncTo to Arp 1 16 or Riff 1 16 and the current arpeggiator will always sync to that arpeggiator or riff For example if you have an arpeggiator ona bass sound in zone 1 and an arpeggiator on a lead sound in zone 2 you may always want the lead arpeggiation in zone 2 to sync to the bass arpeggiation in zone 1 In this case you would set the SyncTo parameter in zone 2 to Arp 1 You may want to have a little more freedom and not be tied to the bass arpeggiation in zone 1 as the main timekeeper Maybe you want to start with the lead arpeggiation in zone 2 and have the bass arpeggiation in zone 1 start later In this case you would set the SyncTo parameter for zone 2 to FirstArp Av With this setting the arpeg
37. System Utilities This offers a menu of file system functions that can be useful in maintaining your system or diagnosing software problems You can also enter the Bootloader menu from the Master Mode menu during normal operation System Update PC3A Software Objects Etc The most common use of the Bootloader menu is to update your PC3A using new versions of software and objects supplied by Kurzweil Updates for the PC3A come in KUF files Kurzweil update files which can include updates to the PC3A operating system factory objects and firmware New versions will be made periodically as we add new features or improve performance download these free upgrades from our website at www kurzweil com Press the System Update soft button to update the entire system OS objects etc from a KUF file You will be prompted to choose a USB device and locate a KUF file Press the USB Device soft button to update from a USB device such as a thumb drive plugged into the USB storage port Press the PC USB soft button to update from a USB cable connected to a computer to the PC3A s USB Computer port To use a USB device you ll need a valid USB device and a computer with a USB type A port Most modern Windows and MacOS computers support USB devices in a very straightforward way You should be able to drag and drop the PC3A files right onto the USB device directory After the files are copied remove the device from the computer and place it
38. VAST 2 8 6 4 Ptch Offst 9 25 Pulse Width 9 21 9 24 punching in 15 9 Punctuation 5 3 Q Quantize Song Mode TRACK Page 12 27 Quantize Flange 9 19 Quantizing 15 15 Quartr Wts 9 25 Quick Access bank program changes 10 16 Quick Access button 5 7 Quick Access Editor 8 1 Quick Access mode 2 9 4 3 R R Diff D1 9 14 RAM objects 5 2 5 4 Rate Control parameter LFO 6 39 Rate Scale 9 24 Ratio 9 17 Real time Control of Arpeggiator Parameters 7 53 Rear panel output settings In Setup Mode 7 6 In Song Mode 12 12 Recording Overview 15 1 Recording songs 3 12 Region Criteria window Song mode 12 21 Rel Rate 9 20 9 21 Rel Time 9 16 Release 9 17 Release parameter ASR 6 41 Release Time and Level parameters AmpEnv 6 43 Releasing ASRs 6 40 Remap Song Mode TRACK Page 12 31 Rename 15 6 Renaming objects 5 3 with Rename utility 11 14 Renaming programs 6 52 Repeating ASRs 6 40 Reset hard 11 18 Reset MIDI channels 10 18 ResH LPhs 9 23 Resonance 9 20 Resonant Filter 9 20 Retrigger 9 18 9 21 Reverb types 9 13 Reversing samples 6 16 Ribbon 2 5 Playing note patterns 7 26 ribbon 1 5 Ribbon Configuration RIBCFG Page 7 40 RIBBON Page 7 40 Riffs 7 55 Ring Modulation 9 25 ROM objects 5 4 ROM objects saving 5 2 Room Type 9 13 Root Key Sample Editor 14 10 Rotating Speakers 9 22 Roto InOut 9 22 Rvrb Time 9 13 S Sample Automatic Preview in a Program 11 19 Sample Editor 14 7 14 9 Samples Adjusting volume 14 4 As
39. but cause each zone to play only on every third and every fourth key respectively Note maps are also used to create drum patterns with the arpeggiator Several of the ROM setups use this feature Setup Mode The Key Velocity KEY VEL Page Velocity Scale VelScale MIDI Velocity This lets you amplify or diminish velocity response Normal response is 100 Higher values make the keyboard more sensitive you don t need to play as hard to get higher MIDI velocities while lower values make it less sensitive playing harder doesn t change MIDI velocity as much You can also set the scale to a negative number in which case the velocity response is turned upside down playing harder produces a softer sound and vice versa This is useful for creating velocity based crossfades between zones See the following section on Velocity Offset for ideas about negative scaling The following illustration shows what happens when you change Velocity Scale Note that Velocity Scale is the only parameter changed in this example the other parameters are set to their defaults offset 0 curve linear min 1 max 127 Velocity Scale 100 as you Strike the keys harder increase the velocity MIDI velocity increases proportionally Velocity Scale 200 MIDI velocity reaches maximum on medium strike velocity seo Velocity Scale 50 MIDI velocity never reaches maximum even on maximum strike velocity Strike Vel
40. enabling you to get just about any rate between minimum and maximum But you can use a switch control too to get just the minimum or maximum with nothing in between Assigning MPress aftertouch as the rate control for an LFO vibrato gives you an easy way to increase the vibrato rate in realtime as you can on many acoustic instruments LFO Shape The shape of the LFO waveform determines the nature of its effect on the signal its modulating An easy way to check the effects of the different LFO shapes is to set LFO1 as the value for the Srcl parameter on the PITCH page and set the Depth for Src1 to 400 cents or so Then go to the LFO page set the Min and Max rates for LFO1 at 0 00 Hz and 4 00 Hz or so and set the Rate control to MWheel Now play your MIDI controller and you ll hear the LFO s rate change when you move its Mod Wheel Select different LFO Shapes and check out the effect on the pitch LFO Phase Use this parameter to determine the starting point of the LFO s cycle One complete cycle of the LFO is 360 degrees 0 degrees phase corresponds to a control signal value of 0 becoming positive Each 90 degree increment in the phase represents a quarter cycle of the LFO When an LFO is local the phase parameter gives you control over the starting point of the LFO for each note for example you could make sure every vibrato started below the pitch you played instead of at the pitch you played The LFO s phase also affects global L
41. examples we will be using a 4 4 time signature in which a Bar contains 4 beats and a beat contains 960 ticks from 0 to 959 see below for more about ticks The Song mode MAIN page displays song time in the Locat field as Bars and Beats for example a Locat position of 1 3 would correspond to Bar 1 Beat 3 The Song mode Big Time page displays song time in large numbers on the top half of the screen as Bars Beats and Ticks For example a Big Time position of 1 3 480 would correspond to Bar 1 Beat 3 Tick 480 in 4 4 Tick 480 would be the second eighth note of the beat 15 1 Tutorial Song Mode Step 1 above Bars and beats should be familiar terms for musicians but ticks are a term specific to MIDI sequencers Ticks provide fine resolution when recording and editing sequences For example if you were to play along with the sequencer s metronome to record one note on each beat of a bar upon reviewing the sequence you would most likely find that each note was not recorded exactly on each beat but that each was recorded a different small number of ticks away from the beats See Part 7 The Event List below for a way to view note time position Ticks allow for the sequencer to record these tiny differences in timing thus retaining the original timing nuances of the performance When locating note values smaller than 1 beat divide the number of ticks ina beat by the appropriate number a quarter note is always worth 960 tick
42. function The AMP Page Pressing the AMP soft button takes you to the DSPCTL page with the Amp function labeled as Level highlighted See The DSP Control DSPCTL Page on page 6 29 for more information on the Amp function 6 21 Program Mode The Algorithm ALG Page The Algorithm ALG Page Press the ALG soft button to call up the Algorithm ALG page The top line of the display gives you the usual mode reminder and tells you which layer you re looking at as well as how many layers are in the current program You can view the ALG pages of any other layers in the program by using the Chan Layer buttons PETE PITCH are more ALG JOSPCTLIDSPMOD OUTPUT more 4 The basic definition an algorithm is the wiring signal path of asample to the audio outputs through a series of digital signal processing DSP functions that you select The PC3A s algorithms are the core of Variable Architecture Synthesis Technology The DSP functions are synthesis tools filters oscillators etc that you assign to the various stages of the algorithm The DSP functions you choose determine the type of synthesis you use The central portion of the page shows the algorithm for the currently selected layer You see the number of the algorithm from 1 to 28 101 to 131 and the IDs for any user defined algorithms and a graphic representation of the signal path as well as the currently selected DSP functions within t
43. inn 10 10 The Channels Page e o E Enn 10 14 bebe ita 10 14 LI RR ORE NES 10 14 bee i i lei attua 10 15 VOLMER E niece aoe 10 15 Program Lock Pan Lock Volume Lock 10 15 Program Change Formats 10 15 Extended Program CHAMSBS illecito 10 16 VAR Lineare 10 16 THeSpfBitongsnhMIDIMOde iii 10 18 Program Change PC Ti ri dia 10 18 Reset Channels Ise A are a a ea a AA ERER 10 18 ELL SEE E E E caches ORTO E TT 10 18 Chapter 11 Master Mode Mln 11 1 lil 11 2 Tans pose ARA ROOT 11 2 FX Mode 11 2 Drum Remap 11 2 DE 11 2 Set p Controllers Set pCils enea n a 11 2 Master Table Lock Master Lock 11 3 Demo Button ARR OR i EA E 11 3 Buttons Mode RIOT Leila 11 3 Cala 11 3 MAPS Liliaceae 11 5 Velocity Map Master 11 5 EINE RR RR RE TT 11 7 CIR RO RA ORI TIT R 11 8 Key Action Map 11 9 InfonaHonkeyUnbNey g lino 11 9 LICFatilESSAUCHOe Licciana 11 10 OUTPUT cece essa ose ag vis diac ei estocapar aceasta nce ease 11 10 Output Clock lla 11 10 Digital Output Volume Dig out volume 11 10 Digital Output Dig Out 11 10 Aux O t P if Mode ssa estes caer aa 11 10 Clock aaa eh E E E E TT 11 11 Menia 11 11 General MIDI Mode GM On GM Off i 11 12 OBJECT costes E A E eee aie ee 11 13 eddie ari 11 14 RAZR oe CORR TEST 0 11 14 Ue bi ll 11 16 CLOCK ine iene 11 17 RESEL lo aa ira HIZ BOE Le Li 11 18 ADE Ln 11 18 STe EA ORRORI IE A RD NI ROSEN VOTI 11 18 Preview Sample PRVIEW ili 11 18 Chapter 12 S
44. lle e Saving and Naming Lilia ala ROM Objects Memory Objects Keyboard Naming Deleting Objects Dependent Objects Saving and Loading Files Sto Special Button Functions Chapter 6 Program Mode The Program Mode Page Selecting Programs The Soft Buttons in Pro The Info Box Controllers Assignments For Factory ROM Programs Saving Controller Settings in Program Mode The Arpeggiator In Program Mode MIDI Channels VAST and KB3 Programs VAST Program Structure KB3 Program Structure KB3 Mode MIDI Control of KB3 Programs Control Setup Control Setup Overview Control Setup Advanced Features Selecting And Editing The Control Setup Editing VAST Programs The Soft Buttons in the The MODE Buttons in the Program Editor Assigning Program Parameters to Control Sources The KEYMAP Page Transpose Xpose Key Tracking KeyTrk Velocity Tracking VelTrk Method AltMethod Stereo rage Mode gram Mode Program Editor Playback Mode Alternative Controller Alternative Switch AltControl and AltMethod The LAYER Pagg Low Key LoKey High Key HiKey Low Velocity LoVel High Velocity HiVel Pitch Bend Mode Bend Trigger Trig Delay Control DlyCtl Minimum Delay MinDly Maximum Delay MaxDly Enable AltControl 6 1 6 2 Freeze Pedal FrzPdl rr Ignore Release IgnRel l Hold Through Attack ThrAtt Hold Until Decay TilDec The PITCH Page Ee act l
45. presented with the Song Save Changes page where you can decide whether or not to save the changes you have made 10 To re record volume automation follow the steps in Part 6 b above 15 14 Tutorial Song Mode Part 7 Learning More About Song Mode Factory ROM Songs The PC3A includes a number of pre recorded songs stored in the factory ROM Investigate these songs to see the possibilities of Song mode Feel free to edit or add to any of these songs in order to learn more about song mode You can save the demo songs you ve experimented with under new ID numbers so that you can compare between your version and the original Also if you replace a factory ROM song you can revert to the original song by deleting the song using the Song Mode Delete soft button Quantizing Quantizing is a method of adjusting the timing of notes recorded into a sequence It can be used to adjust note timing in order to fix mistakes in a performance or to make notes adhere to a strict timing grid as a stylistic choice as in much modern electronic music Quantized notes have technically perfect timing but tend to sound less like a human performance Quantization can be applied automatically to each track as it is recorded or it can be applied after recording to only specific selections For details see the Quant parameter on page 12 17 in the Song Mode The MISC Page section and the Quantize function on page 12 27 in the Song Editor Track Functi
46. s front panel let you choose different banks of programs e g KB3 programs or Classic Keys programs Within each bank you can use the Program and Category buttons to the right of the display to select individual programs BANKS Base 1 Base 2 Classic E Orchestra s Exp 1 Exp2 User 83mm Fast Slow On Off Chor Vib Depth On Off Loud Soft Decay F S Pitch H L On Off Percussion The Bank buttons have special functions in KB3 mode indicated by labels beneath each button User Interface Basics Sliders In KB3 mode the PC3A s nine sliders emulate an organ s drawbars For example slider A emulates an organ s 16 drawbar In other modes the sliders can be used to send values for Bank Buttons different MIDI controllers In either case you may have to move the slider past the current value for its selected function before slider movement will have any effect Press the Info soft button on the Program mode or Setup mode main page to see the slider assignments of the current program or setup A Data B MIDI 13 8 ee 2 n 3 5 11 3 D E F G H MIDI 22 MIDI 23 MIDI 24 MIDI 25 MIDI 26 MIDI 27 Most VAST programs use the sliders for these functions A To 7 wW og n Data MIDI 13 MIDI 22 MIDI 23 MIDI 24 MIDI 25 MIDI 26 MIDI 27 MIDI 28 Filter frequency Brightness Filter resonance Tremolo rate control Layer volume Envelope control Lo EQ Layer vol
47. 1 if itis set to MIDI channel 1 But in Song mode if the song you are using for the riff has track 1 set to a MIDI channel other than 1 the riff will play on the zone that has that track s matching MIDI channel In this case set Re Channel to On in order for the riff to play through the program of the riff s zone 7 57 Setup Mode The Ribbon Configuration RIBCFG Page The RIFF2 Page The second Riff page appears as shown below and has the following parameters Une Zone SincTipe Hone i kelsin so Avail FPelSynTye Hon Iur lona Uel 160 f more d LFS cet Uff Forever Parameter Range of Values Default HiKey C 1 to G9 C 1 Trigger LoKey C 1 to G9 G9 HiKey C 1 to G9 C 1 Rel ee LoKey C 1to G9 G9 CondRel Off On Off Local Off On Off Loop Once Forever Forever BPM Sequence Setup External 20 to 400 Sequence Sync Zone First Avail Riff 1 16 Main Seq Arp 1 16 FirstRiff Av First First Avail Arp Av Sync Type None DownBeat AnyBeat DownBeatWait AnyBeatWait None Loop Stop StartWait LoopWait StopWait Release Sync Zone RelSynZn First Avail Riff 1 16 Main Seq Arp 1 16 FirstRiff Av First First Avail Arp Av Release Sync Type RelSynTyp None DownBeat AnyBeat DownBeatWait AnyBeatWait None Loop Stop StartWait LoopWait StopWait Duration 1 to 1000 100 Velocity 0 to 255 100 Offset 32768 to 32767 0
48. 1 16 or all tracks All of the values for the parameters found in any of the Song editor pages are saved in the song object Song Editor The COMMON Page Press the Edit button on the front panel of the PC3A to display the COMMON page and begin editing a song This is where you will find parameters common to all tracks such as tempo and time signature control parameters for effects and soft buttons for switching to other Song editor pages Pe Tr A ____ rruiitatitiii Teme hee 6 Time S19 Fe Track x DeumTek 1 2 3 4 5 T 8 MidiDst L L L L C L L L EVENT Save Parameter Range of Values Default Tempo 0 external 20 00 to 400 00 BPM 120 Time Signature Numerator 1 to 99 4 Denominator 1 2 4 8 16 32 and 64 4 FX Track 1 to 16 1 Drum Track D MIDI Destination L M U L The currently selected track is displayed on the top line though on the COMMON page this only applies to the Drum Trk and MidiDst parameters see below The rest of the parameters on the COMMON page are global settings for the song and do not directly affect individual tracks Tempo This is another place where the song s initial tempo can be set or modified TimeSig Affects the click playback looping and locate function as well as some editing operations Does not change the recorded data though it does change the way data is displayed on the screen 12 19 Song Mode and the Song
49. 1 Override Aux 2 Override and Master Effects See the Effect Mode and the Effects Pages on page 9 4 for information on editing these pages Song Mode The MIXER Page Out The MIXER page shows the current settings for the program number panning and volume of each track in groups of 8 The selected track number as well as the range of tracks displayed on the page are displayed in the upper right hand corner of the screen Use the Chan Layer buttons or the cursor buttons to change the currently selected track To get to other pages of tracks continue scrolling past the first or last track on the page The bottom part of the screen displays current settings for the selected track including program number and name panning and volume Changing the settings for a track s program volume or panning while the sequencer is recording will record these changes viewable in the corresponding track s EVENT page Upon playback these automated mixer parameters will display their changing values in real time on the MIXER page Below is an example MIXER page Sons Parameter Range of Values Default Current Pan Pan 0 to 127 None Current Volume Vol 0 to 127 None Current Program Prg Program List None Output Out Auto Pri Sec Auto Current Program Cur Program List Current Program Bottom Line Current Volume Vol 0 to 127 127 For Selected Track Current Pan Pan 0 to 127 64 Uneditable th
50. 10 Master Mode Delete 11 14 Master Mode Rename 11 14 Naming 5 3 RAM 5 2 5 4 Renaming 5 3 ROM 5 2 5 4 Octav 6 2 8 2 Odd Wts 9 25 Opaque parameter Layer 6 20 Origin 9 24 OS Version 11 18 Osc1 Freq 9 25 Osc1 Lvl 9 25 Osc1 Shape 9 25 Osc1PlsWid 9 25 Osc1Smooth 9 25 Oscillators 6 53 Out Gain parameter 9 12 OUTPUT page Program Editor KB3 6 70 Output settings In Setup Mode 7 6 In Song Mode 12 12 Overview 1 3 Index v P Pages 3 6 AMP KB3 6 62 AMPENV Amplitude envelope 6 42 ASR Attack Sustain Release 6 40 DRAWER 6 61 ENV2 and ENV3 Envelopes 6 44 ENVCTL Envelope control 6 45 EQ 6 69 FUN Attack Sustain Release 6 41 KEYCLK 6 65 KEYMAP 6 14 LAYER 6 17 LFO 6 38 MIDI CHANLS 10 14 MIDI RECV 10 5 MIDI XMIT 10 1 MISC 6 67 OUTPUT KB3 6 70 PERC 6 63 PERC2 6 64 PITCH KB3 6 62 TONEWL 6 59 Pair Wts 9 25 Pan 9 22 9 26 MIDI 10 15 Pan lock 10 15 Pan Mode parameter Output 6 32 Pan parameter Output 6 32 Pan Width 9 24 Panic button 2 8 6 2 10 18 Parameter locks 10 15 Parameters AmpEnv 6 43 6 44 ASR 6 40 6 41 Common 6 35 6 60 Envelope control 6 46 Keymap 6 14 Layer 6 18 6 21 LFO 6 39 Parametric equalizer 9 15 Path 13 4 PC3A Features 1 2 PC3A Overview 1 3 PC3A6 1 1 PC3A 8 1 1 PCH 10 16 Pedals 2 4 pedals 1 5 PERC page Program Editor KB3 6 62 PERC page Program Editor 6 63 PERC2 page Program Editor 6 64 Phase parameter LFO 6 39 Pitch 9 25 Pitch Bend Mode parameter Layer 6
51. 132 AcousticSplit 156 Dance 180 Perc Attack Orch 133 Slap EP Split 157 Slow Rock 181 Disco Fanfare PC3A Objects V 2 3 Setups ID Setup ID Setup ID Setup 182 Pad w Benefits 209 Orch Fantasy 236 Insanity 183 AnaSoup 210 Stringotronic 237 Bells 184 Blue Lights On 211 Harp Ensemble 238 LowChunkerGroove 185 Plucked Hammers 212 MarimbasGoneWild 239 Hold Sum Notes 186 Forbidden Planet 213 Ivory Ensemble 240 Reich Piano 187 Childhood Magic 214 Spaces 241 AnaBouncer 188 Autobeller 215 Bubble Pad 242 The Factory 189 Square Arp er 216 FatAna 243 FattyFatFat 190 PizzicatoBenefit 217 Fretso Lush 244 Brass Bouncer 191 GrandPad amp Magic 218 Dual Manual B3 245 Electric Dancer 192 TinklySweepySpcy 219 Dual Manual B3 2 246 Treso Pulser 193 Pulsing Anthem 220 Dual Manual B33 247 Mellow Tripper 194 PedHold PnoSolo 221 Dual Manual B3 4 248 SpacePulser 195 Rhythm Pad SW 222 MwhlBlips ARP 249 Mood Arp C2 196 The Wonders 223 Mwheel DJ Arp 250 Strum Thurmond 197 Drops of Jupiter 224 Margarita Split 251 DrumnBassr 198 No Complaints 225 ConstantGardener 252 funksetup 199 Brighton Lush 226 RunRagoRun 253 HazelJam 200 Nylon and Ivory 227 BionicRock 254 GetBerniSld E I 201 Drawbr Slidr SW 228 PeaSoup 255 Pip
52. 15 MIDI 15 For AuxBend 2 you can set only one range for both upward and downward pitch bending Pa A Note About Continuous Controllers and The BEND Page Unlike the Pitch Wheel and Ribbon controller other continuous controllers such as a slider will not automatically return to the original center pitch This can make it hard to accurately return the controller to it s center position by hand In these cases it is useful to use a separate controller for bending only up or down For example to have a slider only bend up use a slider with an Add value of 64 and a Scale value of 50 and Curv set to Linear The bottom of the slider will now be the center pitch and the top of the slider will be the top of your bend range To have a slider only bend down use a slider with an Add value of 127 and a Scale value of 150 and Curv set to Linear The top of the slider will now be the center pitch and the bottom of the slider will be the bottom of your bend range See page 7 29 for more on setting continuous controller parameters Controllers Controller editing is one of the strongest aspects of the PC3A s usefulness as the main controller for a sophisticated MIDI studio In this section we ll talk about two different types of controllers as they apply to the PC3A One is the physical controllers the wheels buttons pedals etc that you move with your fingers or feet The other is MIDI Controllers which are MIDI commands sent by the PC
53. 18 Pitch Bend Range parameter Common 6 35 PITCH page Program Editor KB3 6 62 Pitch Wheel 3 5 Play Pause button with Easy Audition 2 7 Playback loops 6 16 Playback Mode parameter Keymap 6 16 Plus Minus buttons 3 9 Polydistort 9 22 Polyphony 6 4 11 16 KB3 6 60 Portamento click 6 36 6 37 Portamento parameter Common 6 36 Portamento Rate parameter Common 6 36 Pos 9 22 Power cable 2 2 Pre Dly 9 13 Pre Delay 9 13 Pressure Press Page Setup Mode 7 35 Pressure Map Master 11 7 MIDI Receive 10 8 MIDI Transmit 10 4 Preview Sample PRVIEW 11 18 PrgChgMode 10 6 Program buttons 3 4 5 7 Program change formats 10 15 Program change mode 10 6 Program changes Extended 10 16 MIDI 10 5 Quick Access mode 8 1 Program Editor AMP page KB3 6 62 AMPENV page 6 42 ASR page 6 40 DRAWER page 6 61 ENV2 and ENV3 pages 6 44 ENVCTL page 6 45 EQ page 6 69 FUN page 6 41 KEYCLK page 6 65 KEYMAP page 6 14 LAYER page 6 17 LFO page 6 38 MISC page 6 67 OUTPUT page KB3 6 70 PERC page 6 63 PERC2 page 6 64 PITCH page KB3 6 62 Soft buttons 6 12 TONEWL page 6 59 Program Info Export 13 15 Program lock 10 15 Program mode 4 2 6 1 Soft buttons 6 2 Program mode page 6 1 Program output settings In Setup Mode 7 6 Programs D 1 Adding layers 6 52 Deleting 6 52 Deleting layers 6 52 Duplicating layers 6 52 Index vi Editing KB3 6 59 Editing VAST 6 12 Importing layers 6 52 KB3 2 9 6 6 Renaming 6 52 Saving 6 52 selecting 2 7
54. 313 Leslie 122 a 366 BrighDistlLes1 240 Reverb2 314 Mitch s Leslie 367 DistleratorLes 6 255 Flange Delay 315 Melvin s Leslie 368 BrightDistlLes 257 Empty Stage II 316 Greg s Leslie 369 DistlLes dw41 258 AbbeyPianoHall 2 317 RoomyLeslie 122 370 Prog Leslie1 259 Opera House II 318 Soft Leslie 122 371 LightDistlLes2 260 Vintage Strings2 319 CrunchLeslie 147 372 DW Leslie13 261 Classic Plate II 320 Thimmer Leslie 373 LeeMichaels 1 262 Recital Hall II 321 Jimmy s Leslie 2 375 DW Leslie12 263 Small Hall II 323 Organ Taps 376 DistlLes 5 264 Real Niceverb II 324 Leslie CleanAS 377 Sly Leslie 265 Medium Hall II 325 Leslie 122 cr 378 LightDistlLes 266 Small Dark Room2 326 Jimmy sBrakeLes 379 FisherLeslie 267 PnoRvb II 327 Greg s Latcher 380 Soul Leslie122 7 268 ShortPnoRvb III 328 Nice Leslie 385 NewLord 1 269 PnoEnhancRvb3 329 Clean Leslie 386 SystemTemp Tap 270 RevComp5 330 Warm Leslie 387 WaterDistSynth 271 Clunker II 331 NewLord 1 388 Flange VoiceHall 272 St CHDly II 333 CrunchLeslie122 389 BrightFlangeHall 273 OmniStage 334 Hot Leslie 122b 391 FlngRecitalHall 274 OmniStage 335 BostonLeslie1 392 Med Drum Room D 21 Effect Chains 395 396 397 399 400 401 403 411 412 414 415 416 420 422 424 425 426 427 428 430 431 434 435 436 439 440 441 442 445 446 447 448 449 Chain Cathedral Vx Burning Tubes5 PunchBassAmp RevverLeslie Bradley s Barn 1 Bradley s Barn 2 LA2A
55. 3211 WheelMangler 3242 Nasty Syn Brass 1006 WheelGrowlMoogue 3212 Dipalma Dituna 3243 Popcorn 1007 The Way It Is 3213 Lush Square 3244 SporkInTheEyE 1008 AlphaCentauri 3214 Klockwork 3245 Giallo SynStr 1009 SynOrcWhaleCall 3215 WaveRider 3246 Zap Chamber 1010 Downes Lead 3216 Trance Echo 3247 Lectronium MusBx 1011 Minipulse 4Pole 3217 Chillwave Chords 3248 Plantasia 1012 BPMLead 3218 PWM Synth 3249 Electro Sleigh 1013 GatedSqrSweepBPM 3219 ChirpAttacks 3250 Touch Trance3 1014 BPMEchplexPad 3220 FrankensteinWah 3251 Krafty MonksMW 1015 GatedNoisweepBPM 3221 Sunbleached Syn 3252 Sassaphrynth 1016 Cars Square Lead 3222 Daft Lead 3253 Warm Sliders 1017 DataShape Saw 3223 MayhemWheelLead 3254 Classic Saws 1018 Saw Mogue 4Pole 3224 80s 1 3255 Osti Warble 1019 VA1NakedPWMPoly 3225 Tremolo Flange 3256 PBS on VHS PC3A Objects V 2 3 Programs ID Program ID Program ID Program 3257 Punch a ghost 3288 Squeeze Pad 3319 Cyanide and 45 3258 OBwancannoli 3289 TrickleDownPad 3320 Brown Sound 3259 80s 4 3290 Bell Pan Pad 3321 Verse Shimmer 3260 ARP Press Rez 3291 Padme Pad 3322 Rich Les 3261 Aggro OctoBass 3292 Cycling Pad 3323 RedHot StudioStr 3262 RideTheWheelBass 3293 Evolving Pad 3324 HeavyMetalThundr 3263 Iceman Bass 3294 Blip Pad 3325 SuperflyWahCast 3264 Dist Perc
56. 3728 Dark amp Distant 4124 Muted Guitar 4155 Muted Trumpet 3729 Delay Piano 4125 Overdrive Gtr 4156 FrenchHorn D 15 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 4157 Brass Section 4187 Space Voice 4217 Breath Noise 4158 Synth Brass 1 4188 Bowed Glass 4218 Seashore 4159 Synth Brass 2 4189 Metal Pad 4219 Bird 4160 Soprano Sax 4190 Halo Pad 4220 Telephone 4161 AltoSax 4191 Sweep Pad 4221 Helicopter 4162 Tenor Sax 4192 Ice Rain 4222 Applause 4163 Baritone Sax 4193 Soundtrack 4223 GunShot 4164 Oboe 4194 Crystal 4165 English Horn 4195 Atmosphere 4166 Bassoon 4196 Brightness 4167 Clarinet 4197 Goblins 4168 Piccolo 4198 EchoDrops 4169 Flute 4199 Star Theme 4170 Recorder 4200 Sitar 4171 PanFlute 4201 Banjo 4172 BottleBlow 4202 Shamisen 4173 Shakuhachi 4203 Koto 4174 Whistle 4204 Kalimba 4175 Ocarina 4205 Bagpipe 4176 Square Wave 4206 Fiddle 4177 Sawtooth Wave 4207 Shanai 4178 Synth Calliope 4208 Tinkle Bell 4179 ChifferLead 4209 Agogo 4180 Charang 4210 Steel Drums 4181 Solo Vox 4211 WoodBlock 4182 5thSaw Wave 4212 Taiko 4183 Bass amp Lead 4213 MelodicTom 4184 Fantasia 4214 SynthDrum 4185 WarmPad 4215 Reverse Cymbal 4186 Polysynth 4216 Gtr Fret Noise
57. 4097 Bright Grand 4128 Acoustic Bass 3702 Recital Piano 4098 Electric Grand 4129 FingerBass 3703 Bright Classical 4099 Honky Tonk Pno 4130 Picked Bass 3704 Parlor Piano 4100 ElecPiano1 4131 Fretless Bass 3705 Jazz Piano 4101 ElecPiano2 4132 Slap Bass 1 3706 Stadium Pop Pno 4102 Harpsichord 4133 Slap Bass 2 3707 Radio Pop Piano 4103 Clavinet 4134 Synth Bass 1 3708 Power Pop Piano 4104 GM Celesta 4135 Synth Bass 2 3709 Big Rock Piano 4105 Glockenspiel 4136 Violin 3710 Upright Piano 4106 MusicBox 4137 Viola 3711 Blues Piano 4107 Vibraphone 4138 Cello 3712 Classic Rock Pno 4108 Marimba 4139 Contrabass 3713 Modern Rock Pno 4109 Xylophone 4140 Tremolo Strings 3714 NOLA Piano 4110 Tubular Bells 4141 Pizz Strings 3715 Stage Piano 4111 Dulcimer 4142 Harp 3716 R amp B Keys 4112 Drawbar Organ 4143 Timpani 3717 Hip Hop Piano 4113 Perc Organ 4144 Ensemble Strings 3718 EDM Piano 4114 Rock Organ 4145 GMSlowStrs 3719 SoulPiano 4115 ChurchOrgan 4146 SynthStrings 1 3720 Pub Piano 4116 Reed Organ 4147 SynthStrings2 3721 Indie Piano 4117 GMAccordion 4148 ChoirAahs 3722 Seventies Piano 4118 Harmonica 4149 VoiceOohs 3723 Piano amp Pad 4119 Bandoneon 4150 Synth Vox 3724 Piano amp Choir 4120 NylonGuitar 4151 OrchestraHit 3725 Piano amp Harp 4121 SteelStrGtr 4152 Trumpet 3726 Film Piano 4122 Jazz Guitar 4153 Trombone 3727 Ambient Piano 4123 CleanEGtr 4154 Tuba
58. 788 Deep Vox Bed 819 4 Diapason 735 FatNoise Kit 789 SloSynOrch Wet 820 4 Ped Bourdon 736 Hypd Natural Kit 790 VoxBed2 821 4 Reed 737 RangoKit 791 Hi Vox Cloud 822 4 Gamba 738 NoiseSlapToms 792 LFO Pitcher Pad 823 4 DiaCeleste 739 16LayerCake Kit 793 MagicChinaFlower 824 4 Ballpark Stop 740 HopRoom Kit 794 Climax Perc 825 4 Viol 741 Natural Ringer 795 16 Open Flute 826 22 3 OpenFlute 742 BeachGroover 796 16 Stop Flute 827 22 3 StopFl12 743 Rock Snarer 797 16 Diapason 828 22 3 Diapason 744 Drum Pad Kit 1 798 16 Ped Bourdon 829 22 3 Reed 745 Filter Kit 799 16 Ped Diapason 830 22 3 Gamba 769 FMEPiano 1 800 16 Ped Reed 831 22 3 DiaCelest 770 FME Piano 2 801 16 Reed A 832 22 3 BallparkS 771 Hybrid DX amp Pad 802 16 Reed B 833 22 3 Viol 772 FluidStradaGtr 803 16 Gamba 834 2 Open Flute 773 Fluid E Gtr 804 16 DiaCeleste 835 2 Stop Flute 774 OrganWaveComper 805 16 Ballpark Sto 836 2 Diapason 775 Poly Brassy 806 16 Viol 837 2 Reed 776 SynBrass Comper 807 8 Open Flute 838 2 Gamba 777 PolyPitch Brass 808 8 Stop Flute 839 2 DiaCeleste PC3A Objects V 2 3 Programs ID Program ID Program ID Program 840 2
59. 9 0 19 2 0 0 20 2 9 0 29 9 9 0 99 12 8 1 0 19 9 1 99 20 0 2 0 29 9 2 99 75 9 7 59 100 0 0 0 105 9 0 59 110 9 1 99 117 7 1 77 119 9 1 99 Table 10 1 QAccess Program Change Examples 10 17 MIDI Mode The Soft Buttons in MIDI Mode The Soft Buttons in MIDI Mode The first three soft buttons select the three MIDI mode pages The PrgChg soft button lets you send a program change command on any MIDI channel The RsetCh soft button lets you return all channel parameters to their default values The Panic soft button sends an All Notes Off and an All Controllers Off messages to the PC3A and on all 16 MIDI channels Program Change PrgChg When you press this soft button a dialog appears that lets you send program changes out the USB or MIDI Out port but does not change internal programs The Chan Layer buttons the Up Down cursor buttons and the Chan and Chan soft buttons can all be used to change the channel on which the program change command will be sent The Left Right cursor buttons the Plus Minus buttons the Alpha Wheel and the Prog and Prog soft buttons can all be used to change the program change number that will be sent When you ve set the channel and the program change number press the Send soft button to send the program change command Or press the Cancel soft button if you don t want to send it You can change the channel and the program number as many times as you want before you press Send You al
60. 91 of them in a KB3 program the 92nd is reserved to produce key click Because the oscillators start running as soon as you select a KB3 program there are always voices available unlike VAST programs which start stealing notes when you reach the polyphony limit The oscillators we ll call them tone wheels from here on are divided into an upper and lower group The upper tone wheels use the samples in the PC3A s keymaps to generate sound while the lower tone wheels use sine waves You can change the keymap of a KB3 program s upper tone wheels to produce a large array of sounds By changing the keymap from sine to a saw wave it is possible to emulate the sound of classic combo organs like the Vox and Farfisa models KB3 programs are also routed through vibrato rotary speaker preamp and distortion effects see below for details KB3 Mode KB3 programs are different enough from VAST programs that we use the term KB3 mode to describe what s going on when you play a KB3 program Whenever you play a KB3 program you are in KB3 mode The blue LED in the KB3 button will light when the current program is a KB3 program You can play KB3 programs only ona single channel at a time If you want to create your own KB3 program start by editing an existing KB3 program KB3 Effects And Real time Controls You have real time control over many components of KB3 programs directly from the front panel The sliders emulate the drawba
61. Affecting Program Mode Arpeggiator Destination BankMode KEY VEL All PAN VOL ExitVolume ExitPan BEND AuxBend1Up AuxBend1Dwn AuxBend2Rng COMMON Tempo ArpSync ARPEGGIATOR All RIBBON CONFIGUR All Continuous Controller assignment pages SLIDER SLID2 CONT PEDALS RIBBON WHEEL PRESS Dest Scale Add Curv Switch Controller assignment pages FOOT SWITCH 1 3 SWITCH ARP SWITCH SW PRG Type OnControl OnValue OffControl OffValue EntryState SWITCH 1 8 Table 6 4 Control Setup Parameters Affecting Program Mode About PC3A Physical Controller Destinations PC3A physical controllers transmit controller messages consisting of a destination and a value The destination allows the physical controller to be identified while the value represents the current state of the physical controller button on off slider setting etc Each destination can be identified as a number though some destinations are displayed in the PC3A as the name of their default use Destinations can be MIDI continuous controller numbers 0 127 or PC3A internal destinations 128 and above For simplicity we will refer to both of these types of destinations as CC numbers or CCs continuous controller numbers By default physical controller destinations 0 127 are transmitted internally to program parameters and to the USB and MIDI Out ports as MIDI continuous controller numbers see Destination on page 10 2 to change this
62. Bass 3295 Sparkly Pad 3326 Rich Caster 3265 Envy Bass 3296 Lush Rhythm Pad 3327 LesGrit 3266 Wrap Sine Bass 3297 Rhythm Pad 3328 SharpDressd 3267 ANGRYBass 3298 Omni Evolver 3329 JackTheRipper 3268 Mini Obi Bass 3299 Percolator Glow 3330 BoutiqueBeauty 3269 Dist Filter Bass 3300 Gleam Dream 3331 SuperStudioCast 3270 GrudgeBassMW 3301 InstantSpooky 3332 FLIP n METAL 3271 Squeeze Mini 3302 Deeper Water 3333 ShredfestLead1 3272 Mono BassBalls 3303 ambiencel 3334 ChunkyVintageGtr 3273 Big Synth Bass 3304 Old amp Warbly 3335 Les Verser 3274 Snappy Bass 3305 filmpiano 3336 Earth Guitar 3275 Noise Bass 3306 ambience2 3337 E Bow Mono 3276 Vel Filter Bass 3307 Panorama 3338 Caster Verser 3277 Italo Bass 3308 Dream Dulce 3339 RAW and BLEEDIN 3278 Rave Wind 3309 AltPianoSpace 3340 Kinda Krunchy 2 3279 Code Breaker 3310 DreamPiano 3341 Ripper LITE 3280 Snarky Dimpling 3311 New Beauty 3342 BLEEDIN LITELY 3281 Toodle Bell Beat 3312 Bowed Dulce 3343 Brown LITE 3282 Film Score Pad 3313 Ancient Calling 3344 Pajang 3283 MW S amp H Filt 3314 AltPianoEcho 3345 Hammere 3284 THX 3315 NuBeauty3 3346 Dulciliere 3285 Majestic Pad 3316 PhasePickLes 3347 PlectraOne 3286 Pan Motion Pad 3317 Kinda Krunchy 3348 Klangere 3287 Undercurrents 3318 TimeWarpCaster 3349 Rich Mando D 12 PC3A Objects V 2 3
63. Big Old Jupiter played with the KB3 program 53 Testify Note You can also trigger and stop demo songs with a simultaneous double button press of the up and down cursor buttons 6 37 Program Mode The OUTPUT Page The LFO Page LFOs are low frequency oscillators LFOs are used to automate the modulation of a parameter based on the shape and frequency of an audio waveform You ll use the LFO page to define the behavior of the two LFOs available to each layer LFOs are periodic repeating control sources The basic elements are the rate which defines how frequently the LFO repeats and shape which defines the waveform of the modulation signal it generates With the PC3A you can set upper and lower limits on each LFO s rate and assign a control source to change the LFO s rate in realtime if you wish Because of its periodic nature the LFO is perfect for creating effects like vibrato cyclic variation in pitch and tremolo cyclic variation in amplitude When you re editing LFOs or any control source remember that it must be assigned to control some parameter before you ll hear the effects of your edits LFOI is always local meaning that it s triggered with each Note On event and runs independently for each note in the layer LFO2 is local by default but can be made global This is done on the COMMON page by setting the Globals parameter to On which causes LFO2 ASR2 FUN2 and FUN4 all to become global Global co
64. Channel is set Also in Setup Mode when the LocalKbdCh parameter is set to match the channel on which the external MIDI device is transmitting external MIDI received by a Zone is sent to the destination set with each Zones CH PROG page Destination parameter see Destination on page 7 5 for details In this case if a Zone is sending the external MIDI to the USB or MIDI Out ports the MIDI messages will be remapped to the channel of the Zone and any note transposition set for the Zone will be applied In Setup Mode when the LocalKbdCh parameter is set to None an external MIDI device will play a single Program The played program will be on a Zone of the current Setup that has a Channel parameter on the Setup Editor CH PROG page which matches the channel on which the external MIDI device is transmitting If no Zone s Channel parameter matches the external device will play the program that was last used by that channel in Program or Setup Mode When the Program of a Setup Zone is played from an external MIDI controller with the LocalKbdCh parameter set to None Setup MIDI parameters most noticeably key range and transposition will not be applied See Input Channel on page 7 6 for details on applying these parameters when playing a single zone from an external MIDI device Also in Setup Mode when Local Keyboard Channel is set to None external MIDI sent to any channel is output from the MIDI Thru port but not from the MIDI Out port or
65. Continuous Control pedals the optional breath controller the jack of which is connected to CC pedal 2 and mono pressure aftertouch As the table on page 7 20 shows all of them use the same parameters Each parameter s function is described below Dest Use this parameter to select a destination from the MIDI Controller Destination list see page 7 21 Scale After you ve selected a continuous physical controller you can modify the controller s response similarly to the ways you can modify velocity response Refer to the graphs beginning on page 7 11 for illustrations of the velocity scaling parameters Scale lets you amplify or diminish the action of the controller Full scale is 100 Higher values will make the controller more sensitive and lower values will make it less so Setting the scale to a negative number makes the controller action work in reverse As with velocity you can use a controller to crossfade between two zones by setting the scaling for one zone positive and the other negative Maximum scale values are 300 and 300 Add This adds or subtracts a constant to the controller and at the same time sets minimum or maximum values there s no need for separate Max and Min parameters If Add is 25 the minimum value of the controller will be 25 If it is 25 and scale is 100 the first one fifth of the controller s movement 25 127 Y 1 5 will send value of 0 and the maximum value of the controller will b
66. Dynam Stereoizer alg 282 DynamicStereoize 2U Rotary ROTARY 280 CleanRotors fast alg 290 VibChor Rotor 2 2U 281 CleanRotors slow alg 290 VibChor Rotor 2 2U 282 CleanRotors f C1 alg 290 VibChor Rotor 2 2U 283 CleanRotors f V1 alg 290 VibChor Rotor 2 2U 284 CleanRotors f Hi alg 290 VibChor Rotor 2 2U 285 CleanRotors s Hi alg 290 VibChor Rotor 2 2U 286 SlightDstRotor f alg 291 Distort Rotary 2U 287 SlightDstRotor s alg 291 Distort Rotary 2U 288 DirtyRotors fast alg 292 VC Dist HiLoRotr 2U 289 DirtyRotors slow alg 292 VC Dist HiLoRotr 2U 290 MoreDistRotor f alg 293 VC Dist 1Rotor 2 2U 291 MoreDistRotor s alg 293 VC Dist 1Rotor 2 2U 292 HeavyDistRotor f alg 294 VC Dist HiLoRot2 2U D 37 PC3A Objects V 2 3 Effect Presets with Algorithms 293 HeavyDistRotor s alg 294 VC Dist HiLoRot2 2U 294 Res Rotor1 fast alg 295 Rotor 1 1U 295 Res Rotor1 slow alg 295 Rotor 1 1U 296 FullRotors4 fast alg 296 VC Dist Rotor 4 4U 297 FullRotors4 slow alg 296 VC Dist Rotor 4 4U 298 VibChorStortCab alg 298 Big KB3 Effect 4U 299 Hi Lo Roto KB3 alg 298 Big KB3 Effect SU Distortion DIST 300 Classic Gtr Dist alg 310 Gate TubeAmp 3U 301 Crunch Guitar alg 310 Gate TubeAmp 3U 302 SaturatedGtrDist alg 310 Gate TubeAmp 3U 303 Mean 70 sFunkGtr alg 310 Gate TubeAmp 3U 304 Blown Speaker alg 390 Chaos 2U 305 Synt
67. Editor Song Editor The COMMON Page FX Track The PC3A uses the channel of the track specified for FX Track as the Aux FX channel DrumTrack Any of the song s tracks can be defined as Drum Tracks so that their Note events do not get transposed when a transposition is applied when using the track as a riff in a setup see Riffs on page 7 55 and Transpose Root Note on page 7 57 With tracks designated as drum tracks you can transpose a whole song that is being used as a riff but the drum tracks will continue to play the correct sounds that they played in the original key Otherwise the drum sounds would change with each transposition Use the cursor buttons to select a track number You can access 8 tracks at once either tracks 1 8 or 9 16 Use the Chan Layer buttons to the left of the display to select one of the tracks 1 8 viewed in the top right corner of the page in order to access tracks 1 8 or select one of the tracks 9 16 to access tracks 9 16 With the desired track number selected in the DrumTrk field use the Alpha Wheel or buttons to toggle between D to designate the track as a drum track or to designate the track as a non drum track DrumTek 1D 2 3 40D SD 6 T 8 The Drum Tracks settings do not have any effect on edits made on the TRACK page in the Song Editor Any tracks defined as Drum Tracks are transposed when a transposition is applied to these tracks from the TRACK page MidiDst Midil
68. If the drum riff is started first the bass riff will see that as the first available riff to sync to and will do so This can be very handy if you have multiple riffs and want to do some live remixing you could have the drums drop out and as long is there is a riff playing they will sync back up when triggered again You can also choose FirstArp Av which behaves the same way as FirstRiff Av but makes your riff look for the first available arpeggiator to sync to A setting of Main Seq will sync the riff to the song currently loaded in Song mode You can select a song in Song mode then play it from setup mode with the front panel Play Pause button Doing this temporarily replaces the programs in your setup s zones with the program used for each channel in the song so it s best to make a setup that uses the same programs as your song on the same MIDI channels If you plan on syncing riffs with a song it may be easier to start by creating a setup then recording the setup into a song See Recording A Setup To Song Mode on page 7 69 for details A setting of First Avail will sync the riff to the first available riff arpeggiator or song from Song mode Note If you have multiple riffs or arpeggiators already playing when using First Riff Av FirstArp Av or First Avail for the current riff the current riff will sync to the riff or arpeggiator of the lowest numbered zone that has a riff or arpeggiator playing SyncType The SyncT
69. Left Right cursor buttons Moves cursor to the end of the name 3 10 User Interface Basics Intuitive Data Entry Intuitive Data Entry ra Many parameters have values that correspond to standard physical controllers In many cases you can select these values intuitively rather than having to scroll through the Control Source list Do this by selecting the desired parameter then holding the ENTER button while moving the desired physical control For example on the LAYER page in the Program Editor you can set the range of the currently selected layer as follows use the cursor buttons to move the cursor to the value for the LoKey parameter press and hold the Enter button then press the note you wish to be the lowest note for the currently displayed layer The note you triggered will appear as the value for the LoKey parameter Repeat the process for the HiKey parameter Another example select Program 199 while in Program mode Press Edit to enter the Program Editor Press the PITCH soft button to select the PITCH page Move the cursor to the Src1 parameter Hold the Enter button and move the Pitch Wheel PWheel will be selected as the value for Src1 You can also use the keyboard to choose control sources since most key numbers correspond to a value on the control source list If you have a certain control source that you use over and over for example LFO1 this can be the quickest way to enter its value T
70. MWheel the Mod Wheel as your control source Next press the cursor down button to select the Depth parameter then use the alpha wheel or alpha numeric pad to turn it all the way up to 10800ct Now the Mod Wheel will affect the LP Frq parameter Moving the Mod Wheel all the way up a value of 127 will cause the filter s cut off frequency to move up 10800 cents from its initial value moving the Mod Wheel all the way down a value of 0 will have no effect on the cut off frequency and values in between will increase the cut off frequency by a scaling between 0 and 10800 cents Now you have the same control over cut off frequency as you did in the previous example but now it is controlled by the Mod Wheel Overall moving the Mod Wheel up will increase the cut off frequency making the oscillator sound brighter and moving the Mod Wheel down will lower the cut off frequency making the oscillator sound duller This is useful to control a classic filter sweep sound The above method can be used to control any DSP function that is loaded into an algorithm and you can choose any continuous controller as a control source Note When adding programs with controller assignments to a setup in Setup mode your setup must have its controllers assigned to the same destinations that you assigned as control sources in your program An easy way to do this is by using the Control Setup that you used when making your program as a template for your new setup
71. OTT TTT 6 48 Auxiliary Se d Pata tet ili lic 6 48 Aux1 Mod Aux2 Mod 6 49 The Layer FX EN EPA cla son ceettivtiatccbordlbdeiieseaiee 6 49 The Controllers CTLS Pa ella 6 50 INPO le ee 6 51 Function Soft Buttons 6 51 I RO TE TTT 6 52 New Layer NEWLY 000 6 52 Duplicate Layer apa tt a sos illo 6 52 Import Layer ImpLyn i a 6 52 Delete MM eil 6 52 Name Save Delete lola 6 52 Editing VAST Programs With KVA Oscillators 6 53 BasicUssoFKRVALSallatofa iii 6 53 Setting KVA Oscillator Type 6 54 Advanced Use Of KVA Oscillators i 6 55 Editing KB3 PYOgramiSs iii iii 6 59 KBs Editor The Tone Wheels TOME WL Page ciali it 6 59 Upper Tone Wheel eymaPi ooill loi 6 59 Upper Volume Adjust 6 60 Number of Tone Wheels ll ilari 6 60 57727 1014 VET o EE N E E E n 6 60 Wheel Volume Map 6 60 E ARIA PRA RIA RR ERI TT 6 60 Lower Transpose Uppet Itanspose critici 6 60 KB3 Editor The Drawbars DRA WBR Page E EN 6 61 Mode aera a E E a a EAT cn a ete 6 61 SEPS I E 6 61 AR RR tooreaote a tea ae nen nee ences arte 6 61 in 6 61 KB3 Editor The Set Drawbars SetDBR Soft Button 6 62 KB3 Editor The PITCH PASS rai 6 62 KB3 Editor The AMP Page iii iii 6 62 KB3 Editor The PERC1 Page 6 63 Percussion 6 63 RR RO O RIA RR I RT TT 6 63 ir nari 6 63 Helen 6 64 VelTrack O IRE E TT 6 64 ii 6 64 Hill 6 64 ARRE IRR SRI a eei 6 64 KBs Editor The PERC2 Page lla 6 64 PereLevel Dec
72. Organ Conga Tone Atk 3263 ExtDynPrtls1 3293 Draw Organ TimbaleShell Atk 3264 ExtDynPart2 3294 Reed Organ Cowbell Atk 3265 ExtDynSaw Fretless Bass Clave Atk 3266 Syn Bass Pick HBell Conga Slap Atk 3267 Syn Guitar Bagpipe Elec Pno Atk 3268 Perc Voice CB kick1 v1 Brass Attack 3269 Glass Rim Tone Filter Snap Bow Attack 3270 Orch Pad Applause Jazz Guitar Atk 3271 Heaven Bells Stereo kicks Steel Guitar Atk 3272 MIDI Stack Mono kicks Perc Atk 3273 Synth Brass Elec kicks Wood Bars 3274 DigiBass CB Snares S Oboe Wave 3275 AnaBass ST Snares S Clav Wave 3276 Mini Saw Other Snares Elec Piano Wave 3277 Dist Harmonics Elec Snares Bell Wave 3278 Ghatam Bass Tone CB Toms Ping Wave 3279 Small Ghatam ST Toms Stereo 3250 Organ Wave 1 3280 Ghatam Shell ST Toms Mono 3251 Organ Wave 2 3281 Ghatam Slap Brush Toms 3252 Organ Wave 3 3282 Muzhar Elec Toms D 61 PC3A Objects V 2 3 Samples ID Sample 3468 CB Hats 3469 ST Hats 3470 Brush Hats 3471 Elec Hats 3472 Crash Cymbals 3473 Ride Cymbals 3474 Elec Perc 3475 Sound FX 3476 Human Percussion 3477 Drum Perc 3478 Gourd 3479 Wood Perc 3480 Metal Perc 3481 Shaker Perc 3482 Reverse Cyms 3483 Reverse Drums 3484 Bell Tree 3700 PC3A Piano p 3701 PC3A Piano mp 3702 PC3A Piano mf 3703 PC3A Piano f 3704 PC3A Piano ff 3705 PC3A Piano fff 3706 B4_thump2 P3K 3707 Damper Pedal_ fa 3708 DamperRel P3K
73. PC3A Musician s Guide describes how to connect and power up your PC3A and to hook up the PC3A to your sound system and MIDI system It provides an overview of the front panel and a brief description of the operating modes to help you start playing music with the instrument It covers the PC3A in its 88 76 and 61 note configurations PC3A8 PC3A7 and PC3A6 Detailed information on editing and advanced programming features is also provided on the Kurzweil website http www kurzweil com The best way to read this guide is with your PC3A in front of you By trying the examples we give to illustrate various functions you can get a quick understanding of the basics Do Have Everything Your PC3A shipping carton should include the following in addition to your instrument e Power cable e Sustain pedal e USB cable e Getting Started manual If you don t have all of these components please call your Kurzweil Young Chang dealer You may also want to purchase a USB thumb drive for portable backups and storage Boot Loader Battery A When you need to update the PC3A s software or run diagnostic tests you ll use the Boot Loader To bring up the Boot Loader hold down the Exit button below the cursor buttons to the right of the display while powering on your PC3A Refer to Appendix BAppendix B p 1 for details on the Boot Loader The PC3A uses a CR2032 battery to power its clock The battery should last five years
74. PC3A to send a value for that controller whenever you leave the setup either by selecting another setup or by selecting a different mode altogether It can be very useful when a controller is doing something to the sound and you don t want that effect to continue after you leave the setup For example if you want to make sure a zone s pitch returns to normal whenever you leave a setup you would set Exit Value to 64 for any controller whose Destination parameter is set to PitchUp Again None means no command is sent Note Programs can also be saved with controller entry values on the Program Editor CONTROLLERS page When a Setup is loaded entry values for the Programs in the Setup are sent first followed by the entry values for the Setup Because of this if a Setup and a Program used by a Setup have entry values set for the same controller the entry value for the Setup will be used If a Program used by a Setup has an entry value set for a controller but the Setup has an entry value of None for the same controller the entry value from the Program is used Switch Controller Parameters Switch physical controllers have only two states on and off The PC3A switch controllers are e Panel Switches Arp and SW e Footswitch Pedals 1 2 and 3 e Programmable Switches 1 8 Program Select buttons 1 8 Keep in mind the following two things when working with the PC3A s switches First in Setup Mode the Bank buttons above the sliders are
75. Pedal 2 wah With a setting of None volume control from both CC pedal inputs is disabled KB3 Editor The Program FX PROGFX Page This page is the same as the VAST Program editor PROGFX page see page 6 47 except for one important difference there is no Pre Post insert parameter for the auxiliary sends PROG Fi more EH utput Main Output Hain end Level 17dB Type de end Level off TUuPpe de CENTO SOUTPUTIPPOGEN I more 4 KB3 Editor The LFO ASR and FUN Pages The rest of the pages LFO ASR and FUN are the same for KB3 programs as they are for VAST programs so we won t describe them again here Begin on page 6 38 to find descriptions of these pages asi 6 70 Program Mode KB3 Editor The LFO ASR and FUN Pages KB3 Programming Tips This section provides some starting points for creating your own KB3 programs Remember that you ll have to start with one of the existing KB3 programs As described below the most prominent difference between organ vintages is the number of tone wheels used Keep in mind however that the sound of an actual tone wheel organ will depend not only on its age but also on how well it has been maintained Octave folding where an octave or part of an octave is repeated at the top or bottom of the keyboard is handled automatically by KB3 Mode emulating the folding done on actual tone wheel organs Early Tone Wheel Organs Instruments of th
76. Range is 16 to 25088 Hz Highpass allows you to reduce the bass content of the distortion content in the smaller distortion effects that don t have true parametric EQ Range is 16 to 25088 Hz Cab Preset selects from eight cabinet simulations which have been created based on measurements of real guitar amplifier cabinets The presets are Basic Lead 12 2x12 Open 12 Open 10 4x12 Hot 2x12 and Hot 12 Cab Bypass switches on and off the cabinet simulation part of the effect When this is set to In the cabinet simulation is active when itis Out there is no cabinet action Cabinet HP and Cabinet LP are highpass and lowpass filters to set the frequency response limits of the cabinets Range of both filters is 16 to 25088 Hz 9 21 Effects and Effect Mode Effects Overview Polydistort This is a more complex distortion effect that provides two four or six stages of distortion Curve n controls the curvature of the individual distortion stages 0 is no curvature no distortion at all At 100 the curve bends over smoothly and becomes perfectly flat right before it goes into clipping Maximum value is 127 LP n Freq are shelving frequencies for one pole lowpass filters on each of the distortion stages LPO Freq handles the initial low pass prior to the first distortion stage The other low pass controls follow their respective distortion stages Range is 16 to 25088 Hz Rotating Speakers An effect that inc
77. Riff Velocity sets the Velocity parameter see above The Velocity value is calculated by multiplying the received controller value by 2 For Example 25 50 50 100 100 200 127 254 167 RiffDly Riff Delay Controls Offset parameter see above Controller value 64 0 offset ticks Each value away from 64 512 offset ticks For example 63 512 offset ticks 65 512 offset ticks 0 32768 offset ticks 127 32256 offset ticks 7 63 Setup Mode The Programmable Switch Pages SWPRG1 to SWPRG8 The FX Pages FX AUXFX1 AUXFX2 and MASTFX The four Setup mode FX pages FX AUX1 AUX2 and MASTER EFFECTS work the same way as the Effect mode pages EffectsEnable Aux 1 Override Aux 2 Override and Master Effects See Effect Mode and the Effects Pages on page 9 4 for information on editing these pages You can use the Effect FX Bypass Mode button to bypass effects while editing The Programmable Switch Pages SWPRG1 to SWPRG8 The PC3A s eight Programmable Switches are the eight Program Select buttons located above the program Category buttons Each button has its own SWPRG page but each page is essentially identical The SWPRG page parameters are described in Switch Controller Parameters on page 7 30 Ores Entruastate ExitState Hone Hone Tupet oi lue ss nia Hone UffLontroli OFF OffUalue Hone SWPRG1 Er T Ei JSHPRG4 more d Paramete
78. Room Type Density controls how tightly the early reflections are packed in time Low Density settings group the early reflections close together while higher values spread the reflections for a smoother reverb It is adjustable from 0 00 to 4 00 with 1 00 being nominal and usually optimal for the given Room Type Expanse controls the amount of late reverb energy biased toward the edges of the stereo image A setting of 0 will bias energy towards the center Moving away from 0 will bias energy towards the sides Positive and negative values will have a different character Build adjusts the envelope of certain portions of the reverb Positive values speed up the envelope and negative values slow it down Size Scale changes the size of the current room Altering this parameter will change the reverb time and also cause some coloration of the reverb It is adjustable from 0 00 to 4 00 with 1 00 being nominal and usually optimal for the given Room Type InfinDecay when turned On causes the reverb tail to decay infinitely When it s Off the decay time is determined by the Rvrb Time or LateRvbTim parameters This is a good parameter to control with a footswitch Wet Bal Wet Balance Some reverb effects are actually two stereo reverbs in one with each one receiving a different mono signal This balances the outputs of the two reverbs 0 means they are being mixed equally 9 13 Effects and Effect Mod
79. See Save on page 11 18 for details on saving the Program selection for each channel For more advanced multitimbral features and easier saving and recalling of multitimbral program selections see Chapter 7 Setup Mode and Chapter 12 Song Mode and the Song Editor 6 3 Program Mode VAST Program Structure VAST and KB3 Programs It is important to understand the difference between VAST programs and KB3 programs VAST programs contain up to 32 layers each of which contains a keymap or KVA oscillator Keymaps consists of a number of samples assigned to a particular keyboard range KVA oscillators use powerful DSP to generate a range of simple and complex waveforms see Editing VAST Programs With KVA Oscillators on page 6 53 for more details See VAST Program Structure below for more details on VAST programs KB3 programs use a much different architecture There are no layers or algorithms just a set of oscillators designed to emulate the tonewheels in a Hammond Organ that start running as soon as you select a KB3 program See KB3 Program Structure on page 6 6 for more details on KB3 programs VAST Program Structure You might want to take a look at Figure 6 1 on page 6 5 which depicts the hierarchy of a VAST program from individual samples all the way up to setups which can contain up to 16 programs Every VAST program contains at least one layer A layer consists of a keymap and an algorithm for processing the samples conta
80. The Filter Pages RECFLT and PLYFLT On the RECFLT and PLYFLT pages you can specify what event are ignored during respectively recording and playback Both pages have the same parameters with the same ranges of values but you would use the RECFLT page to configure recording event filtering and the PLYFLT page to configure playback event filtering Below is the RECFLT page Siar oe J oles Controller Lollal Controllers On PitchBend On MonoPress FolyFress NI Parameter Range of Values Default Notes On Off On Low Key C 1toG9 C 1 Note Filter Hi Key C 1toG9 G9 Low Velocity 0 to 127 0 Hi Velocity 0 to 127 127 Controllers On Off On Controller ALL MIDI Control Source List ALL Controller Filter Low vae Oto 127 0 Hi Value 0 to 127 127 Pitch Bend On Off On Program Change On Off On Mono Pressure On Off On Poly Pressure On Off On Notes With Notes set to Off all notes are ignored during recording playback With Notes set to On only the notes within the specified note range with velocities within specified velocity range are recorded played LoKey LoKey determines the lowest key that is recorded played back when Notes is set to On Hi The Hi to the right of LoKey determines the highest key that is recorded played back when Notes is set to On 12 15 Song Mode and the Song Editor Song Mode The Filter Pages RECFLT and PLYFLT LoVel
81. There is a USB Storage port on the back panel of the PC3A to your right as you face the keyboard You can plug a USB mass storage device such as a thumb drive into the PC3A for backing up archiving sharing your work and updating your software Any size USB mass storage device will work though thumb drives are recommended for their portability durability and low price os Storage Computer 5 0v 100mA Note Most USB thumb drives are compatible with the PC3A but some older USB thumb drives and larger USB bus powered drives will not work with the PC3A if they require more than 100 mA of current high power USB devices When attempting to use an incompatible USB device the PC3A will display the message USB device requires too much power The PC3A is designed to work with low power USB devices and can provide a maximum of 100 mA to a USB device Power requirement specifications for thumb drives are not always made clearly available by the manufacturer but a newly purchased thumb drive will most likely be compatible If possible check the power requirement specifications of your USB device before purchase Caution A USB connector will only fit into the port if oriented properly so don t force it into the port as this may damage your PC3A or USB device If you are having trouble inserting your USB connector into the port try flipping the connector over Caution Do not remove a USB device while the display says Lo
82. Trigger There are a few ways to trigger riffs in setup mode On the Riff2 page you can use the Trigger field to set a keyboard key to trigger the Riff Also any physical controller can be assigned to controller destination 163 RiffOn To set the key range to trigger your riff use the cursor buttons to select the left value in the Trigger field this will be the low end of the trigger key range Now you can select the key number by scrolling the Alpha Wheel or you can use intuitive entry by pressing and holding the Enter button on the alphanumeric pad and pressing the desired key on your keyboard You will see this value change as you press a key 7 58 Setup Mode The Ribbon Configuration RIBCFG Page Next move your cursor to the right to highlight the second value of the Trigger field this will be the high end of the trigger key range Use one of the methods described above to select a key value for this trigger field If you want to have only one key start a riff set the Trigger key range from A 0 to A 0 for example and your riff will be triggered to start only by pressing the A 0 key If you want your trigger key range to be larger set your Trigger key range to be for instance A 0 to A 1 Now any key that is pressed within this range will trigger your riff to start Note the LoKey and HiKey values on the KEYVEL page do affect the riff If your riff s trigger and release notes are not within the LoKey and HiKey range o
83. USB or MIDI In port see the circled box above for its location in the MIDI signal flow Different maps output different MIDI pressure aftertouch values for the same received MIDI pressure aftertouch value Each map applies a different curve to received MIDI pressure aftertouch values and remaps them to new values before letting them pass this parameter has no effect on MIDI data sent from the PC3A s keyboard The default map provides the widest range of pressure aftertouch expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect MIDI pressure aftertouch values before reaching the receive Pressure Map The default map Linear allows MIDI pressure aftertouch values to pass unchanged Maps 2 4 make it increasingly easier to produce MIDI pressure values for the same physical pressure applied to a key with 4 Easiest being the easiest Maps 4 7 make it increasingly harder to produce MIDI pressure values for the same physical pressure applied to a key with 7 Hardest being the hardest 10 8 MIDI Mode The RECEIVE Page System Exclusive ID SysExID The SysExID parameter differentiates between more than one MIDI device of the same model You won t need to change the default setting of 0 unless you have multiple PC3As or K2600s K2500s or K2000s receiving SysEx messages from a single source In that case make sur
84. Volume Exit Volume Entry Pan Exit Pan The BEND Page Bend Range Semitones and Bend Range Cents Up and Down Aux Bend 1 Up and Aux Bend 1 Down Aux Bend 2 Range Controllers Shift Key Number Shift Key ShKeyNum ShiftKey Continuous Controller Parameters Switch Controller Parameters The WHEEL Page The SLIDER and SLID2 Pages The Continuous Control Pedal CPEDAL Page The Pressure PRESS Page go ll The Footswitch Pages FT SW1 FT SW2 FT SW3 The Arpeggiator Switch ARP SW Page The SWITCH Page AE TC Clelia The Ribbon Configuration RIBCFG Page Ribbon Coa AO ciclici Position Mode PosMode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages The ARPEGGIATOR Pa iii The ARPEGGIATOR 2 Page The RIFF1 Page The RIFF2 Page Real time Control of Riff Parameters 7 6 7 7 7 8 7 8 7 9 7 10 7 10 7 10 7 11 7 12 7 14 7 16 7 17 7 17 7 17 7 18 7 18 7 19 7 19 7 19 7 20 7 21 7 21 7 26 7 29 7 30 7 32 7 33 7 34 7 35 7 36 7 37 7 38 7 39 7 40 7 40 7 41 7 41 7 41 7 42 7 42 7 49 7 49 7 53 7 55 7 55 7 58 7 63 vii The FX Pages FX AUXFX1 AUXFX2 and MASTFX The Programmable Switch Pages SWPRG1 to SWPRG8 The COMMON Page TRIGGER KEYS KEYTRG Recording A Setup To Song Mode Arpeggiator Global ArpGlobal New Zone NewZn Duplicate Zone DupZn Import Zone ImpZn Delete Zone DelZn Chapter 8 Quick Access Mode The QA Editor Soft Buttons In Quick A
85. a program simply by assigning different DSP functions to the layer s algorithm Your level of control goes much deeper than that however Each DSP function has one or more parameters to which you can patch a variety of control sources to modify the behavior of the DSP functions themselves The parameters on the various control input pages are very similar in fact there are six parameters that appear on almost every page Consequently we refer to them as the common DSP control parameters Although the parameters on the control input pages differ slightly from function to function you can expect to see some or all of the common DSP control parameters whenever you select the control input page for any of the DSP functions A DAHZ Aictlkey Got OUTPUT more d You ll recognize the common DSP control parameters along with several other parameters Keep in mind that there s a set of common control parameters for each of the DSP functions in this case we re describing them only as they apply to the pitch control function WelTrk Function parameter Unlike the other five common DSP parameters the function parameters are accessible on both the DSPCTL page and the DSPMOD page They are listed along the left hand side of each page any changes made to them on one page are reflected in the other The label of each function parameter depends on its function in the current program s algorithm For example the Pitch function s fu
86. a sequence With Always selected the PC3A will count off from any point in a sequence Program This parameter determines the program with which the metronome is played If you wanted a piano for a metronome for instance you could set Program to a piano program The default program is 998 Click Track Channel This parameter determines the MIDI channel to which the metronome program and events are sent Strong Note This parameter determines the MIDI number of the note played by the metronome for the downbeats the 1 of each measure Strong Vel This parameter determines the velocity of the note played by the metronome for the downbeats the 1 of each measure Soft Note This parameter determines the MIDI number of the note played by the metronome for the upbeats the 2 3 and 4 of each measure Soft Vel This parameter determines the velocity of the note played by the metronome for the upbeats the 2 3 and 4 of each measure The Rec Play and Stop Soft Buttons These soft buttons function as described in The Rec Play and Stop Soft Buttons on page 12 7 The Done Soft Button If no changes were made in the METRONOME page pressing the Done soft button calls up the MAIN page If changes were made pressing the Done soft button calls up the Save Changes dialog 12 14 Song Mode and the Song Editor Song Mode The Filter Pages RECFLT and PLYFLT Song Mode
87. a sequenced pattern thus Shift Pattern The PC3A has pre programed shift patterns including many useful chords intervals and rhythms You can also create your own custom shift patterns see below for details Each pattern can have up to 48 steps and each step can shift notes by 127 half steps or play nothing Steps are played back at the rate set for Beats on the ARPEGGIATOR page Keep in mind that Shift Patterns are effected by every parameter on the ARPEGGIATOR page which can be the cause of unexpected variation or a way to add interesting variation to a pattern Shift Patterns are most easily used and understood when triggered by only one key at a time One way to prevent triggering from multiple keys is to use one of the Latch types 1NoteAuto 1NoteAutoLow or 1NoteAutoHi when using a shift pattern see Latch on page 7 50 below Triggering shift patterns from one key allows the pre programed patterns to sound like what you would expect from their names If no other keys are playing patterns will start over each time a key is pressed there are some exceptions to this when using ARPEGGIATOR Latch parameters other than Keys though a newly triggered pattern will always start at step 1 When triggering Shift Patterns from more than one key at a time each consecutive step of the pattern shifts the note from a different inputted key the order of which is decided by the order parameter on the ARPEGGIATOR page This means that each k
88. affected by settings on the MIDI mode Transmit page see page 10 1 On each of the pages mentioned above look at the MIDI signal flow chart to see which pressure maps can affect your velocities depending on which MIDI Sources MIDI Destinations and operating mode that you are using Dest Scale Add Curw Ent Exit l s WU Linear None None FT Shi JFT SW JFT SH3 more d Parameter Range of Values Default Destination Control Destination List MPress Scale 300 100 Add 128 to 127 0 Curve Linear Compress Expand Linear Entry Value None 0 to 127 None Exit Value None 0 to 127 None 7 35 Setup Mode The Footswitch Pages FT SW1 FT SW2 FT SW3 The Footswitch Pages FT SW1 FT SW2 FT SW3 On the back of the instrument there are three jacks for Footswitch pedals There are three Footswitch pages one for each Footswitch The range of values for their respective Destination parameters is the Control Destination list The FT SW page parameters are described in Switch Controller Parameters on page 7 30 Tube enn tr uState None OnControl Sustain ExitState Hone Ornvalue 12r ffControl Sustain Off Walue more JPF FT Shi ESS EEA A Parameter Range of Values Default Type Momentary Toggle Momentary Ft Sw1 Sustain On Control Control Destination List Ft Sw2 Sostenut Ft Sw3 Soft On Value None 0 to 127 127 Ft Sw1 Sustai
89. also a synthesizer of truly amazing depth and flexibility When you re ready to start tweaking sounds the Program Editor is the place to start The PC3A offers two new powerful editing features Cascade Mode and Dynamic VAST e Cascade Mode lets you route any layer of a program into the DSP of any other layer Any of the 32 layers of a program can go into any other layer Dynamic VAST lets you wire your own algorithms You can combine different DSP functions in any order you like including parallel and serial configurations The Program Mode Page ee oe Pinno E Left 998 Click Track la GnNOstIo 1002 Tempo SuncPulzse Uciav Panic_finfo l Pose xPose The top line of the Program mode entry level page shows your mode location the current MIDI transposition the MIDI bank name and MIDI program number of the highlighted program and the current MIDI channel gtan Selecting Programs When you are in Program mode there are three basic ways to select a PC3A program e Press one of the Bank buttons above the sliders on the left side of the front panel to select a bank then press a Category button and a Program button to choose within the bank The Category and Program buttons are on the front panel between the screen and the alpha wheel See Program and Category Buttons on page 3 4 for more details e Type the program s ID number on the alphanumeric buttonpad then press Enter If you ma
90. amount of user objects that can be loaded saved to internal memory for all object types combined Keep in mind each object type only has 2560 ID s available to save load objects to many of which are used by factory ROM objects Pa Note The number given for the MaxUserObjects field is based on loading saving the smallest user objects to internal memory When loading saving larger user objects such as Programs with many layers and Setups with many zones the PC3A may run out ofinternal memory before the maximum number of user objects has been loaded saved The information on the OBJECTS page is helpful when organizing user objects For example when loading many user objects from an external source you should first determine if there is enough internal memory available for the objects being loaded If there is not enough internal memory available use the Delete soft button to delete user objects To save user objects before deletion see The STORE Page on page 13 6 The OBJECTS page also displays the current installed objects version factory objects and the current installed OS version This information is useful when installing updates UseribJects MaxUser0b Jects Tht enor yr ree Object Wer 0 5 Version Rename Delete 11 13 Master Mode OBJECT Rename A Delete The Rename utility allows you to rename an object without entering the object s editor The Rename page shows a list of all user created ob
91. and AttVel for example are not valid for the Enable parameter In these cases you should use the global equivalent GKeyNum and GAttVel in this example Enable Sense S This parameter determines how and when a layer is enabled by the control source assigned for the Enable parameter Enable Sense has three values orientation minimum and maximum Suppose for a moment that you re editing a program and in the current layer you ve set the value of Enable to MWheel which causes the Mod Wheel to control whether the layer is active The default values for Enable Sense are as follows orientation is Norm minimum is 64 and maximum is 127 This means that when the Mod Wheel is less than halfway up the layer is disabled The layer plays only when the Mod Wheel is more than halfway up Change the orientation to Rvrs and the layer plays only when the Mod Wheel is less than halfway up Change the orientation back to Norm and change the minimum to 127 Now the layer plays only when the Mod Wheel is all the way up You could use this parameter to set up a two layer program that would let you use a MIDI control to switch between layers say a guitar sound and a distorted guitar Both layers would have their Enable parameters set to the same control source say MWheel One layer would have its Enable Sense orientation set to Norm and the other would have it set to Rvrs Both layers would have their Enable Sense minimums set to 64 and their maximums
92. and a message will tell you when the battery needs replacing The access panel on the bottom of the PC3A which you can easily remove with a screwdriver allows you to get at the battery for removal and replacement CAUTION Danger of explosion if battery is incorrectly replaced Replace only with the same or equivalent type CR2032 Introduction Options Ask your Kurzweil dealer about the following PC3A options Sound ROM Expansion Card The PC3A has the KORE64 and German D Grand EXP cards installed as standard components Pedals The PC3A has jacks for three switch pedals for functions like sustain or program setup changes and two continuous pedals for functions like volume control and wah Your Kurzweil dealer stocks the following optional pedals FS 1 Standard box shaped switch pedal KFP 1 Single piano style switch pedal KFP 2M Double piano style switch pedal unit CC 1 Continuous pedal Ribbon Controller There s a dedicated modular jack like a telephone jack on the rear panel of the PC3A for connecting this 600 mm 24 inch ribbon controller You can configure the PC3A to use the ribbon as a single large controller or a three section controller with independent settings for each section Breath Controller You can plug a Yamaha or equivalent breath controller into the dedicated jack on the PC3A s rear panel USB Storage Device You can plug a USB mass storage device such as a thumb drive or m
93. as well as having the change take place over a region of time Change can not modify or add data that doesn t exist on the current track If you hear Note events played back ona track then you know there is an attack and release velocity value for each one and the effect of the Change function can usually be easily detected Controller values are sometimes more difficult to change since there can be inconsistent gaps of time between each controller event TEAL I slFeackit Function ga H Scale 0 to 20000 The selected velocity or controller events values can be changed to a percentage of the original values determined by the Scale parameter A setting of 100 has no affect Values are scaled lower with a Scale percentage set from 0 to 99 Low values can be set higher using a Scale percentage above 100 on up to 20 000 although the maximum value of 127 can not be exceeded for any velocity or controller type Offset 128 to 127 Offset can be used alone or in conjunction with Scale to add or subtract a set amount to or from the original or scaled values Values for velocities can not be less than 1 or greater than 127 Values for controllers can not be less than 0 or greater than 127 As an example to set all Velocities to a value of 55 you would set Scale to 0 multiplies all original values by zero and set Offset to 55 adds 55 to the product of the Scale parameter Mode Constant PosRamp NegRamp Set M
94. beats use the following method to find your Time In and Time Out points Use the big time location numbers on the top of the page to find a time where the first notes played when you press play pause are the notes that you wish to replace Enter this location in the Time In field Next use the big time location numbers on the top of the page to find a time where the first notes played when you press play pause are the first notes that you wish to keep after the notes that you wish to replace Enter this location in the Time Out field 6 Use the big time location numbers on the top of the page and set a time before the area you want to replace This will be where you start playback of the song in order to re record the desired section Leave enough time usually a bar or two so that you will have time to prepare before the section you are replacing plays For this example we will set our start time to 1 1 0 because it is two bars before bar 3 see below STOPPED 0 Time In z 8 Loot a Time Outs 1 8 FPechode PunchIn Sona Eng 11 sili Metron Rec 7 Press the Record button then the Play Pause button located on the front panel Play your new part when the song reaches the part you want to replace This technique is called punching in You will often get more natural sounding results if you play along with the song before the part that you are fixing Doing this allows you to match your performance
95. but at most tempos divisions smaller than 1 64 will sound pretty much the same To find a Beats value multiply the notes you want per beat by 4 For example 4 notes per beat 16th notes would be 4 4 16 a Beats value of 1 16 Three notes per beat 8th note triplets would be 3 4 12 a Beats value of 1 12 Six notes per beat 16th note triplets would be 6 4 24 a Beats value of 1 24 Note that when recording arpeggiations to a PC3A MIDI track you must turn on real time quantization and set it to the same Grid value in order for the selected Beats value to sync properly with the tempo grid see Important Note About External Sequencers and Grid on page 12 17 Play Order This parameter determines the order in which the PC3A plays arpeggiated notes Played causes them to play back in the chronological order in which you played and latched them Upwards means that notes play in ascending pitch order regardless of their chronological order Downwards means descending pitch order UpDown causes notes to play from lowest pitch to highest then from highest pitch to lowest repeating the cycle until you stop the arpeggiation The notes at the very top and very bottom only play once UpDown Repeat is similar to UpDown except that the notes at the top and bottom play twice repeat when the Arpeggiator reverses direction Random plays the currently latched notes in completely random order Shuffle plays them at random but keeps track of the notes so t
96. button only for the current zone When you press the button however it executes its assignments for all zones that use that button On Control OnControl OnControl determines what MIDI Controller or other message will be sent when the switch is on that is either pressed and held or toggled from the off position The list of available controllers on page 7 21 is the same as for the continuous controllers and can be accessed the same way Off Control OffControl OffControl determines what MIDI Controller or other message will be sent when the switch is off that is either unpressed or toggled from the on position The list of available controllers on page 7 21 is the same as for the continuous controllers and can be accessed the same way OnValue OnValue sets the value of the Controller when the switch is on In the case of conventionally switched functions such as sustain the OnValue will be 127 For example the default for Footswitch 1 is Controller 64 Sustain with an On Value of 127 However you might want to use a button or pedal as a soft switch in which case you might set OnControl to 7 Volume and OnValue to 50 and OffControl to 7 and OffValue to 127 OnControl and OffControl can also both be set to Off so that turning on the switch has no effect at all in this zone This can be useful when you are using one switch for multiple functions in different zones OffValue OffValue is the value of the Contr
97. buttons that is the buttons with labels not in all caps As with all other modes the soft buttons in Song Mode that have labels in all caps call up different pages See the following sections for descriptions on how these pages work The Rec Play and Stop Soft Buttons NOTE These buttons are similar to the transport controls on a tape deck Some of those decks require you to press Play and Record simultaneously to begin recording The PC3A s transport buttons aren t like that however It s important that you press only one of these soft buttons at a time to insure proper recording start points and to always be sure of the current sequencer status The Rec soft button changes the Song Status to REC READY if the current Song Status is STOPPED If the current Song Status is PLAYING it will be switched to RECORDING when you press Rec The Play soft button plays back any recorded data when pressed while the song status is STOPPED Playback will begin from the bar and beat specified in the Locate parameter When the Song Status is REC READY pressing the Play soft button will begin recording The Play soft button functions as a Pause button but only when the Song Status is PLAYING or RECORDING Pressing Play while the song is playing will stop the playback and the location remains at the current bar and beat allowing you to continue from that location by pressing Play again Pressing Pause while recording will stop the recording proce
98. buttons to navigate to the Prog field and choose a program with the plus minus buttons alpha wheel or by entering the desired program number with the alphanumeric pad This sets the instrument sound for the current track For example choose program 1 Standard Grand to 5 make the first track contain the piano part for this song see below You can do this quickly by entering 1 on the alphanumeric pad and pressing Enter Se E ee Pros qi Standard Grand Track if e ree Tees stor Tren oe Part 2 Set The Tempo For this example we will leave the song at its default time signature 4 4 see Chapter 12 Song Mode and the Song Editor for details on setting the time signature Follow the steps below to set a tempo for your song It is easiest to choose your tempo before recording any tracks but the tempo can be adjusted after recording as well see Chapter 12 Song Mode and the Song Editor for details on changing the tempo after recording 1 Onthe Song mode MAIN page use the cursor buttons to navigate to the Tempo field and enter a tempo Entering the tempo with the alphanumeric pad is the easiest method if you know your desired tempo The plus minus buttons and alpha wheel are useful for making smaller adjustments Tempo is set in beats per minute BPM For this example let s set a medium tempo of 100 BPM In the Tempo field use the alphanumeric pad to enter 100 and press Enter see below Note You can also set the
99. calls up the Select Directory dialogue Cancel Exits the Store page and returns you to the Storage mode page Storing Overview 13 6 To store user created or edited objects from the PC3A you must pick the type s of object s to save and select the object ID range s to save see the sections below for details After selecting object type and range press the Store soft button If any objects within the selected range s have dependent RAM objects that have not been selected you will be asked if you want to save dependent objects Dependent objects should usually be saved After pressing the Store soft button you will be prompted to choose a directory to save to see The Select Directory Dialogue on page 13 4 for details Next the File Name dialogue will appear see The File Name New Directory Rename Dialogue on page 13 4 for details Name the file and press Storage Mode Storage Mode Common Features OK file names can be up to eight characters long When the file is saved the PC3A adds an extension P3A to the filename Note that although P3A files are collections of objects you can load individual objects for a P3A file if you want to See Loading Individual Objects From a P3A Or Compatible File Type on page 13 10 Saving Master Files Among your choices in the Bank dialog are Master files Master files consist primarily of the items on the Master mode and MIDI mode pages Saving Master files is a good way to co
100. cause the speaker to speed up slowly at first then quickly reach the fast rate Negative values cause a quick initial speed up then slowly settle in to the fast speed If set to a low negative value it will overshoot LoSpinDir and HiSpinDir are the directions of rotation of the speakers The choice is clockwise CW or counter clockwise CCW Vibrato Chorus The Vibrato Chorus effect simulates the vibrato and chorus effects on a tone wheel organ and is used in conjunction with the Rotary Speaker It has several unique parameters VibChInOut is an in out switch for the Vibrato Chorus effect Vib Chor is the type of Vibrato Chorus effect to be used The choices are from three vibratos V1 V2 V3 or three choruses C1 C2 C3 9 23 Effects and Effect Mode Effects Overview Tremolo and AutoPan Tremolo is amplitude modulation using an LFO AutoPan moves the signal between the left and right channels using an LFO They have several parameters in common and several unique ones LFO Rate is the rate of the LFO The range is 0 to 10 00 Hz or 0 to 12 00 x the tempo Rate Scale multiplies the speed of the LFO rate into the audio range The range is 1 to 25088 x When above 16x the values increment in semitone steps When the LFO Rate is set to 1 00 Hz the value of this parameter is equal to the LFO frequency in Hertz LFO Shape is the waveform type for the LFO Choices are Sine Saw S
101. controller messages In that case you could change the Program Pan and Volume settings from the front panel but not via MIDI Program Change Formats The PC3A can store more programs than the MIDI program change specification can handle MIDI lets you send program change numbers from 0 to 127 or 1 to 128 only So we ve designed a system that makes program selection more flexible This is true whether you re selecting programs from the PC3A s front panel or via MIDI Program Change Type For Use With Extended Bank changes and Program changes A bank has 128 ids Note that our system will recognize 16 banks from 0 to 15 2048 ids This is for connecting a PC2 or a generic MIDI device as a controller device K2600 Bank changes and Program changes A bank has 100 ids Our system will recognize in this case 21 banks from 0 to 20 For example with MIDI out from a K2600 into the MIDI in of a PC3A if you scroll or enter a number in the K2600 you will see the same numbers in the K2600 and in the PC3A if the programs exist QAccess Other PC3As or K2600s K2500s or K2000s similarly set when in Quick Access mode The PC3A gives you thousands of program change numbers to work with These are organized into 16 banks of 128 each the memory banks A program s object ID is its program change number as discussed in Chapter 5 This makes it easy to keep track of your programs The PC3A can use several different formats for int
102. dB Resonant Filter Frequency or Freq is the fixed resonant frequency of the filter Its range is 16 to 8372 Hz Envelope Filter Envelope Filter is a resonant filter whose center frequency can be made to vary according to the level of the incoming signal Filter Type can be Lowpass Highpass Bandpass or Notch band cut Min Freq is the minimum resonant frequency of the filter that is the filter frequency when the input gain is below the triggering threshold Its range is 16 to 8372 Hz Sweep determines how far the resonant frequency moves when the input level increases At positive levels it moves up in pitch and at negative levels it moves down The highest possible resonant frequency is 8372 Hz the lowest is 0 Hz This parameter s range is 100 to 100 Resonance is the resonance of the filter adjustable from 0 to 50 dB Atk Rate adjusts the upward slew of the attack portion of the envelope detector Range is 0 to 300 0 dB sec Rel Rate adjusts the downward slew of the release portion Range is 0 to 300 0 dB sec Smooth Rate slows down the envelope follower If it is set to a lower rate than Atk Rate or Rel Rate it can dominate those parameters Range is 0 to 300 0 dB sec Triggered Filter The Triggered Filter is a sweeping resonant filter that triggers when a certain input threshold is reached and then follows its own envelope consisting of an instantaneous attack and an exponential release rather than the env
103. destinations for the PC3A s physical controllers wheels sliders pedals etc in Program mode These assignments are the MIDI CC numbers that the PC3A s physical controllers send while in Program mode Parameters in the Program Editor can then be assigned to respond to these CC numbers See the Figure 6 2 below for a visual depiction of the Control Setup s role while in Program Mode See the sections on page 6 11 for details on physical controller destinations and program parameter sources The programs in the PC3A factory ROM have parameters assigned to respond to the controller destinations of the default Control Setup 126 Internal Voices Therefore you ll want to use 126 Internal Voices as the Control Setup in most cases Note If you don t use the default Control Setup assigned parameters in the PC3A s factory ROM programs will probably not respond to the PC3A s physical controllers Don t edit the Control Setup unless you are an advanced MIDI user and know what you re doing Advanced users may wish to use a different control setup if they need to send specific MIDI controller numbers to the MIDI out port when in Program mode You can also program several different control setups and switch among them for different applications Table 6 4 below shows which pages and parameters in the Setup Editor of the Control Setup have an effect on Programs in Program mode Aside from assigning MIDI CC destinations for the PC3A s physical c
104. do not appear on the COMMON page This is because only monophonic programs can use portamento 6 35 Program Mode The OUTPUT Page When On the program will play only one note at a time This makes it possible to use and to determine the behavior of the portamento feature Do not set Ignore Release On page 6 20 when you are using Monophonic programs since the lack of Note Off messages will prevent you from switching programs properly JE i MC MonoPhonic Legato On Portamento Un Atteis Off Portamento Rate Te bkeye sS OutFan 6 none Same Le AF ade Off OoPanmocde MIDI nore COAN LED IER SFUM more a Curi Giobalzi Off OQutGain Ade Legato Play When Legato Play is on a note will play its attack only when all other notes have been released This is useful for realistic instrumental sounds Portamento This parameter is either on or off The default value of Off means that portamento is disabled for the current program Portamento is a glide between pitches On actual acoustic instruments like violin and bass it s achieved by sliding a finger along a vibrating string On most keyboards that offer portamento it s achieved by holding down a key that triggers the starting note then striking and releasing other keys The pitch glides toward the most recently triggered note and remains at that pitch as long as the note remains on The PC3A gives you two ways to get portamento See the A
105. downloaded an upgrade you can install it yourself in a matter of minutes Follow the instructions included with the upgrade files 2 10 User Interface Basics Chapter 3 Mode Selection User Interface Basics This chapter will show you how to get around the front panel of your PC3A Your interactions can be divided into three primary operations mode selection navigation and data entry There is also an assignable control section KURZWEIL PC318 m Mode Selection The PC3A is always in one of eight primary operating modes Select a mode by pressing one of the mode buttons they re to the left of the display Each mode button has an LED that lights to indicate the current mode Only one mode can be selected at a time Program mode Setup mode Quick Access mode Effect mode MIDI mode Master mode Select and play programs and modify them with the Program Editor Select and play setups 16 keyboard zones with independent MIDI channel program and control assignments and modify them with the Setup Editor Select from a list of preset banks each containing a list of ten programs and or setups that can be viewed in the display for easy selection Modify the preset banks and create your own with the Q
106. each sample root stored in memory For acoustic instrumental sounds the more key ranges you have for a keymap the more realistic the sound will be since there will be less pitch shifting of the sample root within the key range Of course you can assign sample roots with different timbres within the same keymap Many of the drum kit keymaps in ROM for example have about 20 key ranges with several different timbres assigned as the sample roots You can also create a keymap with a single key range that spans from C 0 to G 10 if you want to stretch a single sample root from C 0 to G 10 Keep in mind however that samples can only be transposed upward by an octave from the sample s original pitch Samples can be transposed downward without limit Think of a keymap as if it were a single piece of string divided into different sections that adjoin one another Sections cannot overlap If you have one range that goes from C4 to F4 and another that goes from F 4 to C5 then if you change the first range to be C4 to G4 the second one will change to be G 4 to C5 Also you can t have nothing assigned to a key range Even if it is Silence 999 there will always be a sample assigned to every range in the keymap This is something to watch out for when creating drum programs For example let s say you are creating a program with 20 layers Each layer has its own keymap which has just one sample assigned to part of the keyboard with the r
107. editor without leaving the currently selected mode For example if you press Edit while in Setup mode you ll enter the Setup Editor The Setup Editor page will appear and the Program parameter will be highlighted by the cursor If you press Edit again you ll enter the Program Editor where you can edit the currently selected program While you can edit and save programs as you normally would you re still in Setup mode and you can t select another mode at this point When you exit the Program Editor you ll return to the Setup Editor page Press Exit again and you ll leave the Setup Editor returning to the Setup mode page The Operating Modes Using the Modes The following table lists the procedures for moving between modes and editors Note that the Exit button won t always take you where the table says it will it often depends on how you got where you are The table assumes that you ve entered a given editor via its corresponding mode You ll always return to Program mode eventually if you press Exit repeatedly Current Mode Editor Status Available Modes Editors How to Get There Any mode All other modes Press corresponding mode button Program mode Program Editor Press Edit Program mode Press Exit Program Editor Effects Editor On PROGFX page select Insert then press Edit Setup mode Setup Editor Press Edit Setup mode Press Exit Setup Editor Program Editor On CH PRG page select LocalPrg pa
108. f Mono 27 Piano 440 mf M 28 Piano 440mpM ID Keymap ID Keymap 29 Piano 4403VelM 70 Accordion 30 Piano 440 3VEZM 71 Celesta 31 Piano 3Vel Lalt 72 kHarpsichord 32 Piano 3Vel R alt 73 kClav 33 Piano 3Vel rag L 74 kClav Rel 34 Piano 3Vel rag R 75 kAccordion 35 PianofragL 80 B3Bars1 3 36 PianofragR 81 B3Full 37 Pianoalttimb1L 82 B3 Key Click 38 Piano alttimb1R 83 B3 Dist Wave 39 Piano alttimb2 M 84 B3 Full Wave 40 Piano alttimb3 M 85 B3Bars 1 3 Wave 41 kGrand Piano 86 B3Bars 1 4 Wave 42 kSyn Piano 87 B3SW Wave 50 Rhoadz Hard 88 Tone Wheel Wave 51 Rhoadz Soft 89 kTone Wheel Orga 52 Rhoadz 2Vel 90 Trumpets 53 Rhoadz Thump 91 Trombets 57 Wurly Hard 92 Trombets alt 58 Wurly Med 93 Trombones 59 Wurly Soft 94 Trombones alt 60 Wurly 3Vel 95 Low Bones 61 Wurly Thump 96 TenorSax 62 Wurly Key Releas 97 TenorSaxalt 63 FMElec Piano 98 Tenor Sax Fast 64 Clav 99 Tenor Sax med 65 Clavalt 100 Bari Tenor Sax 66 Clavalt2 101 Baritone Sax 67 Clav Key Release 102 LegatoTenorSax 68 Harpsichord 110 Stereo Strings 69 Harpsichord Rel 111 Strings Left D 44 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 112 Strings Right 154 Partials 16 185 Sine Wave alttun 1
109. for Strings ChrsDly RealDrmComp RealDrmComp2 TiteDrmComp Marimba Hall AGT Reverb WarmCruncher Fierce Lead CompTrem 12StWarmCrunch Phaser EGT SnareComp1 KickComp1 60 s BigDrumRoom AGT EnhCD CDRecitalHall Nylon EnhCD ChrsDblRoom EnhcBassAmp FlangVoiceHall2 Vocals w FXnMic Harpolicious ChrsDly EGT Hall Burning Tubes Chorus AGT 450 451 452 454 455 456 457 458 459 461 462 463 464 465 466 467 468 469 470 472 473 474 477 478 479 480 482 483 484 485 486 487 488 Chain SynthLead SynthBassAmp MosqueySwirl PadFX2 PadFX1 Chr amp Echo Vocals w FX DrySynthCDR WetSynthCDR VibesRoom PercussionRoom CagesRoom CmpRecitalHall StrRecitalHall1 StrRecitalHall2 RecitalHall MyJaco UprightBassRoom Levin Chorus Bright Room Med Dark Room BasicReverb Medium Hall 4U KickComp2 ColdPliano 2 FDR PercRoom NylonAgtVerb 3BandDrumComp KikComp 4 1 ToxicStrings 3BandDrumComp2 Scoopd Dist EGT2 NotScoopd Dist 489 491 492 493 496 500 501 517 518 519 520 521 522 523 524 644 645 646 648 651 652 654 655 656 657 658 659 660 661 662 663 664 665 Chain HeavyBuckers ProBassComp NYCTripStrings ProBassComp2 DirtLordAmp Setup Aux Verb Setup Aux DDL Early Reflection Pad Depth Pt1 Gunshot Verb AlphaCentauri 1 BasicCDR Synthorc BPM BPM Flange Dly DbISloFlangeCmp StevieTrem EP 1 Beater EP1 Jamerson1 SlyBASSComp1 Trampler 1 HipHop Drms1 HipHop Drms2 TOP
110. frequency expressed in BPM and beats can be fixed or set to follow System tempo Min Freq and Max Freq are the low and high limits of the resonant frequency as the filter is swept You can set the Min Freq higher than the Max Freq in which case the filter will sweep upside down relative to the controlling clock The range for both is 16 to 8372 Hz LFO Shape is the waveform type for the LFO Choices are Sine Saw Saw Pulse and Tri LFO PlsWid Pulse Width When the LFO Shape is set to Pulse this sets the pulse width as a percentage of the waveform period When the width is set to 50 the result is a square wave This parameter has no effect if other waveform types are chosen Range is 0 to 100 LFO Smooth smooths removes the higher harmonics from the Saw Saw and Pulse waveforms A Sawtooth wave becomes more like a triangle wave and a Pulse wave becomes more like a sine wave Range is 0 to 100 Distortion Distortion effects on the PC3A may also include a parametric equalizer or a cabinet simulator Dist Drive applies a boost to the input signal to overdrive the distortion effect into soft clipping This will tend to make the signal very loud so you may have to reduce the Out Gain as this parameter is increased Range is 0 to 96 dB Warmth is a lowpass filter in the distortion control path This filter may be used to reduce some of the harshness of some distortion settings without reducing the bandwidth of the signal
111. full description of the PITCH page parameters see Common DSP Control Parameters on page 6 24 The DSP Control DSPCTL Page on page 6 29 and The DSP Modulation DSPMOD Page on page 6 30 Darzel Fine fe rio DePth Seo DPTCt1 HinDEt Act OFF OFF Hct k more TONELIL PITCH more d KB3 Editor The AMP Page The AMP page parameters for KB3 programs is much like the AMP page parameters for VAST programs The only difference is that for KB3 programs there are no KeyTrk or VelTrk parameters For a full description of the AMP page parameters see Common DSP Control Parameters on page 6 24 The DSP Control DSPCTL Page on page 6 29 and The DSP Modulation DSPMOD Page on page 6 30 MERE Sue s i gs de Depth Sec DPtCt 1 HinDet Pore E PERLI A EEE 0 6 62 Program Mode KB3 Editor The PERC1 Page KB3 Editor The PERC1 Page Percussion is a characteristic feature of tone wheel organs It s especially useful while soloing since percussion adds an extra plink actually an extra tone at a defined harmonic to the attack You can reach the percussion parameters by pressing the Perc1 and Perc2 soft buttons Percussion NE LowHarm DrawBar4d Uolume a S0 HiShHarm Drawbars Decay Fast stealBar IrawBar9 Harmonic ad PERCi PERC2 JKEYCLE more j Parameter Range of Values Percussion Off On Volume Soft Loud Decay Slow Fast
112. go into the Sample Editor and tweak the sample settings of each keyrange when the keymap is finished Yes but Suppose you used the technique we described above to assign a vocal sample whose root was C 4 to a key range from A 3 to E 4 Then you assigned the same sample to a key range from F 4 to B 4 You might be surprised to find that when you finished the F 4 B 4 key range and the Keymap editor page reappeared the current key range would not be F 4 to B 4 but A3 to B 4 This is because the PC3A automatically merges adjacent key ranges that are identical this is done to save memory Therefore some parameter must be different in each adjacent key range you create if you want to build keymaps using the technique we just described So if you want to use the same samples in adjacent key ranges with for example minor pitch or volume modification you should make those changes to the current sample on the Keymap editor page before assigning the next range 14 8 Keymap and Sample Editing The Keymap Editor Editing Samples To enter the Sample Editor first select the program you wish to edit in Program mode With the program selected press the Edit button to enter the Program Editor In the program editor the KEYMAP page will be selected if not press the KEYMAP soft button With the KeyMap parameter selected on the KEYMAP page press the Edit button again to enter the Keymap Editor On the EditKeymap page select the KeyRange paramet
113. if you delete the newly edited object there are soft buttons in each editor for deleting objects Memory Objects If the original object was a memory object the PC3A will assume you want to replace it and will suggest the same ID as the original object In all modes other than Song mode a diamond icon preceding an item s ID indicates a memory object As with ROM objects you can cancel replace or change the ID and save to an unused ID If you replace a memory object however it s definitely gone Editing Conventions Keyboard Naming The keyboard naming feature makes naming objects convenient by letting you use the keyboard or your MIDI controller to enter the name of the object you re modifying When you re in a Rename dialog use either of the Chan Layer buttons to change between the keyboard naming states Off disabled On and Adv Advance When set to On or Adv the keys MIDI note numbers actually correspond to all the characters shown on page 5 3 There are also equivalents to the cursor movement insertion deletion and OK Enter buttons On requires you to move the cursor to enter each letter just as you have to do when using the normal data entry methods for naming Adv automatically moves the cursor one space to the right each time you strike a key just like a typewriter or computer keyboard This is the most convenient setting AO to C80 Saving and Naming Standard 8
114. in the USB storage port on the rear panel of the PC3A A USB connector will only fit into the port if oriented properly so don t force it into the port as this may damage your PC3A or USB device If you are having trouble inserting your USB connector into the port try flipping the connector over To use the USB computer port you should plug the USB cable into the PC3A s USB computer port and to the computer After you enter the bootloader menu the computer should recognize that a new device is available having the name KurzweilPC3A Files can be dragged and dropped directly to this device icon and will be immediately available on the PC3A Once you have selected the desired USB type use the PC3A s file directory browser to find the KUF file that you wish to use for the system update With the file selected press the OK soft button to install the update When installation is complete press the OK soft button to return to the Boot Loader main menu then press the Run PC3A soft button to run the PC3A with the updated software Run Diags PC3A Diagnostics Utility The PC3A Diagnostics Utility can run specific hardware checks on PC3A systems Most of the time you won t need to run the diagnostics but if you re having problems with the instrument it may be helpful to perform these interactive tests when contacting Kurzweil support To exit the PC3A Diagnostics Utility press the EXIT button You will return to the main Boot Lo
115. is the familiar Coarse adjust found on many other pages Use it here to change the rate of one of the envelope sections without reprogramming the envelope itself This parameter doesn t give you realtime control over the envelope It is however a good way to adjust the natural envelopes without switching to a User envelope and trying to approximate the Natural envelope Key Tracking This uses the MIDI note number of each key as the control input for the current layer s corresponding envelope section When the value of this parameter is greater than 1 000x notes above C 4 will make the envelope section run faster while notes below C 4 will make it run slower When the value of this parameter is less than 1 000x notes above C 4 will make the envelope section run slower and notes below C 4 will make it run faster This gives you realtime envelope control right from your MIDI controller You might use it for example to cause an acoustic guitar sound to decay quicker at the high end of the keyboard set the key tracking to a positive value Velocity Tracking Use your attack velocity as the control input for the current layer s attack section this parameter doesn t apply to decay or release When the value of this parameter is greater than 1 000x attack velocities greater than 64 make the attack section run faster and attack velocities below 64 make it run slower This gives you realtime attack control over the envelope Source Dep
116. it on The PC3A also stores its factory defined objects and all of your own customized user objects on the file system The Bootloader program itself is not found on the file system Instead it resides in a ROM chip that cannot be erased and therefore is permanently installed in your PC3A Using the Bootloader Menu Normally the Bootloader program will do its tasks and hand over control to the synthesizer program automatically If you want to interact with the Bootloader itself hold down the Exit button to the right of the display while turning the power on while the message Initializing Scanner is displayed on the front panel Instead of completing the boot process the Bootloader will display its main menu page on the screen PC3A Boot Loader Version 1 0 Run System Run System System PC3A Update Diags Reset Utilities Use the soft buttons underneath the display to choose an action Run PC3A Press this soft button to run the PC3A from the Boot Loader without restarting the PC3A System Update Press this soft button to update the entire system OS objects etc from a KUF file Kurzweil update file You will be prompted to choose a USB device and locate a KUF file Run Diags Press this soft button to enter the PC3A diagnostics utility which can help determine if there s a hardware error on your unit System Reset This will clear out all user defined objects and return the PC3A to its default Factory state
117. keystrike velocities below 64 and steeper than the linear curve at keystrike velocities above 64 In other words when you re playing softly you ll notice velocity differences less than with a linear curve while when you re playing hard you ll notice velocity differences more Compress produces a velocity curve that is the opposite of the expanded curve that is you ll notice velocity differences more when you re playing softly than when you re playing hard Velocity Curve Linear as you hit the keys harder increase the velocity MIDI velocity increases proportionally Velocity Curve Compress MIDI velocity is greater at medium strike velocity than with Linear curve sitet eee ees Velocity Curve Expand MIDI velocity is less at medium strike velocity than with Linear curve MIDI Velocity 127 64 Strike Velocity 7 14 Setup Mode The Key Velocity KEY VEL Page Crossfade is designed to be used in tandem with the Reverse Crossfade curve enabling you to perform smooth crossfades between different programs Bump tapers velocity response to resemble a bell curve so that notes are loudest when your keystrike velocity is 64 Notes get softer as the keystrike velocity approaches 0 or 127 MIDI Velocity MIDI Velocity 127 O K a Strike Velocity 0 00000 Velocity Curve Linear as you hit the keys harder increase the velocity MIDI velocity increases proportionally Velocity Curve Bump
118. length The End point of the Song is extended to the downbeat of the empty Bar immediately following the last Bar you were recording when Stop was pressed For example let s say you have a recorded a four bar drum loop and now want to record an eight bar bass line This would be a situation where UnLoop would come in handy While the drum track keeps looping the bass track will record in linear fashion and the end point will be moved to the point at which you press Stop Actually the drum track will also change It will play through its loop twice but while the information is repeating in the loop it will be recorded to the track So now if you look at the drum track you will see information in bars 5 8 a duplicate of the information in bars 1 4 Metron The Metron parameter determines the recording modes in which the metronome will play With Metron set to Off the metronome doesn t play at all With Metron set to Rec the metronome only plays while recording is in progress With Metron set to Always the metronome plays during playback and recording With Metron set to CountOff the metronome plays only during count off if the CountOff parameter on the Metronome page is set to something other than Off 12 11 Song Mode and the Song Editor Song Mode The MIXER Page Song Mode The FX Pages The four Song mode FX pages FX AUX1 AUX2 and Master Effects work the same way as the Effects mode pages EffectsEnable Aux
119. of these layered zones will bend simultaneously when using the pitch wheel But say for example that you also have a zone three with a different key range than zones one and two but which sends the same messages from the pitch wheel While playing and recording your setup the function of the pitch wheel will be obvious but some confusion can arise when you have recorded your setup and you proceed to record more tracks in Song mode Because you have recorded with Mult selected for RecTrk the track for zone three will have pitch bend messages recorded wherever zones one and two have bend messages even if zone three was not playing any notes at that time For example lets say zones one and two were bending during bar 1 If you want to separately record zone three during bars 1 and 2 you will probably want to delete the existing bend messages from zone three s track You can do this from the EditSong Track page see Song Editor The TRACK Page on page 12 21 and an example of its use in the Mono Pressure section above Alternatively if there is nothing to preserve on the track for zone three you can record it with the song Mode parameter set to Erase which will erase any existing events on the track during the time that you record Just remember to change the RecTrk parameter in order to record to a single track 7 70 Quick Access Mode Chapter 8 Quick Access Mode In Quick Access mode you can select programs or setups with a single
120. on page 12 7 The Done Soft Button If no changes were made in the RECFLT PLYFLT page pressing the Done soft button calls up the MAIN page If changes were made pressing the Done soft button calls up the Save Changes dialog 12 16 Song Mode and the Song Editor Song Mode The MISC Page The MISC page contains five miscellaneous but very important and useful sequencer parameters The MISC page appears below Song Mode The MISC Page Swind Release Rec Play 1 8 AY Ho Parameter Range of Values Default Control Chase On Off On Quantize Off 1 to 100 Off Grid Resolution 1 1 to 1 480 1 8 Swing 100 to 125 0 Release Quantization Yes No No Key Wait Off On Off Control Chase Quant Grid Acommon shortcoming of many older sequencers is that when you start a sequence at some point in the middle of sequence the controllers remain at their current levels until the sequencer comes across a controller event Control Chase remedies this generally undesired behavior When Control Chase is On all non note MIDI events from the beginning of the song up to the current time are computed and the most recent non note MIDI event is sent out before starting playback This ensures that the volume panning program changes and other controllers for the song are correct regardless of where you start the song With Control Chase set to Off the sequencer behaves as previously describ
121. one These buttons are most useful when you re scrolling through a short list of values or when you want to be sure you re changing the value by one increment at a time One press of the Plus or Minus button corresponds to one click to the right or left with the Alpha Wheel These buttons will repeat if pressed and held Pressing the Plus and Minus buttons simultaneously will move you through the current list of values in large chunks instead of one by one Don t confuse these buttons with the button on the alphanumeric pad This button is used primarily for entering negative numeric values and switching from uppercase to lowercase letters and vice versa The Alphanumeric Pad As its name implies this set of 14 buttons lets you enter numeric values and to enter names one character at a time Depending on where you are the PC3A automatically enters letters or numerals as appropriate you don t have to select between alphabetic or numeric entry When you re entering numeric values press the corresponding numeric buttons ignoring decimal places if any to enter 1 16 for example press 1 1 6 Enter The display will reflect your entries but the value won t actually change until you press Enter Before pressing Enter you can return to the original value by pressing Cancel Pressing Clear is the same as pressing 0 without pressing Enter When entering names you can use the Left Right cursor buttons or the lt lt lt gt
122. page is set to On When a global arpeggiator is being used the Arpeggiator parameter can be set to Off to exclude a Zone from being played by the global arpeggiator See Arpeggiator Global ArpGlobal on page 7 66 for details on setting a global arpeggiator Setup Mode The Key Velocity KEY VEL Page The Key Velocity KEY VEL Page A The Key Velocity page allows you to set key range velocity range transposition and Note Maps for each zone Note MIDI velocity of notes played on the PC3A keyboard are first affected by any Velocity Scale Offset and Curve settings made on each zone s KEY VEL page The resulting velocity is then affected by any Vel Map settings made on the Master Mode MAPS page see page 11 1 Also MIDI velocities sent to the USB or MIDI out port are first affected as explained above and then affected by settings on the MIDI mode Transmit page see page 10 1 On each of the pages mentioned above look at the MIDI signal flow chart to see which velocity maps can affect your velocities depending on which MIDI Sources MIDI Destinations and operating mode that you are using x PRE Tr onishose AST Hike x HotemaP Linear 100 1 Weloffset 1zr UelCurue Linear PANWOLIBEND more Parameter Range of Values Default Low Key C 1 to G9 C 1 High Key C 1 to G9 G9 Transpose 128 to 127 Semitones 0 Note Map Note Map List Linear Low Velocity 1 to 127 1 High Velocity 1
123. parameters 6 35 6 60 Compare 5 7 Compatibility K Series Objects E 1 Complex Echo 9 14 Compressors 9 16 Configuring control sources 6 9 Connecting MIDI 2 3 continuous pedals 1 5 Contour 9 20 Contrast 2 5 Control Setup 6 9 Control sources Configuring 6 9 FUNSs 6 41 Key tracking 6 25 Source 1 and Source 2 6 25 Velocity tracking 6 25 Controllers saving settings in Program Mode 6 3 Controlling LFO rate 6 39 conventions for editing objects 5 1 Copy Song Editor TRACK Page 12 24 Copying layers 6 52 Creating layers 6 52 Cross Couple parameter 9 12 Crossfade parameter Output 6 33 Crossfade Sense parameter Output 6 33 Crossover 9 22 Crossover1 9 17 9 26 Crossover2 9 17 Cursor buttons 3 7 Curve 9 22 D Data entry 3 9 DC Offset 9 19 Decay segment 6 43 Decay Time and Level parameters AmpEnv 6 43 DegenRegen delay 9 15 Delay 9 26 Delay parameter ASR 6 40 Delays 9 14 DelayScale 9 14 Delete on Object Utilities page 11 14 Delete Layer soft button 6 52 Delete soft button 6 52 Deleting layers 6 52 Deleting objects 5 6 Deleting programs 6 52 Demo Songs 15 15 Density 9 13 Depth 9 24 Destination MIDI Transmit Page 10 2 Dialogs Save 5 3 diamond icon 5 4 Diff Amt 9 14 Diff Gain 9 25 Diff Scale 9 13 DiffBassF 9 26 DiffBassG 9 26 Digital audio output 2 3 Digital Output Mode 11 10 Digital Output Volume 11 10 Directories 13 4 Disk Mode 5 6 13 1 Disk mode 4 3 Display 3 6 Dist Drive 9 21 Distortion 9 21 Dly Coarse 9 1
124. patches more expressive through the use of DSP modulation Pitch Settings for KVA Oscillators Each oscillator except for noise functions has its own pitch parameters and is unaffected by pitch settings that would normally affect keymaps such as those on the Keymap page Ona program layer the coarse pitch parameter for the oscillator in use can be found on both the DSPCTL and DSPMOD pages in the parameters list below the standard Pitch parameter for keymaps For each oscillator its coarse pitch parameter is named by an abbreviation of the oscillator name followed by Pch For example the coarse pitch parameter for a saw wave oscillator will be called Saw Pch On the DSPCTL sub page for any oscillator Pch parameter you can adjust fine pitch by cents and Hertz as well as KeyTrk and VelTrk settings for pitch 6 53 Program Mode Function Soft Buttons A Note Be sure to differentiate between the different pitch parameters each used either only for keymaps or only for KVA oscillators The Pitch parameter on the top left of the DSPCTL and DSPMOD pages always appears in VAST programs but only affects the pitch of keymaps Ifa KVA oscillator is being used this Pitch parameter will have no affect on the layer s pitch in which case the oscillator Pch parameter described above must be used to control the pitch of the oscillator Setting KVA Oscillator Type The PC3A comes with 22 Different KVA oscillators There are 11 high
125. ping pong effect At 0 fed back signals stay with the channel they came in on A gt B cfg configuration In combination effects that contain two or more components the order in which the signal passes through the two components can be changed with this parameter Combination effects are usually named with a gt as in 484 Flange gt Shaper For example 484 Flange gt Shaper can be configured so the signal passes through the flanger first and then the shaper or through the shaper first and then the flanger The cfg parameter determines the configuration and its value is context sensitive in this example the choices would be Fl gt Shp and Shp gt FI A Dry gt B is also found in many combination effects and controls the amount of signal that will pass dry unprocessed through the first component into the second component Different combination effects use different variations on this parameter depending on the context The range is 0 to 100 9 12 Effects and Effect Mode Effects Overview Reverbs Room Type changes the configuration of the effect to simulate a wide array of room types and sizes including booths small rooms chambers halls and large spaces Because this parameter changes the structure of the reverb effect you need to be careful when assigning it a MOD changing it in real time while signal is passing through it is likely to cause audible artifacts Room types in di
126. point in the physical center of the Ribbon Values of 0 and 127 place the zero point at the section s extreme left and extreme right Note that setting the Spring parameter to Off disables the Center parameter for that ribbon The value you choose for this parameter can have considerable effect In many factory setups for example the Ribbon affects pitch In these setups changing the value of the Center parameter would transpose the setup 7 41 Setup Mode The Ribbon Configuration RIBCFG Page The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages Each zone ina setup has its own Arpeggiator When activated each Arpeggiator takes MIDI note input from the PC3A keyboard or via MIDI and outputs a rhythmic pattern of MIDI notes You can control the speed and nature of the pattern in real time Each Arpeggiator can affect both the PC3A and external MIDI instruments The notes produced by the Arpeggiator in a given zone go to all of that zone s destinations local MIDI or both You can also set one zone s arpeggiator to override arpeggiators on other zones using the Arpeggiator Global ArpGlobal parameter on Setup Mode s COMMON page The concept behind the PC3A s Arpeggiators is fairly simple although the options are extensive You might think of each Arpeggiator as a note processor generating complex output from relatively modest input You can select any number of notes for the input and tell the Arpeggiator t
127. press Import and the zone you selected will be added to the current setup Note If you are using all 16 zones in a setup and you try to add duplicate or import a zone a No More Zones message appears You must delete an existing zone before you can add duplicate or import any new ones Delete Zone DelZn This deletes the current zone from the setup Use DelZn to free up zones so you can add or import new ones 7 68 Setup Mode The Utility Soft Buttons Recording A Setup To Song Mode The MIDI output of a setup can be recorded to a song in Song mode Each MIDI channel that is output from a setup is recorded into each track of a song if the tracks have corresponding MIDI channels Programs from each zone of your setup are automatically assigned to tracks in Song mode Follow these steps for proper recording of anew song from a setup 1 Enter Song mode by pressing the Song Mode button 2 Onthe Song mode MAIN page select 0 New Song in the CurSng field by entering 0 on the alphanumeric pad and pressing the Enter button This loads a default empty song file 3 Onthe Song mode MAIN page select Mult in the RecTrk field 4 Press the Setup Mode button to enter Setup Mode and choose the desired setup 5 Press the left and right cursor buttons simultaneously to reach the TEMPO Page Enter a tempo by tapping the Tap soft button or enter a tempo in the Tempo field When you are finished press the Done soft button t
128. press of an alphanumeric button or with other data entry methods The PC3A offers a number of ways to quickly make selections while performing but only Quick Access mode lets you store programs and setups together for instant access On the PC3A we included several factory preset QA banks that are organized into useful groupings of sounds that we think you ll find convenient Below is the QA page WAL Emerson Le MaroonSUnBazs MuhlClubzsweeP WALDistlesd CC SQuareChirpLe Downes Lead HewOrderPulse Filty Fitty Le WAL Saw Lead Mono Trekkies APose APoset The top line of the page displays the current mode and the current QA bank Using Quick Access mode involves selecting Quick Access QA banks from the list of factory preset or user programmed banks Use the Chan Layer buttons to scroll through the QA banks You can also use the bank selection shortcut press the or Clear button on the alphanumeric pad and you ll be prompted to enter a bank number Type the desired number on the alphanumeric pad then press Enter The bank is selected and you return to the Quick Access mode page Each bank contains ten memory slots or entries where you can store programs or setups in any combination Any program or setup in the currently selected bank can be selected with the numeric buttons 0 through 9 If the highlighted entry contains a program the bottom right hand field of the page displays the channel on which the program entries a
129. quality anti aliased oscillators free of digital artifacts and 11 oscillators that exhibit some aliasing digital artifacts in the higher octaves The anti aliased oscillators use up more DSP resources than the ones with aliasing but the improvement in sound quality is quite noticeable We strongly recommend using the anti aliased oscillators for most applications The tables below list KVA oscillators by type and function block size Before setting an oscillator you must choose an algorithm which includes a block that matches the block size for the oscillator that you wish to use See The Algorithm ALG Page on page 6 22 and Algorithm Basics on page 6 23 for more on selecting algorithms Once you have picked an algorithm with the desired block size highlight the block and use the alpha wheel to scroll through the available functions until you find the desired oscillator The SYNC SQUARE oscillator is an 8 block oscillator that requires the use of two layers 4 blocks each and the Alt Input feature of cascade mode See below for details on setting up the Sync Square oscillator Note If you put more than one oscillator in an algorithm you will only hear the output of the last oscillator in the algorithm unless an algorithm is used to route the earlier oscillator around the last oscillator and into a MIX function block or if the last oscillator processes its audio input
130. ranges C 4 to G 4 for example The entire span of each keymap is from C 0 to G 10 Each range has a sample root assigned within the range Each sample root is a distinct ROM or RAM sample Within each key range the sample root is transposed up and down to play on each of the range s notes You can view each range by changing the value of the Key Range parameter on the Keymap editor page You can mix samples of different timbres within a single keymap and even tune individual keys to any pitch by defining key ranges to single notes and assigning samples to each of those notes When you trigger a note the PC3A identifies the key range where the Note On event occurred It also checks the attack velocity value of the note It then addresses its memory and retrieves the sample root that s assigned to that key range and attack velocity value If the note that s triggered is not the note where the sample root is assigned the sample is transposed to play at the correct pitch The PC3A then generates the digital signal that represents the sound of the note At this point the keymap s job is done and the signal proceeds through the layer s algorithm and on to the audio outputs You can assign as many key ranges to a keymap as you like even creating a separate range for each note This would allow you to tune each key independently to create microtonal tunings For keymaps that use a single timbre like the Grand Piano there s a key range for
131. s top line gives you the usual location reminder points out the currently selected layer and tells you the relative scale of the envelope s graphic view The envelope graphic shrinks in scale as the segment times get longer This auto zoom feature maximizes the available display space Try lengthening one of the segment times The envelope graphic will stretch to fill the display from left to right When it fills the display it will shrink to half its size and the top line will indicate that the scale has changed from 1 1 to 1 2 for example 6 42 Program Mode The Amplitude Envelope AMPENV Page Each parameter on this page has two values as listed below For the envelope segments the first upper value is the duration of the segment and the second is the amplitude level at the completion of the segment For the Loop parameter the values define how the envelope loops and how many times the loop cycles Parameter Group Parameter Range of Values Time 0 to 60 seconds Attack Segment 1 2 3 Level 0 to 100 Time 0 to 60 seconds FA Level 0 to 100 Time 0 to 60 seconds Release Segment 1 2 3 0 to 150 Release Segment Level 3 is always set to 0 Type Off Forward Bidirectional Loop a of loops Infinite 1 to 31 times Attack Segment Times These indicate how long it takes for the current layer s amplitude to reach its final level from its starting level Attack Segment Levels These are
132. set to Lyr Zone the info box will display an overview of the keymap names and ranges for each layer in the current Program while in Program Mode or an overview of the Program names and ranges for each zone in the current Setup while in Setup Mode The line beneath the name of the keymap program indicates the keyboard range of that layer zone For example a line extending all the way across the info box represents a layer zone that extends from C 1 to G9 the full 128 note range of the PC3A The representation of these layer zone ranges is approximate they re intended to let you know if you have a layered keyboard lines overlapping or a split keyboard lines not overlapping In Program Mode stereo keymap layers are indicated in the info box with a double circle symbol In Setup Mode zones that have the Riff parameter set to On On the Setup Editor 11 3 Master Mode MAIN RIFF1 page are indicated in the info box with a riFF symbol The info box can display up to four layers zones at a time If the current Program Setup has more than four layers zones you can view their keymaps programs by pressing and holding down the Enter button and scrolling with the Chan Layer buttons When Display is set to Ctls Program Mode and Setup Mode use the info box to display the controller assignment info and MIDI CC value for the last moved controller The info box clears a few moments after displaying the controller info 11
133. settings for MIDI Mode Transmit and Receive pages and Master FX settings Explicit saving of the Master Table is also possible On the Master Mode MAIN page you ll find parameters for setting the overall tuning and transposition of the PC3A overall FX settings drum program remapping clock source options ID entry options demo song options as well as options for saving master mode settings and remote triggering of PC3A functions Temor d 343115 MasterLoc TransPose amp DemoBut tion si Lyre Zone Mode Performance Buttons Irumkemat Horne TisFlay Id Entre Global APS SOUTPUTTTENPO nore s Parameter Range of Values Default Tune 100 cents 0 Transpose 128 to 127 semitones 0 FX Mode Performance Multitrack Performance Drum Remap None GM None ID Entry Global Bank Global Setup Controllers SetupCtls Instant Pass Entry Instant Master Lock On Off Off Demo Button On Off On Buttons Mode Off On Off Display Lyr Zone Ctls Lyr Zone Master Mode MAIN Tune Adjusting the value of this parameter tunes every program in the PC3A by the amount you specify Tuning can be adjusted up or down 100 cents one semitone in one cent increments This parameter is useful for getting in tune with recordings and acoustic instruments Adjusting the tuning in Master mode does not change the settings on the PITCH page of individual programs but will be added to any ad
134. star Use the Type soft button to jump to the lowest numbered object of the next group of object types You can use the alphanumeric pad to jump to an object of the selected type by number or enter 0 to jump to the lowest saved object number of the currently selected type To review which objects you have selected press the Next soft button to move to the next selected object in the list Press the Delete soft button to delete your selection you will be given the choice to Delete or Cancel The Cancel soft button on the Delete advanced page will return you to the main Delete page Program Program Program Program Program Delete Cancel For Delete and Delete advance if any of the selected objects have dependents that were not selected you will see the question Delete dependent objects If you answer Yes to this question all dependent objects of the selected objects are deleted unless they are being used as dependents of other objects that are to remain in memory Answering No will delete only those objects that were selected and not their dependents 11 15 Master Mode OBJECT UTILS UTILITIES Pressing the UTILS soft button calls up the UTILITIES page which gives you access to two analytic and diagnostic tool Additionally pressing the two right most soft buttons will call up the UTILITIES page from any mode or editor The UTILITIES page appears as shown below Masters Ube K K_KWo C00 Select what to dis
135. style loudness timing phrasing with what has already been recorded Because of your settings in steps 4 5 and 6 no extra notes will be recorded outside of the time that you want to replace 8 Press the Stop button when you are done You will be able to review and save your changes just as in Step 4 of Part 3 see above 9 Remember to set the RecMode parameter back to Linear when you are done if you wish to record in the standard way again as in Part 3 above This is done on the Big Time page see below 15 9 Tutorial Song Mode 1 1 sn 0 TUPPEN Time In 3 tli Loot 5 Time Quti 4 1136 Recio TREE Songs Ends 11 51 65 Metron CE TFR Save 7 more Part 6 Adjusting The Volume Of Each Instrument Adjust the volume of an instrument by adjusting the volume of the track containing that instrument program While your song is playing you can use the Vol parameter on the Song mode MAIN page to adjust the volume for the track currently set in the RecTrk parameter To permanently store your volume settings with the song you must store an initial volume for each track Let s use the song we created in the parts above as an example Let s adjust the volume of track 1 and store the value as an initial volume setting 1 On the Song mode MAIN page use the Chan Zone buttons to the left of the display to Set the RecTrk parameter to track 1 GHH puenta 169 e OPP CurSn4s MY Sond TemPo 166 H FPecTr
136. tempo using the Tap Tempo feature simultaneously press the left and right a cursor buttons see TEMPO on page 11 11 for details MAI Events 1094 Cursra Ashe Sonda kFecTrk 1 Wolti v Fan 64 Modes Prod 1 Standard Grand Locat 1 il Track if Psr ree Treo stor Tren ore A 15 3 Tutorial Song Mode To hear the metronome play your tempo use the right more button to find and then press the BIG soft button This brings you to the Song Big Time page On the Song Big Time page set the Metron parameter to Always see below Make sure the PC3A s main volume is set at a moderate level then press the Play Pause button to hear the metronome play the selected tempo ey Son 3 Press the BIG soft button again to return to the Song mode MAIN page the MAIN soft button also works for this but using the BIG soft button is quicker Now you can adjust the Tempo parameter and press the Play Pause button to hear the metronome play the tempo For this example we will leave our previous Tempo setting of 100 0 4 Once you are happy with the tempo press the BIG soft button to return to the Song Big Time page Set the Metron parameter back to Rec so that you will only hear the metronome during recording see below When finished press the BIG soft button again to return to the Song mode MAIN page Part 3 Record Your First Track Save The Song 1 On the Song mode MAIN page use the buttons to the left of th
137. that is written before the first tick of a track Initial Pan settings are not automatically written during recording because they make it harder to try out different Pan settings for a track For example an initial Pan setting will reset any Pan adjustments that you make during playback each time the song is stopped and played from the start of bar 1 or if the song is stopped and played from any point if the Control Chase parameter set to On on the Song MISC page see Song Mode The MISC Page on page 12 17 If you plan to try out different pan positions it is easier if you write an initial Pan after you have found the desired setting Setting Initial Pan Per Track Follow these steps to change the current RecTrk s initial Pan While the sequencer is stopped press Record change the value of Pan press Stop and save the song follow the same method to quickly set initial program or volume settings Initial program pan and volume can also be set at the top of each track s event list see Song Editor The EVENT Pageon page 12 31 Setting Initial Values For All Tracks An important last step before saving a finished song is to store initial values of Program Volume and Pan for all tracks This can be done at any time but is best done as a last step if you plan to make a lot of adjustments to these settings To write initial settings for all tracks press the Keep soft button on the Song MIXER page see Song Mode The MIXER Page on page 12
138. the time specified for that segment Release segment 1 starts at the Note Off event for each note at the current amplitude level of that note whether it s in the attack section or the decay section It then moves to its assigned level in the time specified Release segments 2 and 3 start at the final levels of the segments before them 6 43 Program Mode The Envelope 2 ENV2 and Envelope 3 ENV3 Pages Release segments 1 and 2 can be set to any level from 0 to 150 Release segment 3 always has a level of 0 so you can t adjust its level In place of its Level parameter you see a parameter that lets you toggle between User envelopes and the sound s preprogrammed natural envelope Loop Type There are seven different values for Loop type A value of Off disables looping for the current layer s amplitude envelope Values of seg1F seg2F and seg3F are forward loops In each case the amplitude envelope plays through the attack and decay sections then loops back to the beginning of the first second or third attack segments respectively Values of seg1B seg2B and seg3B are bidirectional loops The amplitude envelope plays through the attack and decay sections then reverses and plays backward to the beginning of the first second or third attack segment respectively When it reaches the beginning of the assigned attack segment it reverses again playing forward to the end of the decay section and so on Number of
139. the top while for the right microphone the angle increases counter clockwise Assigning a MOD to this parameter should be done with caution real time adjustments to it will result in large sample skips which will cause clicks in the signal passing through The range is 0 to 360 0 degrees In Distort Rotary only The following parameters relate to rotation speed Speed sets the rotating speakers to run at either the slow rate or the fast rate Brake when set to On slows the rotating speakers to a halt Lo Mode in the Normal setting will give you full control of the low frequency speaker with the Speed parameter The NoAccel setting will hold the low frequency speaker at the slow speed and the Speed parameter will have no effect on its speed though Brake will still work In the Stopped position the low frequency speaker will not spin at all Lo Slow and Hi Slow are the rotation rates in hertz Hz of the speakers when Speed is set to Slow Lo Fast and Hi Fast are the rotation rate in hertz Hz of the speakers when Speed is set to Fast LoSlow gt Fst and HiSlow gt Fst are the times for the speakers to accelerate from the slow speed to the fast speed LoFst gt Slow and HiFst gt Slow are the times for the speaker to decelerate from the fast speed to the slow speed LoAccelCrv and HiAccelCrv are the shapes of the acceleration curves for the speakers 0 is a constant acceleration Positive values
140. to 127 127 Velocity Scale 300 100 Velocity Offset 128 to 127 0 Velocity Curve Velocity Curve List see Velocity Curve Linear VelCurve on page 7 14 Setup Mode The Key Velocity KEY VEL Page Low Key LoKey High Key HiKey The LoKey and HiKey parameters define the note range of the currently selected zone The easiest way to change these values is to press and hold the Enter button and press the key of the note you wish to enter You can set these values with normal data entry methods as well You can create negative ranges as well To do this select the HiKey parameter and set its limit lower than the LoKey limit This results in the zone being active at the top and bottom of the keyboard but being silent in the range between the two limits This lets you create a layer witha hole in the middle which you can then fill with a different sound on another zone The limits of MIDI are C 1 to G9 The untransposed 88 key range is AO to C8 The untransposed 76 key range is E1 to G7 Transpose This changes the pitch of the zone without changing its position on the keyboard It changes the MIDI note numbers generated by the keys in the zone without physically shifting the zone The range is 128 to 127 semitones Since there are 12 semitones or half steps to an octave you can transpose up or down over ten octaves If you transpose out of the range of the active voice however no notes will sound MIDI note num
141. to StartWait if there is nothing playing to sync to the current riff will wait for something it can sync to to begin playing first before starting This is similar to DownBeatWait but it will only trigger the riff the first time that whatever it is syncing to starts This way you can trigger the riff to start ahead of time and have it start in sync at the start of the riff arpeggiator or song that you are syncing to If you stop the riff and try to start it again while the thing you are syncing to is already playing StartWait will not start the riff With SyncType set to LoopWait if there is already a riff or song playing to sync to the current riff will wait for the playing riff or song to restart its loop if it is looped before starting see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the riff to start ahead of time and have it start in sync at the start of the playing riff or song s loop The difference from Loop is that if there is nothing playing to sync to the riff will not start If the riff or song that you are syncing to is already running Loop Wait behaves just like Loop With SyncType set to StopWait if there is already something playing to sync to the current riff will wait for what is playing to stop before starting This way you can trigger the riff to start ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that yo
142. to the auxiliary audio outputs 6 48 Program Mode The Layer FX LYR_FX Page When Type is set to the Aux Send parameter values are in units of percent The value specified in the Aux Send parameter is the percentage of which the wet auxiliary signal comprises the final signal the insert signal comprises the rest of the final signal To hear equal parts wet signal and dry signal on the main audio output set the main Insert effect to 0 None and the Insert Output to Main and set the Aux 1 effect to your desired effect and the Aux 1 Output to Main Then set the Aux1 Send to 50 If you want to hear only the wet signal set the Aux1 Send to 100 Aux1 Mod Aux2 Mod The Aux Mod parameter gives you real time control over the amount of program signal sent to the aux effects chain You can set the Aux Mod parameter to any PC3A control source The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod control source can send the minimum value is 0 The Layer FX LYR_FX Page Press the LYR_FX soft button to call up the Layer FX LYR_FX page On this page you can apply layer specific effects There are three Layer FX Modes Use Program FX Layer Specific FX and Use Another Layer s FX Use Program FX Mode With Use Program FX Mode selected the current layer will use the effects configured on the Program FX PROGFX page See The Program FX PROGFX Page on page 6 47 for more information
143. to the same location changes made to Song End are reflected in Time Out When recording beyond your initially specified Song End point you ll notice that the Song End location automatically moves and rounds to the next bar so as to always be ahead of the playhead It is possible to move the Song End point to a location before other MIDI events i e in the middle of the current song the sequencer will ignore but not delete events after this point With the Loop parameter set to Loop the sequencer will loop the segment of the song between Time In and Time Out RecMode With the RecMode parameter set to Linear the sequencer will record normally from where ever you start to where ever you stop or until the Song End point is reached With the RecMode parameter set to PunchIn the sequencer will record events only between the points set for Time In and Time Out parameters on the BIG page To use the UnLoop setting the Loop parameter must be set to Loop and a loop length must be set with the Time In and Time Out parameters on the BIG page With the RecMode parameter set to Unloop any existing tracks will be played back as if they were looping from the Time In to the Time Out point but they are actually being re recorded linearly over absolute Bars and Beats until you press Stop UnLoop allows you to record a linear track over a short looping section without first having to copy the section over and over again to achieve a new desired Song
144. use the MIDI file s internal sequence name as the Song name If the internal sequence name can not be loaded the first eight characters of the file name will be used as the Song name Shortened song names can be renamed in Song mode SelAll Parent Dren Tok cancel Select Select or deselect the highlighted file An asterisk appears to the left of selected files Multiple files can only be selected if they are in the same directory Entering a new directory will deselect all files SelAll Press the Sel All soft button to select or deselect all files in the current directory directories within the current directory will not be selected Entering a new directory will deselect all files Parent Moves you up one level in the directory hierarchy If the display is already at the root directory this button has no effect Entering a new directory will deselect all files Open Open selected directory or view objects within a P3A file or other compatible Kurzweil file type for loading individual objects See Loading Individual Objects From a P3A Or Compatible File Type below for instructions on opening P3A and other Kurzweil file types to view and load individual objects see Appendix E for compatibility details Entering anew directory will deselect all files Viewing objects within a P3A file or other Kurzweil file will deselect any other files that had been selected OK Load the selected P3A file or other compatible Kurzweil f
145. user objects this will select all object types and numbers automatically Next use the cursor to select the right column then use the cursor alpha wheel or plus minus buttons to select one or more ranges of object numbers from the list You can select object numbers by bank grouping groups of 128 by number range select 1 100 Range use the SetRng soft button and choose any range of 2048 objects or select Everything to delete all objects of the selected type Again use the Select soft button to make your selection s which will be marked with a star The Clear soft button will clear your selection s from the currently selected list Press the Delete soft button to delete your selection and you will be given the choice to Delete or Cancel The Cancel soft button on the main delete page will return you to the OBJECTS page Hasterogdeilelete SS S S nn O Object type Range Barnk RM ees 1 128 roSram 129 ZO Als ZI ann 3 Cancel 11 14 Master Mode OBJECT To delete single or multiple objects go to the Delete advanced page by pressing the Advnce soft button on the main Delete page see below The right column shows you a list of all user created objects The left column tells you what type each object is and objects are grouped by type Use the alpha wheel or plus minus buttons to select one or more objects from the list Use the Select soft button to make your selection s which will be marked with a
146. waveform for LFOI is a sine wave which goes positive and negative With the Mod Wheel up the pitch will oscillate between an octave up and an octave down Since the Mod Wheel is a continuous control you can achieve any amount of depth control between the minimum and maximum If you had set the Depth Control to Sustain for example then you d get only two levels of depth control the maximum 1200 cents with your MIDI controller s sustain pedal down or the minimum 100 cents with the sustain pedal up 6 26 Program Mode The Algorithm ALG Page Alt Input for Algorithms Cascade Mode Cascade mode is a particularly powerful feature of the PC3A that allows you to create unique algorithms of previously unattainable levels of complexity The following three figures show the signal path of a program configured using the PC3A s new Cascade mode 2 PARAM SHAFER DIST SH 5HF DSPCTL IDSPHOD OUTPUT more d LOW SHELF ALFASSHHRAF DSPCTL ISPHOD OUTPUT more g 4FOLE LOPASS HFSEP F more JALG JUSPCTLIUSPMOD OUTPUT more 4 On the ALG Algorithm page of every layer the Alt Input parameter lets you select any other layer to go through the current layer s DSP You can set it up so that layer 1 goes into layer 2 into 3 as shown above If you turn down the volume on layers 1 and 2 then you are hearing true cascading it s like a big chain with each algorithm feeding into the next and what you hear is layer 3
147. were recording when Stop was pressed See RecMode on page 12 11 for details You can also copy paste duplicate or delete sections of the song if you want to reuse sections or make sections shorter or longer see Song Editing And Structure With Track Functions below for details Keep in mind that you can loop any length of a song and record into a loop with multiple layers of instruments on different tracks This is also a common method for recording sequence based music in which you create each section of your song from looped sequences and then arrange the loops into the desired order for your song s structure Afterwards you can make variations to each section if you want the song to have less of a looped sound 15 15 Tutorial Song Mode Song Editing And Structure With Track Functions In song mode you can easily copy part of a sequence to another time in the song or from one track to another You can also copy a section of all tracks at once in order to duplicate or structure entire sections of your song such as verse and chorus sections You can also choose groups of notes to erase or entire bars of time to delete There are many basic and advanced editing functions available For details see Song Editor Track Functions on page 12 24 in Chapter 12 Song Mode and the Song Editor Program Changes If your song requires more than 16 instrument parts one method of achieving this is with program changes For example l
148. when using the default Control Setup 126 Internal Voices the ribbon is set to the destination MIDI21 which controls Aux Bend 1 see Aux Bend 1 Up and Aux Bend 1 Down on page 7 19 for details See page 6 9 for more about the Control Setup The optional Ribbon controller can be used as a single long controller or it can be divided into three separate sections each with its own controller assignments this is done on the RIBCFG page see below The two small arrows above the strip indicate the boundaries of the three sections The large arrow above the ribbon points to the center of the ribbon for when the ribbon is configured in one section Note that there are three assignable parameter groups on the RIBBON page When the Ribbon is set to act as a single section controller the only parameters that affect its behavior are those of Section 1 Sect1 When the Ribbon is set to act as a three section controller each parameter group affects only its respective Ribbon section To modify other ribbon parameters go to the The Ribbon Configuration RIBCFG Page see The Ribbon Configuration RIBCFG Page below for details The RIBBON page parameters are described in Continuous Controller Parameters on page 7 29 Pa Note When used as a one section controller the ribbon sends two MIDI CC numbers MSB and LSB in the MIDI spec giving the ribbon a resolution of 768 steps instead of the 128 steps that one MIDI CC provides This allows the ribbon t
149. which channels can use DSP units and which can not Use the EffectsEnable page to turn on or off DSP unit usage for the program on each MIDI channel On the EffectsEnable page each channel can be set to Y to use DSP units for that channel or to N to not use DSP units for that channel Some channels set to Y may be displayed as Y This means that there are not enough DSP units available for that channel and that channel s effects are not loaded Use the cursor buttons to select each channel then use the Alpha Wheel or buttons to set the selected channel to Y or N As the cursor is moved from left to right on these pages the Insert and Aux Effects Chains for each channel are displayed on the bottom of the page Aux Chains are only displayed if the channel is the current channel in Program Mode or the specified Aux Effects channel in Setup or Song mode The number of DSP units required to load effects for the cursor highlighted channel is shown at the top of the page Note When a channel isn t allocating DSP units because it s set to N or Y because resources are exhausted the channel still sends its signal to the Aux sends If the channel set to N or Y has its Aux sends turned up and the Aux effect is on a channel set to Y the channel set to N or Y will still be processed by the Aux effects on the channel set to Y On the EffectsEnable page the channel with a box around its channel number contains the Aux Chains currently
150. you must save entry values for the controllers Entry values are values sent for each controller setting when a program is loaded To capture entry values for the current program press the Edit button to the left of the display to enter the Program Editor Next use the more soft buttons to find the SetCtl soft button then press the SetCtl soft button Lastly press the Exit button to the right of the display and follow the prompt to choose an ID and save the program Similarly when using a KB3 program you can capture the entry values for the drawbars the sliders by pressing the SetDBR soft button in the KB3 program editor The Arpeggiator In Program Mode A In Program Mode you can use an arpeggiator for the Program on the currently selected MIDI channel The arpeggiator can be turned on and off by pressing the Arp button above the wheels so long as the default Control Setup is being used see Control Setup below for details To access the arpeggiator parameters press the Arp and SW buttons above the wheels simultaneously See The ARPEGGIATOR Page on page 7 42 for details on the arpeggiator parameters The arpeggiator plays at the tempo set on the TEMPO page Press the left and right cursor buttons simultaneously to view the TEMPO page see TEMPO on page 11 11 for details In Program Mode you can change the program on the current MIDI channel or change the current MIDI channel and the current arpeggiator settings will remain the
151. you re using Song mode or an external sequencer you can edit attack velocity levels and get exactly the results you want 6 19 Program Mode The LAYER Page Opaque An opaque layer blocks all higher numbered layers in its range allowing only the opaque layer to play This is an easy way to change a small range of notes in a program leaving the original sound playing above and below the new sound Start with a one layer program and create a new layer Layer 2 with the NewLyr soft button On the KEYMAP page for Layer 2 select the keymap you want to use then on the LAYER page set Layer 2 s range say C 3 to D 3 and set its Opaque parameter to On Then go to Layer 1 and duplicate it with the DupLyr soft button the duplicate layer becomes Layer 3 You now have a three layer program Delete Layer 1 the original layer Layer 2 the new layer you created becomes Layer 1 and Layer 3 becomes Layer 2 Now Layer 2 blocks out Layer 3 the duplicate of the original layer at the notes C 3 D 3 Sustain Pedal SusPdl When this parameter is on the layer will respond to all sustain messages Controller destination 64 Sustain When off the current layer will ignore sustain messages On2 means that the sustain pedal will not catch the release of a note that is still sounding when the sustain message is received this can be very useful in a program that uses amplitude envelopes with a long release time Sostenuto Pedal SosPd
152. you specify pitch in semitones ST and cents ct and amplitude in decibels dB Remember that the parameters on the control input pages are cumulative they can add to or subtract from the effects of the other parameters on the page depending on their values For example even if you ve adjusted the pitch of a sample so high that it pins the effects of the other parameters may bring the pitch back down to a workable range Fine Adjust Parameter You can add slight detuning to the pitch with the fine adjust parameters Notice that there are actually two fine adjust parameters for the Pitch function one that changes the pitch in cents 100ths of a semitone and one that changes it according to its frequency in increments of Hertz cycles per second Since we re discussing the universal control sources here and not specifically pitch we ll move on for now as the Hz parameter applies only to pitch related functions See The PITCH Page on page 6 21 for a more thorough description of Hz Hard wired Parameters Key Tracking This is a quick way to get additional control based on the MIDI note number of each note you trigger Key tracking applies a different control signal value for each note number In the case of pitch key tracking enables you to change the tuning of each note relative to its normal pitch Middle C is the zero point Regardless of the key tracking value there is no effect on Middle C If you set a nonzero value
153. 0 equal amounts of the left and right dry signals pass to their respective outputs Tapn Level is the level of each numbered tap from 0 to 100 relative to the overall output of the effect Tapn Bal is the left right balance of each of the numbered taps At 100 only the left channel of tap n goes to the left output while at 100 only the right channel of tap n goes to the right output At 0 equal amounts of the left and right channels of the tap pass to their respective outputs In some delays pairs of taps 1 and 5 2 and 6 etc are controlled together as stereo pairs DelayScale lets you change the lengths of all the taps together Its range is 0 to 10x Note It is possible for the PC3A to run out of delay memory with over generous settings of DelayScale or very slow Tempos Some Delay effects will simply go to a maximum value and stay there while in some a calculation is made that automatically cuts the delay times in half thereby maintaining a relationship with tempo Complex Echo This effect has two feedback taps per channel as well as three independent taps and also a feedback diffuser for smearing the delays Feedback line 1 feeds the signal back to the delay input of the same channel while feedback line 2 feeds the signal back to the opposite channel FB2 FB1 gt FB is a balance control between feedback lines 1 and 2 0 minimum turns off feedback line 2 only allowing use of feedback line 1 50 is an even mi
154. 0 127 None Exit Volume None 0 127 None Entry Pan None 0 127 None Exit Pan None 0 127 None Entry Volume Exit Volume Entry Volume enables you to control the initial MIDI volume setting for each zone of the current setup When you select a setup in Setup mode MIDI channels for zones that have an Entry Volume value other than None will receive that value as a MIDI volume control message MIDI Controller 07 This sets the starting volume level for each zone Subsequent MIDI volume control signals sent to the setup s MIDI channels affect the volume normally When you exit the current setup each zone sends another volume control message MIDI Controller 07 to set the volumes on the PC3A s MIDI channels according to the value of the Exit Volume parameter unless Exit Volume is set to None The setting of the Volume Lock parameter on the MIDI mode CHANNELS page see Chapter 10 determines whether this parameter has any effect Entry Pan Exit Pan You can set entry and exit values for Pan as well When you select a setup the PC3A sends a MIDI pan control MIDI Controller 10 message on each MIDI Channel in each zone another MIDI pan control message is sent when you exit the setup The Entry and Exit values for Pan are the same as those for Volume There is also a Pan Lock parameter on the MIDI mode CHANNELS page which overrides the Setup Editor s Pan settings If you are trying to set the Pan and the program doesn t seem to be respo
155. 00 ms Stereo Image This effect provides enhancement for a stereo signal It also features a stereo correlation meter It uses some parameters from Mono to Stereo and some from Stereo Analyze following 9 26 MIDI Mode The TRANSMIT Page Chapter 10 MIDI Mode The PC3A sends and receives MIDI on traditional 5 pin DIN connectors and through USB MIDI can be sent and received on all ports at once Press the MIDI mode button to enter MIDI mode There are three pages in MIDI mode e TRANSMIT XMIT soft button e RECEIVE RECV soft button e CHANNELS CHANLS soft button You ll use these pages to determine what MIDI messages the PC3A transmits and how it responds to the MIDI messages it receives as well as how each MIDI channel behaves When you enter MIDI mode you ll see one of the three available MIDI mode pages The TRANSMIT Page Press the XMIT soft button and the TRANSMIT page appears Use the parameters on this page to control how the PC3A sends MIDI information to its USB or MIDI Out port These settings to some extent affect the PC3A s response to its own keyboard and controllers but they primarily affect the responses of other MIDI devices that are receiving MIDI from the PC3A on the channel specified with the Channel parameter on this page When a program is selected either in Program mode or in Quick Access mode all of the settings of the TRANSMIT page are in effect except for ChgSetups which only appl
156. 04 Chorus lt gt Reverb 2U 427 PsiloChorusHall alg 404 Chorus lt gt Reverb 2U 428 SpeeChorusDeep alg 400 Chorus Delay 1U 429 Chorus Room alg 404 Chorus lt gt Reverb 2U 430 Chorus Smallhall alg 404 Chorus lt gt Reverb 2U 431 Chorus Med Hall alg 404 Chorus lt gt Reverb 2U 432 Chorus Big Hall alg 404 Chorus lt gt Reverb 2U 433 Chorus Echoverb alg 402 Chorus lt gt 4Tap 2U D 41 PC3A Objects V 2 3 Effect Presets with Algorithms 434 Chorus Bass Room alg 404 Chorus lt gt Reverb 2U 435 New Chorus Hall alg 404 Chorus lt gt Reverb 2U 436 Floyd Hall alg 404 Chorus lt gt Reverb 2U 437 Into The Abyss alg 403 Chor Dly Reverb 2U 438 BroadRevSlapback alg 403 Chor Dly Reverb 2U 439 Carlsbad Cavern alg 403 Chor Dly Reverb 2U 440 Chr gt GtrDst gt Chr alg 317 TubeAmp lt gt MD gt Chor 3U 441 That s No Moon alg 403 Chor Dly Reverb 2U 442 Laser Amalgam alg 405 Chorus lt gt LasrDly 2U 443 Cut it out CDR alg 403 Chor Dly Reverb 2U 444 Chor Delay Booth alg 403 Chor Dly Reverb 2U 445 Chor Tin Room alg 403 Chor Dly Reverb 2U 446 Boiler Plate alg 403 Chor Dly Reverb 2U 447 O T T Pad alg 403 Chor Dly Reverb 2U 448 TheChorusCloset alg 403 Chor Dly Reverb 2U 449 C D alg 402 Chorus lt gt 4Tap 2U Flange Combi FLANGE 450 Flange Delay alg 450 Flan
157. 1 5 Source 1 6 25 Source and Depth parameters EnvCtl 6 46 Spacing 9 19 Special button functions 5 7 Special function soft buttons 6 51 Specifications A 2 Spectral Multitap Delays 9 15 Speed 9 23 Start Point Sample Editor 14 12 Startup 2 1 StatDlyLvl 9 19 Stereo parameter Keymap 6 15 Stereo simulation 9 25 Sustain not working 10 6 Sustain Pedal parameter Layer 6 20 Sustaining ASRs 6 40 SW button 3 5 Sweep 9 20 switch pedals 1 5 Sync In 2 3 System Exclusive ID 10 9 Index viii T Tap Dly 9 18 Tap Lvl 9 18 Tap Pan 9 18 Tap Pitch 9 15 Tap PtAmt 9 15 Tap Shapr 9 15 Tap Tempo 11 11 15 3 Tap types in Multitap delays 9 14 Tapn Bal 9 14 Tapn Level 9 14 Tempo 15 3 Master 11 11 Song mode Tempo Track 12 33 Tap Tempo 11 11 Tap Tempo function 15 3 Threshold 9 17 Thru Out switch 2 3 Timbre Shift parameter Keymap 6 16 time signature 15 3 Time Stamp 11 17 Toggle switch type 7 31 TONEWL page Program Editor 6 59 Top line of display 3 6 Track output settings Song Mode 12 12 TRACK Page Song Editor 12 21 Transpose Master 11 2 MIDI 10 2 Song Mode TRACK Page 12 28 Transpose parameter Keymap 6 14 Transposing setups 7 1 Treb Freq 9 15 Treb Gain 9 15 Tremolo 9 24 Trig Filt 9 20 Trig parameter Layer 6 18 Trigger 9 20 Trigger parameter ASR 6 40 Triggered Filter 9 20 Triggering notes on startup 6 18 TRIM 14 12 Tuning samples 14 4 Tuning to other instruments 11 2 U USB Device formatting 13 2 13 15 US
158. 100 LFO Phase shifts the phase of the tremolo LFO relative to the beat reference Range is 0 0 to 360 0 degrees 50 Weight is the relative amount of attenuation added when the LFO is at the 6dB point This causes the LFO shape to bow up positive values or down negative values Range is 16 to 3 dB L R Phase sets the phase relationship of the channels In flips the left channel s LFO out of phase with the result that the effect turns into an auto balancer Out leaves the left LFO alone 9 24 Effects and Effect Mode Effects Overview Pitcher Pitcher applies a filter to the input signal which has a series of peaks in the frequency response These peaks are normally adjusted so that their frequencies are all multiples of a specific selectable frequency which imposes a strong sense of pitch at the selected fundamental frequency Pitch The fundamental pitch imposed upon the input in MIDI note numbers from C 1 to G9 Ptch Offst is an offset from the pitch frequency in semitones from 12 0 to 12 0 It can be useful to assign pitch bend a ribbon or another continuous controller to this parameter through a MOD Odd Wts Pair Wts Quartr Wts Half Wts are parameters that control the shape of the frequency response of Pitcher An exact description of what each one does is unfortunately impossible since there is a great deal of interaction between them For more information and examples see the KSP8 Algo
159. 12 After pressing the Keep soft button you must save your song to save these settings you are automatically prompted to save upon exiting the Song MIXER page Pressing the Keep soft button stores the current value of each track s Program Volume and Pan settings as initial settings Be sure that these values on each track are set to the value that you wish to store as the settings may have changed if you have written any automation Note Don t use the Keep soft button if you would like certain tracks to not be stored with initial values In this case only set initial values for each desired parameter as described above see Setting Initial Pan Per Track Pan Sources When An Initial Pan Is Not Set If an initial Pan is not stored with each track the Pan for each track of your song will be set depending on what mode you were in previous to loading the song If you are in Song mode and have played a song and then you load a song without initial Pan settings the Pan of each track of the newly loaded song will be set by the previously played song Pan settings are tied to MIDI channels so the Pan of each track will be dependent on which MIDI channel is assigned to each track in each song If you are in Song mode and you load a song that does not have initial Pan 12 5 Song Mode and the Song Editor Song Mode The MAIN Page Mode settings without playing another song first the Pan of the MIDI channel for each track is set depend
160. 12 frequently used parameters that affect the entire current program not just the current layer owe Giobalzi if OQutGain Ade Qut Pan 8 OoPanmocde MIDI OHILF ASR FUN more Notice that when the Monophonic parameter is set to its default value of Off the five monophonic parameters do not appear on the page Parameter Range of Values Default Pitch Bend Range Up 7200 cents 200 Pitch Bend Range Down 7200 cents 200 Monophonic Off On Off Legato Play Off On Off Portamento Off On Off Portamento Rate 1 to 3000 keys per second 70 Attack Portamento Off On On Mono Sample XFade Off On Off Globals Off On Off Output Gain 96 to 24 decibels 0 Output Pan 64 0 Output Pan Mode Fixed MIDI MIDI Demo Song Demo Song List 0 None Pitch Bend Range Up and Down Use these parameters to define how much the pitch will change when you move your Pitch Wheel For both Pitch Bend Range parameters positive values will cause the pitch to bend up while negative values will cause the pitch to bend down Large positive values can cause samples to bend to their maximum upward pitch shift before the Pitch Wheel is fully up or down This will not happen when bending pitch down Monophonic When off the program is polyphonic it can play up to 128 notes at a time Notice that when the Monophonic parameter is off the LegatoPlay parameter and the three Portamento parameters
161. 127 or a MIDI Controller 0 or 32 message value 0 to 127 followed by a PCH Sending a single command will let you select from a range of 10 QA banks and select an entry within that bank see the table below To select a different range of QA banks send an MC 0 or 32 message followed by a PCH The MC 0 or 32 messages selects the range of QA banks 0s through 70s while the PCH selects the bank within that range as well as the entry within that bank Neither the MC 0 or 32 nor the PCH selects a different memory bank In fact you can t change the memory bank via MIDI when using this format All program and setup selections are made within the currently selected memory bank You ll know which memory bank is selected by looking at the ID of the currently selected Quick Access bank in the top line of the Quick Access mode page QAccess and MIDI Transmission If you re in Quick Access mode and you re using the QAccess format for the program change type selecting QA banks or bank entries from the PC3A with the alphanumeric buttonpad the cursor buttons the Alpha Wheel the Plus Minus buttons or the Chan Layer buttons also sends corresponding program change commands to the PC3A s USB and MIDI Out port The PC3A sends either an MC 0 or 32 message followed by a PCH The following tables give specific examples Commands Sent Current QA Bank Entry From Alphanumeric Pad MC 0 or 32 PCH 1 0 0 10 1
162. 13 Meteor Strings 155 Partials 18 186 Synth Vox 114 kEnsemble String 156 Partials 112 187 Koreana 115 kSynstrings 1 157 Partials 123 188 Hybrid Pan 116 kSynstrings 2 158 Partials 124 189 ReedPipeBassoon 117 kEns Strings 2 159 Partials 1246 190 FlutePipeChiff 120 Take6 Aah Attack 160 Partials135 197 kMDist Guitar 121 Take6 Aah Loop 161 Partials234 198 kGM Clean Strat 122 Take6 Aah Loopa 162 Partials 2 4 Gli 199 kShift Guitar 123 Take6 Ooh Attack 163 Partials 2 10Evn 200 Steel String Gtr 124 Take6 Ooh Loop 164 Partials 2 12Evn 201 StlStrGtrHiDecay 125 Take6 Ooh Loop a 165 Partials 3 4 202 Clean Elec Gtr 126 Take6 Ooh Loopa2 166 Partials345 Distorted Guitar 127 Take6 Ooh Glide 167 Partials 45 67 kElec Jazz Gtr 129 Take6 Bop 168 Partials567 kAcoustic Guitar 130 Take6 B op 169 Partials 5 110dd k5 String Guitar 131 Take6 Dot 170 Partials 11 15 kShift Guitar 2 132 Take6 Dot alt 171 Partials 13 20 kSingle Mute 133 Take6 D ot 172 Partials 16 21 ksynElecJazzGtr 134 Take6 Doop 173 Partials prime EBass1 Finger 135 Take6 Doop alt 174 Sawtooth Wave EBass1 Fing alt 136 Take6 D oop 175 Saw Wave Dull EBass1 Fng alt2 137 Take6 Accents 2V 176 Saw Wave Duller EBass2 Finger 138 Take6 Accents 3V 177 Saw WaveDullest EBass Slap 139 kTake6 Aah Loop 178 Triangle Wave Synth Fretless 140 kTake6 Ooh Loop 179 Square Wave Upright Bass 141 kSyn Vox 180 Square Wave Dull Up
163. 2 22 Soft Buttonsion the TRACK Page ae saa lee 1223 Song Editor Irack DAMN ita 12 24 EC CIR E ct aad Be ae N TT 12 24 ll i 12 24 ICARO RO CORRO ROTTO 12 25 Leila 12 26 Della anche ti 12 26 MA RR RR ET hata Seabees geese eaneantor 12 27 CLARA TERI steeds eke loess 12 28 Ie in 12 28 ln 12 29 Change na RO RARA I S ESNS 12 30 lina 12 31 Song Editor The EVENT Page licia 12 31 Initial Program Volume Pfi arcsin a n 12 32 Location EEEE 12 32 Bar Beat and Tick lana 12 32 Event Typea nd Val e oponon ARAR teen RTE AEE 12 32 Soft Buttons on the EVENT Page iii 12 33 Tempo Track EEEE 12 33 Chapter 13 Storage Mode AMA Lila 13 1 Using USB Devices EE 13 2 Storage Mode Common Features pip eee en 13 4 PUR CON lla 13 4 ili 13 4 Common Dialogues 13 4 Se Te e elit 13 6 ST lee 13 6 Select Object Type To See aa ire 13 7 Select Object Range To Store 13 7 The Store Advanced Pafe__ crise 13 7 JUCE D cl anced O EEEE EE SS A TAE SAT 13 9 Loading Individual Objects From a P3A Or Compatible File Type 13 10 Loading Methods rei 13 11 The Utilities UTILS Page Soft Buttons on the Utilities Page n 13 14 Ilie An 13 15 xii o AR 13 15 Chapter 14 Keymap and Sample Editing The Keymap Editor lai iii 14 1 Keymap Editor Parameters 14 3 The Soft Buttons in the Keymap Editor n 14 5 Special Double Button Presses in the Keymap Editor 14 6 Building a KeyMap iii 14 7 Editing Samples iii iii iaia 149 The Miscellaneous
164. 2 BREATH RIBBON Gain limi ea h Ge 6 000 00 DIGITAL OUT You can also use the PC3A s USB port to send and receive MIDI By default the PC3A will show up as a USB MIDI device If you choose USB Temporary Drive from Storage mode the PC3A will temporarily while on that Storage mode page become a virtual storage device and USB MIDI will be disabled Different host programs on your computer may indicate various errors as the USB MIDI device is no longer present Leaving Storage mode will restore USB MIDI functionality USB MIDI and 5 pin MIDI can be used at the same time the MIDI signals will be combined into a single 16 channel MIDI stream 2 3 Startup Startup the Details Pedals Breath Plug your switch or continuous pedals into the corresponding jacks on the PC3A s rear panel We recommend using the Kurzweil pedals described on page 1 5 but you can use almost any switch or continuous pedal as long as it adheres to the following specifications as most pedals do Switch pedals 1 inch tip sleeve plug Continuous pedals 10 kOhm linear taper potentiometer inch tip ring sleeve plug with the wiper connected to the tip If you use a third party non Kurzweil switch pedal make sure it s connected before you turn on your PC3A This ensures that the pedal will work properly it might function backward off when it s down and on when it s up if you turn on your PC3
165. 252 Saucepan Phaser alg 253 SingleLFO Phaser 1U 253 ThunderPhaser alg 254 VibratoPhaser 1U 254 Fast Phaser alg 251 LFO Phaser Twin 1U 255 Vibrato Phaser alg 254 VibratoPhaser 1U 256 Fast amp Slow Phaser alg 250 LFO Phaser 1U 257 Wawawawawawawawa alg 253 SingleLFO Phaser 1U 258 Slow Swish Phase alg 253 SingleLFO Phaser 1U 259 Slippery Slope alg 385 Frequency Offset 2U 260 Static Phaser 1 alg 255 Manual Phaser 1U 261 Static Phaser 2 alg 255 Manual Phaser 1U 262 Static Phaser 3 alg 255 Manual Phaser 1U 263 Static Phaser 4 alg 255 Manual Phaser 1U D 36 PC3A Objects V 2 3 Effect Presets with Algorithms 264 Static Phaser 5 alg 257 Allpass Phaser 4 4U 265 Slow Riser alg 258 Barberpole Comb 4U 266 BarberPole Notch alg 258 Barberpole Comb 4U 267 BarberPole Peak alg 258 Barberpole Comb 4U 268 All The Way Down alg 258 Barberpole Comb 4U 269 Westward Waves alg 385 Frequency Offset 2U Trem Panner Spatial TREM 270 Tremolo BPM alg 270 Tremolo BPM 1U PANNER 271 Fast Tremolo BPM alg 270 Tremolo BPM 1U SPATIAL 272 Tremolo in Hz alg 271 Tremolo 1U 273 FastPulseTremolo alg 270 Tremolo BPM 1U 274 Simple Panner alg 275 AutoPanner 1U 275 Dual Panner alg 276 Dual AutoPanner 2U 276 Widespread alg 280 Stereo Image 1U 277 Widener Mn gt St alg 281 Mono gt Stereo 1U 278
166. 3 Full 37 Stereo Trem A 4 112 Hammond KeyClick 38 Stereo Trem C 5 113 Hammond 1st 3b 39 Stereo Trem E5 114 kTone Wheel Orga 40 Stereo Trem G 5 115 Trumpets 41 Stereo Trem C 6 116 Trombets 2 42 Stereo Trem E6 118 Trombones 43 Stereo Trem A6 119 alt Trombones 44 Stereo Trem C7 121 Tenor Saxes 50 LeftPiano f 122 Tenor Saxes fast 51 Right Piano f 124 Bari Sax 52 Left Piano mf 125 BariSax 2 53 Right Piano mf 126 Trombones 54 Left Piano mp 127 Trombones jk alt 55 Right Piano mp 128 Tenor Saxes med 56 Left Piano fjk 130 StStrings g1 57 Right Piano fjk 131 StStrings c2 70 Rhodes 132 StStrings gs2 72 Rhodes Thump 133 StStrings e3 80 Wurlitzer 134 StStrings gs3 83 Wurlitzer Thump 135 St Strings e4 84 Wurli Key Rel 136 StStrings gs4 90 FMEPiano 137 StStrings cs5 95 Clav 138 St Strings f5 96 Clav Release 139 StStrings d6 D 54 PC3A Objects V 2 3 Samples ID Sample ID Sample ID Sample 140 StStrings c7 199 EBass Slap BIkB 270 onep4 141 Left Strings 200 syn Fretless 271 onep6 142 Right Strings 201 Tenor Saxes RVRS 272 onep8 149 Take 6 Bopa 202 Acoustic Bass mr 273 onp12 150 Take6 Aah Attk 203 AcoustBassAltDcy 274 prime 151 Take6 Aah Loop 204 Maracas Down 275 saw 152 Take 6 Bop 205
167. 31 Strange Hits Tom toms 3501 Bottom Things 1 3532 JK Afro clave Hi hats 3502 Bottom Things 2 3533 JK Bodhran_Bass Rides amp Crashes 3503 Bottom Things 3 3534 JK Brake Hi1 E Perc SndFX 3504 Bottom Things 4 3535 JK Cowclick Vocal Percussion 3505 Bottom Things 5 3536 JK 9AvGrd_FstPlH Drum Percussion 3506 Bottom Things 6 3537 JK 9AvGrd_FastPu WoodMetlShakPerc 3507 CB kick1 3V 3538 JK 9AvGrd_FstP2 CB 6 Toms 3v 3508 CB kick2 3V 3539 JK Mamcowclk CB 3 Toms 2v 3509 CB Snarel 4v 3540 JK Salsa_clave CB 3 Toms 2 4v 3510 CB Snare2 5v 3541 JK Slit_Drum_hit ST Toms 2v 3511 CB Snare3 5v 3542 JK Slit Drum_mut ST Toms 2v Open 3512 CB Snare4 4v 3543 JK Clave dry ST Flr Toms 3v 3513 CB Snr1 4v Room 3544 JK Indgong D 51 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 3545 JK Indgong2 3576 ALL LogSlitCastn 3607 OCT Log Drum 4R 3546 JK Loghia5 3577 ALL Orch amp Misc 3608 OCT Log amp Slit 6R 3547 JK Loglowa5 3578 ALL Ringbells 3609 OCT Metals 8R 3548 JK Tabla dhi 3579 ALL Shake amp Scrape 3610 OCT MiscPerc 3R 3549 JK Tabla ta 3580 ALL Tabla amp Gourd1 3611 OCT Shakeys A 8R 3550 JK Tib bowl 3581 ALL Tabla amp Gourd2 3612 OCT Shakeys B 8R 3551 JK Tib bwlg5 3582 ALL Tambs 3613 OCT Shekere 2R 3552 JK Guiro 3583 ALL Timbales 3614 OCT SleighBel 3R 3553 JK Salsa Whistle 3584 ALL Timbales2Vel 3615 OCT Tabla 5R 3554 JK T
168. 3540 Vocal Percussion 3571 MIXnMatch Perc1 3510 Kit 55 Sponge 3541 Drum Percussion 3572 MIXnMatch Perc2 3511 Kit 56 DJ Dub 3542 WoodMetlShakPerc 3573 MIXnMatch Perc3 3512 Kit 57 Beatbx101 3543 VRT Accessory A 3574 MIXnMatch Perc4 3513 Kit 58 Rhythmcon 3544 VRT Accessory B 3575 ATM HoldnSlide 3514 Kit 59 Superfly 3545 VRT Accessory C 3576 ATM Birdy Birdy 3515 Kit 60 Lay Down 3546 VRT BongoConga 3577 ATM HimalayaCall 3516 Kit 61 TrashFunk 3547 VRT Bendir 3578 ATM HimalayaCal2 3517 Kit 62RadioEcho 3548 VRT Bodhran 3579 ATM SacredShrine 3518 Kit 63 TouchTone 3549 VRT BodhrnBendir 3580 ATM Tera Nova 3519 Kit 64 Sweeper 3550 VRT Djembe 3581 ATM Oody Oody 3520 Kit 65 ScratchMe 3551 VRT DumbekDjembe 3582 ATM FlexiCrotale 3521 Kit 66 Ice Heart 3552 VRT FrameDrums 3583 ATM Bit aGlitter 3522 Kit 67 ChakraJam 3553 VRT FrameHybrid 3584 ATM Drip nGlittr 3523 Kit 68 Voice Box 3554 VRT Gourd 3585 Skrlx Drum Kit 3524 Kit 69 6 Mil Man 3555 VRT Tabla 3586 VA1 Bass Drum 3525 Strange Hits 3556 VRT TalkingDrum 3587 VA1 Snare Drum 3526 Strange Hits2 3557 PERC KatManDude 3588 VA1 Hi Hat 3527 Viny NoyzComboMW 3558 PERC PolyRitmico 3589 BonzoLTE D 14 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 3590 KitLiteBeatbx101 3730 Mono Piano 4126 Distorted Gtr 3700 Concert Piano 4096 GM Piano 1 4127 Gtr Harmonics 3701 Rock Piano
169. 359 HotFilter ARP 390 Denouement 421 Trumpet Voluntary 360 St P PWM BASS 391 Poltergeist Trem 422 Fifes amp Drums 361 SquareChirpLead 392 Many Characters 423 Solo Flute 362 My Old PPG 2 3 393 Pizzw PercUpTop 424 Tremolo Flute 363 Kashmir Str Brs 394 Fast Str amp Perc 425 Fast Orch Flute 364 Genesis Broadway 395 Fast Winds amp Pizz 426 Piccolo 365 GarthsLastWaltz 396 Imperial Army 427 Solo Oboe 366 Synbrass Pillow 397 BattleSceneOrch 428 Slow Oboe 367 Warszawa Layers 398 Final Victory 429 Fast Orch Oboe 368 ELOStringSection 399 SloLineInterlude 430 Lead Oboe 369 Outkast Drums 400 Winds amp EspressStr 431 Solo Eng Hrn prs 370 PopRock 08 Kit 401 Fast Winds amp Str 432 Fast Orch EngHrn 371 Hello Brooklyn 402 SugarPlumFairies 433 Slow EngHorn prs 372 Snoop Kit 403 AdagioPizz Split 434 Lead English Horn 373 EpicRemixDrums 404 PastoralOrch 435 Solo Clarinet 374 ZooYorkRemixDrms 405 Pastoral Clr Flt 436 Slo OrchClarinet 375 Roc A Fella Kit 406 Pastoral DbIRds 437 Fast Orch Clar 376 Breakestra Kit 407 Pastoral w Pizz 438 Lead Clarinet 377 Cosmic Sus Pedal 408 Strings amp Silver 439 Solo Bassoon 378 DigitalMoonscape 409 Reeds amp Bells 440 Solo Bassoon vib 379 Falgor sLament 410 Perc Atk Strings 441 Solo Dbl Reeds 380 BPM BionicStrngs 411 William Tell A 442 Woodwind Section 381 Swell amp Hold 412 William Te
170. 3709 DamperRelease2 P D 62 PC3A Objects V 2 3 Arpeggiator Shift Arpeggiator Shift Patterns Patterns ID Shift Pattern ID Shift Pattern ID Shift Pattern 1 major 29 BacknForth 57 1To3 2 minor 30 1InvMin3 58 1To3b 3 Oct 31 Root5 3 5 59 Blues 4 Oct 32 Root5 m3 5 60 Blade 5 Oct2x 33 Root6 4 6 61 Repeatw Rests1 6 1 sn12 s 34 bluesyl 62 Repeat w Rests2 7 FullMajor 35 bluesy2 63 Repeat w Rests3 8 FullMinor 36 bluesy3 64 Bass1 9 Major7 37 bluesy4 65 Immenence 10 Minor7 rashil 66 Immenence2 11 MajorMaj7 rashi2 67 Minorl 12 Sus2 rashi3 68 Minor2 13 Sus4 rashi4 69 Minor3 14 FullSpanish petals1 70 3Note Drum Arp 15 Dim petals2 71 onefive 16 Dim7d petals3 72 mysteriousl 17 Dim7m Urgerl 73 mysterious2 18 Penta A Urger2 74 mysterious3 19 PentaB Urger3 75 percolator1 20 PentaC Urger4 76 percolator2 21 MajArpOct Halal 77 percolator3 22 Root50ct5 Satch 78 percolator4 23 Root 5 4 5 Satch2 79 sparser 1 24 1stInvM Cascade 80 sparser2 25 1stInvM2 TripletCascade 81 boomboomwack 26 IstInvm Buzzer 82 boomboomquick 27 2ndInvM Angus 83 here comes da 28 2ndInvm BouncingZero 84 here comes da2 D 63 PC3A Objects V 2 3 Arpeggiator Shift Patterns
171. 38 kBrush Stir Shor 801 Right Piano fjk CZ1manbas 739 kBrush Snare Hit 802 CP80 E Grand SEM PW 5 740 kBrush Snare Hit 810 Mellotron Strings SEM PW 30 741 kIce Rain 815 Mellotron Choir SEM PW 50 742 kFingerSnap 820 Mellotron Flute HD Bones 743 kCuica 825 ARPString Ensemble HD Trumpet 750 VInsIFullL 830 ClavII HD Bari 751 VInsIFullR 834 Clav Key Release HD Tenor 755 Vins II Full L 835 Pianet ALTOSAX 756 Vins II FullR 836 Fast Pianet Soft Alto Sax 760 Violas Full L 840 RMI Electra Piano Les Sustains 761 Violas FullR 845 RMI Harpsichorda Les Mutes 765 Celli Full L 850 RMI Accenter Caster Mutes 766 Celli Full R 851 RMI_accenter lo Caster Sustains 770 Basses Full L 852 RMI _accenter hi BariSax 18RT 771 Basses Full R 899 Sine Wave Rhodes E Piano D 60 PC3A Objects V 2 3 Samples Sample ID Sample ID Sample Voices 3253 Organ Wave 4 3283 ARP SAW Electric Bass 3254 Organ Wave 5 3284 ARP PW30 Tenor Saxophone 3255 Organ Wave 6 3285 OB PW25 Chirp 3256 Organ Wave 7 3286 Organ Wave 8 Timbale Atk 3257 Partials 13 20 3287 Ahh Buzz Wave FM Bell Trans 3258 Partials 21 30 3288 OB Wave 1 Metal Clank 3259 Partials 16 21 3289 OB Wave 2 Bellhallah 3260 Very Dull Square 3290 OB Wave 3 Wood Bar Atk 3261 Buzzy Square 3291 Jazz Organ Bell Attack 3262 Hi Formant Wave 3292 Church
172. 3A For our purposes MIDI Controllers includes the complete set of Controllers defined by the MIDI Specification as well as pitchbend aftertouch and a few other useful MIDI commands To fend off confusion we ll refer to the PC3A s physical controllers with a lower case c and MIDI Controllers with an upper case C 7 19 Setup Mode Controllers Any MIDI Controller can be used as the assignment for any physical controller and for multiple physical controllers as well Or in other words any physical controller like the Mod Wheel can be programmed to send any MIDI control signal In addition each controller in each setup zone can be tweaked just like keyboard velocity or any other Setup mode parameter Although controller editing on the PC3A can be somewhat complex it can also be very rewarding To get an idea of the expressive capabilities of Setup mode explore the factory setups that come with the PC3A The PC3A s physical controllers include the following e The nine sliders A B C D E F G H I in the Assignable Controllers section e The two Continuous Control Pedal jacks CC Pedal 1 and CC Pedal 2 e The optional Ribbon Controller which you can define as a one or three section controller e The Pitch Wheel e The Modulation Wheel Mod Wheel e Keyboard aftertouch or Mono Pressure MPress e The optional Breath Controller which is connected to Continuous Controller Pedal 2 e The two Panel
173. 3U 104 Huge Batcave alg 12 Panaural Room 3U Reverse 105 Reverse Reverb 1 alg 15 Finite Verb 3U 106 Reverse Reverb 2 alg 15 Finite Verb 3U 107 Reverse Reverb 3 alg 15 Finite Verb 3U Gated 108 Gated Reverb alg 3 Gated Mini Verb 2U 109 Gate Plate alg 3 Gated Mini Verb 2U w Comprs 110 Vocal Room alg 53 Gate Cmp EQ Rvb 4U 111 Vocal Stage alg 53 Gate Cmp EQ Rvb 4U 112 Reverb gt Compress alg 51 Reverb lt gt Compress 3U 113 Reverb gt Compress2 alg 51 Reverb lt gt Compress 3U 114 Drum Comprs gt Rvb alg 51 Reverb lt gt Compress 3U 115 Rvrb Compression alg 50 Reverb Compress 2U 116 Snappy Drum Room alg 50 Reverb Compress 2U 117 Roomitizer alg 50 Reverb Compress 2U 118 Live To Tape alg 50 Reverb Compress 2U 119 L SmIRm R Hall alg 2 Dual MiniVerb 2U Unusual 120 Non Linear 1 alg 10 OmniPlace 3U 121 Non Linear 2 alg 15 Finite Verb 3U 122 Non Linear 3 alg 6 TQ Place 3U 123 Exponent Booth alg 10 OmniPlace 3U 124 Drum Latch 1 alg 10 OmniPlace 3U 125 Drum Latch 2 alg 10 OmniPlace 3U 126 Diffuse Gate alg 9 Diffuse Verb 3U 127 Acid Trip Room alg 10 OmniPlace 3U 128 Ringy Drum Plate alg 104 Gated LaserVerb 3U 129 Oil Tank alg 104 Gated LaserVerb 3U 130 Wobbly Plate alg 104 Gated Laser Verb 3U 131 Pitcher Hall alg 383 Pitcher Miniverb 2U D 32 PC3A Objects V 2 3 Effect Presets with Algorithms 132
174. 4 Master Mode MAIN MAPS On the MAPS page you ll find parameters for setting keyboard behavior for velocity pressure intonation and key action maps You can also set the default sequence for Song mode elocity JL Pressure fap Intonation Mare i al Int kes C Ees Action Mae 0 Internal TF 46L 953 Default Sons 1 Hew Song more MAIN MAPS OUTPUT TEMPO more 4 Velocity Map Master Change the Master Velocity Map setting if you find that the PC3A is not producing the desired velocities too loud or too quiet based on your playing style how light or heavy that you play the keys The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port MIDI Destinations PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The Master Velocity Map is an overall control for MIDI velocities used in the PC3A MIDI velocities are values created for each note depending on how hard you strike a key The Master Velocity Map affects MIDI velocity values for all MIDI sources and destinations used in the PC3A see the circled box above for its location in the MIDI signal flow Different maps used for the Master Velocity Map generate different MIDI velocity values for the same physical key strike velocity Each map applies a d
175. 4 23 page 6 61 for page 6 61 for Drawbar5 24 details details Drawbar6 25 0 13 volume 8 127 minimum Drawbar7 26 14 27 volume 7 volume 28 41 volume 6 0 maximum Drawbar8 27 42 55 volume 5 volume Drawbar9 28 56 70 volume 4 Values between 71 84 volume 3 127 and 0 scale 85 98 volume 2 between minimum 99 112 volume 1 and maximum 113 127 volume 0 volume Rotating Speaker Fast Slow 68 64 127 Fast 0 63 Slow Chorus Vibrato On Off 95 64 127 On 0 63 Off Chorus Vibrato Selector and Chorus Vibrato 93 54 71 select chorus with depth 1 Depth 72 89 select chorus with depth 2 90 127 select chorus with depth 3 0 17 select vibrato with depth 1 18 35 select vibrato with depth 2 36 53 select vibrato with depth 3 Percussion On Off 73 64 127 On 0 63 Off Percussion Loud Soft 71 64 127 Loud 0 63 Soft Percussion Decay Fast Slow 70 64 127 Fast 0 63 Slow Percussion Pitch High Low 72 64 127 High 0 63 Low Key Click Level 89 0 96 dB 127 Maximum Key Click Level set in Editor Values between 0 and 127 scale between 96 dB and maximum Key Click Level Leakage Level 90 0 96 dB 127 00B Values between 0 and 127 scale between 96 dB and 0 dB Table 6 3 KB3 MIDI Controller Assignments 6 8 Program Mode Control Setup Control Setup Control Setup Overview The Control Setup is a Setup object edited and stored in Setup Mode but used by Program Mode The Control Setup defines the CC
176. 406 St Chorus Delay 1U 223 StChor 3vs2Delay alg 406 St Chorus Delay 1U 224 CDR for Lead Gtr alg 403 Chor Dly Reverb 2U Flange FLANGE 225 Big Slow Flange alg 225 Flanger 1 1U 226 Squeeze Flange alg 225 Flanger 1 1U 227 Sweet Flange alg 225 Flanger 1 1U 228 Throaty Flange alg 225 Flanger 1 1U 229 PseudoAnaGtrFIng alg 225 Flanger 1 1U 230 Flanger Double alg 225 Flanger 1 1U D 35 Effect Presets with Algorithms 231 Wetlip Flange alg 225 Flanger 1 1U 232 Simply Flange alg 225 Flanger 2 2U 233 Analog Flanger alg 225 Flanger 2 2U 234 Soft Edge Flange alg 225 Flanger 2 2U 235 Ned Flangers alg 225 Flanger 1 1U 236 Wispy Flange alg 225 Flanger 1 1U 237 Crystal Flange alg 456 St Flange Delay 1U 238 NarrowResFlange alg 452 Flange lt gt 4Tap 2U 239 TightSlapFlange alg 450 Flange Delay 1U 240 Flanged Taps alg 455 Flange lt gt LasrDly 2U 241 StFlange Delay alg 456 St Flange Delay 1U 242 StFIng 3vs2Delay alg 456 St Flange Delay 1U 243 Singing Flanger alg 456 St Flange Delay 1U 244 DampedEchoFlange alg 456 St Flange Delay 1U 245 Stereo Flanger alg 225 Flanger 2 2U 246 Gulp Flange alg 225 Flanger 1 1U 247 Splat Flange alg 225 Flanger 1 1U 248 Spread Flange alg 225 Flanger 1 1U 249 CacophonousFlng alg 225 Flanger 1 1U Phaser PHASER 250 Slow Deep Phaser alg 251 LFO Phaser Twin 1U 251 Circles alg 250 LFO Phaser 1U
177. 5 SnareComp101 BostonLeslie2 Kickcmp104 Leslie MShoals Snarcmp121 WhitrShadeLesli3 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 Chain Snarcmp112 Snarcmp113 EnvKickcmp1 Kickcmp602 Snarcmp112 HipHop Drms101 PnoCmpSndBoard10 Epicsnarel JumpSynth Funksnare88 Kickcmp441 Upright3 HopKickcmp701 Leslie Comp 2 Kickcmp301 PnoRvb 1 PnoRvb2 HipHop Drms201 Breakdrums1 Blackfriday2 CompDelay101 Sax Chamber 2 Clunker501 Horn Plate 1 Vintage Horns BrightFlange2 ThinphaseSweep2 Small Comp102 EPPhasel NonKB3LesliePdl2 FlangeComp3 Mutron Clav 201 SynChorusDly202 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 2000 2001 3200 3201 3202 3203 3204 3205 3206 3207 3208 3209 3210 3211 3212 Effect Chains Chain RayEP 1 EnhanceComp121 Clunker Ia Pad Depth Ptl AuxChorusHall TechnoSyn1 Synphase102 CompDelay CompMeltrn ARP Triplet delay Bigverb Syncpulse compbass 2 CompDelay3 Comp501 RMIPhasel Joey Leslie 122 GM Reverb GM Chorus SEM TRI RAVE WIND Chroma FM Chroma FM2 Iceman Bass Mandocaster Daft Lead Tenor Sax GANGsta Wrap Basic Delay 3 16 DbISloFlangeCmp Pan Trem BPM Pan Trem BPM OOP D 25 PC3A Objects V 2 3
178. 599 Fast Violin I 630 Keyboard Strings D 7 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 631 StringMachine 662 L tric Nat Kit 693 Bug Zapper Kit 632 Lush Pad 663 TrashPanTom Kit 694 Elektro Sand Kit 633 AddAPad1 664 Tin Man Kit 695 Sandy Bott m Kit 634 AddaPad2 665 Cheapo Dist Kit 696 Boxo Sand Kit 635 HiRes StringPad 666 AngryBastard Kit 697 Fine Grit Kit 636 LoFi Strings 667 Vibra Lunch Kit 698 Matchmaker Kit 637 Blue Resonance 668 Ricochet Kit 699 Zucchinni Kit 638 AutoRes StrPad 669 Frida s Gate Kit 700 Pump da Well Kit 639 Ethereal Joe 670 Metallic Cut Kit 701 L trk Reflux Kit 640 Adagio Magic 671 Cannibal Kit 702 Squash Clap Kit 641 Brt Natural Kit 672 Tunnel Feel Kit 703 Scoopit Up Kit 642 SmoothRocker Kit 673 TunaSlap Kit 704 Tone Keeper Kit 643 Low Rocker Kit 674 Plywood Kit 705 Phase E Kit 644 SuperNatural Kit 675 Door Knocker Kit 706 Straw Blow Kit 645 Big Woosh Kit 676 Slapstick Kit 707 Falling Star Kit 646 Fat Nat Kit 677 Scratchbox Kit 708 Super Ball Kit 647 Abe Junior Kit 678 Anvil Head Kit 709 Pixie Dust Kit 648 Charlemagne Kit 679 Cat Scratch Kit 710 Air Waves Kit 649 H Fact Kit 680 Scream Kit MW 711 Tub Floater Kit 650 SoftCookie Kit 681 Mangled Kit 712 Why Not Kit 651 Br
179. 6 More Viola 607 Fast Bassi div 546 AdagioTutti 8ves 577 SloStr Prs Swell 608 Fast Tremolo 547 AdagioDiv 8ves 578 Rite of Strings 609 Legato Violins I 548 Adagio Octaves 579 Adagio Violins I 610 Legato Violins II 549 Lead amp 8vaAdagio 580 Adagio ViolinsII 611 Legato Violin div 550 DualSlow Split 581 AdagioViolin div 612 Legato Violas 551 LeadTuttiMix B 582 Adagio Violas 613 Legato Viola div 552 Lead Strings Split 583 AdagioViolas div 614 Legato Celli 553 Lead MixOctvs 584 Adagio Celli 615 Legato Celli div 554 Divisi Mix solo 585 Adagio Celli div 616 Legato Bassi 555 Lead Upper Range 586 Adagio Bassi 617 Legato Bassi div 556 Lead Div 8ves 587 Adagio Bassi div 618 Legato Tremolo 557 Dual UpperDivisi 588 Adagio Tremolo 619 Aggresso Violin 558 Dual Upper tutti 589 Lead ViolinsI 620 Aggresso Vin II 559 DualHalf Trem 590 Lead Violins II 621 Aggresso Violin d 560 Fast Mix Octaves 591 Lead Violins div 622 Aggresso Viola 561 Fast Divisi 8ves 592 Lead Violas 623 Aggresso Viola d 562 Marcato divisi 593 Lead Violas div 624 Aggresso Cello 563 Marcato Mix1 594 LeadCelli 625 Aggresso Cello d 564 Marcato Mix 2 595 Lead Celli div 626 Agresso Bassi 565 Marcato Mix 3 596 Lead Bassi 627 Agresso Bassi d 566 Slo Muted Strings 597 Lead Bassi div 628 Agresso Tremolo 567 Largo Mix 598 Lead Tremolo 629 Rigby s Strings 568 Largo Mix 2
180. 6 Oo 3585 ALL Triangles 3616 OCT Talk Drum 4R 3555 JK T6 Thing 3586 ALL Tumba 3617 OCT Tamborim 3R 3556 JK Metal Hit 5 3587 OCT Agogos 6R 3618 OCT Tamborine 8R JK Reverse Breat 3588 OCT BassDrums 4R OCT TempleBlk 6R JK CRGuiro 3589 OCT Bendir 4R OCT TibetCym 2R JK Mono Kick Dru 3590 OCT Bodhran 8R OCT TibetGngA 2R JK Mono Snare Dr 3591 OCT Bongos 4R OCT TibetGngB 2R JK Brush Toms 3592 OCT Bongos 7R OCT Timbale 10R JK GM Bird jk 3593 OCT BrakeDrum 3R OCT TonalCow 4R JK E Perc SndF 3594 OCT Claves 7R OCT Tumbas 8R ALL Agogos amp Ganko 3595 OCT Congas 7R OCT Tumbas 7R ALL BellsNBowls 3596 OCT CowBell2 3R OCT Triangles 8R ALL Bongos 3597 OCT CowMambo 3R OCT Ringys 10R ALL ClapsNSnaps 3598 OCT CowsA 8R VRT Accessory A ALL Claves 3599 OCT CowsB 8R VRT Accessory B ALL Conga 3600 OCT Djembe 7R VRT Accessory C ALL CowBellBrake 3601 OCT Dumbek 6R BODHRN Bendir L1 ALL Djemb amp Dumbek 3602 OCT Gourd 4R BODHRN Bendir L2 ALL Frames A 3603 OCT Guiro 2R BODHRN Bendir L3 ALL Frames B 3604 OCT GunGun 2R DjembeDrumbek L1 ALL GunCajonTalk 3605 OCT Hand Clap 9R DjembeDumbek L2 ALL LogSlitBlock 3606 OCT Indo Gong 2R VRT BongoCongaL1 PC3A Objects V 2 3 Effect Presets with Algorithms Keymap VRT BongoCongaL2 VRT FrameHybrdL1 VRT FrameHybrdL2 VRT Gourd L1 VRT Gourd L2 Carnival L1 Carnival L2 Carnival L3 Carnival Snares FlexiCrotale L1 FlexiCrotale L2 Misc Perc Vel4
181. 7 42 Setup Mode The Ribbon Configuration RIBCFG Page Parameter Range of Values Default Velocity First Played Last Aftertouch MIDI 109 Played Fixed Pattern 1 74 factory patterns user created patterns Human1 4 Chimp1 4 MissNotes1 9 ShiftAmount 88 Semitones 0 ShiftLimit 0 60 24 Limit Option Stop Reset Unipolar Bipolar Float Res Unipolar Float Uni Float Bip ShftPattrn Shift Pattern Off 1 69 factory patterns user created Off patterns Active The first parameter on the Arpeggiator menu is Active which specifies whether or not the Arpeggiator is on for the current zone This parameter can be switched from the ARPEGGIATOR page or for real time control it can be switched on using Controller number 147 ArpOn and switched off using Controller number 148 ArpOff these Controllers can of course be assigned as the destination of a PC3A physical controller Turning Active on affects zones whose ZoneArpeg values are also set to On By setting the ZoneArpeg parameter on the CH PRG page to Off or On in the individual zones of a setup you can choose which zones will be controlled by the Arpeggiator when it is on Beats The Beats parameter sets the number of notes per beat The tempo is based on quarter notes Therefore if you set it to 1 4 you will get one note per beat of the clock At 1 16 you will get 4 notes per beat and so forth You can go all the way to 96 notes per beat 1 384
182. 70 The Long Haul alg 7 TQ Verb 3U 71 Predelay Hall alg 9 Diffuse Verb 3U 72 Sweeter Hall alg 7 TQ Verb 3U 73 The Piano Hall alg 7 TQ Verb 3U 74 Bloom Hall alg 9 Diffuse Verb 3U 75 Recital Hall alg 12 Panaural Room 3U 76 Generic Hall alg 12 Panaural Room 3U 77 Burst Space alg 9 Diffuse Verb 3U 78 Real Dense Hall alg 7 TQ Verb 3U 79 Concert Hall alg 9 Diffuse Verb 3U 80 Standing Ovation alg 11 OmniVerb 3U 81 Flinty Hall alg 7 TQ Verb 3U 82 HighSchool Gym alg 7 TQ Verb 3U 83 My Dreamy 481 alg 9 Diffuse Verb 3U 84 Deep Hall alg 9 Diffuse Verb 3U 85 Sweet Hall alg 5 Classic Verb 2U 86 Soundbrd rvb alg 11 OmniVerb 3U 87 Long amp Narrow alg 7 TQ Verb 3U 88 Long PreDly Hall alg 11 OmniVerb 3U 89 School Stairwell alg 4 Classic Place 2U Plate 90 Real Plate alg 14 Grand Plate 3U 91 Bright Plate alg 14 Grand Plate 3U 92 Medm Warm Plate alg 7 TQ Verb 3U 93 Bloom Plate alg 9 Diffuse Verb 3U 94 Clean Plate alg 9 Diffuse Verb 3U 95 Plate Mail alg 11 OmniVerb 3U 96 RealSmoothPlate alg 9 Diffuse Verb 3U D 31 Effect Presets with Algorithms 97 Classic Plate alg 5 Classic Verb 2U 98 Weighty Platey alg 5 Classic Verb 2U 99 Huge Tight Plate alg 9 Diffuse Verb 3U XL 100 Immense Mosque alg 7 TQ Verb 3U 101 Dreamverb alg 10 OmniPlace 3U 102 Splendid Palace alg 5 Classic Verb 2U 103 Big Gym alg 11 OmniVerb
183. 700 Vins I Full L 757 Vc Va VniIl Ful R 845 RMI Harpsichord 701 Vins I Full R 758 Va VnII Full L 846 RMI Harpsichord2 705 Vins II Full L 759 Va VnII Full R 847 RMI Harpsichord3 706 Vins II FullR 764 Db VaDivL 848 RMIPiano3 710 ViolasFullL 765 Db VaDivR 850 RMI Accenter 711 Violas Full R 766 Db Vn Div L 851 RMI_accenter lo 715 Celli Full L 767 Db Vn Div R 852 RMI accenter hi 716 Celli Full R 768 Dbdiv Vnl ful L 899 Sine Wave 720 Basses Full L 769 Dbdiv Vnl fulR 909 Diagnostic Sine 721 Basses Full R 770 Db Vc Va VnDivL Silence 725 Vins Div2 L 771 Db Vc Va Vn DivR steeldrum 726 Vins Div2 R 772 Vc Vn Div L mandolin 730 Violas Div2 L 773 Vc VnDivR Banjo w C4A 731 ViolasDiv2R 774 Vc Va Vn Div L CLAV 8rt C 735 Celli Div2L 775 Vc Va VnDivR MARIMBA 8rt 736 Celli Div2R 776 Va VnDivL Chroma PW Saw 20 740 Basses Div2 L 777 Va VnDivR TX802 dbass2 741 Basses Div2 R 800 CP80 Hard CZ1manbas 744 Db VaFullL 801 CP80 Soft SEM PW 5 745 Db VaFullR 802 CP80 Dual Strike SEM PW 30 746 Db VnI Full L 810 Mellotron String SEM PW 50 747 Db VnIFullR 815 Mellotron Choir HD Bones 748 Db VnII Full L 820 Mellotron Flute HD Trumpet 749 Db VnII Full R 825 ARP String Ens HD Bari 750 Db Vnil Full2 L 830 ClavII Soft Alto Sax 751 Db VnII Full2 R 833 Clav alt3 HD Tenor 752 Db Vc Va VnII FL 834 Clav Key Release ALTOSAX 753 Db Vc Va VnIIFR 835 Pianet Les Sustains D 49
184. 71 Degen Regen 4U D 33 PC3A Objects V 2 3 Effect Presets with Algorithms 165 Dub Delay ms alg 190 Moving Delay 1U 166 4 Tap Delay BPM alg 150 4 Tap Delay BPM 1U 167 4 Tap Dly Pan ms alg 151 4 Tap Delay 1U 168 SemiCircle 4 Tap alg 151 4 Tap Delay 1U 169 8 Tap Delay BPM alg 152 8 Tap Delay BPM 2U 170 Multitaps ms alg 156 Complex Echo 1U 171 Diffuse Slaps alg 156 Complex Echo 1U 172 OffbeatFlamDelay alg 150 4 Tap Delay BPM 1U 173 Sloppy Echoes alg 156 Complex Echo 1U 174 Pad Psychosis alg 191 Dual MovDelay 1U 175 500ms BehindSrce alg 156 Complex Echo 1U 176 Dub Skanque Dly alg 154 Spectral 4 Tap 2U 177 Electronica Slap alg 156 Complex Echo 1U 178 Spectral 4 Tap alg 154 Spectral 4 Tap 2U 179 Astral Taps alg 154 Spectral 4 Tap 2U 180 SpectraShapeTaps alg 155 Spectral 6 Tap 3U 181 Fanfare In Gmaj alg 155 Spectral 6 Tap 3U 182 Ecko Plecks BPM alg 170 Degen Regen BPM 4U 183 Ecko Plecks ms alg 171 Degen Regen 4U 184 Degenerator alg 170 Degen Regen BPM 4U 185 Nanobot Feedback alg 170 Degen Regen BPM 4U 186 Takes a while alg 170 Degen Regen BPM 4U 187 Wait for UFO alg 170 Degen Regen BPM 4U 188 News Update alg 172 Switch Loops 2U 189 Timbre Taps alg 105 LasrDly lt gt Reverb 2U 190 LaserDelay gt Rvb alg 105 LasrDly lt gt Reverb 2U 191 Furbelows alg 9 Diffuse Verb 3U 192 Festoons alg 9 Diffuse Verb 3U 193 Duc
185. 8 the keys currently held down will latch and any additional keys played while Controller 158 is on will also latch similar to Add mode When Controller 158 is off any keys that are not currently held down will be removed from the arpeggiation If you activate Controller 157 keys currently held down will latch and any additional keys played while Controller 157 is on will play normally similar to Overplay mode This mode is called Pedals mode because you might want to assign Footswitch 1 to Latch Controller 157 and Footswitch 2 to Latch2 Controller 158 to make the pedals function similarly to sustain and sostenuto pedals Additionally you could assign one Footswitch to SusLatch Controller 160 doing this makes the Footswitch act as a sustain pedal when Arp is off and as a Latch pedal when Arp is on Autohold is similar to Auto Holding at least one arpeggiated note on and playing other notes latches those notes Unlike in Auto mode if you stop holding at least one arpeggiated note on the arpeggiation continues playing although you can t latch any more notes In this case if you strike another key within the setup s arpeggiation range you start a new arpeggiation sequence Autohold is useful for arpeggiating chords when you play a chord it gets latched and continues arpeggiating after you release the chord When you play another chord the previous chord gets unlatched and the new one gets latched You can use the Panic soft bu
186. 8 note Keyboard Move cursor to start of name Move cursor left one space Move cursor right one space Shift Space aA si sea e 200 w xE lt cHuomomovrvozzerxArAci r9 Moa ci fas lt fen fon Gi fen gt N N Space Shift Move cursor left one space Move cursor right one space Move cursor to end of name DO DO AO gt _ _ mu c2 mu c3 C4 E c5 C7 se c8 Delete move characters left one space Isert move characters right one space on a Re on 0 go gt 9 0 zero Hyphen _ Underscore Equals fPackspace Semicolon Colon Apostrophe Quote Comma lt Period gt Slash Left bracket Back quote Right bracket Backslash OK Enter Delete move characters left one space Insert move characters right one space o gUse the Shift keys or Sustain pedal to enter upper case andO special characters 5 5 Editing Conventions Saving and Loading Files Storage Mode Deleting Objects Within most editors there are soft buttons for deleting objects When you want to delete an object press the Delete soft button and the PC3A will ask you if you want to delete the object At this point in the dialog you can select another object with any of the
187. 9 Dly Fine 9 19 DlyCrs 9 19 DlyFi 9 19 Double button presses 3 10 DRAWER page Program Editor 6 61 Drive 9 16 Drum Remap 6 33 11 2 Drum Tracks Song mode 12 20 Dry Bal 9 14 Ducking 9 17 Duplicate Layer soft button 6 52 Duplicating layers 6 52 Dynamic VAST 1 3 6 1 6 28 DynamRange 9 19 E EarRef Lvl 9 13 Easy Audition 2 7 EDIT button 3 8 Edit button 5 7 Edit compare 5 7 Edit Song COMMON Page 12 19 EVENT Page 12 31 Editing 5 1 Editing Algorithms 6 28 editing conventions 5 1 Editing KB3 programs 6 59 Editing Samples 14 9 Editing VAST programs 6 12 EditProg Exit page 5 3 EditProg Save page 5 3 Effect Algorithms D 21 Effect Chains D 15 Effect Presets D 21 Effect box Parameters 9 12 Effects Index ii Parameters 9 12 Effects button 5 7 Effects bypass 5 7 Effects mode 4 3 Effects Parameters 9 12 Electrical grounding 2 2 Enable MIDI channels 10 14 Enable parameter Layer 6 19 Enable Sense parameter Layer 6 19 Enhancers 9 16 Env Rate 9 21 Env Time 9 18 ENV2 and ENV3 pages Program Editor 6 44 ENVCTL page Program Editor 6 45 Envelope control 6 45 Envelope control parameters 6 46 Envelope Filter 9 20 Envelopes 6 42 6 44 EQ Morpher 9 16 EQ page Program Editor 6 69 EQs 9 15 Equalizers 9 15 Erase Song Mode TRACK Page 12 24 EVENT Page Song Mode 12 31 Everything loading objects as 13 12 EXIT button 3 8 Exit values 7 30 Exp Atk 9 17 Exp Ratio 9 17 Exp Rel 9 17 Exp Threshold 9 17 Expander 9 16 Expans
188. A 13 11 Storage Mode Storage Mode Common Features 13 12 Here s how the loading methods work OvFill First deletes all RAM objects in the selected bank and then loads objects using consecutive numbering Overwrt First deletes all RAM objects in the selected bank and then loads objects using the object ID numbers stored in the file Merge Preserve the object ID numbers stored in the file for the objects to be loaded overwrite objects already in memory if necessary For MID files that don t have ID numbers Merge behaves the same as Fill Append Try to use the object ID numbers stored in the file for the objects to be loaded If an ID number is already in use increment the ID number until a free slot is found For MID files that don t have ID numbers Append behaves the same as Fill Fill Ignore the object ID numbers stored in the file Try to use consecutive numbering from the beginning of the selected bank If an ID number is already in use increment the ID number until a free slot is found Cancel Cancel the object loading and return to the main Load page Typically you will just want to use the Fill method Append Merge and Overwrt try to preserve the numbers stored with the objects in the file but this should only really be necessary if you depend on program numbers or effect numbers to be at a certain MIDI program change number OvFill is like Fill except the selected bank or Everything is cleared out b
189. A before plugging in the pedal Similarly don t press any of your switch pedals while powering up because the PC3A verifies each pedal s orientation during power up If you re pressing a pedal you might cause it to work backward The pedals are independently programmable within each zone of every setup Here are the default settings for the five pedals you can use with the PC3A Switch Pedal 1 Controller 64 Sustain Switch Pedal 2 Controller 66 Sostenuto Switch Pedal 3 Controller 67 Soft Continuous Control Pedal1 Controller 11 Expression Volume Continuous Control Pedal2 Controller 4 Foot Pedal produces a wah effect in many setups The 3 5mm jack labeled Breath accepts a standard breath controller which sends standard MIDI Breath MIDI 2 messages The PC3A s preset programs and setups don t respond to breath but if you have other instruments that do respond to Breath you can control them from the PC3A via MIDI You can also program the PC3A so that the breath controller sends a different MIDI message This would enable you to use a breath controller to affect the PC3A but then other instruments receiving MIDI from the PC3A would no longer respond to the PC3A s breath controller unless you also programmed them to receive the same MIDI Controller that the PC3A s breath controller is sending BREATH RIBBON Startup A Startup the Details Ribbon Plug the opti
190. ARPEGGIATOR page Select a Shift Pattern from the ShiftPatt field If using multiple zones a different pattern can be selected for each The ShiftPatt field is usually used with the arpeggiator but can also be used in combination with the controller destinations Shift Key Note Shift Key and Key Velocity These destinations can use a zone s Shift Pattern whether the arpeggiator is on or off without conflict For more information on Shift Patterns such as editing and saving see Shift Pattern ShiftPatt on page 7 48 Note that the ShiftPatt Up or Down options as well as any of the arpeggiator parameters other than ShiftPatt do not have an effect on Shift Key Number You can also set controllers to destination 171 ShiftPatt to select a pattern from the current bank of 128 shift patterns and destination 172 ShiftPBank to select a bank from banks of 128 shift patterns each Selecting The Desired Velocity In order to have a note sound when using Shift Key Number you first need to send a Key Velocity message Key Vel controller destination 135 with a non zero velocity You must set a controller to this destination it s useful to set a slider or other continuous controller in order to control velocity while playing The next notes to be triggered by Shift Key Number will be played with the last received KeyVel velocity One note triggered by these controllers sounds until another note is triggered or until a KeyVel message with velocity 0 is s
191. B PC3A Programs The PC3A powers up in Program mode where you can select and play programs called patches presets or voices on other instruments Programs are preset sounds composed of up to 32 layers of samples or waveforms If you ve left Program mode just press the Program mode button or Exit button to return Selecting Programs When you are in Program mode there are three basic ways to select a PC3A program Press one of the Bank buttons above the sliders on the left side of the front panel to select a bank then press a Category button and a Program button The Category and Program buttons are on the front panel between the screen and the alpha wheel Note The instrument names above the Category buttons are relevant for Banks 1 and 2 Base 1 and Base 2 For all other Banks the Category buttons select a group of 8 programs to be selected by the Program buttons but the group of programs may not match the instrument name of the selected Category button See Program and Category Buttons in Ch 3 page 4 for more details Type the program s ID number on the alphanumeric buttonpad then press Enter If you make a mistake press Clear then start over Scroll through the list using the Alpha Wheel the Plus or Minus button under the Alpha Wheel or the cursor buttons the arrow buttons to the right of the display The PC3A has various settings for responding to MIDI Program Change commands from external sources These a
192. B MIDI disconnected 13 1 USB Port 2 6 User amplitude envelope 6 42 Using the modes 4 2 V VA 1 Programs 1 3 Variable Architecture Synthesis 1 3 VAST 1 3 VAST program structure 6 4 VAST programs 2 8 6 4 Velocity Map MIDI Receive 10 7 MIDI Transmit 10 3 Velocity Range 14 4 Velocity tracking 6 25 Velocity tracking parameter EnvCtl 6 46 Velocity tracking parameter Keymap 6 15 Vib Chor 9 23 VibChInOut 9 23 Vibrato Chorus 9 23 virtual drive USB Storage Mode 2 6 Voice allocation 11 16 Voice channels 6 4 Voltage changing C 1 Voltage levels 2 2 Volume MIDI 10 15 Volume lock 10 15 W Warmth 9 21 Waveform display 14 12 Wet Bal 9 13 Wet Dry 9 25 Wet Dry parameter 9 12 WHEEL Page Setup Mode 7 32 X XCouple parameter 9 12 Xcrs Fin 9 19 Xcurs Crs 9 19 Xfer 9 16 XMIT page 10 1 Xover 9 22 Xpose 2 8 6 2 8 2 Z Zero crossings 14 13 Zone output settings Setup Mode 7 6 Zone status LEDs 7 2 Zones Soloing 7 3 Index ix
193. C EQ 2U 337 Compress Expand alg 341 Compress Expand 2U 338 Comprs Expnd EQ alg 342 Comp Exp EQ 3U 339 Expander alg 340 Expander 1U 340 Simple Gate alg 343 Gate 1U 341 Gate w SC EQ alg 344 Gate w SC EQ 2U 342 3Band Compressor alg 336 3 Band Compress 4U 343 3Band Compress2 alg 336 3 Band Compress 4U 344 Mid Compressor alg 335 Band Compress 3U 345 OddHarmSuppress alg 374 HarmonicSuppress 2U 346 60Hz Buzz Kill alg 374 HarmonicSuppress 2U 347 Dual SK Compress alg 347 Dual SKCompress 2U 348 Dual Comprs SCEQ alg 348 Dual Comprs SCEQ 3U 349 Dual 3BandComprs alg 349 Dual 3 Band Comp 8U EQ Filters EQ 350 AM Radio alg 350 3 Band EQ 1U FILTERS 351 U Shaped EQ alg 350 3 Band EQ 1U 352 5 Band EQ Flat alg 351 5 Band EQ 3U 353 Graphic EQ Flat alg 352 Graphic EQ 3U 354 Dual Graphic EQ alg 353 Dual Graphic EQ 3U 355 Dual 5 Band EQ alg 354 Dual 5 Band EQ 3U 356 Basic Env Filter alg 360 Env Follow Filt 2U 357 Phunk Env Filter alg 360 Env Follow Filt 2U 358 Synth Env Filter alg 360 Env Follow Filt 2U 359 Bass Env Filter alg 360 Env Follow Filt 2U 360 EPno Env Filter alg 360 Env Follow Filt 2U D 39 PC3A Objects V 2 3 Effect Presets with Algorithms 362 LFO Sweep Filter alg 362 LFO Sweep Filter 2U 363 DoubleRiseFilter alg 362 LFO Sweep Filter 2U 364 Circle Bandsweep alg 362 LFO Sweep Filter 2U 365 TripFilter a
194. C Pedal 1 volume controls preamp volume which emulates the volume control of an organ preamp The PreampResp parameter must be set to On for this to work the default setting See PreampResp on page 6 67 for details The Mod Wheel controls Distortion Drive Switch Pedal 1 sustain controls the SpeedCtl parameter which toggles the Rotary speed between slow or fast See SpeedCtl_on page 6 68 for details This has the same effect as using Bank Button 1 labeled Rotary Fast Slow 6 7 Program Mode KB3 Program Structure MIDI Control of KB3 Programs Controller Numbers Table 6 3 lists the MIDI Controller numbers that control KB3 features Send the listed controller number and appropriate controller value to control each KB3 feature via MIDI The PC3A also sends these Controller numbers to its MIDI Out port when using each of these KB3 features MIDI KB3 Program Feature Controller Values Number Distortion Drive Mod Wheel 1 0 Minimum Distortion Drive 127 Maximum Distortion Drive Values between 0 and 127 scale between minimum and maximum Distortion Drive Preamp Volume Volume Expression Pedal 11 0 Minimum Preamp volume 127 Maximum Preamp volume Values between 0 and 127 scale between minimum and maximum volume Drawbar1 6 With Steps With Steps Drawbar2 13 parameter set to parameter set to 0 8 0 127 Drawbar3 22 See Steps on See Stepson Drawbar
195. C1 C2 25 36 C2 C3 37 48 C3 C4 Selecting The Desired Octave Range You adjust the starting octave manually using the Add parameter on the corresponding controller s setup page In the Add field the addition or subtraction of the number of steps in your current shift pattern will raise or lower the starting octave in relationship to the default starting octave For example in a shift pattern with 3 steps an Add value of 9 would cause a controller value of 0 to make Shift Key Number trigger notes in octave C3 C 4 3 octaves above the default C0 C1 Add values that are not multiples of the number of current shift pattern steps will change which step the pattern begins on at controller value 0 thus offsetting the relationship between all of the controller s values and current shift pattern s steps Adjusting Controller Range When using Shift Key Number the number of steps in the Shift Pattern also affects the range of values that will cause a controller to trigger a shift pattern step and in turn affect the useful range of the physical controller With a shift pattern of 12 notes the 128 different notes that the PC3A can trigger are evenly spaced over the range of the controller Patterns with less than 12 steps will trigger notes in every octave over a shorter range of the controller For example ina shift pattern with 3 steps by default the controller values 0 to 2 will trigger notes starting in the lowest possible octave and contr
196. C3A recommended to prevent scratching your tabletop carefully turn the keyboard over remove the paper backing from the rubber feet and attach them now near each corner all on the same level 3 Connect the power cable 4 Make sure your sound system is at a safe volume level Also make sure that the PC3A s MASTER VOLUME slider on the far left side of the front panel is all the way down 5 Plug ina pair of stereo headphones or run standard 1 4 inch audio cables from your amplifier or mixer to the MIX audio outputs on the PC3A Use the Main Left out for mono Balanced TRS or Stereo cables are recommended SYNCIN MIDI DISPLAY j gt e00 Oe 0 DIGITAL OUT BALANCED ANALOG OUTPUTS AUX MAIN HEADPHONES Left Right Left Right a ORO 00 Make Music 6 Power up your PC3A raise the level of the MASTER VOLUME slider and check out some of the programs and setups The PC3A starts up in Program mode by default Press one of the mode buttons to the left of the display to switch modes 7 Ifyou hear distortion reduce the gain on your mixing board or use the pad if it has one 8 Scroll through the program list with the Alpha Wheel or the dedicated Category and Program buttons and try the PC3A s many sounds 2 1 Startup Startup the Details Startup the Details This section walks you thr
197. ChoclateSaltyClv 203 Aaah Vocals 234 KneeDeepMinimoog 173 SailinShoes Clav 204 Jazzy Ballad Vox 235 AC Buzzer Bass 174 StopMakingSense 205 AntiqueAhhChorus 236 Motown Bass 175 Harpsi Rotovibe 206 Bright Syn Vox 237 Squire sHeavyPik 176 PhsyclGrafitiClv 207 VoxOrgel 238 Lowdown Bass 177 ParisCmboAccordn 208 Vox amp Strings 239 EberhardtFrtls 178 WhiterShadeB3 209 PressLead 240 Sly Bass 179 Doors Vox 210 ClassSquare 241 MaroonDrums 180 Indagardenoveden 211 ARP2500Brass 242 BourneRemixDrum 181 Animals Vox 212 SynBellMorph 243 BeastieRetroDrum 182 Magic Wolf 213 Perc gt Morph gt Bass 244 DryPumpin Drums 183 Farfisal 214 EvilOctaveWheel 245 60s Rock amp Soul 184 VASTBars1 3 8 amp 9 215 TranceRiff 246 Headhunters Kit 185 1 Note PowerRiff 216 SickoSynco 247 FranticHouseDrms 186 Miami Pop Horns 217 BuzzyStrings 248 Dance Marilyn 187 80sPopOctaveSax 218 VA1Saw Sqr Pulse 249 Mellow Marimba 188 BuenaVista Brass 219 AiryImpact 250 Skullophonic 189 Tenor Express 220 Spider s Web 251 Percussionist 190 Sgt Pepper Brass 221 ARP Big Synth 252 Shiny Sparkles 191 Goldfinger Brass 222 Class Pad 253 HybridTuned Perc 192 Bari TenorSect 223 HarmonicEnvelops 254 Dynamic Perc 193 Studio A Strings 224 Heaven amp Earth 255 Cage s Ensemble 194 Studio B Octaves 225 Bling 6 String 256 Magic Mbira 195 NashvilleStrings 226 MediumCrunch
198. Comp 1 3323 SYnBassCompMu 3356 Phase DW 3474 CmpVerb4Drms2 3324 MarimbDelay BPM 3357 SynChor amp Dly1 3475 DistCompRev4Drms 3325 DW GatedLaserver 3358 Mando EQ 3476 DrmCMP4PrgNew 3326 Chillwave Chords 3359 WorldMandolnCDR1 3477 Ricochet Verb 3327 Burning Keys 3 3360 Dist Booth Dly 3478 VerbW Stereo 2 3328 EnhanceSyn 3361 Synth Bass CDR 3479 DubDelayer 3329 Burning Keys 6 3362 Infin Cathedral 3480 DarkDrumSlap Sys 3330 StTapsl 3363 Infin Cathedral2 3481 ExpStereoDrmHall 3331 Flange Mayhem2 3364 Punch a ghost 3482 Snr Enhnce HiCut 3332 Mute Gtr1 3365 ElecMandolin 3483 Trans DrmComp 3333 SynthCDR 3366 Gallo Dist EQ 3484 CmEqDeRe4DrmsSTb 3334 3str Gtr Wah2 3367 UnderCurrnts 3485 CmpDistRev4Drms 3335 WorldMandolinCDR 3368 UnderCurAux 3486 VinylDistImage 3336 Padme s lil Pal 3369 DW Laser Reverb 3487 Dubhall 3337 Squeeze Cmp 3370 Cathedral ChorDW 3488 JK Timbered Taps 3338 Klockwork 3456 BreakdrumsNEWKIK 3489 JK GatedLaserver 3339 Bass Fishing 3457 Lil Drum Booth 3490 JK Marimba Hall 3340 Wave Rider 3458 Small Drum Space 3491 JK Green Room 3341 TripleCaster6 3459 Small Cmpsd Spce 3492 JK Laser Reverb 3342 TripleCasterWah 3460 More Drum Air 3493 Dubstep Drumz 3343 Mr West Horns 3461 Full Drum Room 3494 DubDelayer 3344 TripleCaster31 3462 Brite Drum Space 3700 HipHop Piano DDL D 27 PC3A Objects V 2 3
199. Cym BD Timp 525 Fast Tutti Mix 464 Dyn Bari Horns 495 Basic Orch Perc 526 Fast Divisi Mix 465 Solo Tuba 496 Timp amp Aux Perc 527 AggressTutti Mix 466 Dyn Orch Tuba 497 Temple Blocks 528 AggressDivisiMix 467 Low Orch Brass 498 Modern Blockery 529 Agrslo Tremhi 468 Low Brass Chorale 499 Perc amp Blocks 530 AgresTrem 8ves 469 FastOrchBrass 500 Stereo Tam tam 531 AgressoHalfTrem 470 BrassFanfare 501 CymbalRoll Tr 532 Fast Tremolandi 471 DynOrch Trumpets 502 Xylophone 533 SloStr Prs Trem 472 Solo Violin fast 503 Solo Marimba 534 Marcato PrsTrem 473 Folk Violin slow 504 Orch Marimba 535 Sfz Prs Trem 474 Solo Viola fast 505 Vibraphone 536 Poltergeist Pad 475 Solo Viola slow 506 Celeste 537 AdagioTremSplit D 6 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 538 Full Pizzicato 569 Largo conSordino 600 Fast Violin II 539 Touch Full Pizz 570 Largo 8ves 601 Fast Violin div 540 Variable Pizz 571 Espressivo Lead 602 Fast Viola 541 PizzBass ArcoLead 572 EspressivoViolas 603 Fast Viola div 542 Lead amp Adagio 573 Slow Thick Mix 604 Fast Cello 543 Adagio Split 574 VerySloVeryThick 605 Fast Cello div 544 Adagio Bs VInI 575 Touch Thick Mix 606 Fast Bassi 545 TripleStrike Str 57
200. Delete function Eg i Function From li To Events All Use the Copy function to duplicate the selected events from the current track and place them in the same track or on another track either merging with or overwriting existing data e ee racks Function From 1 s1 65 DstTrack To sl Location 1 tlie Events All Hode Merde 1 Pra rim a ioe If you do not want to copy all of the MIDI events in the defined range of time on the current track use the Events parameter in the Region Criteria box to select a specific MIDI event type you would like the edit function to affect Some event types provide you more criteria selection parameters It is often a good idea to set Events to Notes when copying and then add any necessary controller or other data to the track at a later time DstTrack 1 to 16 All Select a destination track for the copied events with the DstTrack parameter All selected events described in the Region Criteria box will be placed in the destination track s at any Bar and Beat you specify If the currently selected track is All tracks then the destination track will be All tracks as well No matter what channel the current track source track is set to when you use the copy function the events will be played on the destination track s channel Location Bars Beats Ticks Specify a bar beat and tick location in the destination track where the copied dat
201. DistantTVRoom alg 383 Pitcher Miniverb 2U 133 Drum Neurezonate alg 102 Mono LaserVerb 1U 134 Growler alg 104 Gated LaserVerb 3U Laserverb 135 LaserVerb alg 100 LaserVerb 3U 136 Laserwaves alg 100 LaserVerb 3U 137 Cheap Laser Verb alg 101 LaserVerb Lite 2U 138 Gated LaserVerb alg 104 Gated LaserVerb 3U 139 Rvrs LaserVerb alg 103 Revrse Laser Verb 4U 140 LazerfazerEchoes alg 102 Mono LaserVerb 1U 141 Simple Laser Verb alg 102 Mono LaserVerb 1U 142 Crystallizer alg 100 LaserVerb 3U 143 Spry Young Boy alg 101 LaserVerb Lite 2U Rvb w Dly 144 Gunshot Verb alg 105 LasrDly lt gt Reverb 2U 145 Slapverb alg 11 OmniVerb 3U 146 Far Bloom alg 9 Diffuse Verb 3U 147 Room Delay alg 105 LasrDly lt gt Reverb 2U 148 New Hall w Delay alg 403 Chor Dly Reverb 2U 149 Delay Big Hall alg 403 Chor Dly Reverb 2U Delays DELAY 150 Basic Delay 1 8 alg 150 4 Tap Delay BPM 1U 151 Basic Dly 250ms alg 190 Moving Delay 1U 152 Simple Slap 60ms alg 190 Moving Delay 1U 153 TightSlapbk 30ms alg 190 Moving Delay 1U 154 MedSlapback 76ms alg 190 Moving Delay 1U 155 LongishSlap 95ms alg 151 4 Tap Delay 1U 156 Wide Slapbk 76ms alg 191 Dual MovDelay 1U 157 TiteSlapAmb 50ms alg 191 Dual MovDelay 1U 158 33ms Ambience alg 191 Dual MovDelay 1U 159 17ms Ambience alg 191 Dual MovDelay 1U 160 Stereo Delay ms alg 151 4 Tap Delay 1U 161 StereoFlamDelay alg 191 Dual MovDelay 1U 162 Cheap Tape Echo alg 154 Spectral 4 Tap 2U 163 Better Tape Echo alg 171 Degen Regen 4U 164 Stereo Tape Slap alg 1
202. Drum Reverb1 HOP Drum Reverb1 HopKickcmp1 NoQuarter TechnoHHDly 1 8 HOP Drum Reverb3 HopKickcmp7 Roomverb1 Kickcmp6 Snarcmp11 Reverb3 D 22 PC3A Objects V 2 3 Effect Chains Chain Chain Chain 666 Small Dark Room 717 Deep FuzzBass 1 764 ShortPnoRvb31 667 Snarcmp12 718 Eber Bass 765 St CHDly 668 Kickcmp13 719 SynFatener amp Ech2 766 Synphasel 670 BeastieDrums 720 CP80Enhancl 768 St CHDly 671 Clunker13 721 Fisher sHarm Mic 771 Walrus EP 675 Funksnare9 722 AbbeyPianoHall2 772 EPChr16 676 Funksnare8 723 Medium Hall 2 773 Siberia 680 EPDistPhasel 724 Fagen Phaser 775 Deep Fuzz 5 681 RayEP 1 726 SmallWurly 780 Flange Echo 2 682 Deep Fuzz 1 727 Basic WurlyEP 781 ARPMosque Room 685 Deep Fuzz 31 729 Cheese Horns 782 Chr amp Echo 687 ReverseVerb1 730 BasicChorusDly 2 784 Mutron Clav 2 690 Acidflute 732 Wallflower Ch 785 Siberia II 691 Bluemanl 733 ChPanDlyComp 786 EnhanceComp1 692 CompDelay12 734 CheeseChorus 787 Shaper gt Reverb2 694 SmallDarkRoom3 736 CompDelay 788 Clav Phasel 695 PlainComp15 737 SynFatener amp Ech3 790 SynlaserFlange 1 696 RevComp4 738 BIGCompDelay 792 RockyRaccoon 697 EP RotoAmp12 739 UprightPiano 793 Squire 700 HiMutron 1 740 SitarCmpRvb 794 Flange 4 701 Sax Chamber 21 741 AC Bass 3 795 Deep Fuzz Clav 702 BigDarkRoomDW 742 VoxKB3 797 Clav Comp1 703 New Gtr 31 743 Blackfriday 798 SmallClav 704 PnoR
203. E SUE Ea SUE F SScHz Fi 1397H2z Range of Values 24 0 to 24 0 dB in 0 2 dB increments Gain Frequency 16 to 25088 Hz in varying increments Width 128 to 128 Semitones in 2 semitone increments Each EQ section has Gain G Frequency F and Width W controls Frequency controls the center frequency of the band Width controls the bandwidth Gain controls the amount of boost or cut 6 69 Program Mode KB3 Editor The LFO ASR and FUN Pages KB3 Editor The OUTPUT Page Use this page to route the current program s post FX signals The two Pan parameters correspond to those of the VAST Program editor OUTPUT page See page 6 31 The Out Gain and Demo Song parameters correspond to those of the VAST Program Editor COMMON page See page 6 35 ran k Pan Mode MIL Out Gain ode Demo Sond Sia Classic Traffic EsP Fedal ExPression Foot a nore i ssa ia Exp Pedal Use this parameter to set which rear panel CC Pedal input will control volume for the current KB3 program With a setting of Expression Foot volume can be controlled by a CC pedal plugged into either the rear panel input labeled CC Pedal 1 volume or the rear panel input labeled CC Pedal 2 wah With a setting of Expression volume can be controlled by a CC pedal plugged into the rear panel input labeled CC Pedal 1 volume With a setting of Foot volume can be controlled by a CC pedal plugged into the rear panel input labeled CC
204. FFECTS page which works on a per setup song basis Pressing the MASTER soft button calls up the Master Effects page The Master Effects page contains the settings for the master EQ and Compressor When enabled the master effects are applied to all programs in Program Mode In Setup and Song mode each setup and song can have its own master effects settings or use the master effects settings from Effect mode see Mode below for details The page appears as shown below ComPressor gt EG Master F Enabled Order mri TASTER Parameter Range of Values Default Mode Master Setup Master Order Compressor gt EQ EQ gt Compressor Compressor gt EQ Master FX Master FX Enabled Master FX Bypassed Master FX Enabled The two boxes in the chain on the Master Effects page are the master Compressor and EQ Effects Press the Edit button while either of these boxes is selected to edit the parameters for the box s effect See Equalizers EQ on page 9 15 and Compressors Expanders and Gates on page 9 16 for description on the EQ and Compressor parameters Mode The setting for the Master Effects can be set directly on this page or optionally in the control setup In Program mode to set up the Master Effects from Effect mode set the Mode parameter to Master To use the settings in the current control setup select Setup Controlling the Master Effects from the control setup allows for convenient switching between di
205. FOs although it s often indistinguishable since global LFOs start running as soon as the program containing them is selected even if you don t play any notes 6 39 Program Mode The ASR Page The ASR Page ASRs are three section unipolar envelopes attack sustain and release The PC3A s ASRs can be triggered by a programmable control source and can be delayed ASR1 is always a local control ASR2 is local by default but becomes global if the Globals parameter on the COMMON page is set to On ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or tremolo enabling delays in those effects The ASR page consists of two rows of five parameters one row for each of the ASRs Trigger Mode Delay Attack Release Horm bs Gs is Horm Bs Gs Hs o ES ee Gas Eee noe Parameter Range of Values Default Trigger Control Source List Off Mode Normal Hold Repeat Normal Delay 0 to 30 seconds 0 seconds Attack 0 to 30 seconds 0 seconds Release 0 to 30 seconds 0 seconds Trigger Mode Delay This defines the control source that starts the current layer s ASRs The ASR starts when the trigger switches from off to on If the Trigger parameter is set to ON a global ASR starts running immediately when you select a program that contains it A local ASR starts running as soon as you trigger a note in the layer that contains it Switch controls are better suited for ASR trigg
206. FPlays MIDI Woices Pressing the MIDI soft button launches MIDIScope a useful subprogram that lets you monitor the MIDI messages from the PC3A and those received via MIDI This is a good way to make sure you re receiving MIDI from MIDI masters It s also good for making sure your controls are assigned as you want them checking your attack velocities checking your controller values etc Pressing the Voices soft button calls up the Voice Status page which shows the PC3A s active voice channels as you play The Voice Status pages displays each active voice as a solid rectangular block for mono voices or displays stereo pairs of voices as a gt for the left channel voice and a lt for the right channel voice Whatever symbol the page displays when the key of a voice is released that voice s symbol on the Voices Status page turns into a dot during the release portion of that voice s envelope When the voice decays to silence it is no longer active and the dot disappears The Voice Status symbols appears as shown below LI The Voice Status page gives you an indication of the envelope level of each voice though not necessarily the volume level Nonetheless this can give you a valuable indication of how your voices are being used For example if all or most of the voices are active then there s a good chance that when voice stealing takes place an audible voice will be reallocated The Voices utility works a bit differentl
207. Flute MistyMntn EP 2 PnoEnhanc22 ClavPhasel MedRoom10 EPChr11 HardRhds1 PnoEnhancement SmallHornChamber Clunker50 PnoEQCmp3 Comp4 3DogEP 1 CompDelay PnoEnhanc22 EPChr11 Old Chamber ChefAid 1 Zep Fuzz 1 Bernie Clav ClavRotoAmp Dark Niceverb Basic RayEP 3 LatinHornCmp Basic RayEP 2 Raffas DX7 882 883 884 885 886 887 888 889 890 891 892 893 894 896 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 Chain EPChr6 PnoEnhanc3 SynEnhancement CompKik11 VintChamber SmallWurly2 Deep FuzzPnt 1 Comp70 FooldAgainVox CompKik111 Vintage Horns 3 Leslie Gospl EPChr60 Deep Fuzz 51 Shredlead3 Synphasel Synphase2 SynthTrem2 DWAuxRvbl Small Dark Room2 Sax Chamber2 Small Hall2 Medium Hall2 Real Niceverb Opera House2 Mosque Room2 Bright Hall Echplex 1 AbbeyPianoHall Recital Hall 2 Echplex 2 Medm Warm Plate2 EQVelMorph D 24 PC3A Objects V 2 3 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 Chain Aux Echplex Farfisal Good Leslie33 Zep Leslie Snarcmp801 kickcmp401 Deep Fuzz 6 SynEnv4 SmallComp9 KickComp201 GoodLeslie 9 Falgor Gtr KickComp701 Good Leslie34 Syncblip CompDelay3 Cheese Horns2 SynthCDR20 Vintage Horns 2 Chorus Pan Delay Snarcmp101 Filter1 Syncpulsedw Kickcmp501 Snarshaper601 ProBassComp3 SynEnv
208. Gain are the gains of the signal passing through the rotating woofer or tweeter respectively The range is Off 79 0 to 24 0 dB Lo Size and Hi Size are the effective sizes radius of rotation of the rotating speakers in millimeters This affects the amount of Doppler shift or vibrato of the low frequency signal The range is 0 to 250 mm Lo Trem and Hi Trem control the depth of tremolo amplitude modulation of the signals It is expressed as a percentage of full scale tremolo The range is 0 to 100 LoResonate and HiResonate are simulations of cabinet resonant modes expressed as a percentage For realism you should use very low settings The range is 0 to 100 Lo Res Dly and Hi Res Dly are the number of samples of delay in each resonator circuit in addition to the rotation excursion delay The range is 10 to 2550 samples 9 22 Effects and Effect Mode Effects Overview LoResXcurs and HiResXcurs are the number of samples of delay to sweep through the resonator at the rotation rate of each rotating speaker The range is 0 to 510 samples ResH LPhs sets the relative phases of the high and low resonators The angle value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle The range is 0 to 360 0 degrees Mic Angle is the angle of the virtual microphones in degrees from the front of the rotating speaker For the left microphone the angle increases clockwise when viewed from
209. H page parameters are described in Switch Controller Parameters on page 7 30 re TU fOr l TuPpe Entrastate None OnControl ExitState None Onlalue T ffControl OffUalus more ARP SH SWITCH FIBBON JRIBCFG more 7 Parameter Range of Values Default Type Momentary Toggled Toggled On Control Control Destination List MIDI29 On Value None 0 to 127 127 Off Control Control Destination List MIDI29 Off Value None 0 to 127 0 Entry Value None Off On None Exit Value None Off On None 7 38 Setup Mode The RIBBON Page The RIBBON Page Lik A Dest Scale Add urwv Ent Exit Sect 1E JEFE 100 Gi Linear None None Sects 100 B Linear None Hone Sect a0FF 100 6 Linear None Hone p More JAR SWITCH IRIBBON I Esso more d Parameter Range of Values Default Destination Control Destination List MIDI21 Scale 300 100 Add 128 to 127 0 Curve Linear Compress Expand Linear Entry Value None 0 to 127 None Exit Value None 0 to 127 None The RIBBON page lets you define the controller assignment for the PC3A s optional ribbon controller The Ribbon controller senses movement when you press on it and move your finger left or right this creates numerous possibilities for controlling pitch volume panning crossfades between zones or any other uses you might imagine In Program mode the ribbon controls an octave of pitch bend by default This is because
210. I General MIDI is a specification created by the MIDI Manufacturers Association which defines specific features that a MIDI instrument must have see the MMA website at www midi org for more information Among other things the GM specification sets a standard bank of program names and numbers as well as a standard drum mapping layout so that sequences created on any GM instrument will playback with the correct instrumentation on any other GM instrument no matter the manufacturer GM has many uses for example it makes it easy for musicians who use MIDI files to share ideas and collaborate while using different sets of equipment Also many instrumental versions of public domain songs can be found for free on the internet as GM compatible MIDI files These like all MIDI files offer certain advantages over audio such as small file size the ability to edit orchestrate or change tempo to easily learn from the sequences or even convert note information to standard notation with a third party application Overview of General MIDI Mode Once enabled Program mode will display the set of 128 standard GM program names on the right side of the screen see below Aside from the different layout and program choice Program mode operates normally see below for info on the left side of the screen A default GM sequence will be loaded which sets FX sends for reverb and chorus which are part of the GM specification Drum programs will also be remapped to t
211. I connections 2 3 MIDI disconnected 13 1 MIDI file export 13 15 Load 13 1 MIDI Implementation Chart A 1 MIDI Machine Control 12 7 MIDI mode 4 3 Soft buttons 10 18 MIDI program changes 10 5 MIDI Receive page 10 9 MIDI Receive parameters 10 5 MIDI sequence Load Save Export 12 8 MIDI Thru Out switch 2 3 MIDI Time Clock 12 2 Min Freq 9 20 9 21 Minimum delay parameter Layer 6 19 Minimum Rate parameter LFO 6 39 MISC page Program Editor 6 67 Miscellaneous MISC 14 9 MMC 12 7 Mod Mode 9 25 Mod Wheel 3 5 Mode buttons 3 2 Mode parameter ASR 6 40 Mode selection 3 1 4 1 Modes 4 1 Program 6 1 Modes using 4 2 Modulator ring modulation 9 25 Momentary switch type 7 31 Mono sound systems 2 2 Monophonic parameter Common 6 35 Monophonic programs 6 35 Monster Truck radio spots 9 15 Morph A gt B 9 16 MPressure 7 20 MTC 12 2 Multiband Compression 9 17 Multitap delays 9 14 Multi velocity keymaps 14 4 Mute Effects Box 5 7 MuteZn 7 24 Muting layers 5 7 Muting Setup zones 5 7 N Name soft button 6 52 Naming 15 6 Naming objects using the keyboard 5 5 Natural amplitude envelope 6 42 Navigation 3 6 New Layer soft button 6 52 Noise generator 6 16 Non harmonic overtones creating with ring modulator 9 25 Note triggering 6 18 Number of loops parameter AmpEnv 6 44 Numeric Entry Master mode MAIN page 11 2 Numeric entry 3 9 O Object type and ID 5 2 Objects 5 1 Deleting 5 6 loading individually 13
212. Keymap2 respectively For keymaps beginning with Stereo assign the same keymap to both Keymap1 and Keymapz2 If you select the same keymap for Keymap1 and Keymap2 the PC3A automatically uses the left side for Keymap1 and the right side for Keymap2 Once you have the keymaps assigned go to the OUTPUT page and set the panning for each sample as desired Keep in mind that using stereo keymaps reduces the polyphony of the program For example if you had a two layer program with stereo keymaps in each layer each note you play would use 4 of your 128 voices allowing a total of 32 notes before all the voices have been used If you re not using stereo samples you should set this parameters value to Off Program Mode Editing VAST Programs Timbre Shift This parameter works only on multi sample keymaps and changes the root selection for each key you play With this parameter you can radically alter the current layer s timbre basic sound characteristics The nature of the change depends on the timbre itself so this parameter calls for experimentation Basically timbre shifting changes a note s timbre by imposing different harmonic qualities onto the note A timbre shifted note retains its original pitch but its harmonics are those of the same timbre at a higher or lower pitch Positive values for this parameter tend to brighten a sound while negative values darken Here s an example If you shift the timbre up 4 semitones
213. Lead 257 CP80 Enhanced 196 Processed Strgs 227 DoubleCleanChrs 258 Gabriel s Melt D 3 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 259 VideoKilledRadio 290 Stereo Pickups 321 Yesesis Tron Str 260 Brighter CP 291 70sBubblegumClav 322 Moby TurntblTron 261 TouchRezSynthCP 292 TreblClavWhImute 323 Space Oditty 262 PowerCP 293 Mutron Synth sw 324 RocknRollSuicide 263 Dark Chorus CP 294 Bi Phaz Clav 325 Octave TronStr 264 Inside Out CP 295 80s Flange Clav 326 Siberian Khatru 265 Pianet Classic 296 VAST Env SynClav 327 Modwhl Remix Str 266 She s Not There 297 Charlemagne Clav 328 PdlPitchbendStr 267 Walrus Pianet 298 Switch Pickups 329 Silent Sorrow 268 Flaming Hohner 299 EvilWomanDeepFuz 330 Bandpass Choir 269 PowerChordPianet 300 Headhunters WAH 331 Swept Tron Voice 270 Sly Ballad 301 MorleyWAH Clav 332 Mellotron Flutes 271 Black Friday 302 Dbl WAH Insanity 333 SldrEQ Mltrn Vox 272 These Eyes 303 Psychedeliclav 334 StrawberryFlutes 273 VA1Saw Lead 304 Preston SpaceWah 335 White Satin Splt 274 VA1Sqr Lead 305 Analog DigHybrid 336 3Way Split Mltrn 275 MaroonSynBass 306 Jump Obx 337 RMI Harpsi 276 VA1DistBassSolo 307 80s End Credits 338 Lamb Lies Down 277 DownwardSpiralMW 308
214. LoVel determines the lowest note on off velocity that is recorded played back when Notes is set to On Hi The Hi to the right of LoVel determines the highest note on off velocity that is recorded played back when Notes is set to On Controllers With Controllers set to Off all controllers are ignored during recording playback With Controllers set to On controller data only of the specified controller and only within the specified value range are recorded played Controller The Controller parameter determines which controller s is are recorded played back when Controllers is set to On LoVal LoVal determines the lowest value for the specified controller that is recorded played back when Controllers is set to On Hi The Hi to the right of LoVal determines the highest value for that specified controller that is recorded played back when Controllers is set to On PitchBend This parameter enables disables pitch bend events to be recorded played back ProgChange This parameter enables disables program changes to be recorded played back this includes Controllers 0 and 32 bank change MonoPress This parameter enables disables monophonic key pressure events to be recorded played back PolyPress This parameter enables disables polyphonic key pressure events to be recorded played back The Rec Play and Stop Soft Buttons These soft buttons function as described in The Rec Play and Stop Soft Buttons
215. Loops A value of Inf makes the amplitude envelope loop until a Note Off is generated Values of 1 through 31 indicate how many times the loop will repeat after the amplitude envelope has played once through its normal cycle Regardless of the loop type and the number of loops each note goes into its release section as soon as its Note State goes off that is when a Note Off is generated The envelope will continue to loop as long as Note State remains on whether it s held on by a pedal by the IgnRel parameter described in the section entitled The LAYER Page on page 6 17 or anything else The Envelope 2 ENV2 and Envelope 3 ENV3 Pages The PC3A offers two envelopes in addition to AMPENV Like AMPENV ENV2 and ENV3 can be assigned like any other control source Unlike AMPENV however ENV2 and ENV3 can be bipolar This means that you can set negative values for them Obviously you can t have an amplitude less than zero so AMPENV is unipolar the values range from either 0 to 100 or 0 to 150 A bipolar envelope controlling pitch for example could modulate the pitch both above and below its original level Another difference is that AMPENV always controls the amplitude of the layer so even if you use it as a control source for other functions it will still affect the layer s amplitude ENV2 and ENV3 affect only those layers that have them assigned as a control source Also AMPENV uses an exponential attack the amplitude ris
216. MIDI Program MidiProg Depends on MIDI Bank Mode 1 Status Muted Active Solo Solo Muted Active Out Auto Pri Sec Auto InputChannel None 1 16 None MIDI Bank Mode BankMode MIDI Bank Mode List Ctl 0 32 Entry Program Change EntryProgChg On Off On Arpeggiator On Off On Program This selects an internal program to play on each zone As you change the value of Program notice that MIDI Program and MIDI Bank match the local program and bank numbers programs 1 127 fall into MIDI Bank 0 128 255 fall into MIDI Bank 1 and so on both MIDI Banks and PC3A banks can hold 128 programs If you want to transmit different program and bank numbers over MIDI highlight either MIDI Program or MIDI Bank and select a new value Note that changing the Program parameter again will reset both the MIDI Program and MIDI Bank parameters to match the local program and bank numbers NOTE MIDI Banks and PC3A banks are not the same nor is there a direct one to one correspondence between the two As mentioned previously programs 1 127 fall into MIDI Bank 0 programs 128 255 fall into MIDI Bank 1 and so on program IDs 1 128 fall into PC3A bank Base 1 programs 128 255 fall into Base2 and so on recall that the PC3A bank names are displayed in left to right order above their corresponding Bank buttons above the sliders For example program 127 Magic Celeste is in PC3A bank Base 1 and it is Program 127 in MIDI Bank 0 and program 128 Drums n Bells is
217. MIDI device telling it how to define subsequent pitch bend messages Some programs may behave strangely when you change the Bend Range value because they use FUNs or DSP Functions to affect the pitch wheel In that case you should either set the value of Bend Range to Prog or edit the program itself NOTE The settings for BendRangeUp and Down are only reflected in Setup mode Even if you specify BendRangeUp and Down values for the control setup setup assignments which are specified in Setup mode and used in Program mode bend range values will not be reflected in any mode except Setup mode and pitch bend messages in the current program in Program mode will result in behavior as specified for the Pitch Bend Range parameters on the COMMON page in the Program Editor BendRangeUp ct and BendRangeDown ct lets you fine tune the value for Bend Range semitones 100 cents equals one semitone or one half step you can set this parameter anywhere between 0 and 100 cents 7 18 Setup Mode Controllers BendRangeUp in both semitones and cents affects all controllers that are set to PitchUp in the default control setup the PWUp parameter on the WHEEL page is assigned to PitchUp BendRangeDown in both semitones and cents affects all controllers that are set to PitchDwn in the default control setup the PWDn parameter on the WHEEL page is assigned to PitchDwn Any physical controller that uses the Control Destination list can be assig
218. MISC Page 14 9 V R DP a a 14 12 Chapter 15 Tutorial Song Mode Part 1 Assign Instruments To Itacke _ ili 15 2 Part 2 Set The liu 15 3 Part 3 Record Your First Track Save The Song cnnan 15 4 Part 4 Record Additional Tracks 15 7 Part 5 Fixing Mistakes ar 15 8 Part 6 Adjusting The Volume Of Each Instrument 15 10 Part 7 Learning More About Song Mode 15 15 Appendix Specifications MIDI Implementation Chart A 1 PEA ea A 2 Appendix PC3A Bootloader Using the Bootloader MEN iii B 1 System Update PC3A Software Objects Etc B 2 Run Diags PC3A Diagnostics Utility B 2 PERE lilla B 2 System Uli lirica ao in B 3 Appendix Changing PC3A Voltage Removing the fuse holder i Cl Appendix PC3A Objects V 2 3 PIO Dal iii D 17 Eccher D 20 Effect Presets with Ales illo D 29 How to Use These Tables ci i D 29 Foca aren E A EE I RR D 29 Dina e D 33 Choi iu du ia dial aaa D 35 Lacan ee D 35 PA iii iii D 36 Trem Panner Sl iaia D 37 ROR a RR E ANE CO AE D 37 Dil E a D 38 Foo cca D 39 EC A AE D 39 Chorus COMBi cile D 41 Flange Combi D 42 xiii Keymaps D 44 le D 54 Arpeggiator Shift Patterns D 63 Amiesgiator Velocity Faleria D 65 Appendix PC3A Legacy File Conversion Object Types and Conversion Details E 1 Keymap Objects ii E 1 ROME at E 1 Setup ODjEc S hl lc E 1 Index xiv Introduction Chapter 1 Introduction Greetings Your new instrument off
219. Master mode MAIN page 11 2 ID s 15 6 Ignore release 6 20 ImageWidth 9 24 Index Impact parameter EnvCtl 6 47 Import Layer soft button 6 52 Importing layers 6 52 In Select 9 25 In Out parameter 9 12 InfinDecay 9 13 Info Export 13 15 INFO Editor 6 51 6 52 INFO soft button Program Editor 6 51 6 52 Info soft button 2 8 6 2 8 2 Insert Song Mode TRACK Page 12 26 Intonation key 11 9 Intonation tables 11 8 Introduction to editing 5 1 Intuitive data entry 3 11 K K series object conversion E 1 K2600 bank mode 7 7 KB3 1 3 2 9 6 4 6 6 6 59 Polyphony 6 60 KB3 channel 6 6 KB3 programs 2 9 6 6 Key range 14 3 Key tracking 6 25 Key tracking parameter EnvCtl 6 46 Key Tracking parameter Keymap 6 14 Key Velocity KEY VEL Page 7 9 Keyboard naming 5 5 KEYCLK page Program Editor 6 65 Keymap 14 7 Keymap Editor 14 1 Assign sample 14 6 New range 14 5 Keymap Editor Parameters 14 3 KEYMAP page Program Editor 6 14 Keymap parameter Keymap 6 14 Keymap parameters 6 14 Keymaps 6 4 Keymaps stereo 6 15 KSP8 effects D 21 KVA Oscillators 6 53 L L Diff Dly 9 14 L R Phase 9 18 9 24 L R Pre Dly 9 13 LaserVerb 9 19 Late Lvl 9 13 LateRvbTim 9 13 Layer delay control 6 18 LAYER page Program Editor 6 17 Layer parameters 6 18 6 21 Layers Adding 6 52 Deleting 6 52 Duplicating 6 52 Importing 6 52 moving between in multi layer programs 3 11 Muting 5 7 LCD 3 6 Legacy object conversion E 1 Legato play par
220. Name dialogue see the following section and complete the storing process The File Name New Directory Rename Dialogue Storage Mode Storage Mode Common Features When you create a new file in Storage mode create a new directory or rename a file or directory the PC3A prompts you to enter the object s name This File Name dialogue appears as shown below although both the New Directory and Rename appear and function similarly to the File Name dialogue Pathe File Name ZILENAME Delete E I E OK CET New file names will default to either FILENAME after a powerup or the name of the most recent file saved or loaded New directory names will default to either DIRNAME after a powerup or the name of the most recent file saved or loaded You can edit the name using the alphanumeric pad alpha wheel buttons Left and Right cursor buttons the Delete and Insert soft buttons and the lt lt and gt gt soft buttons See Saving and Naming on page 5 3 for more details on naming options Press the OK soft button to finish the operation 13 5 Storage Mode Storage Mode Common Features The STORE Page A Pressing the STORE soft button calls up the Store page where you can select groups of objects from the PC3A to store as a P3A file in the current storage device Only user created or user edited objects can be stored Note To store an individual object or select objects individually instead of by ran
221. Next look at the AMPENV page The AMPENV mode is set to User which gives you control over the amplitude envelope more on using Natural mode later Finally look at the ALG page In the current algorithm the 3 block KVA oscillator PWM has been selected which generates the sound for this layer of the program Minimal Settings for Basic Use of KVA Oscillators The patch described above contains the minimal settings that a KVA layer needs in order to function in the style of a classic analog synth These minimal settings are 1 EditProg KEYMAP Page Set the Keymap parameter to 999 Silence 2 EditProg AMPENV Page Set the Envelope mode to User and adjust the amplitude envelope to your liking see The Amplitude Envelope AMPENV Page on page 6 42 3 EditProg ALG Page Pick an Algorithm and set an Oscillator see Setting KVA Oscillator Type below Further basic VAST settings that you will likely want to adjust are e Monophonic On Off see The COMMON Page on page 6 35 e Level Velocity Tracking see The DSP Control DSPCTL Page on page 6 29 Read the Setting KVA Oscillator Type section below to learn about how set each type of oscillator After doing this you can experiment with making KVA programs by following the above settings and then setting and listening to each type of oscillator Once you understand how to do this read on to the Advanced Use Of KVA Oscillators section on page 6 55 see below to learn how to make your KVA
222. O page Plus Minus Moves through list of Setups in increments of 128 Setup mode Chan Layer Set zone 1 Left Right cursor buttons Brings up the TEMPO page Up Down cursor buttons Toggle between Play and Stop Song mode Chan Layer Select all tracks on any TRACK page in Song Editor Left Right cursor buttons Brings up the TEMPO page Storage mode Left Right cursor buttons Select all items in a list Move cursor to end of name in naming dialog up down cursor buttons Clear all selections in a list Move cursor to beginning of name in naming dialog Program Editor Chan Layer Select Layer 1 Plus Minus Scroll through the currently selected parameter s list of values in regular or logical increments varies with each parameter 2 leftmost soft buttons Reset MIDI transposition to 0 semitones Double press again to go to previous transposition Center soft buttons Select Utilities menu Any Editor 2 rightmost soft buttons Reset MIDI transposition to 0 semitones Double press again to go to previous transposition Left Right cursor buttons Display the TEMPO page Up Down cursor buttons Toggle between Play and Stop of current song Cancel Enter Panic sends all notes controllers off message on all 16 channels Save Dialog Plus Minus buttons Toggle between next free ID and original ID Rename Dialog Plus Minus buttons Moves cursor to the end of the name
223. Off On Vibrato Chorus Type Selection Vib1 Vib2 Vib3 Chor1 Chor2 Chor3 Volume Adjust 96 to 96 dB Bend Range Up 7200 cents Bend Range Down 7200 cents Sustain Off On Sostenuto Off On Leslie Pedal None Sustain Sost Soft PreampResp Set this parameter On or Off to enable or disable the preamp expression pedal part of the KB3 model Turning this On the default makes KB3 programs function like stock organs The expression pedal in this case is more than a volume pedal it actually functions like a loudness control varying the frequency response to compensate for the ear s sensitivity at different volumes In addition the preamp provides a de emphasis curve to compensate for the built in tone wheel volume pre emphasis Turning preamp response Off emulates organs that have been modified to have a direct out before the preamp and expression pedal Leakage Controls the level of the simulated crosstalk and signal bleed of adjacent tone wheels in the model This is provided to help dirty up the sound to make it a bit more realistic A setting of 96 dB gives the purest tones other values add more simulated leakage This level is scaled by the drawbar levels as well as the expression pedal level The leakage level can also be controlled by MIDI CC 90 value 0 96 dB value 127 0 dB values between 0 and 127 scale between 96 dB and 0 dB When using CC 90 the value displayed for the Leakage parameter will not
224. On pressing any buttons on the PC3A will generate System Exclusive SysEx messages that are sent to the MIDI Out port This enables you to do two things control a remote PC3A and or record sequences of programming button presses to a sequencer or SysEx software package If you have the MIDI In port of another PC3A connected to the first one s MIDI Out port the second instrument will respond to every button press on the first instrument just as if you were pressing the buttons of the second one Keep in mind that both devices must be in exactly the same state the same page in the same mode with identical lists of RAM objects when you start Otherwise the button presses you make on the first instrument may execute other functions on the second instrument Again it s important to keep in mind that the state of your PC3A must be identical to its state when you recorded the sequence of button presses If you ve added or deleted any objects stored in RAM for example the sequence of button presses will select different objects when you play back the button press sequence NOTE Make sure this parameter is set to Off before you initiate a SysEx dump of any kind If this parameter is on when you start a dump the buttons you press to begin the dump will also generate SysEx messages Display The Display parameter determines what will be displayed in the info box on the left side of the Program Mode and Setup Mode main pages When Display is
225. Plus Minus buttons Once a track contains data it will have a P as a Track Status Indicator and it will be played during playback You now will be able to toggle between Play P Mute M and Record R 12 6 Song Mode and the Song Editor Song Mode The MAIN Page The track selected as the RecTrk will display an R designating it as the recording track If the RecTrk is set to Mult initially all empty tracks will have Record R as a Track Status Indicator any of which can be switched back to empty if at any time recording on specific tracks is not desired If there isn t a track with an R the RecTrk parameter s value will be None The exception is when the RecTrk is set to Mult and you have switched all of the tracks out of record enable Track Channels Each track has a MIDI Channel that it uses to receive and transmit data By default tracks 1 16 of a new song are assigned to Channels 1 16 respectively although a track can play or record on any channel and the same channel can be used for more than one track Keep in mind however that only one program can be assigned to a channel at a time so if you have more than one track assigned to the same channel they ll play the same program the one on the higher numbered track since that s the most recent Program Change command received on that channel Soft Buttons on the MAIN Page This section contains descriptions of the functions of the function soft
226. Pressing the Song button mutes the current layer FX Bypass Pressing the Effect button bypasses all effects Note however that if either of the Aux Overrides in Effects mode are active then those effects are still applied Compare Pressing the Storage button calls up the Compare Editor which recalls the program pre edit settings allowing you to compare your edited program with the original program Pressing the Storage button again returns you to the Program editor Using the Compare Editor makes no changes to the current program Assigning Program Parameters to Control Sources Many PC3A program parameters can be assigned to be controlled by the PC3A s physical controllers or by MIDI CCs from an external MIDI device For details on controllable parameters of VAST programs see the following sections The DSP Modulation DSPMOD Page on page 6 30 The LFO Page on page 6 38 The ASR Page on page 6 40 The Function FUN Page on page 6 41 The Envelope Control ENVCTL Page on page 6 45 The MOD Pages on page 9 10 and FXLFO FXASR and FXFUN pages on page 9 11 For KB3 programs see the following sectionsKB3 Editor The PITCH Page on page 6 62 KB3 Editor The AMP Page on page 6 62 KB3 Editor The LFO ASR and FUN Pages on page 6 70 The MOD Pages on page 9 10 and FXLFO FXASR and FXFUN pages on page 9 11 For each program the Program Editor can be used to assign the PC3A s physical controllers or external MIDI controller CC num
227. Rung Keys L1 Rung Keys L2 PC3A Piano p PC3A Piano mp PC3A Piano mf PC3A Piano f PC3A Piano ff PCSA Piano fff Stein As Stein Bs Stein Cs Stein Ds Stein Es Stein Fs Stein Gs 3713 B4 Thump 3714 Damper Pedal fas 3715 Pedal Release 1 3716 Pedal Release 2 D 53 PC3A Objects V 2 3 Samples Samples Sample Stereo Pizz F 1 Stereo Pizz B1 Stereo Pizz D2 Stereo Pizz F2 Stereo Pizz G 2 Stereo Pizz A 2 Stereo Pizz D3 Stereo Pizz F3 Stereo Pizz G 3 Stereo Pizz B3 Stereo Pizz C 4 Stereo Pizz E4 Stereo Pizz G4 Stereo Pizz A 4 Stereo Pizz C 5 Stereo Pizz E5 Stereo Pizz G 5 Stereo Pizz C6 Stereo Pizz E6 21 Stereo Pizz G 6 22 Stereo Pizz C7 23 Stereo Trem F1 24 Stereo Trem A1 25 Stereo Trem C 2 26 Stereo Trem D 2 27 Stereo Trem F 2 28 Stereo Trem A 2 29 Stereo Trem C 3 ID Sample ID Sample 30 Stereo Trem D 3 99 kHarpsichord v 31 Stereo Trem F3 100 Harpsichord v 32 Stereo Trem G3 101 Harpschrd Rel v 33 Stereo Trem A 3 105 Celesta 34 Stereo Trem C4 107 Accordion 35 Stereo Trem D 4 110 Hammond Ist 3 36 Stereo Trem F 4 111 Hammond B
228. SPMOD page The right hand side of the DSPCTL page is the subpage of the highlighted function parameter on the subpage are the fine adjust parameters and hard wired parameters To access the parameters on the subpage highlight the function parameter you wish to edit and then press the gt button to move the cursor into the subpage 6 29 Program Mode The DSP Modulation DSPMOD Page The label of a function parameter depends on its corresponding function block in the current layer s algorithm The above DSPCTL page corresponds to the following algorithm PITCH Ee 2POLE LOWPASS SHAPEF NONE more JALG JUSPCTLIDSPMOD OUTPUT more The DSP Modulation DSPMOD Page Before reading further be sure to read Algorithm Basics on page 6 23 and Common DSP Control Parameters on page 6 24 Press the DSPMOD soft button to call up the DSP Modulation DSPMOD page which is displayed below Parameter Range of Values Default Source 1 Control Source List Off Depth Depends on Function 0 Source 2 Control Source List Off Depth Control Control Source List Off Minimum Depth Depends on Function 0 Maximum Depth Depends on Function 0 Each field in the left hand column of the page is a function parameter of the current layer s algorithm You can coarsely adjust the function parameter in these left hand fields as noted in Common DSP Control Parameters any adjustments made to the function parameters
229. See the sections below for details on using external CCs with the available settings in Program and Setup Mode For details on controllable parameters of VAST programs see the following sections The DSP Modulation DSPMOD Page on page 6 30 The LFO Page on page 6 38 The ASR Page on page 6 40 The Function FUN Page on page 6 41 The Envelope Control ENVCTL Page on page 6 45 The MOD Pages on page 9 10 and FXLFO FXASR and FXFUN pages on page 9 11 For KB3 programs see the following sectionsKB3 Editor The PITCH Page on page 6 62 KB3 Editor The AMP Page on page 6 62 KB3 Editor The LFO ASR and FUN Pages on page 6 70 The MOD Pages on page 9 10 and FXLFO FXASR and FXFUN pages on page 9 11 Assigning An External CC Number As A Control Source For A Program Parameter For each program the Program Editor can be used to assign an external MIDI controller CC number for each controllable parameter in that parameter s source field Source fields are named differently depending on their page Src1 Src2 RateCt Trigger Input a Input b and Source To assign a CC number to a source field enter the number with the alphanumeric pad then press Enter With the source field selected you can also assign a CC number by holding the Enter button and sending a CC value from the external MIDI controller When assigning a CC number to a source field the number may be displayed in the source field as the name of that CC s default use Using Extern
230. Status Indicator to Record R and the RecTrk will remain set to Mult When Mult is initially selected all of the empty tracks will be record enabled Tracks containing data will remain set to play P but you can manually set them to record R The parameter s below RecTrk change according to the value of RecTrk If RecTrk is set to a single track 1 16 Prog is displayed and you can select the program to be assigned to that track If you switch through the channels the program also changes showing the program currently assigned to that channel If you change RecTrk to None or Multi the display changes to show Trk This field indicates which track is currently being triggered by the keyboard and you can use this Trk field to select a track Program Prog Use this field to scroll through the programs in memory and select a program before initially recording each track of your song A program selected on the current RecTrk becomes the track s initial program the first time that the track is recorded An initial program is the program that will be used for a track when it is played from the start of bar 1 or any other point if there are no program changes and Control Chase is turned on see Control Chase on page 12 17 Programs selected in Program or Quick Access Mode are selected as the program on the current RecTrk when you return to Song mode Follow these steps to change the current RecTrk s initial program after recording ha
231. Switches above the Pitch and Mod Wheels and Program Buttons 1 8 e The three Footswitch pedal jacks 1 2 and 3 The following tables provide an overview of the physical controllers and their parameters Continuous Controllers See Continuous Controller Parameters on page 7 29 for information on each parameter Physical Controller Setup Editor Parameter Values Page Destination Control Destination List Scale 300 to 300 Add 128 to 127 Sliders A B C D E F G H SLID SLID2 Cune Linea Compress Expand Entry Value None 0 to 127 Exit Value None 0 to 127 CPedals 1 amp 2 Breath CPEDAL same as Sliders Ribbon RIBBON same as Sliders Pitch Wheel and Mod Wheel WHEEL same as Sliders MPressure PRESS same as Sliders Table 7 2 Continuous Controllers 7 20 Setup Mode Controllers Switch Controllers See Switch Controller Parameters on page 7 30 for information on each parameter Editor Physical Controller mete Edits Parameter Values Page SwType Toggle Momentary Note Toggle Note Momentary Destination Control Destination List FT SW1 Footswitches 1 2 and 3 FT SW2 On Value None 99427 FT SW3 Off Value None O to 127 Entry Value None Off On Exit Value None Off On ARP SW same as Footswitches Arp and SW switches SWITCH SWPRG1 same as Footswitches SWPRG2 SWPRG3 SWPRG4 Programmable switches 1 to 8 SWPRG5 SWPRG6
232. T Multi 1 3302 Super8 Horn Dly 3237 RedHotReverb 3270 Kinda Krunchy2 3303 BrassMod AMRadio 3238 RedHot Delay 3271 Pan Trem BPM OOP 3304 7thHeaven Plate 3239 Miami Gated Room 3272 SEM Shape 3305 7thHeavenCmpSlap 3240 Miami Plate Rvb 3273 Bright Syn Pad 3306 Bullitt PDlyHall 3241 SnarkyDimplix Rb 3274 Synth Delay RVB 3307 Bunny Delay 3 3242 FLIP n Distortn 3275 Syn Chor DDL 3308 Van Brown LITE 3243 Synth Brass Env 3276 Syn Dist Delay 3309 Van ChDly LITE 3244 Van BrownSound 3277 huge space 2 3310 Sax susolo Plate 3245 Van Reverb 3278 SynPad 3311 THX D 26 PC3A Objects V 2 3 Effect Chains Chain Chain Chain 3312 StdioCasterFXRig 3345 SynPnoPhasel 3463 Garage Drums 3313 BonzoCompLTE 3346 PBSon VHS 3464 Expandn DrumHall 3314 BonzoLTE GateRvb 3347 Attack Trance 3465 Expandn Drum 481 3315 Syn Brass Plate 3348 HPFDrum Taps 3466 Expandn DrumPLTE 3316 SynStrHall 3349 Lectro Plate 3467 Expandn Drum GYM 3317 E Bow1 3350 Nasty Syn Brass 3468 SnappyDrumCmpVrb 3318 THX 3351 SynStr Hall 3469 Drum Enhancer 3319 WorldCDR1 3352 BOC Deverb 3470 DrumComp subtle 3320 WarmCDR 3353 Popcorn Plate 3471 Snare Enhancer 3321 ChunkyG1 3354 Plantasia Plate 3472 SnrEnhanceComp 3322 OBI1 3355 New Horns 1 3473 NewKick
233. T below last upward note A4 is 1 ST from shift limit therefore 8 ST G 4 C4 D 4 F 4 F4 D4 D 4 first downward note is F4 1 ST lower than last upward note All symmetrical again now A4 is 9 ST A4 C4 D 4 F 4 A4 F 4 D 4 C4 D 4 within shift limit Next upward note would be C5 i 10 ST A 4 C4 D 4 F 4 A4 G4 E4 C 4 D 4 which is 2 ST from shift limit 11 ST B4 C4 D 4 F 4 A4 G 4 F4 D4 D 4 C5 is 1 ST from shift limit 12 ST C5 C4 D 4 F 4 A4 C5 A4 F 4 D 4 C4 D 4 Symmetrical again including C5 Bipolar starts out the same way as Unipolar but during downward note shifting it continues past the original pitch until it hits the shift limit in the opposite direction where it reverses again Float Res adds a bit of apparent randomness to the process Float means that when the Arpeggiator reaches the shift limit it resets but not to its original pitch as with plain Reset Like Unipolar and Bipolar it looks at the first note that would exceed the shift limit and calculates the interval between that note and the shift limit It then restarts the cycle of latched notes transposing the entire cycle by the interval it just calculated then shifting each subsequent cycle by the value of Shift Amount until it reaches the shift limit again Here s a very simple example Suppose that the only note in the Arpeggiator cycle is C4 Shift Amount
234. Take 6 Bopa 276 sawd 153 Take 6 Doop 206 KE Bass Slap Blk 277 sawsd 154 Take 6 Dot 210 Marimba 278 sawvd 155 Take6 OohAttk 211 Vibes 279 sine 156 Take6 Ooh Loop 218 celestehiroot 280 sq 157 Take6B op 250 b3ds 281 sqsd 158 Take 6 D oop 251 b3ful sxt21 159 Take 6 D ot 252 b3st3 third 160 Take6 Aah LoopHI 253 b3st4 thn20 161 Take6 Aah Loopa 254 b3sw thre4 162 Take6 OohLoopa 255 buzz thre5 163 Take 6 Doop a 256 dw15 tri 165 Take 6 Dota 257 dw6 two4 173 Syn Vox 258 e10 kEDrum1 Kick 175 Koreana 259 e12 kEDrum1 Snare 177 Hybrid Pan 260 eln15 LUD223 179 StlStrGtrHiDecay 261 five7 Mykik2 180 SteelString Gtr 262 for7 Sonkik 183 Clean Elec Gtr 263 fvllo Sonkik alt 186 Distorted Guitar 264 on246 YAMKik2 187 KDistorted Guita 265 one23 BD2 190 EBass Fing New 266 one24 BD123 193 EBassFng e2 alt 267 one2 BD51 194 EBassFng e2 al2 268 one35 E2kik2 196 E Bass Blk B 269 one3 LUDdryM D 55 PC3A Objects V 2 3 Samples ID Sample ID Sample ID Sample 310 LUDdryH 341 Open Hat 372 Cajon Hit 311 Eamesm 342 Open Cls Hat 373 Cajon Mute 312 Eamesh 343 FootHat 374 Clap 313 PrldryM 344 Crash Cymbal 2 375 Clapenvl 314 PrlambH 345 Crash Cymbal alt 376 Clap env2 315 EAMwoodH 346 Ride Rim3 377 Clap
235. Tempo 0 00 TemForarz4 TAP controller Off Tak You can also call up the TEMPO page from any other page by pressing the left and right cursor buttons simultaneously Set the Tempo parameter with the buttons the Alpha Wheel or the alphanumeric pad You can also set the system tempo by tapping the Tap soft button at the desired speed You need to tap at least twice for a tempo to be calculated though tapping several times like on each beat of one or more measures works best The newly tapped tempo is displayed in the tempo field and along the bottom four Program select buttons a lit LED moves from left to right at this tempo Alternatively a temporary controller can be set for use in the Temporary TAP controller field instead of using the Tap soft button The Temporary TAP controller field lists groups of PC3A controllers in order of their usefulness for tapping Listed first are the foot switches and switch buttons though it would be easier to use the Tap soft button than set a temporary switch button After these is Note On which lets you tap the tempo with any keyboard key Last are the MIDI controller numbers which includes all of the continuous controllers though continuous controllers such as a slider are not easy or recommended for tapping the tempo The Temporary TAP controller works only while on the TEMPO page and will remain selected when accessing the TEMPO page from other modes but the selection will return to OFF th
236. The Key Velocity KEY VEL Page Offset and Scale work together If scaling takes the velocity out of the ballpark for example you want to set it to 300 but that puts all of your notes at maximum velocity using a negative offset say around 60 can make it possible to still play at different volumes although your curve will still be a lot steeper than normal If you use a negative scaling then you must use an offset otherwise all of your velocities will end up as zeroes well ones actually since a MIDI note on with velocity zero is something else So to get true inverse scaling that is minus 100 you must set an offset of 127 to get the full range of velocities Setting the offset to 127 and the scale to 100 produces a slope like this which is the same as the reverse linear curve 127 O K 0 64 127 Strike Velocity Note that Offset and Scale affect only MIDI velocities that is these parameters don t change Velocity Tracking in the programs themselves Therefore some programs such as organ sounds which often have low VelTrk values may respond only subtly to Offset and Scale or not at all 7 13 Setup Mode The Key Velocity KEY VEL Page Velocity Curve VelCurve VelCurve lets you taper the velocity response The default setting is Linear which means that the output velocity changes directly proportionally to the played velocity Expand produces a curve that is less steep than the linear curve at
237. These buttons increase or decrease the magnification of the currently displayed sample waveform enabling you to see the waveform in greater or lesser detail At the left of the display you ll see the magnification setting which is expressed in dB units You can adjust the magnification from 48 dB maximum magnification to 0 dB This doesn t affect the actual amplitude of the sample only the magnification of its display The simplest way to think of the Zoom and Gain buttons is to remember that the Zoom buttons control the left right magnification of the waveform while the Gain buttons control the up down magnification Neither button has any affect on the sound of the sample You ll often use the Zoom and Gain soft buttons together to focus in on a particular sample segment then magnify it to see it in close detail For example you might want to zoom out to view an entire sample waveform to decide which segment you want to edit You could then zoom in to focus on a particular segment Once you ve zoomed in you may want to boost the Gain to enable you to set a new Start S point with greater precision or ensure that you get a smooth loop transition Zero and Zero Pressing the Zero or Zero buttons will search left or right respectively for the sample s next zero crossing A zero crossing is a point where the sample waveform is neither positive or negative crossing the horizontal line in the middle of the waveform display The
238. TriangleOpenEnv2 463 Yam102 rev vaculunt TriangleOpenEnv3 464 Yam124 rev auto maraca D 57 PC3A Objects V 2 3 Samples ID Sample ID Sample Sample 496 errietamb 527 LegatoTenorSax kAcoustic Bass 497 distachime 528 kConga Open Tone kChurch Bell 498 popshayknroll 529 kBongo Slap kTemple Block 499 Lazercork2 530 Open Cls HatR kGuiro 500 Conga Open ToneA 531 TriangleOpnRIs kBelltree 501 Agogo Hienv2A 532 MelTom alt kOrchestra Hit 502 TimbaleHmfenv1j 533 GM CrashCym 2 kFret Noise 503 Tumba Openj 534 GMkik1 kTelephone 504 Clave env1 a1 535 GM Crash rev kGlock rel alt 505 Conga ClsdSlp J1 536 GM ELEC Kik kXylo rel alt 506 TimbaleLmfjk1 537 kBongo Lo Tone kTamb Hit 507 Tumba Open env4 538 kBongo Hi Tone kMaracas 508 Conga Open env4 539 kTriangle Mute Bari Sax 2 509 Shakers Dwn rvs 540 kAgogo Lo TrombonesMod 510 Conga Open igoff 541 kAgogo Hi Flute 511 Tumba Open igoff 542 kEDrum2 HH Close Oboe 512 Shakers Downsalj 543 kEDrum2 HH Open English Horn 513 Shakers Upj 544 kSnare Hit Bassoon 514 Agogo Higong 545 kSnare Roll Dbl Reeds 515 Agogo Lo gong 546 kTimpani Clarinet 516 Cow Bell gong 547 kTriangle French Horn 517 Crash Cym rvajk 548 kTamb Hit French Hrn Sec 518 Shakers Up jk2 549 kTamb Roll Baritone Horn
239. USB port The Local Keyboard Channel parameter also affects how external MIDI devices interact with Program Mode In Program Mode when the LocalKbdCh parameter is set to match the channel on which the external MIDI device is transmitting the external MIDI device will play the Program on the channel currently selected on the Program Mode main page The Program Mode main page shows the current channel on the right of the top line Also in this case external MIDI received by a Program is sent to the destination set by the Destination parameter on the MIDI Mode Transmit page see Destination on page 10 2 for details In Program Mode when the LocalKbdCh parameter is set to None an external MIDI device will trigger the program on the channel that it is transmitting no matter which channel is currently selected on the Program Mode main page In this case external MIDI sent to any channel is output from the MIDI Thru port but not from the MIDI Out port or USB port 10 10 MIDI Mode The RECEIVE Page Continuous Controller Messages From External MIDI Devices When using an external MIDI device with the PC3A you can control many of the PC3A s program parameters by sending MIDI Continuous Controller messages CCs from the external MIDI device Each parameter that you wish to control must have a CC number assigned in the Program Editor see the section below Assigning An External CC Number As A Control Source For A Program Parameter
240. VAI1Distlead CC 339 RMI Piano amp Harpsi 278 VA1DstPulseWheel 309 Divider 340 BrightRMI Pn Hrp 279 NewOrderPulses 310 Mono Trekkies 341 Dual Mode Harpsi 280 VA1DetunedPulse 311 Disco Divebomb 342 RoyalKingWakeman 281 VAI1Detuned Saws 312 MutronTweetyPerc 343 OrganMode Pn Hrp 282 VA1Detuned Sqrs 313 Disgusting Bass 344 DrJohn s RMI 283 VA1 Emerson Lead 314 VA1ShaperSweeper 345 Phasesw Organ 284 MwhlClubsweeper 315 ElectroPercSynth 346 Spaced Out Bach 285 Innervate 316 MWhlMayhemBass 347 Tobacco Road RMI 286 ChemBrosBassLead 317 ElectronicaSplit 348 TrafficEP 287 UFOPad 318 HiPassMWhIBlips 349 Tekno Tempo Echo 288 VAISliderMorphSQ 319 Plasma Cannon 350 Trickofth Tail 289 Shoobie ModelC 320 32 Layer Bass 351 RMI Clav WAH PC3A Objects V 2 3 Programs ID Program ID Program ID Program 352 Dream On Session 383 MeanStereoSweep 414 Winds amp EspStr 353 LightYearStrings 384 PulseVowel 415 Horns Winds amp Str 354 Funkensteinz ARP 385 Winds amp Strings 416 TripleStrikeOrch 355 Murky Rez Pad 386 Winds Horn amp Str 417 Tutti Orchestra 356 St PanPhase ARP 387 More Brass amp Str 418 StBaroque Harpsi 357 ARP Str Oberheim 388 LH Timp Roll Orch 419 String Continuo 358 FX Sweep ARP 389 Gothic Climax 420 VivaldiOrchestra
241. You can see the corresponding parameters in each layer by scrolling through the layers with these buttons In the Setup Editor the Chan Layer buttons scroll through the zones in the current setup In Quick Access mode they scroll through the Quick Access banks and in Song mode they scroll through recording tracks 3 7 User Interface Basics Navigation The Edit Button The Edit button activates each of the PC3A s editors and acts as a shortcut to many pages within the Program Editor Pressing the Edit button tells the PC3A that you want to change some aspect of the object marked by the cursor For example when a program is selected and you press Edit you enter the Program Editor If a setup is selected you enter the Setup Editor There are editors accessible from just about every operating mode To enter an editor choose one of the modes mode selection and press Edit An editing page for that mode will appear You can then select parameters navigation and change their values data entry If the value of the selected parameter has its own editing page pressing the Edit button will take you to that page For example in the Program Editor on the PITCH page you might see LFO1 assigned as the value for Pitch Control Source 1 If you select this parameter the cursor will highlight its value LFO1 in this case then press the Edit button you ll jump to the page where you can edit the parameters of LFO1 Naturally you can fi
242. a Destination Slider B Control Destination List MIDI 13 Destination Slider C Control Destination List MIDI 22 Destination Slider D Control Destination List MIDI 23 Destination Slider E Control Destination List MIDI 24 Destination Slider F Control Destination List MIDI 25 Destination Slider G Control Destination List MIDI 26 Destination Slider H Control Destination List MIDI 27 Destination Slider 1 Control Destination List MIDI 28 Scale 300 100 Add 128 to 127 0 Curve Linear Compress Expand Linear Entry Value None 0 to 127 None Exit Value None 0 to 127 None 7 33 Setup Mode The Continuous Control Pedal CPEDAL Page The Continuous Control Pedal CPEDAL Page If you look at the back of the instrument you will see that there are two jacks for plugging in two CC Continuous Control pedals and a jack labeled Breath Controller Like the nine programmable sliders you can assign these controllers on each of the 16 zones or you can assign any combination of these controllers to the same zone The CPEDAL page parameters are described in Continuous Controller Parameters on page 7 29 Ores Test Scale Add Curry Ent Exit CFedi PEER ilo H Linear Noneftone CPed2 Foo 100 H Linear NoneMone Breath Breath 160 6 Linear HoneMHone GEE PSS ES eee Se 1 more 3 Parameter Range of Values Default Destination CPed1 Control Destination List Express Destination CPed2 Control Destina
243. a different keymap press the Exit button to return to the KEYMAP page in the Program Editor and select the desired keymap If you want to build a keymap from scratch start with the keymap 999 Silence see Building a Keymap on page 14 7 This keymap template contains one key range from C 0 to G 10 and is a convenient starting point for adding key ranges and assigning sample roots The Keymap editor page looks like this KeUuFRande UelRande Coarse Tune Master arose FineTune 3ct Parameter Range of Values Sample Sample Root list Key Range Variable from C0 G10 Low Key COtoG10 High Key COtoG10 Velocity Range VelRange Variable from ppp fff Low Velocity Lo ppp fff High Velocity Hi ppp fff Coarse Tune 128 to 127 semitones Fine Tune 49 to 50 cents Master Transpose 126 ST to127 semitones Volume Adjust 24 dB 14 2 Keymap and Sample Editing The Keymap Editor Keymap Editor Parameters Sample This is where you assign a sample root to the current key range Depending on the nature of the sample root an individual sample or a block of sample roots the sample s name looks a bit different in the display Each sample s name consists of three parts a numeral a name and a note number for example 999 Silence C4 Additionally the name of stereo samples will end with an S To use a stereo sample the Stereo parameter must be set to On in the Program E
244. a will be placed with the Location parameter If the length of the copied region extends from the Location point beyond the song s existing End point anew End point is defined 12 24 Song Mode and the Song Editor Song Editor Track Functions Mode Merge Erase Slide The Mode setting determines whether the copied events merge with or erase existing events on the destination track from the location point to the end of the copied region With Mode set to Slide the sequencer creates space for the new events and slides the existing events to uniformly later times in the song Times 1 to 127 The value selected for the Times parameter determines how many copies of the selected region are placed one after another in the destination track Bounce Use the Bounce function to move the selected events from the current track to another track either merging with or overwriting existing data on the destination track The Bounce function differs from the Copy function in that the original data is not preserved in the original track As ona multi track tape recorder Bounce will always put the data in the same timeline on the new track that it was on the old track Er ayas srl track l Function 1 8 DstTracki 1 1 0 Hode Events All DstTrack 1 to 16 Select a destination track for the events to be moved to with the DstTrack parameter All selected events described in the Region Criteria box will be placed in the des
245. aced with the new data only during the Bars and Beats you are actually recording and the previously recorded data before and after the newly recorded Bars and Beats will be preserved Location Locat The Bar and Beat displayed as the Locate value changes relative to current location of the song during playback and recording You can set this to a negative Bar and Beat location to start playback a set length of time before the beginning of the song Whenever you set the Locate point that location will be used as the return point when Stop is pressed Simply press Stop again to reset the song to the top 1 1 Mode Indicators and x Mode Indicators appear only for tracks that already contain data Aplus sign appears above the Track Status Indicator of a track set to record R when the Mode parameter is set to Merge An x appears above the Track Status Indicator of a track set to Record R when the Mode parameter is set to Erase Activity Indicators Asmall square above the Track Status Indicator of a track set to Play P or Mute M means the track contains data During playback and recording the indicators above tracks containing any MIDI data will flash a small filled in square when any MIDI activity is detected Track Status Indicators Using the Up Down Left and Right cursor buttons to position the cursor onto a Track Status Indicator you can toggle an empty track into Record R with the Alpha Wheel or
246. actually output as notes with a velocity of zero Velocity Setting Approximate of Notes Missed MissNotes1 10 MissNotes2 20 MissNotes3 30 MissNotes4 40 MissNotes5 50 MissNotes6 60 MissNotes7 70 MissNotes8 80 MissNotes9 90 Shift Amount You can tell the Arpeggiator to transpose all of the currently latched notes each time it plays through them Shift Amount determines how much transposition will occur for each cycle of notes For example if you have latched C4 and F4 and you assign a Shift Amount of 2 the Arpeggiator will play C4 F4 D4 G4 E4 A4 and so on until it reaches the Limit value The Shift Amount values can range from 88 to 88 with 0 the default being no transposition Shift Limit Limit determines how far up or down the Arpeggiator shifts from the original note The minimum value is 0 and the maximum is 60 When the Arpeggiator reaches the limit the Arpeggiator responds according to the setting for the Limit Option parameter Limit Option This parameter determines what the Arpeggiator does when it has shifted the currently latched notes up or down to the shift limit Stop causes the Arpeggiator to stop when it reaches the shift limit Reset causes the Arpeggiator to return to its original pitch and repeat the latched cycle of notes transposing each cycle according to the settings for Shift Amount and Shift Limit If the limit allows the notes to go out of MIDI range f
247. ader menu System Reset If you ve made many complex updates to your objects and have saved a number of files off to external storage you might want to restore the instrument to its default state This is especially helpful if you re having problems getting sound programs or setups to work properly or think there may be some kind of underlying hardware problem Remember to save your work in the Storage menu Once deleted the files are completely removed from the PC3A and there is no way to retrieve them To clear all user objects and restore the factory default state press the soft button labeled System Reset on the Bootloader menu The PC3A will ask you to confirm this action Press OK to complete the clear function and CANCEL to stop without altering anything System Utilities Format Flash Press the soft button labeled Format Flash to reinitialize the internal file system This deletes all objects and the current OS If possible remember to first save your work in the Storage menu Once deleted the files are completely removed from the PC3A and there is no way to retrieve them This will delete everything that was stored internally on the PC3A and leave a clean empty file system ready for use It is possible though not likely that the PC3A file system can become corrupted due to hardware failure or power outage during certain operations This will result in the Boot Loader being unable to bring up the PC3A system corre
248. ading or Saving Removing a USB device during a file transfer can cause data corruption Formatting a USB Device See Format on page 13 15 USB Computer Port You can also transfer files directly to a computer that is equipped with a USB port by using the USB Computer port on the back panel of the PC3A see above Connect a USB cable from the PC3A s USB Computer port to a USB port on your computer When you enter Storage mode and select USB PC Connection a virtual drive named PC3A will appear on your computer s Storage Mode Storage Mode Page desktop Load files from your computer to your PC3A by putting files on the PC3A virtual drive then selecting USB PC Connection in Storage mode to load the files Save files from the PC3A to your computer by using this configuration with the Storage modes Store function Saved files will temporarily appear on the PC3A virtual drive on your computers desktop and you then must copy your saved files to another location on your computer You must copy data from the PC3A virtual drive to your computer s drive or else the data will be lost Note When transferring files to and from the PC3A via the USB Computer Port the maximum size of files that can be transferred is approximately 1 6MB This is suitable for most objects When using the USB Storage Port to transfer files the file size that can be transferred is limited only by the size of the USB mass storage device and the PC3A s availabl
249. adjustable from 79 0 to 0 dB In addition the two segment compressors with expander have separate Ratio and Threshold controls for each of the compression segments Multiband Compression The Multiband Compression effect has Attack Release Smooth Signal Delay Ratio Threshold and MakeUp Gain parameters for each of the three bands Low Mid and High In addition it has Crossover1 and Crossover2 These set the frequencies which divide the three compression frequency bands The two parameters are interchangeable so either may contain the higher frequency value The range is 16 to 25088 Hz in increments of a semitone Gates SC Input lets you select which input channel s will control the sidechain which is responsible for opening and closing the gate It can be set to L R or the average of the two channels L R 2 You can use this if you arrange the signal paths and pan controls appropriately to gate one mono signal with a different mono signal Gate Time is the time that the gate will stay open after the sidechain signal reaches the Threshold Its range is 0 to 3000ms Ducking reverses the action of the gate Normally this if set to Off and the gate opens when the input signal rises above the threshold But when this is On the gate closes when the input signal rises above the threshold Effects and Effect Mode Effects Overview Atk Time attack time is the time for the gate to r
250. age will remain at their previously set values The number in parentheses that appears next to each controller name is the MIDI controller number that each controller transmits by default i e with the Control Setup set to 126 Internal Voices on the MIDI mode Transmit page See Control Setup on page 6 9 for details 6 50 Program Mode INFO Function Function Soft Buttons Press the INFO soft button to go to the INFO page where you can edit the controller assignment info for the current program Each info entry is a description of a program parameter that you have assigned to be controlled by a physical controller or MIDI CC number Info can be viewed from the Program mode or Setup mode main page by pressing the Info soft button If the Display parameter is set to Ctls on the Master Mode MAIN page controllers with info text will show the info on the left side of the Program mode or Setup Mode main page when moved see Display on page 11 3 for details On the INFO page use the Chan Layer buttons to scroll through the current program s list of controller assignment info Each assignment info entry has a MIDI controller number and a Text parameter to describe what the assignment controls One info entry can be made for each MIDI CC number To edit the text of a controller assignment press the Text soft button To create a new controller assignment info entry press the New soft button you will be prompted for a MIDI controller
251. al CCs In Program Mode Local Keyboard Channel None To control a program parameter via external MIDI CC in Program Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning An External CC Number As A Control Source For A Program Parameter section above To control an assigned program parameter with Local Keyboard Channel set to None send the assigned CC number to the channel which contains the program Using External CCs In Program Mode Local Keyboard Channel Enabled To control a program parameter via external MIDI CC in Program Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning An External CC Number As A Control Source For A Program Parameter section above When using Local Keyboard Channel in Program Mode it is best to assign parameters to be controlled by the default CCs for physical controllers because these match the default destinations see the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table below for default CCs The Local Keyboard Channel makes an external MIDI controller s continuous controllers behave as if they were the PC3A s physical controllers In Program Mode when an external MIDI controller is sending a CC on the channel set for Local Keyboard Channel external CCs can control the destinations set for each of the PC3A s physical controllers Send the default CC for a physical cont
252. alues when first moving a physical controller 11 2 Master Mode MAIN Master Table Lock Master Lock With Master Lock set to Off the PC3A will save the current Master mode configuration when you exit Master mode or MIDI mode This information is stored in a Master Table object see Save on page 11 18 below for more details on what is saved with a Master Table If you have a particular Master configuration that you would like to safeguard against the auto saving feature set Master Lock to On With the Master Lock on the PC3A does not save any changes unless you press the Save soft button Note that if you would like Master Lock to stay on next time you turn on the PC3A you must press the Save soft button to store the state of Master Lock to the Master Table Demo Button The Demo Button parameter determines what pressing the Play Pause button does in program mode With the Demo button parameter set to On the Play Pause button plays a demo song for the current program To play a demo song the Demo Song parameter must be set in the program editor for the current program see page 6 37 for details With the Demo button parameter set to Off the Play Pause button plays the last song that was selected in Song Mode If a demo song is set for the current program it can always be played from program mode by simultaneously pressing the up and down cursor buttons Buttons Mode Buttons If you set the Buttons parameter to
253. ameter Common 6 36 Leslie effect 9 22 LFO Dpth 9 18 LFO Filter 9 21 LFO LRPhs 9 18 LFO page Program Editor 6 38 LFO parameters 6 39 LFO Phase 9 24 LFO PlsWid 9 21 9 24 LFO Rate 9 18 9 24 LFO Shape 9 21 9 24 LFO Smooth 9 21 LFOs 6 38 6 40 Line cord 2 2 Lo Beam W 9 22 Lo Fast 9 23 Lo Gain 9 22 Lo Mode 9 23 Lo Res Dly 9 22 Lo Size 9 22 Lo Slow 9 23 Lo Trem 9 22 LoAccelCrv 9 23 Loading files 5 6 Loading Individual Objects 13 10 Lock parameters 10 15 LoFst gt Slow 9 23 LoMic A 9 22 LoMic B 9 22 Loop Switch Sample Editor 14 11 Loop Type parameter AmpEnv 6 44 Looping samples 6 16 Loops 15 15 LoResonate 9 22 LoResXcurs 9 23 LoSlow gt Fst 9 23 LoSpinDir 9 23 Low Key parameter Layer 6 18 Low Velocity parameter Layer 6 18 LP Freq 9 22 Lvl 9 22 Main Page Master Mode 11 1 MakeUp Gain 9 17 MakeUpGain 9 17 Master button 5 7 Master files 13 7 Master mode 4 3 Master Table 11 18 Master Transpose 11 2 Index iv Max Freq 9 20 9 21 Maximum delay parameter Layer 6 19 Maximum Rate parameter LFO 6 39 Memory objects 5 4 metronome 15 4 count off options 15 5 Mic Angle 9 23 Mid Freq 9 15 Mid Gain 9 15 Mid Width 9 15 MIDI About MIDI 15 1 All Notes Off 10 6 Basic channel 10 6 Channel enable 10 14 Pan 10 15 Parameter locks 10 15 Program change formats 10 15 Receive mode 10 6 Reset channels 10 18 Transmit parameters 10 1 Utilities 11 16 Volume 10 15 MIDI channel 10 2 MIDI channel parameters 10 14 MID
254. ammable Switches 1 8 Not controllable by MIDI CC Bank Buttons KB3 control buttons Setup Zone Mute buttons Not controllable by MIDI CC 10 13 MIDI Mode The RECEIVE Page The Channels Page Enable i ari Ale i Downes Lead PralLock PanLock Wolume 127 Wollock DI HIT JRECU CHANLSIPr Press the CHANLS soft button to select the CHANNELS page where you can define numerous parameters for each MIDI channel independently Use the Chan Layer buttons to select the MIDI channel you wish to work on 4Ch9 FatCha The CHANNELS page is very useful when you re doing multi timbral sequencing with programs assigned to numerous MIDI channels The CHANNELS page lets you set several control characteristics for each MIDI channel This makes it easy to adjust the playback of the sequence without editing the sequence itself For example you might turn off the Enable parameter for one or more channels to mute the tracks on those channels You could also set the VolLock parameter to On to ignore any MIDI volume messages the PC3A receives on a given MIDI channel Parameter Range of Values Default Enable Off On On Program Program list Program ID 1 Pan 0 to 127 64 centered Volume 0 to 127 127 maximum Program Lock Off On Off Pan Lock Off On Off Volume Lock Off On Off Enable Use this parameter to turn the currently selected channel on or off When on the channel
255. amp from closed to open reverse if Ducking is on after the signal rises above threshold adjustable from 0 0 to 228 0 ms Rel Time release time is the time for the gate to ramp from open to closed reverse if Ducking is on after the gate timer has elapsed adjustable from 0 to 3000 ms Super Gate Super Gate is a more sophisticated gate that includes these two functions Env Time is the amount of time it takes for the sidechain signal envelope to drop below the threshold If this time is too short the gate can close and open too quickly from amplitude modulation in the sidechain signal If it is too long the gate may stay closed until the envelope has a chance to fall and some signals would not get through This parameter is only in effect when Retrigger is Off Retrigger determines whether the gate timer will reset itself each time the sidechain signal goes above the threshold If it is On the timer resets itself and therefore the gate stays open as long as the signal is above the threshold or keeps going above the threshold within the interval specified by Gate Time If it is Off the gate closes down after Env Time has elapsed regardless off the sidechain level and the sidechain level must fall below the threshold and come back up again before the gate will open again Chorus Chorus is an effect which gives the illusion of multiple voices playing in unison The effect is achieved by detuning copies of the original s
256. and End points of the current sample The top line indicates the Zoom and Gain settings This Gain setting doesn t affect the amplitude of the sample just the view in the display The right side of the top line displays the root number of the sample If the sample is part of a group of sample roots you can use the Chan Layer buttons to scroll through each sample in the group zoom Gain Gaint more d The four parameters on this page are Start S Alternative Start A Loop L and End E Selecting these parameters and adjusting their values enables you to modify how the sample plays back when notes are triggered Each of these parameter points are expressed in individual samples For example a one second sample at a sample rate of 44 100Hz would have 44 100 values available to adjust for each of these parameters There is a vertical line in the center of the display indicating the placement of the current parameter in the sample waveform The sample waveform will move relative to the line when each parameter is selected or adjusted The line remains in the center of the display and the waveform shifts to indicate the new position of the point Each parameter can be adjusted with the buttons the Alpha Wheel or the alphanumeric button pad followed by the Enter button The Start S point determines the beginning of the current sample You can truncate the beginning of the sample by increasing the value of the Start S parame
257. and each corresponding line lists the values for the five DSP control parameters that are available for each section type The DSP control parameters are Adjust Key tracking Velocity tracking and Source Depth which are listed at the top of each corresponding column When AMPENV is set to User mode the Attack and Release sections on this page apply to the attack and release sections on the AMPENV page It s important to keep in mind that the values for the various parameters are cumulative meaning that if for example you set attack to be controlled by Keytrk and VelTrk the resulting change on Attack would be affected by the combination of the values produced by KeyTrk and VelTrk Also note that unlike previous Kurzweil models ENVCTL does affect the attack sections of natural envelopes Additionally the bottom line of this page lets you make use of the Impact feature which lets you boost or cut the amplitude of the first 20 milliseconds of a note s attack The parameters and values in the following parameters list see below apply to each of the three envelope sections attack decay and release We ll describe them only once since their functions are largely the same for each envelope section The only difference is with velocity tracking which is only available as a parameter to control attack sections of the amplitude envelope however you can assign attack velocity as the value for the Source parameter in each of the sections Th
258. and with a compressor to keep it all under control Equalizers EQ The PC3A has both Graphic and Parametric EQ effects Parametric EQ sections are also found on a number of combination effects The Graphic equalizer is available as stereo linked parameters for left and right or dual mono independent controls for left and right It has 10 bandpass filters per channel each of whose gain is adjustable from 12 dB to 24 dB Like all graphic equalizers the filter response is not perfectly flat when all gains are set to the same level except at 0 dB but rather has ripple from band to band To minimize this ripple it is best to center the overall settings around 0 dB The Parametric equalizer 5 Band EQ has two bands of shelving filters and three bands of true parametric EQ Treb Freq and Bass Freq set the center frequencies for the shelving filters Both of these are adjustable over the full range of 16 to 25088 Hz in increments of a semitone Treb Gain and Bass Gain control the amount of cut or boost above Treb or below Bass the center frequency The range is 79 to 24 dB Midn Gain sets the cut or boost for the parametric band n with a range of 79 to 24 dB Midn Freq sets the center frequency for parametric band n with a range of 16 to 25088 Hz in increments of a semitone Midn Width set the bandwidth of the filter on band n with a range of 0 01 to 5 octaves 9 15 Effects and Effect Mode Effects O
259. ank are listed in the center of the display Many of their names will be abbreviated The currently selected entry s full name is shown near the bottom of the display The amount of transposition is displayed to the left of the entry name If the current entry is a program you ll see the current keyboard MIDI channel displayed to the right of the entry s name If it s a setup you ll see the word Setup The entries on the Quick Access page are arranged to correspond to the layout of the numeric buttons on the alphanumeric pad When you re ready to create your own Quick Access banks turn to Chapter8 to learn about the Quick Access Editor The Other Modes Software There are five other mode buttons on the front panel See Chapters 3 and 4 for more detailed descriptions of the modes Effects mode Enable disable effects presets and set Aux overrides MIDI mode Configure the PC3A for sending and receiving MIDI information Master mode Define performance and control settings Song mode Record and edit sequences songs play Type 0 and Type 1 MIDI sequences Storage mode Di and save programs setups sequences and other objects via USB evice Upgrades It s easy to upgrade the PC3A s operating system and objects programs setup etc using the bootloader to install upgrades into flash ROM When upgrades are available you can download them from www kurzweil com and install them via one of the PC3A s two USB ports When you ve
260. ansposition to zero The Xpose buttons transpose the PC3A as well as any MIDI devices connected to the PC3A s MIDI Out port Changing the transposition with the soft buttons also changes the Transpose setting on the MIDIMode Transmit page in MIDI mode The QA Editor Use the QA Editor to customize existing QA banks Enter the QA editor from QA mode by pressing the Edit button 1 Standard he a 3 Rubens teinshCome Tupe Program Horowitz Grand Chan 1 o NYC Jazz Gai Hame Save Delete Tube The top line gives you the usual mode reminder the current QA bank and the current entry corresponding numeric button for the highlighted object The cursor highlights the object program or setup that s stored in the current entry Selecting A Quick Access Entry To Edit Pressing the Chan Layer buttons scrolls through the ten entries the number of the current entry is displayed in the top right corner As the entry number changes the highlighted objects at the center of the page change as well showing you what s stored in each entry On the page above for example entry 0 is the current entry Selecting A Program For A Quick Access Entry Above the Type field tells you that the object stored at entry 0 is a program The cursor highlights the program s ID and name Use the Alpha Wheel or buttons to scroll through the list of programs 8 2 Quick Access Mode The QA Editor Selecting A Setup For A Quick Acces
261. any other options available as well About MIDI In Song mode the PC3A functions as a MIDI sequencer MIDI Musical Instrument Digital Interface is a standardized system that allows different electronic instruments to work together among other musical uses A MIDI sequencer doesn t record the sound of your performance just messages that cause the instrument to play notes When you play back a song a k a a MIDI sequence in Song mode the PC3A triggers each of the notes that you have recorded sort of like a player piano MIDI is very useful for recording songs with electronic instruments such as the PC3A because you can easily make changes to recorded sequences For example you can change individual notes transpose parts or change the instrumentation of tracks that have already been recorded Since MIDI sequences only play back messages that trigger notes if you start recording or playing back from the middle of your song you will not hear the result of notes before that point such as notes sustaining from the previous bar In these cases make sure to start playback or recording before the notes that you want to hear About The Time Position Format In this guide you will be instructed to select specific time positions in a song In the PC3A s sequencer time positions are measured from the beginning of the song in Bars Beats and Ticks Dependent on the time signature these units of measurements can have different values In these
262. ap List 1 Linear System Exclusive ID 0 to 127 0 Bank Select Ctl 0 Ctl 32 Ctl 0 32 Ctl 0 32 Local Keyboard Channel None 1 to 16 None 10 5 MIDI Mode The RECEIVE Page Basic Channel The basic channel determines which channel will always be available to receive MIDI information Depending on the MIDI receive mode below the Basic channel may be the only receiving channel or one of several MIDI Receive Mode MIDI Mode The MIDI Mode parameter determines the MIDI receiving capabilities of the PC3A When set to Omni the PC3A responds to incoming MIDI events on all MIDI channels and plays them on the current channel This is normally used for diagnostic purposes only Ata setting of Poly the PC3A responds only to events that are sent on the same channel as the PC3A s current MIDI channel the one displayed on the top line of the Program mode page In Poly mode the currently selected channel is always the basic channel so if you change channels the basic channel changes accordingly With a value of Multi the default the PC3A responds to events on all active channels This is the mode you ll use when you re driving the PC3A with a sequencer since you can play a different program on each channel At this setting you can turn individual channels on and off on the CHANNELS page described later in this chapter All Notes Off If this parameter s value is set to Normal the PC3A responds to All Notes Off messages r
263. ard 88 note keyboard The display will change to say Strike High Key Now trigger F 1 MIDI note number 29 The display will return to the Keymap editor page The Key Range parameter will show A 0 F 1 and the Sample parameter will show the sample you selected when you started the range assignment Each sample in a key range is automatically transposed based on each sample s RootKey parameter so that it plays at the correct pitch on the keyboard relative to its root key see Editing Samples on page 14 9 for details on the RootKey parameter Other keys within the key range transpose the sample chromatically relative to the root key Automatic transposition based on each sample s RootKey is important if you want your sample to play in tune with other PC3A programs or other instruments The PC3A makes this easy if your samples have the correct RootKey settings as the PC3A s factory samples do Generally you should set a keyrange so that the sample s RootKey displayed at the end of the sample name is in the middle of the range If you set a key range that does not cover the sample s RootKey the sample will have to automatically transpose by many semitones and will likely not sound correct Samples are also limited to an octave of upward transposition from the sample s original pitch If you set a keyrange too high based on the Root Key some samples may not be able to transpose upward far enough to play in tune and many keys may p
264. ave back up and copy files between the PC3A and the outside world Storage Mode can load and save with a USB device such as a thumb drive or with a computer by using the USB Computer port Storage Mode features include e Save a group of PC3A objects Programs Setups Songs etc or a single PC3A object to a PC3A file see The STORE Page on page 13 6 e Load a group of objects or a single object from a P3A or compatible file see The LOAD Page on page 13 9 for details See Appendix E for file compatibility details e Load a standard MIDI sequence file MID file which can be played in Song Mode or used as a riff in Setup Mode see The LOAD Page on page 13 9 for details e Export a song from Song mode as a standard MIDI sequence file see Export on page 13 15 e Exporta list of controller assignments or a list of objects see Export on page 13 15 e Organize files and folders on a USB device see The Utilities UTILS Page on page 13 14 Storage Mode Page USE device ready USE PC connection not connected more STORE LORDO UTILS USED Use this page to select the storage device you wish to use The currently selected device will be read from or written to when you load save rename or delete files in Storage mode You can load and save with a USB device such as a thumb drive by using the USB Storage port or with a computer by using the USB Computer port on the rear of the PC3A see Using USB Devices below for detai
265. ave up to 16 effect boxes in a Chain The settings for all of the parameters of each effect box are also stored within the Chain There are 15 Mod Controls that allow for real time control over any parameter from any effect box in the Chain Per Chain Control sources are also provided to be used as inputs to the effect Mods two FXLFOs two FXASRs and four FXFUNSs These work similarly to the LFOs ASRs and FUNs in Program mode but are only available for use with the effect Mods The MAIN Page In the Chain Editor pressing the MAIN soft button calls up the MAIN page The MAIN page is where you configure the length of a Chain and select the individual effects that make up the Chain The Chain editor MAIN page of the Chain 269 PnoEnhancRvb3 appears as shown below Erik ices ele a Effect 369 3 Band Enhancer TS MAIN Insert ES ie LE At the top right of the display is the number of DSP units used by the currently selected effect box and by the Chain as a whole 2 5 Units indicates that the current effect box is using two DSP units and the Chain is using a total of five DSP units for all of its effects boxes There are a total of 16 units available for all of the Chains that are currently loaded by programs and any active Aux overrides from Setup Song Effects mode NOTE In some configurations not all 16 units are available for use with multi unit effects because of the way the DSP is allocated internally Like all other representation
266. aw Pulse and Tri LFO PlsWid or Pulse Width When the LFO Shape is set to Pulse this sets the pulse width as a percentage of the waveform period When the width is set to 50 the result is a square wave This parameter has no effect if other waveform types are chosen Range is 0 to 100 AutoPan Origin determines the axis for the panning motion At 0 the panning is centered between the speakers Positive values shift the axis to the right while negative values shift it to the left At 100 or 100 the range limits there is no panning action ImageWidth is the width of the original input program material before it is auto panned At 0 minimum the input image is shrunk to a single point source allowing maximum panning excursion At 100 maximum the original width is maintained so no panning can occur Pan Width controls the amount of pan excursion It is the percentage of total panning motion available after Origin and ImageWidth are set Range is 0 to 100 CentrAtten Attenuation is the amount the signal level drops as it is panned through the center of the stereo image For the smoothest tracking a widely accepted subjective reference is 3dB Values above 3dB will cause somewhat of a bump in level as an image passes through the center while values below 3dB will cause a dip Range is 12 to 0 dB Tremolo Depth controls the amount of attenuation applied when the LFO is at its deepest excursion point Range is 0 to
267. ay ime Org Lev l iii 6 64 KB3 Editor The KEYCLK Page lele 6 65 OA rose i aie ia S a ER RER 6 65 VOUE eee RE RO IA e 6 65 Dl nn 6 65 lb rana eni 6 65 RARA RR TITTI 6 66 Random RR RR PROTO RR ST TO E eee need 6 66 ReTrigThresh 00 6 66 arcade vce RT O CRE TT ET TTT 6 66 Mote Release ln 6 66 KB3 Editor The MISC Page eo naaa iii 6 67 PreampResp i 6 67 Leak apen aren e E O ee TI TT 6 67 L eakMode RR RR TIR N TTT 6 68 ll 6 68 VibChorCtl iii i A i Eine 6 68 Vl ell 6 68 LE IR I EI ET 6 68 BendRngUp BendRngDn r 6 68 aliene ale iani 6 68 Alia 6 68 LesliePedal i 6 68 KB3 Editor Th EQ Page lena 6 69 IBS Editor TheQUTPUT Page suree a E N 6 70 bollati 6 70 KB3 Editor The Program FX PROGEX Page 6 70 KB3 Editor The LFO ASR and FUN Pages 6 70 KB3 Programming Ipsilon 6 71 Chapter 7 Setup Mode Zone status LEDs in Setup Mode n 7 2 Solone aZ one a ROTTO TO SI NOTO 7 3 The Setup Editor Licei 7 3 The Channel Program CH PROG Page 7 4 DI A act wap ht E E E E E TTT E i Cln 7 5 Channel liano anemones 7 5 Mib ln 7 5 MIDIFO RRnNI PRE 7 6 Status 7 6 vi Jnput Channel MIDI Bank Mode BankMode Entry Program Change EntryProgChg Arpeggiator n The Key Velocity KEY VEL Page Low Key LoKey High Key HiKey Transpose DENG nei Velocity Scale VelScale Velocity Offset Velocity Curve VelCurve ie Low Velocity LoVel HighVelocity HiVel The Pan Volume PAN VOL Page Entry
268. ay to activate the alternative start of asample When set to Normal the alternative start will be used when the Alt Switch control is On this is set on the KEYMAP page or when the control source assigned to it is above its midpoint When set to Reverse the alternative start will be used when the Alt Switch control is Off or when the control source assigned to it is below its midpoint Ignore Release IgnRelease When set to a value of Off the sample will release normally when the note trigger is released When set to On the note will not release even when the note trigger is released This setting should be used only with samples that normally decay to silence nondecaying samples will play forever at this setting This parameter is equivalent to the IgnRelease parameter on the LAYER page but affects only the currently selected sample SampleRate and NumSamples These parameters cannot be edited but show the sample s sample rate and the sample s length in samples Samples that are longer than 1 million samples are displayed a 1Ms The Soft Buttons on the MISC Page Rename Call up the page that enables you to change the name of the current sample Save Start the process of saving the current sample Delete Delete the current sample from memory Factory ROM samples cannot be deleted 14 11 Keymap and Sample Editing The Keymap Editor The TRIM Page The TRIM page lets you set the Start Alternative Start Loop
269. be modified and edited Also Triple Mode programs created with the K26 series cannot be loaded to the PC3A however PC3A programs can use Cascade Mode Cascade Mode allows a program signal to be routed through up to 32 layers of DSP algorithms see Alt Input for Algorithms Cascade Mode on page 6 27 for details Setup Objects All K series Setup objects can be loaded but FX are not converted and the Program effects are used by default Also any controller settings for a fourth switch pedal will not be converted because the PC3A only has three switch pedals All PC3 Setup objects can be loaded E 1 Index Numerics 50 Weight 9 24 A A Dry gt B parameter 9 12 A gt B cfg parameter 9 12 About 11 18 Adding layers 6 52 additional sounds 1 5 Adjust parameter EnvCtl 6 46 Adjusting sample volumes 14 4 AIF Automatic Preview in a Program 11 19 Loading Tutorial 13 16 Algorithms D 21 Editing 6 28 Aliaser effect 9 19 All Controllers Off 10 6 All Notes Off 10 6 Alpha Wheel 3 9 Alphabetic entry 3 9 5 3 Alphanumeric pad 3 9 Alt Input for Algorithms 6 27 Alternative Attack parameter Keymap Parameters 6 16 Alternative Start Sample Editor 14 12 AMPENV page Program Editor 6 42 Amplitude envelope Decay segment 6 43 Natural 6 42 User 6 42 Amplitude envelope parameters 6 43 6 44 Amplitude envelopes 6 42 Analog output settings In Setup Mode 7 6 In Song Mode 12 12 Arp Active 7 43 Arp button 3 5 Arpeggiator Active 7 43 Beat
270. behavior Physical controller destinations 128 and above are only transmitted internally to program parameters Destinations above 127 can not be assigned as a program parameter control source Some destinations above 127 will still affect Program Mode even though they can not be assigned as a program parameter control source For example destination 133 Tempo always controls the system tempo In the control setup setting a slider to destination 133 Tempo would make that slider always control system tempo while in Program mode This might be useful to change the tempo when using the arpeggiator in Program mode though the slider wouldn t be able to control anything else in Program mode See The Controller Destination List on page 7 21 for details oneach controller destination About Program Parameter Sources In program mode when you want to control a parameter with a physical controller you set the parameters source field to the destination that the physical controller is sending to For example by default the destination for the Mod Wheel is CC 1 If you select a source field in the Program Editor then press 1 followed by the Enter button that parameter will be controlled by the Mod Wheel In this case the parameter could also be controlled by CC 1 being sent from an external MIDI device You can assign a destination to a source field by selecting the source field holding the Enter button then moving the physical controller that you wan
271. being used This is the currently selected channel in Program mode or the specified Aux Effect channel in Setup and Song mode The Aux 1 Override and Aux 2 Override Pages NOTE In Setup mode and Song mode these pages correspond in appearance and function to the AUX1 and AUX2 pages though they work on a per setup song basis Pressing the AUXEX1 soft button or the AUXFX2 soft button calls up respectively the Aux 1 Override page or the Aux 2 Override page Use these pages to change Aux effect settings without entering the Program Editor Each Program in the PC3A can be saved with two Aux effects chains In Program Mode the program on the current MIDI channel determines the Aux effect chains used for programs on all channels In Setup and Song mode Aux chains are determined by the program on the specified Aux Effects channel To change Aux effect settings without entering the Program Editor enter Effects Mode and go to the Aux 1 or Aux 2 Override page Go to the AUX1 and AUX2 pages in Song mode or the Setup Editor You can select a different Aux effect chain set Aux send levels for programs on each channel and set other basic Aux effect parameters In Program Mode these parameters remain at their override values until the PC3A is restarted or until you reset them in Effect mode to the default values listed in the table below In Setup and Song mode these settings are saved with each Setup or Song 9 5 Effects and Effect Mode
272. bend the pitch up 131 PitchDwn Pitch values above 0 bend the pitch down 132 Pressure Pressure 133 Tempo Tempo 134 KeyNum Triggers playback of notes by Key Number e g C4 is 60 135 KeyVel Key Velocity 136 Proginc Program Increment increments current program number 137 ProgDec Program Decrement decrements current program number Table 7 4 Controller Destination List 7 23 Setup Mode Controllers Corresponding Contelley Destination Description Number Name 138 ProgGoto Go to Program selects program 139 Setuplnc Setup Increment increments current setup number 140 SetupDec Setup Decrement increments current setup number 141 SetpGoto Go to Setup selects setup 142 Start Sequencer function 143 Stop Sequencer function 144 Continue Sequencer function 145 TransUp Transpose Up ST 146 TransDown Transpose Down ST 147 ArpOn Any value turns Arpeggiator On See The ARPEGGIATOR Page on page 7 42 148 ArpOff Any Value turns Arpeggiator Off See The ARPEGGIATOR Page on page 7 42 149 MuteZn Mute Zone values above 64 will mute the zone values below or equal to 64 will unmute the zone 150 ArpOrder Arpeggiator Order each range of values selects one of nine options in order on parameters list 0 14 15 28 29 42 43 56 57 70 71 84 85 98 99 112 113 127 See The ARPEGGIATOR Page on page 7 42 151 ArpBeats Arpeggiator Beats each ran
273. bers to control parameters Controllable parameters each have a source field Make assignments to the source field for the desired parameter Source fields are named differently depending on their page Src1 Src2 RateCt Trigger Input a Input b and Source To assign a PC3A physical controller select the source field for the parameter hold the Enter button and move the controller To assign a CC number to a source field enter the number with the alphanumeric pad then press Enter ACC number for an external controller can also be set by selecting the source field for the parameter holding the Enter button and sending a CC value from the external MIDI controller When assigning a CC number to a source field the number may be displayed in the source field as the name of that CC s default use 6 13 Program Mode Editing VAST Programs The KEYMAP Page Press the KEYMAP soft button to call up the KEYMAP page The parameters on this page affect sample root selection i e which samples are played on which keys tereg AST TimbreShift 1 BST 160ct kei PlasBackMode Normal ct Control OFF PITCH JAMP MONE Parameter Range of Values Default Keymap Keymap List 1 Piano f Left Transpose 128 to 127 semitones 0 Key Tracking 2400 cents per key 100 Velocity Tracking 7200 cents 0 Alt Method Switched Continuous Switched Stereo Off On Off Timbre Shift 60 semitones 0 Playback Mode Norm Rvr
274. bers will transmit but notes will not Note Map Note Map lets you change the way notes are sent from the PC3A The default setting is Linear all notes go out as played Pressing the Minus button takes you to Off no notes are sent but controllers and other non note data are Setting Note Map to Inverse effectively turns the keyboard upside down with the highest key being A 0 and the lowest C 9 If you set Note Map to Constant all of the keys on the keyboard will play the same note The note defaults to C4 but you can change this with the Transpose parameter This works well when you want the sound from a particular key to play with every note of another zone for example playing a ride cymbal with every note in a bass line Next are the alternating note maps which let you divide the keyboard in some unique ways If you are using two or more MIDI devices including the PC3A you can expand polyphony by assigning each zone to a different alternating note map For example if you have two PC3As you can assign two zones to each play the same program ona different PC3A thereby doubling polyphony To split a zone into one of two alternating note maps set Note Map to 1 of 2 now the zone plays on every second key starting on C but won t play on any other keys Set another zone to 2 of 2 and this zone will play on every second key starting on C thus covering the remaining keys Three and four zone alternating notemaps work the same way
275. between 0 and 127 The K2000 K2500 and K2600 support only 10 banks with 99 programs per bank so Program Changes 100 or higher are sent as Bank Select 1 followed by the last two digits as a Program Change For example if Program 124 is assigned to the zone this will be sent out the MIDI Out port as Bank Select Controller 32 1 and then Program Change 24 7 7 Setup Mode The Channel Program CH PROG Page Entry Program Change EntryProgChg This parameter enables or disables bank and program change commands sent to internal programs or to the MIDI Out jack when you select setups If it s set to On the program numbers for the programs in the 16 zones will be sent via MIDI when a setup is selected By setting this parameter to Off you can select a setup on the PC3A without changing the internal programs or those on MIDI devices receiving from the PC3A This is useful if you want to send only controller data to the PC3A or to MIDI devices without changing program assignments Arpeggiator The Arpeggiator parameter determines if the current Zone can be played by an arpeggiator Normally the Arpeggiator parameter should be set to On and the arpeggiator for each Zone should be turned on or off with the Active parameter on the ARPEGGIATOR page for each Zone see The ARPEGGIATOR Page on page 7 42 for details If the Arpeggiator parameter is set to Off the zone will not be arpeggiated even if the Active parameter on the ARPEGGIATOR
276. button See Export on page 13 15 for details on exporting Chain info 9 11 Effects and Effect Mode Effects Overview Effects Parameters This section contains descriptions of the PC3A s many effects parameters and instructions on how to use them Read through this section to get a good general understanding of the parameters The descriptions here do not include all of the parameters associated with every effect and some effects may not have some of the parameters described here for their category A more complete reference with every effect and the meaning and range of every parameter arranged in the order they appear on the screen can be found in the KSP8 Algorithm Reference Guide on the Kurzweil website www kurzweil com General Parameters There are a number of parameters that are common to all or almost all effects and we ll deal with those first Wet Dry balances the levels of the processed and unprocessed signals output from the effect Wet represents the processed signal while dry represents the unprocessed signal The range is 0 wet the signal is unprocessed through 100 wet no dry signal is present Values between 0 and 100 blend the two signals for example at 20 the output signal is 20 wet processed and 80 dry unprocessed A setting of 50 wet means the dry and processed signals are roughly equal in level In some effects separate Wet Dry parameters are provided for the Left and Right input
277. c Place 2U Ambience 2 Natural Room alg 5 Classic Verb 2U 3 PrettySmallPlace alg 4 Classic Place 2U 4 NiceLittleBooth alg 1 MiniVerb 1U 5 Sun Room alg 5 Classic Verb 2U 6 Soundboard alg 7 TQ Verb 3U 7 Add More Air alg 10 OmniPlace 3U 8 Standard Booth alg 8 Diffuse Place 3U 9 A Distance Away alg 6 TQ Place 3U 10 Live Place alg 8 Diffuse Place 3U 11 Viewing Booth alg 1 MiniVerb 1U 12 Small Closet alg 10 OmniPlace 3U 13 Add Ambience alg 1 MiniVerb 1U 14 With A Mic alg 4 Classic Place 2U Room 15 BrightSmallRoom alg 1 MiniVerb 1U 16 Bassy Room alg 1 MiniVerb 1U 17 Percussive Room alg 1 MiniVerb 1U 18 SmallStudioRoom alg 4 Classic Place 2U 19 ClassRoom alg 5 Classic Verb 2U 20 Utility Room alg 5 Classic Verb 2U 21 Thick Room alg 5 Classic Verb 2U 22 The Real Room alg 5 Classic Verb 2U 23 Small Drum Room alg 1 MiniVerb 1U D 29 PC3A Objects V 2 3 Effect Presets with Algorithms 24 Real Big Room alg 5 Classic Verb 2U 25 The Comfy Club alg 9 Diffuse Verb SU 26 Spitty Drum Room alg 7 TQ Verb 3U 27 Stall One alg 7 TQ Verb 3U 28 Green Room alg 7 TQ Verb 3U 29 Tabla Room alg 12 Panaural Room 3U 30 Large Room alg 7 TQ Verb 3U 31 Platey Room alg 14 Grand Plate 3U 32 Bathroom alg 5 Classic Verb 2U 33 Drum Room alg 12 Panaural Room 3U 34 Small Dark Room alg 12 Panaural Room 3U 35 Real Room alg 5 Cla
278. cannot be stolen The additional voice used by KB3 programs is for keyclick Organ Map The organ map controls the relative amplitude of each key per drawbar Like the wheel volume maps these maps are based on measurements we ve made on actual organs Equal uses the same volume for each key and drawbar and is not based on a real B3 Peck s is a good normal map from a B3 in good condition Eric s is a bit more idealized it s smoothed out but less realistic Bob s is more uneven based on an old B3 Wheel Volume Map The wheel volume map determines the volume level for each tone wheel We ve provided several tone wheel volume maps here based on measurements we ve taken on different organs Equal is a map with all tone wheels at the same volume It s not based on a real B3 Bright is a good normal map based on a B3 in good condition Junky is based on a B3 with an uneven rolled off response Mellow is somewhere between Bright and Junky You can also apply EQ to control wheel volumes based on the frequencies of each tone wheel See KB3 Editor The EQ Page on page 6 69 Globals This is another toggle which affects LFO2 ASR2 FUNs 2 and 4 When off these three control sources are local they affect each individual note in the layers that use them as a control source They begin operating each time a note in that layer is triggered When the Globals parameter is set to On these control sources become global that is the
279. ccess Mode Chapter 9 Effects and Effect Mode viii Effect Mode and the Effects Pages Effects Overview Signal LOW eree i DSP Units Manage and Distribute Processor Power for Effects Aux Override The EffectsEnable Page The Aux 1 Override and Aux 2 Override Pages The Master Effects Page The Chain Editor The MAIN Page The MOD Pages Compressors Expanders and Gates Chorus 7 64 7 64 7 65 7 65 7 65 7 65 7 66 7 66 7 66 7 67 7 68 7 68 7 68 7 68 7 68 7 68 7 68 7 68 7 69 Quantize IO RITO 9 40 Eee MR I TTT RT O TTT 9 19 lecce 9 20 bei n 9 21 Rotating Speakers 9 22 MP ele 9 23 Tremolo andAutoPatti c ca 9 24 EL RR A ER E 9 25 Ring Modulationi 9 25 esa I RACE N TT aT ERE ere een CET 9 25 Chapter 10 MIDI Mode The TRANGMIT Pape onee 10 1 Control Setip cucciola 10 2 EL RR AE RIA TTT 10 2 LEO RR ORTO O E I RT TTT 10 2 Tans POSE e ce ATE EE E E A E E E 10 2 Velocity Map Transmit e esner RR ate 10 3 Pressure Map Transmit clean 10 4 Program Change ProgChang 000 10 5 Change Setups Chghetitp5 lillo 10 5 The EC ARR I Pee nT ere ery 10 5 BasiCChaffitl slo ao 10 6 MIDI Receive Mode MIDI Mode 10 6 ERE ARR A RT N TO 10 6 Program Change Mode PrgChgMode 10 6 Velocity Map Receive 10 7 Pressure Map Receive 10 8 System Exclusive ID Sy STD ie lai 10 9 IE ail 10 9 Local Keyboard Channel LocalKbdCh
280. ced Kit 08 151 70sWahLeslieEP 90 Phase Shimmer 121 NaturalPerc 152 3DogPianet 91 Le Pesque 122 Rhythm4Reel 153 ClassicDXRhds 92 Wispy One 123 New Marimba 154 Rich EP Pad 93 Bladerunner ARP 124 2 HandSteelDrums 155 90 s FM Shimmer 94 Fairlight Pad 125 Real Vibes 156 Bright HardstrEP 95 Tronesque 126 SteamPunkMallets 157 Crisp and Soft 96 SoLush Pad 127 Magic Celeste 158 Soft Warm Ballad 97 Boutique Six Str 128 Drums n Bells 159 TXStack1 98 Boutique 12 Str 129 PianoStack 160 Tight Bright FM 99 Emo Verser 130 Dark Grand 161 PolyTechnobreath 100 Voxxed Elec 12 131 GrandPiano 440 162 PianoSynth Stack 101 RealNylon 132 Piano Recital 163 ElecGrand Stack 102 DualStrat 133 Ole Upright 1 164 BigSyn HornStack 103 BurningTubes MW 134 WestCoastPno amp Pad 165 70s Arena Synth PC3A Objects V 2 3 Programs ID Program ID Program ID Program 166 80s Arena Synth 197 Owen s Strings 228 Comp d Phaser 167 90s Funk Stack 198 Studio C Strings 229 TremBucker 168 Nexx Prog Stack 199 Tender Strings 230 Cascade Sitar 169 Crisp Clav 200 Toxic Strings 231 Heavy Buckers 170 Stevie Fuzz 201 Mixed Choir 232 Nasty 70s Guitar 171 HeartbreakerWAH 202 Concert Choir 233 Finger Bass 172
281. change 6 67 Program Mode KB3 Editor The MISC Page LeakMode Selects between different leakage models determining which leakage harmonics are emphasized TypeA provides an overall tone wheel leakage with all tone wheels leaking a small amount TypeX TypeY TypeZ and TypeR emulate different degrees of drawbar leakage where the leakage components correspond to the nine drawbars instead of all the tone wheels SpeedCtl Select either Fast or Slow to choose the speed of the rotary speaker emulation You can toggle between fast and slow speed using Bank button 1 labeled Rotary Fast Slow Bank button 1 also sends and responds to MIDI CC 68 a value of 64 127 Fast and 0 63 Slow VibChorCtl Choose On or Off to turn on or off either vibrato or chorus as selected with the VibChorSel parameter You can toggle between on and off using Bank button 2 labeled Vibrato On Off Bank button 2 also sends and responds to MIDI CC 95 a value of 64 127 On and 0 63 Off VibChorSel Choose the vibrato or chorus program there are three of each you wish to use with this KB3 program Note that you must set VibChorCtl also on the MISC page to On to hear the effect You can select the vibrato or chorus you want using Bank buttons 3 and 4 labeled Vibrato Chor Vib and Vibrato Depth Bank buttons 3 and 4 also send and respond to MIDI CC 93 values 54 71 chorus with depth 1 values 72 89 chorus with depth 2 values 90 127 ch
282. channels In some cases this parameters can have negative values which indicate that the Wet signal is polarity inverted When an effect with the Wet Dry parameter is used in Chain that has been selected as an Aux effect Wet Dry is automatically set to 100 wet and cannot be adjusted This is because when using an Aux effect the dry signal is already effectively at 100 on the main audio bus not routed through the Aux effect In this case turning up the Aux send level will blend the 100 wet signal from the Aux bus with the dry signal on the main audio bus Out Gain sets the gain at the output of an effect In Out enables or disables the effect You can think of it as a Wet Dry parameter with only two positions 100 In and 0 Out HF Damping high frequency damping is the cutoff 3 dB frequency of a 6dB octave lowpass filter that s inserted before the processor High frequencies above the set cutoff frequency will be filtered out In the case of processors where multiple iterations of the signal are heard such as ina delay each iteration of the signal will pass through the filter and will therefore be duller XCouple Cross Couple In stereo effects this controls how much of any signal being fed back is going to the channel opposite to the one where it first appeared At 100 all feedback from signals at the left input goes to the right channel and vice versa causing a spreading or in the case of delay lines a
283. circled sigma 2 shows where signals are mixed together Program Output Be I AUX 2 Chain When using effects the first decision to make is whether you want to use an Insert or Aux effect see the Insert Effects and Aux Effects sections above If you are using both types of effects for a program zone or track in Song Mode you can choose to have your signal sent to the Aux effects before or after being processed by the Insert effects See Send Levels and Pre Post Ins on page 9 7 for details When your signal is sent to the Aux Effects after being processed by the Program s Insert Effects this is called applying the Aux Effect post Insert When your signal is sent to the Aux Effects before being processed by the Programs Insert Effects this is called applying the Aux Effect pre Insert When an Aux Effect is applied post Insert the wet processed Aux signal has a series of effects applied to it i e cascaded effects This means that the signal that is blended back in from the result of the Aux Effect will also contain the result of the Insert Effect When an Aux Effect is applied pre Insert the wet Aux signal has no Insert effect applied to it and the final output has parallel effects i e distinct effects This means that the signal that is blended back in from the result of the Aux Effect will not contain the result of the Insert Effect Effects and Effect Mode Effects Overview The diagram below shows th
284. city LoVel HighVelocity HiVel 7 16 MIDI Bank 7 4 7 5 MIDI Bank Mode 7 7 MIDI channel 7 5 MIDI Controller Destination List 7 21 Muting zones 5 7 Note Maps 7 10 Off Value 7 31 Offset Add 7 29 On Value 7 31 Pan Volume PAN VOL Page 7 17 physical controllers 7 20 RIBBON Page 7 39 Save Soft Button 7 68 Scale 7 29 selecting 2 7 SLIDER and SLID 2 Pages 7 33 Status 7 6 Switch controllers 7 30 SWITCH Page 7 37 7 38 Switch Type SwType 7 31 Transpose 7 10 Transposing 7 1 Velocity Curve 7 14 Velocity Offset 7 12 Velocity Scale VelScale 7 11 Zone Arpeggiation 7 8 Setups Object List D 13 Shape parameter parameter LFO 6 39 Shift Song Mode TRACK Page 12 28 Shift Key Number Shift Key ShKeyNum ShiftKey 7 26 Shift Pattern ShiftPatt 7 47 Shifting notes in the Arpeggiator 7 46 Signal Delay 9 17 Signal Dly 9 16 Signal to noise ratio 2 5 Size Scale 9 13 Sliders 3 3 7 20 Smooth 9 17 Smooth Rate 9 20 SmoothTime 9 16 Smth Rate 9 21 Soft buttons 3 7 Keymap Editor 14 5 MIDI mode 10 18 in Program Editor 6 12 in Program Mode 6 2 Sample Editor 14 11 Setup Editor 7 68 Special functions 6 51 Software Upgrades 2 10 Soloing a zone 7 3 Song Export 13 15 Song button 5 7 Song Editor 12 19 TRACK Page 12 21 Song Mode 12 1 15 1 Demo Songs 15 15 Loops 15 15 Program Changes 15 16 Song Structure 15 16 The Event List 15 16 Song mode 4 3 Songs Recording 3 12 Sostenuto Pedal parameter Layer 6 20 sound ROM expansion option
285. ction The PC3A s four FUNs greatly extend the flexibility of the control sources Each FUN accepts input from any two control sources performs a selectable function on the two input signals and sends the result as its output which can be assigned like any other control source Using the FUNs involves defining them on the FUN page then assigning one or more of them as control sources The FUN page looks like this Function Hone Hone Hone Hone ES ee ee a ORE There are three parameters for each FUN Inputs a and b can be any control source from the Control Source list The control sources you want to combine are the ones you ll assign as the values for these parameters The Function parameter determines what mathematical function is applied to the two inputs When a FUN has been assigned as a control source the PC3A reads the values of the two control sources defined as Inputs a and b It then processes them according to the setting for the Function parameter and the resulting value is the FUN s output 6 41 Program Mode The Amplitude Envelope AMPENV Page The Amplitude Envelope AMPENV Page Amplitude envelopes have three sections attack decay and release The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event The decay section determines how quickly and how much a sustained sound fades before a Note Off is triggered The release secti
286. ction you want to select press one of the soft buttons labeled more and the labels will change This doesn t change the currently selected page it merely changes the selection of available soft buttons 6 12 Program Mode Editing VAST Programs Two of the soft buttons in the Program Editor are special cases They re the soft buttons that select the editing pages for the first and last DSP functions Pitch and Level respectively of the current program s algorithm One of these soft buttons is labeled PITCH and pressing it will take you to the DSPCTL DSP Control page with the Pitch parameter highlighted The other one of these soft buttons is labeled AMP and pressing it will take you to the DSPCTL page with the Level parameter highlighted Additionally pressing the DSPCTL soft button will take you to the DSPCTL page The MODE Buttons in the Program Editor When in the Program editor each of the MODE select button has a different function Beside each button is the name of its function in the Program editor When activated the button s LED will light up Mute 1 2 3 and 4 Each of the top four MODE select buttons serve to mute one of the current program s first four layers Pressing the Program button mutes layer 1 pressing the MIDI button mutes layer 2 pressing the Setup button mutes layer 3 and pressing the Master button mutes layer 4 Solo Pressing the Q Access button solos the current layer Mute Active
287. ctly In such a circumstance the Boot Loader will take over control and present its usual menu If the file system is completely corrupted it will not be possible to reconfigure without first formatting the internal flash memory Install Module This soft button brings up the Update Image page where you can install individual PC3A modules Most of the time you won t need this page but Kurzweil support may advise you to install individual modules if you re having problems with your PC3A Restore Older If you have updated the PC3A software but wish to return to the earlier version press the Restore Older soft button You will be brought to the Restore Older page and asked to choose the image to restore Note that only one version of the previous image is available to be restored If you ve restored once another restore will bring back the most recently updated version B 3 Appendix C Changing PC3A Voltage In most cases you will not need to change the voltage on your PC3A However since different countries use different standard voltage settings there may be times when you need to make the change The PC3A s fuse holder where the power cable plugs in is where you change the voltage The marks on the fuse holder are 115 and 230 115 should be used for voltages from 100 to 125 230 should be used for 200 to 240 Generally North America uses 115 and Europe and Asia Australia use 230 but there are exceptions to this genera
288. currently selected parameter Start S Alternative Start A Loop L or End E will be set to this point in the sample Setting these parameters to zero crossings can help minimize clicks at the start end or loop point of a sample It s best to have each of these points set first by adjusting each parameter and listening to the sample then if needed search for a nearby zero crossing 14 13 Tutorial Song Mode Chapter 15 Tutorial Song Mode In Song mode you can use the PC3A s sequencer to record songs using multiple instrument sounds You can easily change your song s tempo fix mistakes and adjust the volume of each instrument The following guide includes instructions to choose specific instrument sounds and track numbers simply as examples When you are ready to make your own song follow the same methods and choose any instrument and track selection that you want The steps below explain the simplest way to record ina linear track by track fashion There are many methods for recording songs and there are recording options that you may wish to change once you become familiar with the process See the Song mode chapter for more options Recording Overview In this guide you will be instructed to record into tracks in a song A track is like a layer in a song containing the recorded part for one instrument program You can record up to 16 tracks and each can be separately edited or adjusted in volume level with m
289. data entry methods Press OK if you want to delete it or press Cancel if you don t The PC3A won t let you delete ROM objects also known as factory objects Memory objects on the other hand are gone when you delete them If you ve replaced a ROM object by saving a memory object with the same ID the ROM object is invisible but still there Deleting the memory object stored at the same ID will restore the ROM object You ll often delete objects to gain memory space or to organize the memory banks before saving objects to storage To delete multiple objects use the Delete Objects utility available in Master mode It s described on page 11 14 Dependent Objects A dependent object is an object that s linked in memory with at least one other object For example if you create a setup that uses a program that you also created that program is a dependent object of the setup When you start to delete an object that has dependent objects the Delete dialog gives you a choice Delete dependent objects If you press Yes the PC3A will delete the object and all its dependent objects when you execute the Delete function In our example if you were deleting the setup you created and you chose to delete dependent objects the dependent program would get deleted as well If you press No at the Delete dependent objects prompt the PC3A deletes only the object but keeps the dependent objects In our example the setup would get de
290. de main page use the alphanumeric pad to select program 999 Default Program Next press the Edit button to enter the Program Editor Press the KEYMAP soft button and the KEYMAP page will appear The Keymap parameter will be automatically selected Press 999 and Enter on the alphanumeric pad to assign the keymap 999 Silence This isn t absolutely necessary but it makes it easier to recognize the key ranges that have samples assigned to them when you start assigning samples You can actually choose any program or keymap you want to start with but by choosing these you are starting with a blank slate With the Keymap parameter still selected press the Edit button and you ll enter the Keymap Editor The Key Range parameter will be automatically selected and you see its values C 0 to G 10 the entire MIDI keyboard range The Sample parameter will have a value of 999 Silence C 4 Now you re ready to start assigning samples to key ranges within the keymap We ll assume that you ve loaded samples with roots at C 1 C 2 C 3 etc and that you plan to assign a root to each octave To begin press the Assign soft button The display will prompt you to select a sample Use the Alpha Wheel to scroll to one of your samples or type its ID on the alphanumeric pad and press Enter When you ve found the sample you want to use press the OK soft button The display will say Strike low key Trigger A 0 MIDI note number 21 the lowest A on a stand
291. dedicated to zone status and muting and are not assignable controllers If the setup contains a KB3 Program the Bank buttons can be used to control KB3 functions see Mutes on page 7 66 for details Second in Program mode the Program Select buttons function as program select buttons if none of them are assigned to a destination in the control setup see Control Setup on page 6 9 for details If at least one Programmable Switch is assigned in the control setup then the assigned Program Select buttons act as assigned but none of the buttons function as program select buttons 7 30 Setup Mode Controllers Switch Type Type The parameters for switch controllers are slightly different from those for continuous controllers The first parameter is Type The choices available are Momentary in which a switch s action lasts only as long as you are pushing it and Toggle in which the switch s action lasts until you press it again Momentary mode is used for functions like sustain or portamento while Toggle mode is used for functions such as arpeggiator on off The buttons show which mode they are in by the behavior of their lights if a button is in Momentary mode its light glows only as long as you are holding it while if it is in Toggle mode the light stays on until you press it again Bear in mind that button assignments are independent per zone and since there s just a single light per button the light shows the state of the
292. describe the individual functions along with the parameters specific to each which are normally found on the left side of the page The function Quantize has unique parameter in its Region Criteria boxes We ll describe those parameters along with the functions Once you ve chosen a function and set the parameters to your liking press Go This executes the editing function You can then play the sequence to hear the results of your edit If you don t like your edit simply exit the editor and press No when you are asked if you want to save If you do like your edit you can press Done and then Save or just exit the editor and save the changes Or you can go to another edit function Keep in mind though that if you choose to perform more than one edit without saving and you are not satisfied with one of the changes you make you will have to exit the editor without saving and then redo each of the changes you made That s why it s usually best to save after each successful edit Common Parameters for Edit Song Track Functions Locate This parameter is available for every function on the TRACK page It appears at the lower left hand corner of the page The Locate bar beat and tick will change in real time during playback and recording to reflect the song s current position It can be set to any bar beat and tick including negative values Playback begins at and Stop resets the song to the Locate bar beat and tick Region Cr
293. ditor and two keymaps must be selected see The KEYMAP Page on page 6 14 for details The numeral is the sample block ID If the sample object is an individual sample the sample block ID is the same as the sample s object ID If the sample object is a group of sample roots the object ID of the first root in the group determines the sample block ID The remaining roots in the block have the same ID and differ only in their note numbers Next comes the name of the sample which typically describes the sample s timbre The final part of the sample s name refers to the pitch at which it was originally sampled For many timbres multiple samples are made at various pitches As you scroll through the Sample list you ll see only the pitch of the sample change until you reach the next sample block The sample s original pitch is set in the Sample Editor see Root Key on page 14 10 This determines which key will play the sample at its original pitch when a sample is used ina key range see Key Range below Key Range Akeyrange is a range of keyboard keys that plays one sample per velocity range see Velocity Range VelRange below for details Each sample in a key range per velocity range is transposed based on each sample s RootKey parameter so that it plays at the correct pitch on the keyboard relative to its root key see Editing Samples on page 14 9 for details on the RootKey parameter Other keys within the key range transpose the samp
294. drum sounds The Program FX PROGFX Page Press the PROGFX soft button to call up the Program FX PROGFX page This is the page that you will use to apply effects to a program and to configure the routing of the various pre and post FX audio signals Effects chosen on this page affect every layer of the current program The section The Layer FX LYR_FX Page on page 6 49 contains information on using layer specific effects The PROGEX page looks like this Aux 2 Ausi Send off Aux Seng o Pre Post ins Post Tyre dB Pre Post inst Post TuPe de more PROGR TRF SS Mile tsetetl T mere 4 Parameter Range of Values Default Insert Chain List 0 None Aux 1 Aux 2 Chain List 0 None Output Main Sec Main Aux Send dB off 95 to 24 decibels 0 Auxiliary Send Aux Send 0 to 100 0 Parameters Aux Pre Post Insert Post Pre Post Type dB dB Aux Modulation Control Source List On On the PC3A a program can have up to 11 insert effects and 2 aux effects using up to 16 DSP units An insert is essentially just an effect that you apply to a program or layer while aux effects receive signal from all active programs aux sends Note the 0 0 Units in the middle of the top line of the page This figure indicates how many of the total units are being used by the highlighted insert the left hand number is the size of the insert and the right hand number is the total number of units being used by th
295. e Effects Overview Delays There are two types of taps in the Multitap delays The Loop tap which has a feedback loop back to its input and the numbered taps The numbered taps can be single iterations or they can repeat as part of a loop but they do not have individual feedback paths Fdbk Feedback Level controls the repeating function of the Loop Tap A setting of 0 means there will only be a single delay while a setting of 100 means the signal keeps repeating without ever stopping Both types of taps are individually adjustable from 0 to 2 55 seconds The Loop Crs and Tapn Crs n being the number of the tap parameters set the coarse value of the loop in 20 ms increments while the Loop Fine and Tapn Fine parameters set the fine value in 0 2 ms increments In Delay effects that use tempo to determine tap lengths there is a Tempo parameter which can be set from 1 to 255 BPM or to System The Loop Length and Tapn Delays are then expressed in beats relative to that overall Tempo Hold is a switch that when turned on locks any signal currently in the delay and plays it until Hold is turned off When Hold is on no signal can enter the delay and Feedback is set to 100 A good parameter to control with a footswitch Dry Bal Balance is the left right balance of the dry signal At 100 only the left dry signal goes to the left output while at 100 only the right dry signal passes to the right output and at
296. e Storage Mode Common Features The following example shows how each different loading methods affect how four programs load into a bank that already contains programs Example Starting with the following objects already stored in the PC3A internal RAM Program ID Program Name 129 Piano Stack 133 Ole Upright 1 134 WestCoastPno amp Pad 139 The Ancient 140 DancePnoEchplex Suppose you were to load a file containing the following objects into the Base2 129 256 bank Program ID Program Name 260 Brighter CP 261 TouchRezSynthCP 264 Inside Out CP 265 Pianet Classic The following table shows the IDs that each program end up with when you load the programs from the Classic Keys bank 255 384 into the Base2 bank Original Program IDs After Loading Program Program Name ID OvFill Overwrt Merge Append Fill 129 Piano Stack Deleted Deleted 129 129 129 133 Ole Upright 1 Deleted Deleted Deleted 133 133 134 WestCoastPno amp Pad Deleted Deleted Deleted 134 134 139 The Ancient Deleted Deleted 139 139 139 140 DancePnoEchplex Deleted Deleted 140 140 140 260 Brighter CP 129 260 133 135 130 261 TouchRezSynthCP 130 261 134 136 131 264 Inside Out CP 131 264 137 137 132 265 Pianet Classic 132 265 138 138 135 13 13 Storage Mode The Utilities UTILS Page The Utilities UTILS Page Pressing the UTILS soft button calls up the Utilities page Use
297. e 102 127 25 As with velocity Scale is a proportional change to the controller while Offset is a linear change The values for Offset range from 128 to 127 Curv This lets you taper the controller response The default setting is Linear which means that the response follows a straight line as you move the controller Setting Curv to Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64 and steeper than the linear curve at keystrike velocities above 64 In other words when you re playing softly you ll notice velocity differences less than with a linear curve while when you re playing hard you ll notice velocity differences more Setting Curv to Compress produces a velocity curve that is the opposite of the expanded curve that is you ll notice velocity differences more when you re playing softly than when you re playing hard You can also create reverse versions of the three described curves First select your desired curve Then set the Scale parameter to 100 and set the Add parameter to 127 This makes the selected controller send a value of 127 when all the way down and a value of 0 when all the way up To get an idea of how these curves affect controller response refer to the Velocity Curve charts which begin on page 7 11 7 29 Setup Mode Controllers A Entry Ent and Exit Values Entry value allows you to specify an initial value for a controll
298. e 9 13 Expansion 9 17 Export MIDI file Program Info Chain Info 13 15 Extended sample loop 14 11 External sequencer 12 2 External Tempo Source 7 65 F favorite programs Category buttons 3 4 FB2 FB1 gt FB 9 14 Fdbk Dly 9 14 Fdbk Image 9 15 Fdbk Level 9 14 9 18 FdbkComprs 9 16 Files Everything 13 7 Loading 5 6 Master 13 7 Saving 5 6 Fill Mode 13 11 Filter Type 9 20 Filters 9 20 Finding objects 3 12 Fine adjust 6 25 Flanger 9 19 Formatting a USB Device 13 2 13 15 Freeze Pedal parameter Layer 6 20 FreqScale 9 16 Front panel navigation 3 6 FUN page Program Editor 6 41 Function soft buttons 6 51 fuses C 1 FX bypass 5 7 FX Mode on Master Mode MAIN page 11 2 G Gate Time 9 17 Gated Ducking Delay 9 15 Gates 9 16 General MIDI 11 12 Drum Remap 6 33 11 2 Globals parameter Common Page 6 37 Globals parameter Common 6 60 Grab Song Mode TRACK Page 12 29 Graphic equalizer 9 15 Grounding 2 2 H Half Wts 9 25 Hard reset 11 18 Headroom 9 19 HF Damping parameter 9 12 Hi Beam W 9 22 Hi Fast 9 23 Hi Gain 9 22 Hi Res Delay 9 22 Hi Size 9 22 Hi Slow 9 23 Hi Trem 9 22 HiAccelCrv 9 23 HiFst gt Slow 9 23 High Key parameter Layer 6 18 High Velocity parameter Layer 6 18 Highpass 9 21 HiMic A 9 22 HiMic B 9 22 HiResonate 9 22 HiResXcurs 9 23 HiSlow gt Fst 9 23 HiSpinDir 9 23 Hold 9 14 Hold Through Attack parameter Layer 6 21 Hold Until Decay parameter Layer 6 21 ID Entry
299. e ALG page and choose one of the cascade mode algorithms algorithms 101 131 For this example lets use alg 105 with the filter 4Pole Mogue LP selected for the function block For the Alt Input parameter select Layer 2 This routes a pre Level parameter copy of Layer 2 s output into Layer 3 Go to layer 2 s DSPCTL page and turn its level down to 96dB otherwise the un filtered sound from layer 2 will be audible as well as the filtered sound in layer 3 Now you can hear the Sync Square from layers 1 and 2 running through the filter in layer 3 See Advanced Use Of KVA Oscillators below for examples of how to set and control modulation of filter parameters Advanced Use Of KVA Oscillators Read the KVA sections above before moving on to this section If you have tried the program described above in Basic Use of KVA Oscillators you may have noticed that there is no variation in the notes played aside from pitch Layers and programs created with KVA oscillators can become much more expressive by introducing variation with DSP modulation For a KVA oscillator layer you can use DSP modulation just as you would for keymap layers see Common DSP Control Parameters in Algorithm Basics on page 6 23 The DSP Control DSPCTL Page on page 6 29 and The DSP Modulation DSPMOD Page on page 6 30 Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator s intended function Aside from these meth
300. e PERC2 Page eca4Time Ordglewel Loud F ast Loud Sloy 4 Soft Fast FVAdB Parameter Group Available for each combination of Range of Vallias the Volume and Decay parameters on the PERC1 page 9 Percussion Level 0 to 24 0 dB Decay Time 0 01 to 5 10 seconds in 0 02 second increments 12 0 to 12 0 dB Organ Volume Level PercLevel DecayTime OrgLevel With these parameters you can control the amplitude and decay time of the percussion effect for all combinations of the Volume and Decay parameters on the PERC1 page You can also adjust the level of the organ relative to the percussion for accurate emulation of classic organs 6 64 Program Mode KB3 Editor The KEYCLK Page KB3 Editor The KEYCLK Page The Key Click feature adds a decaying burst of pitched noise to the attack of notes Unlike the percussion the key click is multi triggered which means that every new note will trigger it The parameters on this page primarily control the decay volume and pitch of the key click ssa Random RetridThresk FKesClick Oy Wolume n sa aL 23 0 Decay eS a ee HoteAttack Normal UelTrk 334 MoteRelesse Normal Pitch 49 more AHF JPEFCi ESA REA more d Parameter Range of Values Key Click Off On Volume 96 0 to 0 0 dB in 0 5 dB increments Decay 0 005 to 1 280 seconds in 0 005 second increments VelTrk 0 to 100 Pitch 1 to 120 Random 0 to 100
301. e Played mode in which the last note played in the zone will set the key For example you could set the zone being used for Shift Key Number to have a Key Range that covers only a few of the keyboard s lowest octaves This would allow you to play root note bass lines that change the key that Shift Key Number plays in leaving the upper octaves of the keyboard open for use by other zones If Shift Key is set to Last Note Played and no note is played the default key is C Each zone can have a different Shift Key so you can have zones preprogrammed with the keys you want to use or have them all in the same key or just change the key in real time while you are playing 7 27 Setup Mode Controllers A Note About Octave Range When using Shift Key Number shift patterns with more than 12 steps begin triggering notes in higher octaves This is done because longer shift patterns use up more of a controller s range and limit the number of octaves that a single controller can trigger Since the lowest octave of a program is often too low to be musically useful the PC3A will automatically start triggering notes from longer shift patterns in higher octaves This saves room in the controller s range of values for triggering more useful octaves See the table below for Shift Pattern step ranges and their corresponding starting octave Default Octave Shifting Total of Shift Pattern Steps Starting Octave 1 12 CO0 C1 13 24
302. e Program Editor takes you to the core of the PC3A s sound editing parameters Setup Mode Setup mode lets you select play and edit setups Setups consist of up to 16 separate zones split or overlapping each having its own program MIDI channel and control parameters Setups are great for performance situations whether you re playing multiple PC3A programs or controlling additional synths connected to the PC3A s MIDI Out port Chapter 7 describes Setup mode The Operating Modes Using the Modes If you re using a different MIDI controller you can make use of Setup mode even if your MIDI controller can transmit on only one MIDI channel at a time To do this go to the RECEIVE page in MIDI mode by pressing the RECV soft button while in MIDI mode and set the Local Keyboard Channel parameter to a value that matches the transmit channel of your MIDI controller When you select Setup mode the PC3A will interpret incoming MIDI information according to the settings for the currently selected setup See the discussion of the Local Keyboard Channel parameter in Chapter 10 for details Quick Access Mode Another feature for live performance Quick Access mode enables you to combine programs and setups into banks of ten entries Each of these programs or setups can be selected with a single alphanumeric button Different banks are selected with the Chan Layer buttons There s a selection of factory preset banks and you can use the Quic
303. e Region Criteria box will be placed in the destination track s at any bar beat and tick you specify If the currently selected track is All tracks then the destination track will be All tracks as well No matter what channel the current track source track in the source song is set to when you use the grab function the events will be played on the destination track s channel Location Bars Beats Ticks Specify a bar beat and tick location in the destination track where the grabbed data will be placed with the Location parameter If the length of the grabbed region extends from the Location point beyond the song s existing End point a new End point is defined Mode Merge Erase Slide The Mode setting determines whether the grabbed events merge with or erase existing events on the destination track from the location point to the end of the grabbed region With Mode set to Slide the sequencer creates space for the new events and slides the existing events to uniformly later times in the song Times 1 to 127 The value selected for the Times parameter determines how many copies of the selected region are placed one after another in the destination track 12 29 Song Mode and the Song Editor Song Editor Track Functions Change The Change function is used to modify attack velocities release velocities or the values of any existing controller data on the current track A static change of values can be made
304. e below for an explanation of this page Soft Button Functions On the Save Changes Page The PlyNew soft button allows you to play the song with your latest recorded performance You will likely want to hear this first Pressing PlyOld will play the current song minus the performance that you just recorded You can toggle between Play Old and Play New without restarting the song by pressing either button while the song is playing This is useful to check if your last performance was better or worse than what was previously saved if anything was previously saved The Locate field allows you choose a start time for the old or new playback This is useful when you just want to hear a certain part of the song without listening to the whole thing The Playing field displays whether to NEW or OLD data is playing Stop halts the playback of either the Old or the New version of the song you are currently auditioning This also resets the song s start location to either the default Bar 1 Beat 1 value or to whatever location you defined in the Locate field 15 5 Tutorial Song Mode Pressing Retry restarts recording from the same point you last started recording from Yes saves the song with the performance you just recorded Whatever was played back when you pressed PlayNew will be the version of the song saved when you press Yes The save as dialog will be displayed on Save Ney Sond as Mi EAs Fename Save Canc
305. e display to choose the track you wish to record to The track number is displayed in the RecTrk field see below Let s begin by recording to track 1 to which we have assigned a piano program n a HEFE STUFFED CurSn4s TemFPo 106 6 RecTr oli J57 Pan 64 Mode Merge Prod dard Grand Locat 1 il Track if i i sue Pee re 15 4 Tutorial Song Mode 2 Press the Record button located on the front panel This prepares the PC3A for recording on the current RecTrk The Record button lights and on the Song mode MAIN page the right of the top line will display REC READY which means that the sequencer will record when the Play Pause button is pressed see below enero Cursra Son IRCE MALANNI RecTrk Uol J57 Pam 6 4 Mode Merde Prod andard Grand Locat 1 il Track if cai cc Press the Play Pause button located on the front panel The metronome will play for 1 bar and then recording will begin see Chapter 12 Song Mode and the Song Editor for details on setting metronome count off options 4 Play your part for the current track when finished press the Stop button on the front panel to stop recording The Save Changes screen will be displayed where you can retry the last performance of recording save the song with the last recorded performance or compare your new performance with the last saved version of the song For this example we will name the song My Song under ID 1025 Se
306. e each instrument has a different SysExID Then you can direct SysEx messages to the appropriate PC3A with the SysExID byte that s included with every SysEx message A value of 127 specifies Omni Receive That is at this value a PC3A responds to a SysEx message regardless of the SysEx ID of the message Bank Select BankSelect allows you to choose between having the PC3A respond to Controller 0 or Controller 32 or both The reason for this is that various manufacturers have chosen one method or the other The three possible values for this parameter are Ctl 0 Responds to controller 0 only Ctl32 Responds to controller 32 only Ctl 0 32 Responds to 0 or 32 10 9 MIDI Mode The RECEIVE Page Local Keyboard Channel LocalKbdCh The Local Keyboard Channel enables an external MIDI device to function as if it is the PC3A s keyboard and physical controllers This allows one MIDI channel of an external MIDI device to control multiple MIDI channels of the PC3A even if the external MIDI device only transmits on one channel In Setup Mode when the LocalKbdCh parameter is set to match the channel on which the external MIDI device is transmitting the setup will play on the external MIDI device as it does on the PC3A s keyboard See the Continuous Controller Messages From External MIDI Devices on page 10 11 section below for details on receiving continuous controller messages from an external MIDI device when a Local Keyboard
307. e is already a riff or song playing to sync to the current arpeggiator will wait for the playing riff or song to restart its loop if it is looped before starting see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the arpeggiator to start ahead of time and have it start in sync at the start of the playing riff or song s loop provided that it is set to sync to a riff song or the first available With SyncType set to Stop if there is already something playing to sync to the current arpeggiator will wait for what is playing to stop before starting This way you can trigger the arpeggiator to start ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that you are syncing to With SyncType set to StartWait if there is nothing playing to sync to the current arpeggiator will wait for something it can sync to to begin playing first before starting This is similar to DownBeatWait but it will only trigger the arpeggiator the first time that whatever it is syncing to starts This way you can trigger the arpeggiator to start ahead of time and have it start in sync at the start of the riff arpeggiator or song that you are syncing to If you stop the arpeggiator and try to start it again while the thing you are syncing to is already playing StartWait will not start the arpeggiator With SyncType set to LoopWait if there is already a riff or so
308. e next time the PC3A is turned on You can also assign a controller to controller destination 168 Tap Tempo to be used as a tap tempo button when not viewing the TEMPO page For those who frequently use tap tempo this is a time saving addition to any setup or control setup see Chapter 7 Setup Mode for more on controllers and destinations Any MIDI values received by destination 168 send a tap signal to the tap tempo function This would be best used with a programmable switch or footswitch Configure the selected switch so that it is Toggled has it s On and Off Controls set to destination 168 Tap Tempo and set the On and Off Values to any value other than None Entry and Exit State should be set to None 11 11 Master Mode General MIDI Mode GM On GM Off General MIDI Mode GM On GM Off This soft button enables or disables General MIDI GM mode When GM mode is off the default the buttons is labeled GM On Press the GM On soft button to enter GM mode The PC3A will prompt you to confirm or cancel When GM mode is on the buttons is labeled GM Off Press the GM Off soft button to exit GM mode The PC3A will prompt you to confirm or cancel You can not access Setup Mode or Quick Access Mode while in GM mode Aside from what is noted in this section all other PC3A functions operate normally while in GM mode In GM mode the PC3A complies specifically with the General MIDI GM1 specification An Overview of General MID
309. e object memory When you leave Storage Mode or select the USB device there will be a prompt telling you that the PC3A is turning back into a USB MIDI device You must acknowledge this prompt to continue The PC3A virtual drive will unmount from your computer Depending on your computer s operating system you may see a device removal warning on your desktop after using the PC3A virtual drive You may disregard such a message without worries of damage to your PC3A or computer Caution Do not remove a USB device while the display says Loading or Saving Removing a USB device during a file transfer can cause data corruption 13 3 Storage Mode Storage Mode Common Features Storage Mode Common Features 13 4 The following features are used in storage mode when saving or loading files Directories Path A directory lets you group files together as you might separate documents using folders in a file cabinet By default all storage devices have at least one root directory To organize files in a USB device you can create additional directories as well as subdirectories within directories Directories appear in the file list with the indicator lt dir gt to the right of the directory name See The Utilities UTILS Page on page 13 14 for details on creating deleting and renaming directories The Path field shows the current directory on the current device This field is displayed when loading saving or exporti
310. e of seven options in order of the parameters list 0 18 Quarter notes 19 36 8th notes etc 37 54 55 72 73 90 91 108 109 127 32nd triplets 152 ArpShift The 88 Arpeggiator Shift steps are scaled over the 128 MIDI controller values so that 0 0 steps and 127 88 steps 153 ArpLimit The 60 Arpeggiator Shift Limit steps are scaled over the 128 MIDI controller values so that 0 0 steps and 127 60 steps 154 ArpLmtOp Arpeggiator Shift Limit Option each range of values selects one of seven options in order on parameters list 0 18 Stop 19 36 Reset etc 37 54 55 72 73 90 91 108 109 127 FloatBip 7 53 Setup Mode The Ribbon Configuration RIBCFG Page Corresponding Controller ARPEGGIATOR Operation Number Parameter 155 ArpVel Arpeggiator Velocity each range of values selects one of twenty three options in order on parameters list 0 5 First 6 10 Played etc 11 15 101 105 106 110 111 127 MissNotes9 156 ArpDur The Arpeggiator Duration values are scaled over the 128 MIDI controller values so that 0 1 and 127 100 157 Latch For Arpeggiator Latch Pedals mode 0 63 off 64 127 on 158 Latch2 For Arpeggiator Latch Pedals mode 0 63 off 64 127 on 159 ArpGliss Arpeggiator Gliss 0 63 off 64 127 on 160 SusLatch For Arpeggiator Latch Pedals mode 0 63 off 64 127 on 170 Arp Shift Sets ARPEGGIATOR value
311. e page If you change the current MIDI channel while in Program mode the setting of this parameter changes accordingly and vice versa Transpose This parameter affects the transposition that s applied to the MIDI data stream Adjusting this parameter transposes the PC3A s notes as well as notes on slaves receiving from the PC3A This transposition setting mirrors transposition settings from the Program and Setup main pages It s value is added to transposition settings made elsewhere This parameter has no effect on MIDI data sent from Song mode 10 2 MIDI Mode The TRANSMIT Page Velocity Map Transmit Change the MIDI Transmit Velocity Map setting if you are triggering external MIDI gear which is producing notes that are too loud or too quiet based on your playing style how light or heavy that you play the keys The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port VelocityMap Settings on MIDI Mode Receive Page Destinations PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The transmit Velocity Map affects the way the PC3A sends MIDI velocity values to its USB or MIDI Out port see the circled box above for its location in the MIDI signal flow Different maps output different MIDI velocity val
312. e program If you exceed the maximum number of DSP units the PC3A will notify you that you have done so and no effects will be applied to the program 6 47 Program Mode The Program FX PROGFX Page Insert The Insert effect is the effects chain that is applied to the main audio bus Aux 1 Aux 2 The Aux effect is the effects chain that is applied to the selected auxiliary audio bus Output The Output specifies the analog output to which the selected bus is routed Setting the Output to Main routes the signal of the selected bus to the main outputs Setting the Output to Sec routes the signal of the selected bus to the auxiliary outputs Auxiliary Send Parameters The Auxiliary Send parameters determines the level of the program signal sent to the auxiliary effects chain Aux Send The Aux Send parameter determines the level of the program signal sent to the auxiliary effects chain Pre Post Insert The Pre Post Insert parameter determines the point at which the auxiliary effect is applied to the signal When this parameter is set to Post the PC3A applies the auxiliary effect to the signal post insert i e after the insert effect has been applied When this parameter is set to Pre the PC3A applies the auxiliary effect to the signal pre insert To hear a program put through two effects in series i e through two cascaded effects choose your desired effects for the Insert and either Aux for whatever Aux yo
313. e same as their MIDI program change numbers The object type and ID enable you to store hundreds of objects without losing track of them and also to load files from storage without having to replace files you ve already loaded Editing Conventions Saving and Naming Saving and Naming When you ve edited an object to your satisfaction you ll want to store it in memory There s a standard procedure for saving and naming which applies to all objects You can press the Save soft button of course but it s easier to press the Exit button which means I want to leave the current editor If you haven t actually changed anything while in the editor you ll simply exit to the mode you started from If you have made changes however the PC3A will ask you if you want to save those changes This is the first Save dialog the Exit page Press Cancel to resume editing No to exit the editor or Yes to save your edits and move to the Save page The Rename soft button on the Save page takes you immediately to the naming dialog where you assign a name to the object you re saving You haven t saved yet but you ll be able to after you ve named the program The cursor underlines the currently selected character Press the lt lt lt or gt gt gt soft buttons to move the cursor without changing characters Press an alphanumeric button one or more times to enter a character above the cursor The characters that correspond to the a
314. e signal paths for a multitimbral setup or song The first two zones or tracks in Song Mode are diagramed as an example represented by dark lines The 14 additional available zones or tracks in Song mode are represented by gray lines labeled as Etc Notice that each Program has its own Insert Chain but all Programs share the same two Aux Chains Program Insert I Chain ZONE TRACK 1 KL rs Pia I i Che i Pre Post ee A Send Levels co Gai 9 Chain I ZONE TRACK 2 _ 7 S n A a i O pe L Levels Etc D P aAa 30 AUX 1 Chain nike AUX 2 Chain DSP Units Manage and Distribute Processor Power for Effects Each Effect Chain is composed of an effect box or a series of effect boxes Each effect box uses a certain amount of the PC3A s effects processing power represented as a number of DSP units The number of DSP units used by an effect box or Chain reflects how complex the effects algorithm is more complex effects require more processing power You can use up to 16 DSP units at a time shared between all effects except Master effects which don t use any DSP units See The EffectsEnable Page on page 9 4 for details on how the PC3A automatically manages the usage of DSP units the default behavior and how you can override this behavior and manually manage usage of DSP units Lidi of Aux Override Normally in Program mode the Aux Effects Chains are specified by the prog
315. e values of each of these parameters multiply the rates of the envelope sections they control Values greater than 1 000x make the envelope sections run faster they increase the rate while values less than 1 000x make the envelope sections run slower Say for example that on the current layer s AMPENV page you had set the Decay section s time at 2 00 seconds and its level at 0 This sets the layer s amplitude to fade to silence two seconds after the completion of the last attack segment The decay time is two seconds the decay rate is 50 per second Now if you select the ENVCTL page and set the Decay Adjust parameter to a value of 2 000x you ve increased the decay rate by a factor of two making it twice as fast The rate increases to 100 per second and the decay time is now one second instead of two 6 45 Program Mode The Envelope Control ENVCTL Page Paw Note Since 0 multiplied by any number equals 0 the envelope parameters on this page will have no effect on any AMPENV sections set to 0 seconds A way around this is to change any AMPENV sections set to 0 to 0 02 seconds Parameter Group alli O Range of Values Adjust 0 018 to 50 000x 24 0 to 24 0 dB for Imp Key Tracking 0 018 to 50 000x 2 00 to 2 00 dB for Imp Velocity Tracking 0 018 to 50 000x Not available for Dec or Rel 24 0 to 24 0 dB for Imp Source Control Source List Depth 0 018 to 50 000x 24 0 to 24 0 dB for Imp Adjust This
316. e wave Range is 0 to 100 The other four oscillators Sine2 through Sine5 each have Lvl and Freq controls Stereo Simulation The Mono to Stereo effect converts a monaural input to simulated stereo output In Select selects the input signal to be stereo ized It can be Left Right or both L R 2 CenterGain is the level of the summed left and right channels Range is Off 79 0 to 24 0 dB Diff Gain is the level of the difference signal produced which is the spatial component of the stereo signal Range is Off 79 0 to 24 0 dB 9 25 Effects and Effect Mode Effects Overview DiffBassG controls the gain of a bass shelf filter on the difference signal By boosting the low frequency components of the difference signal you can increase the sense of acoustic envelopment Range is 79 0 to 24 0 dB DiffBassF is the transition frequency for the bass shelf frequency Range is 16 to 25088 Hz The processed signal is split into three frequency bands Lo Mid and High each of which can be delayed and panned separately Crossover and 2 are the two Crossover frequencies at which the band split filters split the signal into three bands The two parameters are interchangeable either may have a higher frequency than the other Range is 16 to 25088 Hz Pan High Mid Low sets the pan position for each band Range is 100 fully left to 100 fully right Delay High Mid Low sets the delay for each band Range is 0 to 10
317. eOrgan1 202 Mini E3 Clav 229 Walking Arps 256 PipeOrgan2 203 LASplit 230 EminenceinC 257 PipeOrgan3 204 BlumanLive 231 VampireNightclub 258 PipeOrgan4 205 Shwales 232 KurzJacinto 259 PipeOrgan5 206 Eden s Sky 233 Music Bed 260 Pipe Organ 6 207 Marimbatronic 234 Octavia 261 Build AnOrchestra 208 Tronotronic 235 RosinRhythm 262 Sugar Plum Army D 18 PC3A Objects V 2 3 Setups ID Setup ID Setup ID Setup 263 FanfareOrchestra 3214 SkusnoK 3241 Fishin 264 ElecFanfareOrch 3215 Bleep This 3242 Metalic 265 ElecBalladOrch 3216 UK SynPop 3243 Boots n Cats 266 Magic Pizz Orch 3217 KindredSpirit 3244 Desert Ambush 267 ElecBalladSplit 3218 Simple Talk 3245 Chip Tune SW1 268 Jaco n Joe 3219 Artemis Tau 3246 BareKnucklGroove 269 PianoComp Split 3220 Corner Pub 3247 E B D A C A 270 Fusion Comper 3221 Tight R amp B Jam 3248 Pulsebeat Sustn 271 Pno amp Choir or Str 3222 Serpent Nebula 3249 Shaft Fuzz 272 RichBalladComper 3223 ChuckB Rocker 273 NewAgeComper 3224 Scat Jazz pSW1 274 Voyager One 3225 Afterglow 275 OrchestraOfBells 3226 Jive Thirty 3200 Future D amp B 3227 LuvQwest 3201 HelpmeNow 3228 Dance the Dulce 3202 Pluck Hop 3229 Venus 3203 Arise the Fear 3230 Super House 3204 Electro Shuffle 3231 Drm Circle SW1 3 3205 The Bends 3232 DwntmpoDance 3206 Ghetto Funk 3233 Thessia
318. eceived over MIDI Ignore causes these messages to be ignored If you re using a Roland product as a MIDI controller for your PC3A you ll want to set the value of this parameter to Ignore This is because some older Roland products occasionally send an All Notes Off message when no keys are held down even if you re sustaining notes with a pedal You might find all your sustains missing from your sequence for example if you re driving your PC3A from one of Roland s hardware sequencers Setting this parameter to Ignore takes care of this problem Regardless of the setting for this parameter the PC3A always responds to its own Panic button by shutting off all active notes and controllers Program Change Mode PrgChgMode This determines how the PC3A responds to program change commands received via MIDI See Program Change Formats on page 10 15 for an explanation of the various values available for this parameter 10 6 MIDI Mode The RECEIVE Page Velocity Map Receive Change the receive Velocity Map setting if you are triggering the PC3A with external MIDI gear which is producing notes that are too loud or too quiet The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port VelocityMap Settings on MIDI Mode Receive Page KEY VEL page for current Contr
319. ection above The Local Keyboard Channel makes an external MIDI controller s continuous controllers behave as if they were the PC3A s physical controllers In Setup Mode when an external MIDI controller is sending a CC on the channel set for Local Keyboard Channel external CCs can control the destinations set for each of the PC3A s physical controllers Send the default CC for a physical controller to control its destination see the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table below for defaults The CC is received in Setup Mode and sent to a Program based on the destination set in Setup Mode In the Setup Editor use the alphanumeric pad to set each PC3A physical controller Dest OnControl or OffControl field to the CCs you assigned in Program Mode When setting a CC destination the number may turn into the name of the PC3A physical controller which uses that CC by default If you create a Setup using Setup 126 Internal Voices as a template the default CC numbers will already be set for each physical controller destination Don t save a Setup at ID 126 setup 126 Internal Voices is the PC3A s default Control Setup see Control Setup on page 6 9 for details Note In Setup Mode when an external MIDI controller is sending aCC on the channel set for Local Keyboard Channel any CC sent that is not in the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table see below gets sent to Pr
320. ects in real time by pressing the buttons The KB3 effects return to their programmed settings the next time you select the program If however you re in the Program Editor when you change the effects you re actually editing the program Each effect also has a corresponding parameter in the Program Editor see the table below If you like the changes you can save the program with the new KB3 effects settings If you don t like the changes you can exit without saving and the program will revert to its previous settings In KB3 mode the Bank buttons also respond to and send MIDI Controller messages See Table 6 3 on page 6 8 for details PED Color Correspondin Effect relative to p 9 Button Name Page and Comments Category button name Parameter state Rotary Fast Slow red green MISC SpeedCtl On Off red off MISC VibChorCtl Vibrato Chorus Vibrato red green MISC VibChorSel Disabled if Button 2 is off Depth 1 2 3 green orange red MISC VibChorSel Disabled if Button 2 is off On Off red off PERC Percussion Volume Loud Soft red green PERC Volume Disabled if Button 5 is off p SR Decay Fast Slow red green PERC Decay Disabled if Button 5 is off Pitch High Low red green PERC Harmonic Disabled if Button 5 is off Table 6 2 KB3 Mode Effects Buttons and Corresponding Parameters Additional Controller Assignments In KB3 Mode Other default assignments for factory KB3 programs include C
321. ed The Quantize parameter determines the amount of real time quantization if any applied to the sequence during recording The percentage specified for this parameter is the amount of quantization the sequencer applies to the grid see below for each Note event recorded Note that using real time quantization has the same effect as recording normally and then using the Quantize Track Editing operation The grid parameter determines the resolution of quantization and the position of the grid points 12 17 Song Mode and the Song Editor Song Mode The STATS Page The Swing parameter determines the amount in units of percent of swing applied during quantization Release The Release parameter determines whether or not note off events are quantized Key Wait With Key Wait set to on a key strike will trigger playback of a sequence if the play pause button is armed or trigger recording of a sequence if the record button is armed Song Mode The STATS Page The STATS page is a display only page that shows the status of the PC3A event pool The event pool is used by all the sequences loaded at a given time in the system These include the current song the compare song buffer and up to 16 riffs The STATS page shown below is the state of the PC3A event pool with 0 New Song selected and no other user objects loaded in any other modes g di an B TG J LA ii 13 14
322. ed sample rates go from 44 1K up to 192K Externally synced sample rates cover 20 220KHz in 3 ranges Be sure the external clock frequency is within the range you select Aux Out Pair Mode The Aux Out Pair Mode parameter specifies the behavior of the Secondary Audio Outputs located on the back panel underneath the Balanced Analog Outputs AUX label Setting this parameter to Normal makes the Aux Outputs behave as such Setting this parameter to Mirror Primary Outputs makes the Aux Outputs output the same audio signal as the Primary output 11 10 Master Mode TEMPO Clock Source TEMPO With the Clock Source parameter you can set the PC3A to generate its own tempo by setting Clock Source to Internal or you can set the PC3A to sync up with the tempo from another device assuming the device is sending MIDI clock data to the PC3A via MIDI or USB by setting Clock Source to External See Important Note About External Sequencers on page 12 8 for related information Press the TEMPO soft button to go to the TEMPO page see below When the Clock Source parameter is set to Internal see Clock Source on page 11 11 the Tempo parameter on the TEMPO page sets the PC3A s system tempo The system tempo sets the tempo for all modes except Setup Mode which has its own tempo settings Also in Song mode changing to a new song will override the system tempo The Tempo parameter values are in units of BPM beats per minute
323. ed portions before the Start S or Alternative Start A points whichever has a lower value will be lost upon saving and whichever parameter had a lower value will have a value of zero the next time it is loaded values for all other sample point parameters will be adjusted relatively Trimmed portions after the Alternative Start A or End E points whichever has a higher value will be lost upon saving If you wish to save a copy of the original untrimmed sample save the trimmed version under a different ID If you save a trimmed factory ROM sample at its original ID you can always restore the original version by deleting the modified version that you saved To delete a sample see OBJECT on page 11 13 the Delete function Zoom and Zoom These buttons increase or decrease the resolution of the waveform display enabling you to see a larger or smaller segment of the waveform of the currently selected sample The top line of the display indicates the zoom position in terms of a fraction for example 1 256 which indicates the number of individual sample elements represented by each display pixel A value of 1 256 means that each pixel represents 256 individual sample elements The maximum zoom setting of 1 shows you a very small segment of the sample The minimum setting of 1 16384 shows you the largest possible segment of the sample Each press of a Zoom soft button increases or decreases the zoom by a factor of 4 Gain and Gain
324. een made For more detailed instructions on these functions see Saving and Naming on page 5 3 Key Action Map The Key Action Map determines the default way the PC3A responds to key action for specific keyboard component models Generally speaking you will not want to alter the Key Action Map This parameter is included for the rare occasion when a PC3A has been setup at the factory for a different keyboard component model than the one installed A user may discover that they need to change the Key Action Map when they have tried all of the Velocity Map settings and still do not feel comfortable with the key response of their PC3A Different maps result in different responses from the PC3A for the same physical key action and each map corresponds to a different keyboard component model If you have changed this parameter and want to change it back to the default map for your PC3A simply enter a value of 0 in the Key Action Map parameter field Intonation Key Int Key This sets the tonic or base note from which the currently selected intonation map calculates its intervals If you select G as the intonation key for example and the intonation map you select tunes the minor 2nd down by 50 cents then G will be a quartertone flat relative to equal intonation If you change the intonation key to D then D will be a quartertone flat If you use nonstandard intonations you ll want to set Int Key to the key you re playing in If the Intonation pa
325. efore loading Overwrt and OvFill operate in different ways after a selected bank has been filled up for a given object type for example after you have loaded more than 128 programs into a bank Overwrt will continue to preserve the objectIDs stored in the file and will individually overwrite objects in the bank following the just filled bank OvFill does not overwrite past the end of the selected bank it instead skips over object IDs that are in use loading only into unused IDs Because of this difference it can sometimes be faster to load a file using OvFill rather than Overwrt However this applies only if the objects to be loaded would extend past the end of a selected bank Note that when loading into a specific bank as opposed to loading as Everything the object IDs in the file are used as follows The bank digit is ignored and the remainder of the number is used when the PC3A rebanks the object ID into the bank that you specify For example if you save Program 453 into a file and load it back into the 129 256 bank the PC3A will use the number 69 its bank specific ID in the 385 512 bank when deciding upon a new object ID If the 129 256 bank was previously empty and the load mode is Append then the program will end up with ID 197 128 69 For loading as Everything the ID number for an object stored in a file is taken literally and not rebanked except if Fill or OvFill mode is chosen Storage Mod
326. el Use the Alpha Wheel buttons or Alphanumeric Pad to choose a free ID location to save the song or choose a used ID location to overwrite a previously saved song with your new version For this example we will save the song under ID 1025 see above When overwriting a song file the save as dialog displays Replace followed by the name of the file being replaced Press Save to save the song with the current name or Cancel to return to the previous screen Press Rename if you would like to change the song s name This brings you to the SongMode name page For this example we will rename the song My Song see below For more detailed instructions see the Editing Conventions chapter Saving and Naming section son9floge name A CET ORO Sond Name MY Sor Delete E ese E OK Cancel If you decide not to save or rename on the Song Save Changes page pressing the No soft button returns you to the Song mode page in which you were last recording Changes to the current song are not saved though the sequencer will remember changes to certain settings from the MAIN and BIG pages These settings are Tempo Merge Erase Mode Locate track mute status Time In Time Out Song End Loop Recmode and Metron To permanently save these changes with the song make sure to choose Save from the soft button menu before powering off or loading a new song Alternatively you will be prompted to save these changes upon loading a new s
327. elative size of its function block on the Algorithm page four slots is the largest block size For instance a function block that is three slots long can have up to three function parameters whereas a function block that is two slots long can have up to two function parameters For each function parameter there s a corresponding subpage on both the DSPCTL and DSPMOD pages On the DSPCTL subpages there are fine adjust and hard wired parameters with which you can make fixed adjustments to the function parameter On the DSPMOD subpages there are programmable parameters that you can assign to any control source in the Controller List to modulate the function parameter The above italicized parameter types are described in Common DSP Control Parameters on page 6 24 More information on the subpages can be found in The DSP Control DSPCTL Page on page 6 29 and The DSP Modulation DSPMOD Page on page 6 30 Highlighting any of the function blocks on the ALG page and pressing the Edit button takes you to the DSPCTL page 6 23 Program Mode The Algorithm ALG Page Common DSP Control Parameters The type of DSP function available for any function block depends on the algorithm Some of the specialized functions like the PANNER are always located just before the final AMP function Others like the two input functions appear only in algorithms that are structured for two input functions You can change the nature of each layer of
328. elay to either be its minimum value switch off or its maximum switch on The delay control will affect only those notes triggered after the delay control source is moved the delay time is calculated at each note start based on the status of the delay control source at that time Minimum Delay MinDly Maximum Delay MaxDly The length of the delay is determined by these two parameters When the control source assigned to DlyCtl is at its minimum the delay will be equal to the value of MinDly The delay will be equal to the value of MaxDly when the control source is at its maximum If DlyCtl is set to OFF you get the minimum delay If it s set to ON you get the maximum delay This doesn t change the note s attack time just the time interval between the Note On message and the start of the attack The delay is measured in seconds 6 18 Program Mode The LAYER Page Enable This assigns a control source to activate or deactivate the layer When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense S parameter the layer is active When the value of the assigned control source is below the minimum or above the maximum the layer is inactive By default many layers have the Enable parameter set to ON so the minimum and maximum thresholds don t matter They re relevant only when Enable is set to a specific control source like MWheel Some local control sources KeyNum
329. elect the setup in Setup mode Muted means that the zone sends and receives program changes and entry exit controller values but doesn t play notes If the value is Active the zone sends and receives normally via MIDI Solo causes only the current zone to play backgrounding all other zones backgrounded zones send and receive program changes and entry exit controller values but don t play notes With a value of Solo Muted the current zone is both soloed and muted when the zone isn t soloed it won t produce sound See the section about zone status LEDs page 7 2 for more information about muting and soloing zones Use the Out parameter to set the rear panel audio outputs used for each zone of the current Setup This parameter determines the output settings for the main program signal and insert effects of each zone for Aux effects output settings use the Output parameter on the Setup Mode AUXI or AUX2 pages A setting of Auto will make that zone output audio based on the settings for the program used by that zone Program output settings are set in the Program Editor using the Output parameter on the top line of PROG FX page see Output on page 6 48 for details or the Output parameter on the LAYER FX page see page 6 49 for details A setting of Pri primary will output track audio to the MAIN Balanced Analog Outputs A setting of Sec secondary will output track audio to the AUX Balanced Analog Outputs Input Cha
330. elocity map commonly used by keyboards that use the General MIDI GM sound set The GM Receive map makes medium strike velocities produce higher MIDI velocities compared to the Linear map 10 3 MIDI Mode The TRANSMIT Page Pressure Map Transmit Change the Transmit Pressure Map setting if you are triggering external MIDI gear which is producing MIDI pressure aftertouch values that are too high or too low based on your playing style how soft or hard that you press the keys The default map provides the widest range of pressure expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port Destinations PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The transmit Pressure Map affects the way the PC3A sends MIDI pressure aftertouch values to its USB or MIDI Out port see the circled box above for its location in the MIDI signal flow Different maps output different MIDI pressure aftertouch values for the same received MIDI pressure aftertouch value Each map applies a different curve to received MIDI pressure aftertouch values and remaps them to new values before transmitting them to the USB or MIDI Out port this parameter has no effect on MIDI data sent from Song mode or to the PC3A s sound engine The default map provides the widest range of pressure af
331. elope of the input signal Max Freq is the resonant frequency of the filter at the peak of the internal envelope It can be set lower than Min Freq above in which case the filter will sweep downwards then back up Range is 16 to 8372 Hz Trigger is the input signal threshold at which the envelope detector triggers Range is 79 to 0 dB 9 20 Effects and Effect Mode Effects Overview Retrigger is the input signal threshold at which the envelope detector resets so that it can trigger again This parameter is only useful when it is set below the value of Trigger Range is from 79 to 0 dB Env Rate is the envelope detector decay rate This can be used to prevent false triggering When the signal envelope falls below the retrigger level the filter can be triggered again when the signal rises above the trigger level Since the input signal can fluctuate rapidly it is necessary to adjust the rate at which the signal envelope can fall to the retrigger level The range is 0 to 300 0 dB sec Rel Rate is the downward slew release rate of the triggered envelope generator The range is 0 to 300 0 dB sec Smth Rate slows down the envelope follower If set lower than the release rate it will dominate it You can also use the smoothing rate to lengthen the attack of the internal envelope The range is 0 to 300 0 dB sec LFO Filter The LFO filter is continuously swept between two resonant frequencies over a period of time The LFO
332. emolo Depth assigned to be controlled by the Mod Wheel Turning up the Mod Wheel increases the Tremolo Depth and allows you to hear more of the Tremolo effect If you look at the CONTROLLERS page for 25 WoodstockClunker Modwheel 1 is set to 37 This means the Mod Wheel sends a value of 37 to set Tremolo Depth when the program is selected allowing you to hear the Tremolo effect If you do not want to hear the Tremolo effect when the program is selected edit the program and use the CONTROLLERS page to set Modwheel 1 to 0 then save the program For controllers that have an entry value set to None no value is sent for that controller when a program is loaded When and entry value of None is used the value last used for that controller in the previous program or setup is used To set a value of None use the alpha wheel or buttons to scroll below 0 or use the alphanumeric pad to enter 1 then press the Enter button Controller Range of Values Default Value Slider A 6 Breath 2 None 0 127 0 Switch 2 29 None 0 127 0 You can automatically set the values on the CONTROLLERS page to the physical controllers current values by using the SetCtl soft button located to the right of the CTLS soft button The SetCtl soft button captures the positions of the controllers listed on the page Note If you change programs and then press the SetCtl soft button before moving any of the controllers the parameters on the CONTROLLERS p
333. emory stick into the PC3A for backing up archiving sharing your work and updating your software Any size USB mass storage device will work though thumb drives are recommended for their portability durability and low price XA Note Most USB thumb drives are compatible with the PC3A but some older USB thumb drives and larger USB bus powered drives will not work with the PC3A if they require more than 100 mA of current high power USB devices When attempting to use an incompatible USB device the PC3A will display the message USB device requires too much power The PC3A is designed to work with low power USB devices and can provide a maximum of 100 mA to a USB device Power requirement specifications for thumb drives are not always made clearly available by the manufacturer but a newly purchased thumb drive will most likely be compatible If possible check the power requirement specifications of your USB device before purchase Startup Make Music Chapter 2 Startup If hooking up new gear is familiar to you and you just want to get going here s a quick description of what you need to get started with your PC3A If you need more information thorough descriptions of each step follow Make Connections 1 Set the keyboard on a hard flat level surface Make sure to leave plenty of room for ventilation 2 Four adhesive backed rubber feet are provided with your PC3A If you want to attach them to the bottom of the P
334. ength 39 37 100 cm Weight 30 86 Ib 14 00 kg Power Internal AC power supply User selectable 120 240V AC operation 120V current 0 5A maximum 240V current 0 25A maximum Typical Power Consumption is 25 watts power on 0 watts power off Audio Outputs Main and Aux Balanced 1 4 TRS jack 21DBu maximum output 400 ohms balanced source impedance 24 bit A to D converters gt 120dB dynamic range balanced Headphones 8Vrms maximum output 47 ohms source impedance A 2 Appendix B PC3A Bootloader The Bootloader is the program that runs when the PC3A is first turned on Its job is to check that hardware is functional initialize the digital systems and load the main synthesizer program Under normal circumstances you might not even notice that the Bootloader is there at all since the PC3A will start up on its own without any problem However if you want to update your unit or perform maintenance on it you may need to interact with the Bootloader program itself This appendix describes what the Bootloader can do and how you can use its functions The first thing to understand is that PC3A executable programs and all object data reside on a file system contained inside the instrument This file system is based on flash memory technology and will persist across power cycles When the PC3A starts up the Bootloader copies the synthesizer program into memory and executes it just like a PC boots up when you turn
335. ent Selecting The Desired Key Root Note 7 26 Setup Mode Controllers Shift Key ShiftKey controller destination 177 allows the user to select the key root note of the Shift Pattern triggered by Shift Key Number A Shift Pattern is a relative pattern based ona root note All notes triggered by a Shift Pattern are shifted from the root note by the value of each pattern step in half steps Shift Key Settings Value Key root note 0 9 C 10 19 C 20 29 D 30 39 D 40 49 50 59 F 60 68 F 69 78 G 79 88 G 89 98 A 99 108 A 109 118 B 119 127 Last Note Played When using a Shift Pattern with Shift Key Number you can select the key with one or more controllers set to the Shift Key destination You can use a continuous controller such as a slider to cycle through keys or switches set to predetermined keys For example if you are playing a song that moves between 2 or 3 keys a couple of switches could be programmed in order to send the appropriate Shift Key message for each key change That way all the notes you are triggering with a Shift Key Number controller will be in the appropriate scale You could also create a setup for a song with multiple zones each with its own pre set key and appropriate shift pattern That way for each chord change you could move a different controller that would create the correct harmony Another way to choose a key is to set Shift Key to Last Not
336. entially identical in appearance and function See below for an example MOD page a ET Box The Box parameter specifies which effect box in the Chain to which the Mod will be applied Param The Param parameter selects which parameter of the specified box s effect will be modulated Adjust The Adjust parameter sets a fixed value for the specified parameter Param that is applied before any modulation Source The Source parameter determines the Control source that will modulate the parameter Param in real time This can be any of the normal channel Control sources sliders mod wheel pedals etc or one of the Chain specific Control sources FXLFOs FXASRs and FXFUNSs Depth The Depth parameter determines the range of modulation that the Controller will apply When the Control source has a value of 0 the parameter s Param s value will be the Adjust value When the control source is all the way up the parameter s Param s value will be the Adjust value plus the Depth value 9 10 Effects and Effect Mode Effects Overview FXLFO FXASR and FXFUN pages INFO The FXLFO FXASR and FXFUN pages are the pages from which you edit the Effects only Control sources These are Control sources that can be used by the effects Mods in the current Chain The parameters on these pages work exactly like those of the corresponding Control sources in program mode see The LFO Page on page 6 38 The ASR Page on
337. env3 316 KEDrum2 Kick2 347 RideBell 378 Clave 317 LUDambM 348 AgogoHi 379 Claveenvi 318 LUDambM alt 349 Agogo Hienvl 380 Clave env2 319 LUDambH 350 Agogo Hienv2 381 Claveenv3 320 LUDambHalt 351 AgogoHienv3 382 Conga Open Tone 321 YAMamb 352 AgogoHienv4 383 Conga Open env1 322 YAMambalt 353 AgogoLo Conga Open env2 323 Snare55 354 Agogo Loenvl Conga Open env3 324 Snare58 355 Agogo Lo env2 Tumba Open Tone 325 Snare87 356 Agogo Lo env3 Tumba Open env1 326 Snare89 357 Agogo Lo env4 Tumba Open env2 327 e2snr 358 Bongo Hi Tone Tumba Open env3 328 e2snr3 359 Bongo Hienv1 Conga Slap 329 Cross Stick 360 Bongo Hienv2 Conga Slap env1 330 Cross Stick alt 361 Bongo Hienv3 Conga Slap env2 331 Yam102 362 Bongo Hienv4 Conga ClosedSlap 332 Yam124 363 Bongo Lo Tone Conga CISIp env1 333 Yam182 364 Bongo Lo env1 Conga ClSlp env2 334 Yam102 alt 365 Bongo Loenv2 Tumba Flat Hand 335 Yam124 alt 366 Bongo Lo env3 Tumba Flat env1 336 Yam182 alt 367 Bongo Loenv4 Tumba Flat env2 337 Closed Hat Alt 368 Bongo Slap Tumba Flat env3 338 Closed Hat 369 Bongo Slap env1 Cow Bell 339 Slightly Opn Alt 370 Bongo Slap env2 Cow Bell env1 340 Slightly Opn Hat 371 Bongo Slap env3 Cow Bell env2 PC3A Objects V 2 3 Samples ID Sample ID Sample ID Sample 403 Fi
338. equencies between intervals The original tuning of Classical European music 3 Just Flat 7th Similar to classic Just but with the Dominant 7th flatted an additional 15 cents 4 Harmonic The perfect 4th Tritone and Dominant 7th are heavily flatted 5 Just Harmonic Approximation of a historical intonation 6 Werkmeister Named for its inventor Andreas Werkmeister It s fairly close to equal temperament and was developed to enable transposition with less dissonance 7 1 5th Comma Approximation of a historical intonation based on the comma system 1 4th Comma Approximation of a historical intonation based on the comma system Indian Raga Based on the tunings for traditional Indian music 10 Arabic Oriented toward the tunings of Mid Eastern music 11 BaliJava1 Based on the pentatonic scale of Balinese and Javanese music 12 BaliJava2 A variation on 1Bali Java slightly more subtle overall 13 BaliJava3 A more extreme variation 14 Tibetan Based on the Chinese pentatonic scale 15 CarlosAlpha Developed by Wendy Carlos an innovator in microtonal tunings this intonation map flats each interval increasingly resulting in an octave with quarter tone intervals 16 Pyth aug4 This is a Pythagorean tuning based on the Greek pentatonic scale The tritone is 12 cents sharp 17 Pyth dim5 This is a Pythagorean tuning based on the Greek pentatonic scale The tritone is 12 cents flat 11 8 Master Mode MAIN
339. er and use the Alpha Wheel or buttons to choose one of the available key ranges if there is more than one keyrange You can edit the existing sample of a keyrange or choose a new sample for the keyrange and edit that When the Keymap parameter is selected you can hold the Enter button and trigger notes to select different key ranges If you want to select a different sample use the cursor buttons to select the Sample parameter Use the Alpha Wheel to select a sample Press the Edit button once more and you ll enter the Sample Editor The sample will play through the effects of the current program The name of stereo samples end with an S To use a stereo sample the Stereo parameter must be set to On in the Program Editor and two keymaps must be selected see The KEYMAP Page on page 6 14 for details There are two sample editing pages MISC Miscellaneous and TRIM The soft buttons for these pages are visible when you enter the Sample Editor You can trigger notes at any time while you re editing to hear your changes as you make them When you have finished editing your sample or samples see the preview function on page 11 18 for a way to automatically create a program and keymap using a sample or group of sample roots The Miscellaneous MISC Page On the MISC page you ll set several parameters that affect the behavior of the current sample These parameters affect the entire sample The right side of the top line displays the root
340. er in a Setup that will be sent whenever you select that Setup For example if you want to make sure that all of the modulation for the Program in a Zone is turned off when you select a Setup use the Setup Editor to assign a physical controller to a destination of MIDI 01 MWheel and set Entry Value to 0 The Mod Wheel is usually assigned to destination MIDI 01 MWheel which is used to control a modulation parameter for most Programs Entry values ignore the current position of the physical controller when the setup is selected By default once the Setup is loaded and the entry values have been sent moving a controller will instantly send new controller values This can cause a jump in values if the controller happens to be set to a value far from its entry value To avoid these jumps change the SetupCtls parameter in Master Mode to PassEntry see Setup Controllers SetupCtls on page 11 2 for details With SetupCtls set to PassEntry moving the controller will have no effect until it moves past its entry value In this case continuing the modulation example above moving the assigned controller won t turn on any modulation until it s pushed all the way down passing entry value 0 and then up again An entry value of None is quite different from a value of 0 None means that there will be no initial controller command when the setup is selected and any subsequent movement of the physical controller will be effective Exit Value tells the
341. er pressing OK Cancel returns to the file list dialog highlighting the file you just opened Select All deselect All Selecting or deselecting all of the objects at once can be done with the following double button presses e Left Right cursor double press Select All Objects e Up Down cursor double press Clear All Selections 13 10 Storage Mode Storage Mode Common Features If you want to load most but not all of the items from a file for example if there happens to be a Master table in the file that you don t want to load it may be fastest to first select all objects using the Left Right double press and then manually deselect any unwanted items Loading Methods Once you have pressed OK to load the selected file s or object s you must select the bank to load to and a loading method This determines the object numbers that your loaded objects will have and whether or not existing objects in the PC3A will be deleted when the new objects are loaded You will see this dialog land 5 Cus Load this file asi 513 048 OW te AFF end Fill Cancel First select a bank range to load to then select a loading method by choosing one of the soft buttons The soft buttons control the mode for loading and renumbering of objects from the file Caution Carefully read the description of each loading method before pressing one of the soft buttons Some of the loading methods will delete existing objects in the PC3
342. er which uses that CC by default If you create a Setup using Setup 126 Internal Voices as a template the default CC numbers will already be set for each physical controller destination Don t save a Setup at ID 126 setup 126 Internal Voices is the PC3A s default Control Setup see Control Setup on page 6 9 for details 10 12 MIDI Mode The RECEIVE Page Note In Setup Mode when an external MIDI controller is sending aCC on the channel set for Input Channel any CC sent that is not in the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table see below also gets sent to the Program on that channel If an InputChannel is set but you are sending CCs to a different channel these CCs will be received normally by the program in the Setup Zone for that channel External MIDI CC Remapping For Local Keyboard Channel and Input Channel PC3A Physical Controller Default MIDI CC Which Controls The Destination Assigned To Each PC3A Physical Controller In The Setup Editor Pitch Wheel NA responds to MIDI pitch bend messages Mod Wheel 1 Arp Button 69 SW Button 29 70 Continuous Pedal 1 11 Continuous Pedal 2 4 Breath 2 Pressure key pressure Not controllable by MIDI CC Foot Switch 1 64 Foot Switch 2 66 Foot Switch 3 67 Ribbon Section 1 18 21 Ribbon Section 2 19 Ribbon Section 3 20 Slider A Data 6 Slider B 13 Sliders C l 22 28 Progr
343. erpreting program change commands The value for the ProgChgMode parameter on the RECEIVE page determines which format is used and the one you should select depends on your MIDI system If you expect you ll always change programs from your PC3A s front panel selecting programs is as simple as entering the program change number the program s object ID on the alphanumeric pad and pressing Enter Even program numbers above the usual MIDI limit of 127 can be selected this way 10 15 MIDI Mode Program Change Formats Extended Program Changes If you re controlling your PC3A from a MIDI device that can handle the MIDI Controller 0 or 32 program change format you ll have the greatest flexibility if you set the ProgChgType parameter to a value of Extended When you re using the extended program change format then depending on the value of the BankSelect parameter on the RECEIVE page in MIDI mode the PC3A will respond to either MIDI Controller 0 or 32 program change commands for bank selection and standard program change commands for program changes within the current bank Different values have different results as shown in the following table Program Change Command Value of Result Type Message MIDI controller 0 or 32 0 to 16 Selects memory bank zeros 900s MC 0 or MC 32 0 to 127 Selects correspondingly numbered program in current Standard PCH memory bank If your PC3A is already in the memory bank yo
344. ers because of their binary on off nature A continuous control will trigger the ASRs when its signal value is above its midpoint This parameter sets the sustain section of the ASR The ASR s mode determines what the ASR does when it finishes its attack section If the Mode parameter is set to Normal the ASR will run directly from its attack section to its release section no sustain At a setting of Repeat the ASR will cycle through the attack and release sections then loop forward and cycle through again until the ASR s trigger switches off If the mode is set to Hold the ASR maintains its position at the end of the attack section until the ASR s trigger switches off The ASR then goes into its release section If the ASR s trigger switches off before the attack section is complete the ASR goes directly to its release section When the ASR s trigger switches on the ASR will start immediately if this parameter is set to zero Nonzero values will cause a corresponding delay between the ASR trigger and the start of the ASR 6 40 Program Mode The Function FUN Page Attack This defines how long the ASR takes to ramp up from minimum to maximum effect on whatever it s patched to Release This defines how long the ASR takes to fade to minimum from its maximum If the ASR s trigger switches off before the ASR has reached maximum the ASR releases from that level The Function FUN Page FUN is short for fun
345. ers amazing acoustic electric and synthesizer sounds combined with advanced programming features that will let you create almost any sound you can imagine This manual covers the PC3A in its 88 76 and 61 note configurations PC3A8 PC3A7 and PC3A6 For the most part anywhere we talk about the PC3A in this manual we mean any of these instruments The PC3A comes loaded with 256 MB of ROM sounds including e The Original PC3K set e The KORE64 expansion set featuring improved guitar drums synth brass and woodwind sounds e The German D Grand EXP expansion set featuring improved acoustic piano sounds In Program Mode press the Exp 1 Bank button to access KORE64 Programs IDs 3200 3590 or press the Exp 2 Bank button to access the German D Grand EXP Programs IDs 3700 3730 By default program 3700 will be selected when the PC3A is first powered on In addition to the great sounds and programming features the PC3A is fully equipped with performance features you ll use at every gig For example there are nine conveniently situated sliders for accurately emulating the drawbars on a tone wheel organ such as a Hammond B3 And the PC3A s 24 dedicated sound select buttons along with its Quick Access banks will let you instantly choose and change sounds whenever you like Advanced program keymap and sample editing features allow you to customize your sounds further You re able to map any sample to any key tune individual sam
346. es if they re not turned off still generate program changes and entry exit controller values If a zone is muted and then subsequently soloed all other zones are backgrounded but the soloed zone remains muted In performance situations the Bank buttons provide a convenient way to temporarily change the status of one or more zones This can be very effective for bringing voices and or controller configurations into and out of your performance The best way to get familiar with this technique is to play with the buttons as the next few paragraphs describe Select a setup look for one with lots of active zones that cover the whole keyboard and play a few bars You ll hear sounds corresponding to each of the active zones green LEDs If you see any muted zones orange LEDS press their corresponding Bank buttons and they ll become active conversely if you press the Bank button of an active zone it will become muted Play around a bit Try muting all the zones then bringing them back one by one until all the zones in the setup are active Setup Mode The Setup Editor Table 7 gives you a quick visual reminder of how zones behave depending on their status Jone Data Generated by Zone SER Status Notes Controllers Program Fntry and Number Exit Values Red zoo Yes Yes Yes Yes Solo Muted Green no others are red Active Yes Yes Yes Yes Green another is red Backgrounded No No Yes Yes Orange Muted No No Yes Ye
347. es in the key map if the current key map has more than one key range The note range for each key range will also be displayed on the top line If the top line of the page displays VelRange then the Chan Layer buttons will scroll between the available velocity ranges in the key map if the current key map has more than one velocity range The dynamic range for each velocity range will also be displayed on the top line Velocity Ranges VelRng Press the VelRng soft button to view the VEL RANGES page see below Use the VEL RANGES page to add edit or delete velocity ranges for the current keymap The VEL RANGES page shows a chart of a keymap s entire available dynamic range from most quiet ppp to most loud fff Velocity ranges can also be adjusted from the EditKeymap page but the VEL RANGES page provides a chart as a visual aid Each keymap can be split into a maximum of eight velocity ranges Each key range in a keymap can use its own sample for each velocity range All key ranges in a keymap share the same velocity ranges sande PPP tft PEP PP E mE mt f ff fff UelRande z Lo PEE Hi fff Press the Split soft button to split the currently selected velocity range into two ranges until the maximum of eight velocity ranges have been created Press the Delete soft button to delete the currently selected velocity range Press the Exit soft button to return to the EditKeymap page On the VEL RANGES page the currently selec
348. es much faster at the end of the attack segment than it does at the beginning while ENV2 and ENV3 use linear attacks the attack segment increases at the same rate from start to finish more AMPENVIENI JENVE JENUCTL more d 6 44 Program Mode The Envelope Control ENVCTL Page The pages for Envelopes 2 and 3 are reached with the soft buttons ENV2 and ENV3 When you select these pages you ll find a display that looks very much like the AMPENV page The only differences are that you can program an amount for Rel3 the Rell and Rel2 limits which are 100 and in the envelope graphic which has a dotted line running horizontally across the display This is the zero level line negative level values for the various envelope segments will cause the envelope graphic to dip below this line The Envelope Control ENVCTL Page The Envelope Control page gives you realtime control over the rates of each section of the amplitude envelope for both natural and user envelopes see The Amplitude Envelope AMPENV Page on page 6 42 Press the ENVCTL soft button to reach the ENVCTL page i Keuytrk WelTrk Coma Depth Attack FREE 1 000 1 666 MIDITS 1 668 Tecsy 1 x 1 00Ox MITTS 1 0600x FPeleas 1 66G 1 8006 MIDITI 1 000Gx Impact pde 6G 66dE B de MIDITO amp kanore FE E EA more d The display s top line reminds you of the current layer The column on the left lists the three section types of the amplitude envelope
349. es on page 4 2 then the rest of the manual is dedicated to explaining each primary mode in turn Each mode is named for the kind of operations you perform while in that mode and each mode s editor if any contains all of the parameters related to editing the type of object found in that mode In Setup mode for example you select setups and only setups for performance or editing All of the setup editing parameters are grouped together on the Setup Editor page which is accessible through Setup mode Selecting Modes When the PC3A is on it s always operating in one of the eight primary modes represented by the LED highlighted buttons to the left of the display or in one of the editors corresponding to the current operating mode Pressing one of the mode buttons selects the corresponding mode This is the mode s entry level At the entry level the LED of the selected mode is lit Only one mode can be selected at a time From any primary mode you can get to any other primary mode simply by pressing one of the mode buttons If you re in an editor however you must press Exit to return to the mode s entry level before selecting another mode All of the modes except Storage mode give you access to one or more editors for changing the values of the parameters within that mode Press the Edit button to enter the editor of the currently selected mode When you do this the mode LED goes out It s possible to enter another mode s
350. es to recording a song by sequencing For one thing sequencer commands take up much less disk space than digitally recorded music would so you can get a lot of information that is music per megabyte Furthermore you can easily make changes to your sequences For example you can change individual notes transpose parts or change instrumentation Lastly you can share the sequences you create with other musicians Song Mode The MAIN Page The Song mode MAIN Page allows real time recording and playback song and track selection From this page you can view and edit the tracks channel program volume and pan settings as well as other useful items Mr puenta e l TemPo 126 Made Merde Locat lel ans ol Prod 897 All Out Track Fi Parameter Range of Values Default Current Song Song List 0 New Song Recording Track 1 to 16 None Mult 1 Program Program List Current Program Track Status R MP 12 1 Song Mode and the Song Editor Song Mode The MAIN Page Parameter Range of Values Default Channel 1 to 16 1 to 16 left to right Volume 0 to 127 127 Pan 0 to 127 64 Tempo 20 0 to 400 0 BPM EXT 120 0 BPM Mode Merge Erase Merge Location 9999 9 to 9999 9 1 1 The Events field on the top line displays the free RAM available for events in the selected song The Song Status also on the top line of the display is always one of the followin
351. es will change Choose either 0 8 to approximate the drawbar settings on actual organs or choose 0 127 for a finer degree of resolution Volume Tune This parameter appears only if you ve set Mode see above to Preset Use the Volume parameter to set the preset volume of each of the nine drawbars The available values will be 0 8 or 0 127 depending on the setting of the Steps parameter See Table 6 3 on page 6 8 for details on the MIDI CC numbers and values that each drawbar sends and receives This parameter lets you tune each of the nine drawbars up or down in semitone steps The values for the Tune parameter on the DRAWBR page shown above represent standard drawbar settings ona real B3 as shown in the table below Subharmonics Fundamental Harmonics 16 51 8 8 4 273 2 13 5 11 3 i Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Slider Figure 6 3 Standard Drawbar Settings for the Hammond B3 6 61 Program Mode KB3 Editor The AMP Page KB3 Editor The Set Drawbars SetDBR Soft Button Press the SetDBR soft button to capture the current position of the drawbars and use those positions as the preset drawbar positions on the DRAWBR page KB3 Editor The PITCH Page The PITCH page parameters for KB3 programs is much like the PITCH page parameters for VAST programs The only difference is that for KB3 programs there are no Hz KeyTrk or VelTrk parameters For a
352. es will not work with the PC3A if they require more than 100 mA of current high power USB devices When attempting to use an incompatible USB device the PC3A will display the message USB device requires too much power The PC3A is designed to work with low power USB devices and can provide a maximum of 100 mA to a USB device Power requirement specifications for thumb drives are not always made clearly available by the manufacturer but a newly purchased thumb drive will most likely be compatible If possible check the power requirement specifications of your USB device before purchase Caution Do not remove a USB device while the display says Loading or Saving Removing a USB device during a file transfer can cause data corruption e a es Storage Computer 5 0v 100mA USB Computer Port Next to the USB Storage port on the back panel of the PC3A is a USB Computer port The USB Computer port works for MIDI transmit and receive or to connect your PC3A to a computer for file transfer By default the USB portis set to MIDI mode When selecting USB PC connection in Storage mode USB MIDI will temporarily be disabled We recommend that you use the USB cable provided with your PC3A and do not use extension USB cables The PC3A s USB Computer port is only intended for connection to a USB Type A port In USB Storage mode a PC3A virtual drive will appear on your computer desktop One important thing to know here is t
353. ese values are an expanded view of the mixer values for the currently selected track which can be edited in the first three rows ofthe MIXER page Use the Out parameter to set the rear panel audio outputs used for each track of the current song This parameter determines the output settings for the main program signal and insert effects of each track for Aux effects output settings use the Output parameter on the Song Mode AUXI or AUX2 pages 12 12 Song Mode and the Song Editor Song Mode The METRONOME Page A setting of Auto will make that track output audio based on the settings for the program used by that track Program output settings are set in the Program Editor using the Output parameter on the top line of PROG FX page see Output on page 6 48 for details or the Output parameter on the LAYER FX page see page 6 49 for details A setting of Pri primary will output track audio to the MAIN Balanced Analog Outputs A setting of Sec secondary will output track audio to the AUX Balanced Analog Outputs The Rec Play and Stop Soft Buttons These soft buttons function as described in The Rec Play and Stop Soft Buttons on page 12 7 The Keep Soft Button Pressing the Keep soft button captures the current settings for each track s program panning and volume as the initial settings Remember to save if you want these change to be permanent The Done Soft Button If no changes were made in the MIXER page pressing the Do
354. ess may or may not be successful The PC3A is unable to convert the sample skipping parameter SmpSkp so PC3A ROM samples used for converted K2 series keymaps can only be transposed upward by one octave Only legacy objects ending with the file extension P3K K26 K25 or KRZ can be loaded and converted Object Types and Conversion Details Keymap Objects All K series Keymap objects can be loaded all parameters will be used or converted to PC3A specific parameters The PC3A is unable to convert the sample skipping parameter SmpSkp so PC3A ROM samples used for converted K2 series keymaps can only be transposed upward by one octave Program Objects Most K series Program objects can be loaded but FX are not converted and must be set by the user A reverb effect is set by default for converted Programs Some DSP ALGS and DSP objects some filters oscillators etc can not be converted so user may have to adjust some Program layers to use new ALGs or DSP objects The PC3A does not load samples so during keymap conversion the PC3A will try to find similar samples to use in the PC3A ROM This process may or may not be successful The PC3A is unable to convert the sample skipping parameter SmpSkp so PC3A ROM samples used for converted K2 series keymaps can only be transposed upward by one octave KB3 programs created with a K2500 or K2600 cannot be loaded to the PC3A however the PC3A contains a variety of KB3 programs which can easily
355. est of the key range assigned to Silence Make sure that you limit the note range of each layer 14 1 Keymap and Sample Editing The Keymap Editor using the LoKey and HiKey parameters on the LAYER page in the Program Editor If each layer covers the entire range then each note you played would trigger 20 voices one for each layer You would only hear one drum per note because all the other layers are triggering Silence Because of the voice stealing algorithms in the PC3A the voices would almost immediately become available again since they have no amplitude But for one brief instant the voice would be triggered which could cause other voices to be cut off You can also create multi velocity keymaps that is keymaps that will play different timbres depending on the attack velocities of your Note On events Program 6 Pop Power Piano for example uses a keymap with three velocity ranges Each key range in a multi velocity keymap contains two or more distinct sample roots that the PC3A chooses between according to the attack velocity of the note See Velocity Ranges VelRng on page 14 5 for details The Keymap Editor is nested within the Program Editor The first step in using the Keymap Editor is to select the keymap you want to edit This is done on the KEYMAP page in the Program Editor using the Keymap parameter Once you ve done this just press the Edit button and you ll enter the Keymap Editor If you want to edit
356. est to find the new program or keymaps in the Programs list or Keymaps list Press the Ok soft button to choose the selected bank and create the new program and keymap The new program will be selected in the currently selected channel in Program Mode 11 18 Song Mode and the Song Editor Song Mode The MAIN Page Chapter 12 Song Mode and the Song Editor Getting Started with the Sequencer The PC3A s sequencer is a powerful and versatile tool for songwriters composers and anyone else who wants to record and play back songs As with any tool however it s best to start with the basics If you are familiar with other sequencers you will have no problem using Song mode in the PC3A Read through this section to learn about the features that make the PC3A s sequencer unique See Chapter 15 Tutorial Song Mode for a guide on basic recording in Song Mode What is a Sequencer A sequencer is similar in some ways to a multi track tape recorder you can record and play back all sorts of music and sounds layer sounds on top of other sounds and change or manipulate things that you ve previously recorded Unlike a tape recorder however you do not actually record sounds with a sequencer Rather you are recording commands that cause sounds to be played Nonetheless we will sometimes explain sequencer features by drawing analogies to familiar tape recording techniques such as splicing and overdubbing There are several advantag
357. et s say you ve used all 16 tracks but desire a new instrument for the next section of the song If there is a track whose instrument is not needed in the new section this track s program could change to a new instrument sound for the section and then change back to the original instrument sound after the section To do this simply press Record and Play Pause and then change the Prog parameter on the Song mode MAIN page to the new program at the desired time This can be done most precisely if you know the ID of the program you wish to change to Enter the number with the alphanumeric pad and then press Enter when you want to make the change You won t be able to see the numbers you ve entered until you press Enter but you can press Cancel to start over if you ve made a mistake or if you are unsure what you ve entered Use the same method if you would like to change the program back to the original after the new section The Event List Song mode is a powerful composition tool because just about anything that you do on the PC3A is recorded into a track as event messages Once recorded these events can be altered copied or removed Each track has an event list containing all of the events recorded into a track from which they can be viewed and edited For details see Song Editor The EVENT Page on page 12 31 in Chapter 12 Song Mode and the Song Editor 15 16 MIDI Implementation Chart Appendix A Specifications MIDI Impleme
358. eter you select from among the intonation maps stored in the PC3A s memory You can further customize each map or create your own by editing a map see Editing Intonation Maps below Each of these maps defines different intervals between each of the semitones in a single octave used for all octaves by setting pitch offsets for each note in cents Scroll through the list of Intonation maps and listen for the differences between semitones Some of the intervals between semitones may be quite different from equal temperament but you ll notice that all notes are precisely tuned with notes that are an octave apart This is because the intonation maps set the intervals within a single octave and apply those intervals to each octave Like many instruments before the adaptation of equal temperament most of these intonation maps were designed to sound best in one specific key Though some may have historically been in a different key all of the PC3As factory intonation maps are set to root note C by default You can change the root key of the current intonation map by using the Int Key parameter see the Intonation Key Int Key section below List and Description of Intonation Maps 0 None No intonation map is used intonation is equal but cannot be edited Equal No detuning of any intervals The standard for modern western music 2 Classic Just Tunings are defined based on the ratios of the fr
359. ey that is pressed and held within this range will play the selected riff Release the key and the riff will stop Playing any other key in this zone while triggering a riff with CondRel even if they are within the Trigger and Release ranges will not retrigger or stop the zone s riff Local If you want to trigger your riff without playing the current zone s program set Local to Off Local is set to Off by default since most users wont want to play the program in the zone they are using for a riff but only wish hear that zone s program as a backing track With Local set to On you will play the current zones program any time a key is pressed This could create undesired grace notes if you trigger a riff that has a downbeat at the same time you are playing a note Loop If you want your riff to loop indefinitely set this parameter to Forever If you want to have it play once and then stop until you retrigger it set this parameter to Once BPM There are four choices here that will determine what controls the tempo of your riff With BPM set to Sequence the original tempo in which the riff was recorded will be used With BPM set to Setup the tempo set on the COMMON or TEMPO pages will be used When syncing multiple riffs it is convenient to set each riffs BPM parameter to Setup Doing this you can change the tempo of all riffs at once on the TEMPO page see TEMPO on page 11 11 A value of Setup is also useful for syncing riffs
360. ey will not be shifted by every step of the pattern causing you to only hear part of the pattern from each key often making the pattern unrecognizable Though triggering a Shift pattern from multiple keys can be used creatively it can also make it hard to predict what the output will be You can edit the included patterns by pressing Edit with a pattern highlighted in the ShiftPatt field see edit screen below The top line of the EditShiftPatt page shows the full name for a pattern whose name does not fit on the ARPEGGIATOR page This page also displays the pattern s total number of steps as well as pattern direction Pressing Step removes the last step in the list pressing Step inserts a new note step at the end of the list the pattern editor remembers the values of removed steps until you save or exit Use the cursor to move between pattern steps use the alpha wheel alphanumeric pad or plus minus buttons to enter the note shift amount for each step Press More to see a second page for patterns with more than 24 steps You can insert a step with a value of none by entering 127 and then shifting down one more step A step with the value none causes the arpeggiator to play nothing for that step allowing you to create rhythmic patterns by using none to leave spaces When the arpeggiator determines the range of pattern notes played with the Limit parameter see below steps with a value of none will be calc
361. ffect on the object you re editing The PC3A doesn t actually write your editing changes to memory until you save the object you re working on It then allows you to choose between writing over the original object or storing the newly edited version in a new memory location What s an Object If you ve been wondering what we mean by the term object it s an expression we use for anything that can be named saved deleted or edited Here s a list of all the types of objects Programs Factory preset or user programmed sounds stored in ROM or flash memory A program is one or more layers of sound with programmable DSP functions applied to the keymaps within each layer Algorithms Factory preset or user programmed routing virtual wiring for V A S T DSP Functions Setups Factory preset or user programmed MIDI performance presets consisting of up to 16 zones each with its own program MIDI channel and controller assignments and optionally arpeggiation specifications Songs Sequence files loaded into memory or MIDI data recorded in Song mode Chains Factory preset or user programmed configurations of the PC3A s onboard digital audio effects processor Quick Access banks Factory preset or user programmed banks of ten entries each that store programs and setups for single button access in Quick Access mode Intonation maps Factory preset or user programmed pitch offsets for each note in all octaves Set from master
362. ffects how many MIDI banks and programs you can choose None means no bank number is sent just the program number Ctl 0 means that the bank number is sent as a MIDI Controller 0 message Ctl 32 means it is sent as MIDI Controller 32 Ctl 0 32 means it is sent as a dual controller two byte message with the most significant byte MSB of the bank number sent as Controller 0 and the least significant byte LSB as Controller 32 Bank Select messages allow you to specify banks numbered 0 127 The MIDI Specification is a little ambiguous when it comes to Bank Select messages as to whether they should be only Controller 0 only Controller 32 or both Controllers sent as a pair Different manufacturers design their instruments to respond to different schemes and if you send Bank Select in a form an instrument doesn t like it may ignore it or interpret it incorrectly The BankMode parameter is designed to allow the greatest flexibility in addressing other MIDI instruments Usually you can look on the MIDI Implementation chart in the user s manual of an instrument to determine how it s designed to receive Bank Select messages and then set BankMode for each zone to suit the instrument that is receiving data from it The default setting which works with the largest number of other instruments is Ctl 0 32 A BankMode value of K2600 is intended for use with the K2000 K2500 or K2600 The Bank Select message is sent as Controller 32 with a value
363. fferent configurations See Control Setup on page 6 9 details In Setup and Song modes a setting of Master uses the master effect settings set in Effect Mode while a setting of Setup uses the master effects settings for the current Setup or Song Order Use the Order parameter to determine the order of the two effects Setting Order to Compressor gt EQ routes signal through the Compressor first and then through the EQ Setting Order to EQ gt Compressor routes signal through the EQ first and then through the Compressor Master FX The Master FX parameter determines whether the Master Effects are enabled or bypassed Setting Master FX to Master FX Enabled enables the Master Effects Setting Master FX to Master FX Bypassed bypasses the Master Effects and effectively removes them from the signal path 9 8 Effects and Effect Mode Effects Overview The Chain Editor Pressing the Edit button while a Chain other than 0 None is highlighted on any of the various effects pages will call up the Chain editor From the Program editor the program s Insert and Aux Chains can be edited from the PROGFX and LYRFX pages In Effect mode Chains selected for Aux overrides can be edited from the Aux 1 Override and Aux 2 Override pages In Setup and Song mode Chains selected for Aux overrides can be edited from the AUX1 and AUX2 pages A Chain is made up of one or more effect boxes with each box containing a single effect You can h
364. fferent effects with similar names do not necessarily sound the same Rvrb Time is the RT the time it takes for the reverb to decay to 60 dB below its initial level in seconds It is accurate assuming that several other parameters HF Damping Diff Scale Size Scale and Density are at their nominal levels It is adjustable up to Inf which creates an infinitely sustaining reverb LateRvbTim adjusts the basic decay time of the late portion of the reverb after diffusion L Pre Dly and R Pre Dly Pre Delay is the time between the start of a sound and the output of the first reverb reflections from that sound Longer pre delays can help make larger spaces sound more realistic Longer times can also help improve the clarity of a mix by separating the reverb signal from the dry signal so the dry signal is not obscured You can set a separate time for the left and right reverb signals using L Pre Dly and R Pre Dly EarRef Lvl adjusts the mix level of the early reflection portion of effects which offer early reflections Late Lvl adjusts the mix level of the late reverb portion of effects which offer early reflections Diff Scale scales the diffusion of the early reflections that is how spread out they are as a group over time At very low settings the early reflections start to sound quite discrete and at higher settings the early reflections are seamless It is adjustable from 0 00 to 2 00 with 1 00 being nominal for the given
365. for Stop is Bar Beat Tick Bar can be set to any bar in the sequence and Beat can be set to any beat in that bar beat range is dependent on time signature Tick can be set from 0 to 959 Refer to Table 7 5 for Tick values The PC3A restricts the selectable values for the Stop parameter such that the current riff is at least one beat long Transpose Root Note With the Transpose parameter set to On the riff will transpose to the value set in the Root Note parameter So if you have a riff whose root note is C4 you can set a new root note in the setup so that the riff will play in the correct range In this scenario if you want to trigger your riff from C1 but it was recorded at C4 you would set Transpose to On and Root Note to C1 Your riff will now play in the desired range when triggered from the C1 key which now corresponds to the note C4 SrcTrack Source Track The SrcTrack parameter determines the source track of the riff from the riff s original sequence in Song mode Along with the Start and Stop parameters SrcTrack allows you to use a single sequence as a riff for many zones and to select a different source track and Start Stop parameter setting for each zone to avoid having to create a special sequence for each riff To create a setup with multiple riffs each playing a single instrument part set a single track for the SrcTrack parameter and that track of the sequence will play with the program on the current zone
366. for each note Output Gain Pan and Pan Mode The Output parameters on the COMMON page allow you to adjust the final stage gain and panning of the post FX signal Use the OutGain parameter to cut or boost the signal Use the OutPan parameter to pan the signal negative values pan the audio signal to the left channel positive values to the right and a value of zero pans to the center When the OPanMode is set to Fixed the pan position remains as defined with the OutPan parameter ignoring MIDI pan messages When the OPanMode is set to MIDI MIDI pan messages MIDI 10 will shift the sound to the left or right of the Pan parameter setting Message values below 64 shift it left while those above 64 shift it right Demo Song The Demo Song parameter allows you to choose the demo song for the current program The demo song is a short pre programmed song that gives you a demonstration of the program ina musical context You can play a program s demo song in any page in the Program mode by pressing the Play Pause button and stop the song by pressing the Stop button both buttons are located under the MODE buttons on the front panel When in the Program mode entry level page you can hear a demo song in whatever program you want by pressing the Play Pause button with one program selected and then selecting another program None of the KB3 programs have demo songs but by this method you could for example hear the demo song for program 83
367. for key tracking the effect increases for each note above or below Middle C In the case of pitch for example say you assign a value of 5 cents per key for the key tracking parameter Triggering Middle C C 4 on the PC3A will play anormal C 4 Triggering C 4 will play a note 5 cents higher than C 4 Triggering D 4 will play a note 10 cents higher than D 4 and so on Notes below Middle C will be tuned lower than their normal pitches If you set a negative value for key tracking notes above Middle C will be tuned lower than their normal pitches Keep in mind that key tracking on the PITCH page works in conjunction with the key tracking parameter on the KEYMAP page This is why you can set the KeyTrk parameter on the PITCH page to Oct key and notes still increase in pitch by 100 cents key as you go up the keyboard It s because the KeyTrk parameter on the KEYMAP page is already set at 100 cents per key Velocity Tracking A positive value for velocity tracking will raise the pitch as you trigger notes with higher attack velocities This is great for getting a trace of detuning based on your attack velocity especially in drum programs where you can make the pitch of the drum samples rise slightly with higher velocity Note Ons just as drums do when you strike them harder Negative values will lower the pitch as you increase the attack velocity Programmable Parameters Source 1 Src1 This parameter takes its value from a long list of cont
368. g STOPPED The default sequencer status also appears when you press the Stop or Pause button PLAYING Appears when the Play button is pressed but only if the following conditions are true the Record was not pressed prior to pressing Play REC READY Appears when the Record button is pressed while Song Status is STOPPED REC READY flashes indicating that the sequencer is waiting to start recording Current Song CurSong This shows the ID and 16 character name of the song currently selected for recording playback or editing When a song is selected Program Change Volume and Pan information is sent to all MIDI channels assigned to tracks that have data on them and the internal clock is set to match the setting of the Tempo parameter When looking for a previously saved song you can scroll through songs while the sequencer is playing to quickly hear the beginning of each The Tempo parameter determines the initial tempo for the selected song The song will always start playback at the initial tempo Whatever the tempo is set to when you record your first track will be the song s initial tempo During playback the current tempo is shown in this field During recording tempos dialed in here get recorded in the Tempo Track The initial tempo and other tempo changes can also be edited in the event list for the Tempo Track The Tempo track also allows you to program more precise fractional tempos with two decimal places To quickly cha
369. ge press the Advnce soft button on this page to go to The Store Advanced Page See The Store Advanced Page below for details Ae all ees 1 128 roSram 1279 26 Als ZI feet At the top right of the page the display shows how much memory is available in the current storage device Along the bottom of the page are the Store page s six soft buttons Below is a description of the function of each soft button Select Select or deselect the highlighted Object Type or Range Bank An asterix appears to the left of selected entries Clear Clear all selections in the current field Note that if you press the Clear soft button while in the Range Bank field only selected Range Bank entries are cleared however if press the Clear soft button while in the Object Type field all selected entries in both fields are cleared SetRng Set a custom range of object ID numbers to store Note in the Range Bank field that the last entry is 1 100 Range You can set this range in the Set Range dialogue by pressing the SetRng soft button If you try to set an invalid range such as 102 23 then the PC3A will inform you that the range is invalid Advnce Press the Advnce soft button to go to The Store Advanced Page where you can store an individual object or select objects individually instead of by range See The Store Advanced Page below for details Store Store the selected objects to the current storage device Pressing this soft button
370. ge Delay 1U COMBI 451 ThroatyFlangeDly alg 450 Flange Delay 1U 452 Slapback Flange alg 450 Flange Delay 1U 453 Flange Booth alg 454 2U 454 FlangeVerb Clav alg 454 2U 455 Flange Amb Smack alg 454 2U 456 Flange Dly 3 D alg 453 Flan Dly Reverb 2U 457 FI DI Large Hall alg 453 Flan Dly Reverb 2U 458 Flanged Edge alg 321 Flange lt gt Shaper 2U 459 Flange 4Tap alg 451 Flange 4Tap 1U 460 FlangeDelayHall alg 453 Flan Dly Reverb 2U 461 SloFlangeDlyRoom alg 453 Flan Dly Reverb 2U 462 Flange Hall alg 454 2U 463 FlangeDlyBigHall alg 453 Flan Dly Reverb 2U 464 Flange Theatre alg 454 2U 465 FlangeTap Synth alg 452 Flange lt gt 4Tap 2U 466 Flange Room alg 453 Flan Dly Reverb 2U D 42 PC3A Objects V 2 3 Effect Presets with Algorithms 467 Flange Echo alg 452 Flange lt gt 4Tap 2U 468 Flange 4 Tap alg 452 Flange lt gt 4Tap 2U 469 Flange Hall 2 alg 454 2U 470 Flange Dly Hall alg 453 Flan Dly Reverb 2U 471 Flange Delay alg 450 Flange Delay 1U 472 Mecha Godzilla alg 451 Flange 4Tap 1U 473 Industro Flange alg 453 Flan Dly Reverb 2U 474 Panning FDRoom alg 453 Flan Dly Reverb 2U 475 Drum amp Bass FlgDly alg 451 Flange 4Tap 1U 476 Laserflange alg 455 Flange lt gt LasrDly 2U 477 Pewter FlangeVrb alg 454 2U 478 WeirdFlangePlate alg 454 2U 479 F D Hall alg 453 Flan Dly Reverb 2U 480 Synt
371. ge of values selects one of seven options in order on parameters list 0 18 19 36 37 54 55 72 73 90 91 108 109 127 See The ARPEGGIATOR Page on page 7 42 152 ArpShift The 88 Arpeggiator Shift steps are scaled over the 128 MIDI controller values so that 0 0 steps and 127 88 steps See The ARPEGGIATOR Page on page 7 42 153 ArpLimit The 60 Arpeggiator Shift Limit steps are scaled over the 128 MIDI controller values so that 0 0 steps and 127 60 steps See The ARPEGGIATOR Page on page 7 42 154 ArpLmtOp Arpeggiator Shift Limit Option each range of values selects one of seven options in order on parameters list 0 18 19 36 37 54 55 72 73 90 91 108 109 127 See The ARPEGGIATOR Page on page 7 42 155 ArpVel Arpeggiator Velocity each range of values selects one of twenty three options in order on parameters list 0 5 6 10 11 15 101 105 106 110 111 127 See The ARPEGGIATOR Page on page 7 42 156 ArpDur The Arpeggiator Duration values are scaled over the 128 MIDI controller values so that 0 1 and 127 100 See The ARPEGGIATOR Page on page 7 42 157 Latch For Arpeggiator Latch Pedals mode 0 63 off 64 127 on See The ARPEGGIATOR 2 Page on page 7 49 158 Latch2 For Arpeggiator Latch Pedals mode 0 63 off 64 127 on See The ARPEGGIATOR 2 Page on page 7 49 Table 7 4 Controller Destination List 7 24 Setup Mode Corresponding Controllers
372. ge to save An asterix appears to the left of selected bank ranges Ranges in the Range Bank list must have a u symbol in order for object to be saved from that range A Range Bank list entry with a u symbol indicates that the range contains user created or edited objects which can be saved The Store Advanced Page Pressing the Advnce soft button calls up the Store Advanced page On this page you can select and store objects individually rather than by range The Store Advanced page lists every user edited object in the PC3A The objects are organized by numerical ID and object type There are five soft buttons on the Store Advanced page Select Select or deselect the highlighted object An asterix appears between the ID and object type of selected objects Next Scroll to next entry Same function as pressing the Down or buttons or turning the Alpha Wheel one click clockwise Type Jump to next object type in the list Store Store the selected objects to the current storage device Pressing this soft button calls up the Select Directory dialogue Cancel Exits the Store Advanced page 13 7 Storage Mode Storage Mode Common Features 13 8 Shortcuts when Storing Individual Objects Selecting or deselecting all of the objects at once can be done with the following double presses two front panel buttons simultaneously pressed e Left Right cursor double press Select All Objects e Up Down cursor double pre
373. giator will look for the first available arpeggiator to sync to So if both the bass arpeggiation and the lead arpeggiation have this parameter set to FirstArp Av the arpeggiation that is started first will be the main timekeeper If the lead arpeggiator starts first the bass arpeggiator will see that as the first available arpeggiator to sync to and will do so If the bass arpeggiator is started first the lead arpeggiator will see that as the first available arpeggiator to sync to and will do so This can be very handy if you are using multiple arpeggiators and want to do some live improvisation you can start and stop different arpeggiators and as long is there is one arpeggiator playing any arpeggiator with SyncTo set to FirstArp Av will sync back up when triggered again You can also choose FirstRiff Av which behaves the same way as FirstArp Av but makes your arpeggiator look for the first available riff to sync to A setting of Main Seq will sync the arpeggiator to the song currently loaded in Song mode You can select a song in Song mode then play it from setup mode with the front panel Play Pause button Doing this temporarily replaces the programs in your setup s zones with the program used for each channel in the song so it s best to make a setup that uses the same programs as your song on the same MIDI channels If you plan on syncing riffs with a song it may be easier to start by creating a setup then recording the setup i
374. go to Song mode and note the ID of the song section of song and track that you will use for your riff Next go to Setup mode and create a setup On the CH PRG page of the Setup Editor choose the program that you want to use for the riff on the current zone Program changes that are recorded in song mode will be ignored when using the song as a riff in a setup You can also set up the playback event filter in Song mode to ignore other types of events as well Once you have selected your program press the more soft button until you get to the RIFF1 and RIFF2 pages The following sections describe the contents of these pages Note By default setting a zone to trigger a riff will disable the ability to play notes of that zone s program from the keyboard To re enable this ability see Local on page 7 59 The RIFF1 Page The first Riff page appears as shown below and has the following parameters Ores is Src Track 7 KH Re Channel ARPS RIFFi jRIFF2 more ALL Off StoP 4 TransPose i Parameter Range of Values Default Riff Off On Off Song Song List 0 None Bar dependent on sequence 1 Start Beat 1 to dependent on time signature 1 Tick 0 to 959 0 Bar dependent on sequence 2 Stop Beat 1 to dependent on time signature 1 Tick 0 to 959 0 Transpose Off On Off Root Note C 1 to G9 C4 SrcTrack Source Track ALL 1 to 128 ALL Re Channel Off On Off
375. gt gt soft buttons to move the cursor to the character you want to change Use the labels under the alphanumeric buttons as a guide to character entry Press the corresponding button one or more times to insert the desired character above the cursor The Cancel button is equivalent to the gt gt gt soft button and Enter is the same as OK The Clear button replaces the currently selected character with a space The button toggles between uppercase and lowercase letters There s also a convenient feature called keyboard naming which lets you use the keyboard to enter characters in names See page 5 5 User Interface Basics Navigation Double Button Presses Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode Make sure to press them at exactly the same time In this mode or editor pressing these buttons simultaneously does this Program mode ARP SW Brings up quick arpeggiator configuration page Octav Octav Reset MIDI transposition to 0 semitones Double press again to go to previous transposition Chan Layer Set current MIDI channel to 1 Sets layer 1 in Program editor Plus Minus Step to next Program bank increments of 128 Up Down cursor buttons Starts playback of demo song for current Program Stop with Stop transport button Left Right cursor buttons Brings up the TEMP
376. h Distortion alg 303 PolyDistort EQ 2U 306 Superphasulate alg 170 Degen Regen BPM 4U 307 Dist Cab EPiano alg 301 MonoDistort Cab 2U 308 Distortion EQ alg 302 MonoDistort EQ 2U 309 Burnt Transistor alg 304 StereoDistort EQ 3U 310 SubtleDistortion alg 300 Mono Distortion 1U 311 A little dirty alg 305 Subtle Distort 1U 312 Slight Overload alg 305 Subtle Distort 1U 313 ODriveGtrLd DICh alg 317 TubeAmp lt gt MD gt Chor 3U 314 Krazy Gtr Comper alg 317 TubeAmp lt gt MD gt Chor 3U 315 MildGtrOD Dly FI alg 320 PolyAmp lt gt MD gt Flan 3U 316 LeadGtr Dly Flng alg 318 TubeAmp lt gt MD gt Flan 3U 317 Drum Shaper alg 306 Super Shaper 1U 318 SubtleDrumShape alg 307 3 Band Shaper 2U 319 SuperShaper alg 306 Super Shaper 1U 320 3 Band Shaper alg 307 3 Band Shaper 2U 321 New3BandShaper alg 307 3 Band Shaper 2U 322 Shaper gt Flange alg 321 Flange lt gt Shaper 2U 323 Shaper gt Reverb alg 322 Shaper lt gt Reverb 2U 329 Aliaser alg 308 Quantize Alias 1U D 38 PC3A Objects V 2 3 Effect Presets with Algorithms Dynamics DYNAMICS 330 HKCompressor 3 1 alg 330 HardKneeCompress 1U 331 HKCompressor 5 1 alg 330 HardKneeCompress 1U 332 SK FB Comprs 6 1 alg 331 SoftKneeCompress 1U 333 SKCompressor 9 1 alg 331 SoftKneeCompress 1U 334 SKCompressr 12 1 alg 331 SoftKneeCompress 1U 336 Compress w SC EQ alg 332 Compress w S
377. h a attack velocities lower than the LoVel will not be affected by the edit The available values are 1 127 the default is 1 High Velocity Hi The Hi parameter sets the highest attack velocity a Note needs to have in order to be edited Notes on the selected track s with attack velocities higher than the value of Hi are not affected by the edit The available values are 1 127 the default is 127 When Events is set to Controller the Controller s and a Controller value range can be set for Controller events Controller The Controller parameter selects the Controller if any or all Controllers to be affected LoVal You may further specify a particular range of values to edit by setting a high and low value LoVal will define the lowest modifiable value in the selected controller s recorded data Value ranges are not definable when Ctl is set to All Available Values are 0 127 High Value Hi Hi defines the highest modifiable value in the selected controller s recorded data Value ranges are not definable when Ctl is set to All Available Values are 0 127 Soft Buttons on the TRACK Page FromTo is a quick way to define the region of time you intend to edit There are a couple of ways to use this feature when the sequence is playing back in real time and both ways will set the temporal boundaries of the region One way is to first position the cursor over the From parameter in the Region Criteria box and then press the Play
378. han 100 will result in higher velocities Offset You can fine tune the start time of your riff in ticks by using the Offset parameter A positive value will delay the start time while a negative value will speed up the start time 7 62 Setup Mode The Ribbon Configuration RIBCFG Page Real time Control of Riff Parameters You can have real time control over several Riff parameters by assigning physical controllers to special Riff Controller Destinations Any input or entry value from a physical controller assigned to a Riff Controller Destination overrides the programmed values for the parameters of the riff on that controller s zone The override remains in effect until you select a different setup Remember each of the following Controller Destinations affects only the riff for the zone which your controller is assigned to Controller Number Corresponding Riff Parameter Operation 163 RiffOn Riff On Any value triggers the zone s Riff if Riff is set to On on RIFF1 page 164 RiffOff Riff Off Any value stops playback of zone s Riff 165 RiffDur Riff Duration sets the Duration parameter see above The Duration value is calculated by multiplying the received controller value by 1000 and dividing the answer by 128 any decimal points are taken off the final value Here are some example values 7 54 13 101 19 148 32 250 64 500 127 992 166 RiffVel
379. hange at least one parameter of the new keyrange before editing a different keyrange otherwise the new keyrange will be merged with the adjacent keyranges If you set a new keyrange that overlaps part or all of another key range the sample assigned to the lower key range will be applied to the new keyrange Again at this point you must change at least one parameter of the new keyrange before editing a different keyrange otherwise the new keyrange will be merged with the lower keyrange that it overlapped Assign The Assign soft button lets you select a sample then specify the key range to which it s assigned This enables you to insert a new key range within the current keymap When you press the Assign soft button a dialog appears that prompts you to select a sample from the Samples list Scroll through the list then press the OK soft button You ll then be prompted to define the new key range by playing the notes you want to be the lowest and highest notes of the range Press the Cancel soft button if you change your mind When you trigger the low and high notes the new key range is inserted If the new key range partially overlaps an adjacent key range the existing key range will be adjusted to accommodate the new range If the new key range completely overlaps an existing key range the original key range will be replaced Rename Call up the page that enables you to change the name of the current keymap Save Start the process of sav
380. hardest so these maps may work better for users who play with a harder touch Piano Touch simulates the general velocity response of an acoustic piano and is best suited for playing acoustic piano sounds Easy Touch is similar to the Light settings making high velocities easier to play but it allows more sensitive control over playing high velocities by not boosting the MIDI velocity for fast strike velocities as much as it does for medium strike velocities GM Receive mimics the velocity map commonly used by keyboards that use the General MIDI GM sound set The GM Receive map makes medium strike velocities produce higher MIDI velocities compared to the Linear map 10 7 MIDI Mode The RECEIVE Page Pressure Map Receive Change the receive Pressure Map setting if you are triggering the PC3A with external MIDI gear which is producing MIDI pressure aftertouch values that are too high or too low based on your playing style how soft or hard that you press the keys The default map provides the widest range of pressure aftertouch expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port MIDI Destinations PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The receive Pressure Map affects the way the PC3A receives MIDI pressure aftertouch values from its
381. hat no note repeats until all of the others have played Walk is a random walk order each successive note is either the next or previous note in chronological order For example suppose you ve latched four notes G 4 B 4 D 5 and F 5 in 7 43 Setup Mode The Ribbon Configuration RIBCFG Page that order The first note the Arpeggiator plays is the G 4 The second note will be either B 4 the next note chronologically or F 5 the previous note chronologically that is the last latched note If the second note is B 4 the third note will be either D 5 or G 4 If the second note is F 5 the third note will be either G 4 or D5 Simultaneous makes the Arpeggiator latch each note you play and repeat it in time with the Tempo value sort of like a digital delay with no decay If you play a C and hold it while you play an E and a G the Arpeggiator will play all three notes at the same time and at the same tempo Simultaneous also works well with Shift and Limit allowing you to shift multiple notes simultaneously Duration Duration determines how long each arpeggiated note plays 100 means that a note sustains until the next one sounds very legato 50 means that the note fills half the space between itself and the next note The lowest value is 1 stacattissimo This parameter has no effect on percussion sounds or other sounds whose duration is fixed Velocity Velocity sets the attack velocity of the played
382. hat this is a virtual drive You can save to this drive from the PC3A but you must immediately transfer that file to your desktop or other folder You must copy data from the PC3A virtual drive to your computer s drive or else the data will be lost Note When transferring files to and from the PC3A via the USB Computer Port the maximum size of files that can be transferred is approximately 1 6MB This is suitable for most objects When using the USB Storage Port to transfer files the file size that can be transferred is limited only by the size of the USB mass storage device and the PC3A s available object memory 2 6 Startup PC3A Programs When you leave Storage Mode there will be a prompt telling you that the PC3A is turning back into a USB MIDI device which you have to acknowledge If you haven t copied the file s to your desktop or other place on the computer it won t be on the virtual disk when you leave storage mode Depending on your computer s operating system you may sometimes see a scary device removal warning on your desktop for example when the PC3A leaves the Boot Loader You may disregard such a message without worries of damage to your PC3A or computer Setting the Clock The first time you start up your PC3A is probably a good time to set the instrument s clock to your current local time Do this from the Master mode CLOCK page The clock will time stamp your files that have been stored via US
383. he GM drum map The standard PC3A programs will not be visible until GM mode is turned off hos amr PE Program assigned 126 Gunshot 4096 GM Fiano 1 EE 3 E Grand Piang ctan Replacing Default General MIDI Programs The PC3A s GM sounds consist of PC3A programs tailored to work well in all GM sequences but you can also edit or exchange these programs to suit your taste The PC3A provides you with a GM sound set editor which allows you to replace the PC3A s default GM programs with any other PC3A factory or user created program For example you could choose a different factory or user created piano program to replace the default GM program 1 Ac Grand Piano This way any GM sequence that uses GM program 1 would now use the new piano program that you selected Alternatively you could even choose a different instrument to replace the default GM program 1 such as PC3A program 47 Harpsichord This way any GM sequence that uses GM program 1 11 12 Master Mode OBJECT OBJECT would now use the new harpsichord program that you selected Using a PC3A program that does not resemble the instrument named in the current GM program would technically make the PC3A incompatible with GM but some users may want to do this as a way to remix GM sequences It is easy to replace default GM programs in order to make a custom GM sound set Once in GM mode the right side of Program Mode screen displays a list of the GM
384. he current Setup Editor page and the current zone Use the Chan Layer buttons to select one of up to sixteen different zones each having its own set of Setup Editor pages The parameters on the Setup Editor pages define what each of a setup s zones sends both to internal programs and to the MIDI Out port They also determine how the PC3A responds to MIDI signals received from a MIDI controller connected to the PC3A s MIDI In port when the Local Keyboard Channel matches the transmit channel of your MIDI controller Compare Pressing the Storage button calls up the Compare Editor which recalls the setup pre edit settings allowing you to compare your edited setup with the original setup Pressing the Storage button again returns you to the Setup editor Using the Compare Editor makes no changes to the current setup Setup Mode The Channel Program CH PROG Page The Channel Program CH PROG Page This is the first page you see when you enter the Setup Editor Here you can select programs MIDI channels and MIDI Bank numbers for each of the setup s 16 zones You can also solo or mute each zone MidiBank MidiFrod fete nae Hone BankMode a CLI B732 Entrare 9aCha I a more s Parameter Range of Values Default Program Program List 1 Standard Grand Destination Destination List USB_MIDI MIDI Local Channel 1 to 16 1 MIDI Bank 0 to 127 0
385. he edited object If you change your mind about the name press the Rename soft button for another try Pa Note For an additional naming method see Keyboard Naming below 5 3 Editing Conventions Saving and Naming ROM Objects If the object you started from was a ROM factory preset object the PC3A will automatically suggest the next available unused ID as the ID for the edited object If that s the ID you want press the Save soft button and the object will be stored in memory with that ID Otherwise you can select any ID from 1 to the maximum This page also gives you the opportunity to return to the naming dialog as described in the previous section or by pressing the Object soft button to access the Object Utilities see The Utilities UTILS Page in Ch 13 page 14 If you select an ID that s already in use the PC3A will tell you that you re going to replace the ROM object that s already been assigned that ID If you don t want to do that you can select a different ID Or you can press the Plus Minus buttons simultaneously to toggle between the ID that the PC3A suggested and the original ID Or press the Cancel soft button to cancel the operation If you decide not to cancel or change the ID and you press the Replace soft button the PC3A will write your newly edited object over the existing ROM object Actually it only appears that way since you can t truly write to ROM The ROM object will reappear
386. he signal path To use a different algorithm select the Algorithm parameter and use any data entry method to select a different one To change the DSP function within an algorithm move the cursor to the block you want to change then use the Alpha Wheel or Plus Minus buttons There s a staggering number of combinations of algorithms and DSP functions alone not to mention the numerous controls that can be used to modify the DSP functions Pa Note Changing a layer s algorithm can affect the layer s sound drastically It s a good idea to bring down the volume of your PC3A or your sound system before changing algorithms See Algorithm Basics below for information on editing algorithms 6 22 Program Mode The Algorithm ALG Page Algorithm Basics Each of the 59 available algorithms represents a preset signal path With our new Dynamic VAST feature you can edit any preset signal path and make your own unique algorithms but that will be explained further on in this section Take a look at Algorithm 1 in the diagram below It s one of the simplest algorithms PITCH Ee more ALG TDSPETLIDSPHOD OUTPUT more 4 The DSP functions are represented by the rectangular blocks The lines connecting the blocks together indicates the flow of the digital signal from left to right they represent what we call the wire of the algorithm the actual physical path that the signal follows through the algorithm Selecting differen
387. her MIDI velocities compared to the Linear map GM Receive effects notes from the PC3A s keyboard as well as the MIDI in port This map is automatically used when the PC3A is in GM mode see General MIDI Mode GM On GM Off below though users may want to use the GM Receive map when generating MIDI outside of GM mode which will later be played back by a GM system 11 6 Master Mode MAIN Pressure Map Master Change the Master Press Map setting if you find that the PC3A is not producing the desired MIDI pressure aftertouch values too high or too low based on your playing style how soft or hard that you press the keys The default map provides the widest range of pressure expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3A Keyboard MIDI In via MIDI In port or USB Computer port PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The Master Press Map is an overall control for MIDI pressure aftertouch values used in the PC3A MIDI pressure aftertouch values are created for each note depending on how hard you press on a key that is being held down The Master Press Map affects MIDI pressure aftertouch values for all MIDI sources and destinations used in the PC3A see the circled box above for its location in the MIDI signal flow Different maps used for the Master Press Map generate different MIDI pressure afte
388. hesis Technology V A S T lets you build sounds from realistic instrumental samples and sampled synth waveforms then modify the nature of those sounds through a wide variety of digital signal processing DSP functions The PC3A also generates its own synth waveforms which can be combined with the samples or used on their own While many other synthesizers may offer a fixed set of DSP tools typically filtering pitch and amplitude modulation the PC3A s Variable Architecture lets you arrange a combination of DSP functions from a long list of choices The functions you choose define the type of synthesis you use Each layer of every program has its own DSP architecture which we call an algorithm Within each algorithm you can select from a variety of DSP functions Each function can be independently controlled by a variety of sources including LFOs ASRs envelopes a set of unique programmable functions FUNs as well as any MIDI control message The many different DSP functions and the wealth of independent control sources give you an extremely flexible truly vast collection of tools for sound creation and modification The PC3A offers powerful editing features we call Dynamic V A S T and Cascade Mode Dynamic V A S T allows you to wire your own algorithms combining different DSP functions in any order you like including parallel and serial configurations Cascade Mode lets you route any layer of a program into the DSP of an
389. heticRmFlg alg 453 Flan Dly Reverb 2U 481 Space Flanger alg 452 Flange lt gt 4Tap 2U 482 Lazertag Flange alg 455 Flange lt gt LasrDly 2U 483 Flange gt Pitcher alg 384 Flange lt gt Pitcher 2U 484 Flange gt Shaper alg 321 Flange lt gt Shaper 2U 485 Pitch Spinner alg 384 Flange lt gt Pitcher 2U 486 FD Lead Madness alg 450 Flange Delay 1U 487 Brite Rippleverb alg 453 Flan Dly Reverb 2U 488 Rotary Club alg 453 Flan Dly Reverb 2U 489 Flangey Hall alg 453 Flan Dly Reverb 2U 490 Flg gt GtrDst gt Chr alg 319 PolyAmp lt gt MD gt Chor 3U 491 MyGtrAteYo Momma alg 318 TubeAmp lt gt MD gt Flan 3U 492 Glacial Canyon alg 456 St Flange Delay 1U 494 Ultima Thule Pad alg 403 Chor Dly Reverb 2U 495 Dr Who alg 225 Flanger 1 1U 799 Pass Through D 43 PC3A Objects V 2 3 Effect Presets with Algorithms Keymaps Keymap Piano f Left Piano f Right Piano mf Left Piano mf Right Piano mp Left Piano mp Right Piano 3Vel L Piano 3Vel R Piano 3V Easy L Piano 3V Easy R Piano f Mono Piano mf Mono Piano mp Mono Piano 3Vel Mono Piano 3V Easy M Piano 440 f L Piano 440 fR Piano 440 mf L Piano 440 mf R Piano 440 mp L 21 Piano 440mpR 22 Piano 440 3Vel L 23 Piano 440 3Vel R 24 Piano 4403VEZL 25 Piano 4403VEZR 26 Piano 440
390. ho15 16 X0000X 71 ARPKIK1 99 dubecho1 17 X00X0X 72 ARPSNRI 100 E Bass Arp 18 XXOX0X 73 ARPHAT1 101 PercussionArp 19 XXXXX0 74 Syn1 120 8th HiHat 1 20 X000000X 75 perco1 121 8th Delay 1 21 X0000X0X 76 perco2 122 8th Trip Delay 1 22 XXXXXXX0 77 rebound 1 123 Syn2 23 0X00XX00 78 rebound 2 124 48StepTemplate 24 X000X0X0 79 pulser 1 125 24StepTemplate 25 XX00X0X0 80 pulser2 126 16StepTemplate 26 XX00XXX0 81 pulser3 127 8StepTemplate 27 XXOXXXX0 82 pulser4 128 Speed Up 28 patl2A 83 pulser5 200 Trancerl D 65 PC3A Objects V 2 3 Arpeggiator Velocity Patterns ID Velocity Pattern 201 Trancer2 202 ElectroBassl 203 ElectroGtr1 204 offbeats01 205 BalladBass1 206 OneandTwo 207 Oneand Two2 208 One and Two3 209 Offbeat 8ths 210 And one and D 66 Object Types and Conversion Details Appendix E PC3A Legacy File Conversion The PC3A can load objects from older Kurzweil K2 series products Loaded objects are converted to object types native to the PC3A see below for object types that can be converted Some object parameters cannot be converted and must be adjusted by the user after conversion see object types below for details The PC3A does not load samples so during keymap conversion the PC3A will try to find similar samples to use in the PC3A ROM This proc
391. hter 950 LeeMichaelsB3 984 ElectroMechLead 920 FirebreatheC3 951 GMStandard Kit 985 PannerTemplate 921 MrSmith 952 GM Room Kit 986 HiArp Delay 922 ErrolG 953 GM Power Kit 987 Perc Arp Synth 923 Testify 954 GMElec Kit 988 Candy O SyncLead D 10 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 989 WheelSyncBlips 1020 VA1NakedPWMMono 3226 Scary Monksters 990 125AWMWheelLead 1021 VA1NakedSawPoly 3227 Attack Trance 991 HotMalletMWheel 1022 VA1NakedSqrPoly 3228 Lazer Dub 992 ScreaminWhlBass 1023 VAINakedSqrMono 3229 Punchy Synth 993 SyncWheelLead 1024 VAINakedSawMono 3230 Touch Trance 994 ModwheelKotoSyn 3200 Porter s SEM 3231 80 s Lead Synth 995 VASprSaw 3201 Dark Wobbles 3232 Warbly Pong SQR 996 VASprSaw Allpass 3202 Super Saw 3233 SEM Strings 997 Silent Program 3203 Tesla Coil 3234 Armingeddon 998 Click Track 3204 Armin a Leg 3235 Square Bell 999 DefaultProgram 3205 Woodhouse Lead 3236 InfarctedScorb 1000 Diagnostic Sine 3206 Throat Siren 3237 Dearly Beloved 1001 Propht V Sync Ld 3207 Keytar Hero Wah 3238 Panning Synth 1002 Tempo SyncPulse 3208 PolySynth Stack 3239 Bocuma 1003 SloSyn Orch 3209 Wicked Harsh Syn 3240 Touch Trance 2 1004 Anabrass 3210 Gangsta Wrap 3241 SKwEEmin SKwAre 1005 FatSyn Orch
392. i The Algorithm ALG Page Algorithm Basics Common DSP Control Parameters Alt Input for Algorithms Cascade Mode Dynamic VAST c a a A N E Ea a A f a The DSP Control DSPCTL Page oeo nen nanona Enn The DSP Modulation DSPMOD Page The OUTPUT Page Output Pan Gain and Mode Pan Table Droni Remap RR RT OT Exclusive Zone Map The COMMON Page Pitch Bend Range Up and Down Monophonic Legato Play Portamento EEEE AAA E Mono Sample XFade Cic IRANIANA Output Gain Pan and Pan Mode Demo Song The LFO Page Minimum Rate Rate Control LFO Shape LFO Phase The Function FUN Pag calli iii i The Amplitude Envelope AMPENV Page Attack Segment Times 6 20 6 20 6 20 6 20 6 20 6 20 6 21 6 21 6 21 6 22 6 23 6 24 6 27 6 28 6 29 6 30 6 31 6 32 6 32 6 33 6 33 6 33 6 33 6 34 6 35 6 35 6 35 6 36 6 36 6 36 6 36 6 37 6 37 6 37 6 37 6 38 6 39 6 39 6 39 6 39 6 39 6 40 6 40 6 40 6 40 6 41 6 41 6 41 6 42 6 43 Attack Segment Level oii Lilla 6 43 Decay Segment lia 6 43 ERROR E cee 6 43 koop Type e e GO 6 44 Number of LOOpS e 6 44 The Envelope 2 ENV2 and Envelope 3 ENV3 Pages lle 6 44 The Envelope Control ENVCTL Pte rile 6 45 Adjust EEEE 6 46 Key Tracking EEEE 6 46 ee E E tee A aeatenatee 6 46 eli 6 46 I APR O ET NT 6 47 The Programi FX PROGFX Pag lalla 6 47 RE E sighs ASE EEE cg Safe E O on ne AE 6 48 Aux 1 AUX 2 cicca 6 48 LIRA ARR MT
393. iator latches any notes that are being held when Latch turns on and continues playing them even after you let them go until Latch turns off Any notes that you play after Latch is already on do not get arpeggiated even if they re in the arpeggiation range Arpeg is similar any notes held when Latch goes on are latched and arpeggiated and keep going until Latch goes off Any notes you play outside the arpeggiation range play normally Notes that you play inside the arpeggiation range do not play normally rather if you hold them on they become part of the arpeggiation They drop out of the arpeggiation as soon as you release them Like Overplay and Arpeggiation Add means that all notes being held when Latch goes on get latched and keep playing until Latch goes off even if you ve released the notes Any notes you play after Latch is already on also get latched Auto is independent of Latch every note you play is automatically latched and the Arpeggiator runs as long as you hold at least one arpeggiated note As long as you keep holding on at least one note it doesn t have to be the same note the whole time every note you play in the arpeggiation range gets latched Pedals is sort of a combination of Keys Add and Overplay modes It relies on both Latch MIDI 157 and Latch2 MIDI 158 If neither latch controller is on notes will arpeggiate only while you are holding down keys similar to Keys mode If you activate Controller 15
394. ies when loading a setup If a setup is selected in Setup mode or in Quick Access mode all of the settings of the TRANSMIT page are in effect except for ControlSetup Channel and ProgChang see below for details When sending MIDI to the USB or MIDI out port from Song mode Song mode ignores all of the settings on the Transmit page except ControlSetup see below for details ontrolse Internal Voices Destination ALUL HALOL LOLH hannel il ProgChand On TransPose AST Ch9ssSetuPzs Immediate UelocityMaP 1 Linear Fracha RatCha 10 1 MIDI Mode The TRANSMIT Page Parameter Range of Values Default Control Setup Setup List 126 Internal Voices Destination USB_MIDI MIDI Local USB_MIDI MIDI Local Channel 1 to 16 1 Transposition 60 semitones 0 Velocity Map Velocity Map List 1 Linear Pressure Map Pressure Map List 1 Linear Program Change Off On On Change Setups Immediate KeyUp Immediate Control Setup This is where you select the current control setup Zone 1 of which sets the physical controller assignments for all programs while you re in Program mode This parameter does not apply to Setup mode Refer to Control Setup_on page 6 9 for more information on the control setup Destination The Destination parameter tells the PC3A which ports will carry MIDI information and determines if the PC3A s sound engine will receive MIDI data Select the desired destination o
395. if there is already something playing to sync to the current riff will wait for what is playing to stop before releasing This way you can trigger the current riff to release ahead of time and have it stop in sync at the release stopping of the riff arpeggiator or song that you are syncing to With RelSynTyp set to StartWait if there is nothing playing to sync to the current riff will wait for something it can sync to to begin playing first before releasing This is similar to DownBeatWait but it will only release the riff the first time that whatever it is syncing to starts This way you can trigger the riff to stop ahead of time and have it stop in sync at the start of the riff arpeggiator or song that you are syncing to If you restart the riff and try to release it again while the thing you are syncing to is already playing StartWait will not stop the riff With RelSynTyp set to LoopWait if there is already a riff or song playing to sync to the current riff will wait for the playing riff or song to restart its loop if it is looped before stopping see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the riff to stop ahead of time and have it stop in sync at the start of the playing riff or song s loop The difference from Loop is that if there is nothing playing to sync to the riff will not stop when released If the riff or song that you are syncing to is already running Loo
396. ifferent curve to received MIDI attack velocities and remaps them 11 5 Master Mode MAIN to new velocities before letting them pass The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect the MIDI attack velocity before and after reaching the Master Velocity Map The default map Linear allows MIDI velocities to pass unchanged Light 1 3 make it increasingly easier to produce high MIDI velocity values for the same key strike velocity with Light 3 being the easiest so these maps may work better for users who play with a lighter touch Hard 1 3 make it increasingly harder to produce high MIDI velocity values for the same key strike velocity with Hard 3 being the hardest so these maps may work better for users who play with a harder touch Piano Touch simulates the general velocity response of an acoustic piano and is best suited for playing acoustic piano programs Easy Touch is similar to the Light settings making high velocities easier to play but it allows more sensitive control over playing high velocities by not boosting the MIDI velocity for fast strike velocities as much as it does for medium strike velocities GM Receive mimics the velocity map commonly used by keyboards that use the General MIDI GM sound set The GM Receive map makes medium strike velocities produce hig
397. ignal and summing the detuned copies back with the original Low frequency oscillators LFOs are used to modulate the positions of output taps from a delay line The movement of the taps causes the pitch of the signal to shift up and down producing the required detuning The choruses are available as stereo or dual mono The stereo choruses have the parameters for the left and right channels ganged while the dual mono choruses have separate left and right controls Fdbk Level is the level of the feedback signal from the LFO1 delay tap into the delay line Negative values polarity invert the feedback signal Tap Lvl sets the levels of the LFO modulated delay taps Negative values polarity invert the signal Setting any tap level to 0 turns it off Tap Pan sets the stereo position for a given tap s output The range is 100 for fully left to 100 for fully right LFO Rate sets the speed of modulation of the delay lines with a range of 0 01 to 10 Hz LFO Dpth sets the maximum detuning depth of the LFO modulated delay lines with a range from 0 to 50 cents 1 2 semitone Tap Dly adds extra delay in front of the LFO modulated delay taps from 0 to 230 ms L R Phase or LFOn LRPhs adjusts the relative phases of the LFOs for the left and right channels in the stereo Choruses 9 18 Effects and Effect Mode Effects Overview Flanger Flanging is the process of adding or subtracting a signal with a time displaced replica of i
398. ile type See Loading Methods on page 13 11 for instructions on using the Load dialogue presented after pressing OK Cancel Exits the Load page and returns you to the Storage mode page 13 9 Storage Mode Storage Mode Common Features Loading Individual Objects From a P3A Or Compatible File Type Since a P3A file can contain over 3000 objects it is often useful to load only a subset of the information contained in a file You can select individual objects or groups of objects programs effects songs for loading from within a single P3A PC3 K26 K25 or KRZ file see Appendix E for compatibility details The Load Object feature is accessible from the LOAD page To activate it scroll the file list until you have highlighted the file that you wish to load objects from Press Open to begin the Load Object dialog The PC3A then scans the file contents in order to present a list of all of the objects in the file Sometimes this procedure can take a few moments depending on how many objects are in the file The objects in the list are grouped by type program setup etc Scroll through the list using the alpha wheel cursor buttons or buttons Each line in the list represents one object and displays the object s number in the list as well as the object s type ID number and name The ID number of each object is the number that was used to reference the object when the file was last saved by the PC3A These numbers w
399. ill be the currently selected program Press the Delete soft button to delete the current song The PC3A will present a prompt at which point you may cancel or confirm to delete the song The Save Changes Dialog The following dialog appears after you have recorded a track and pressed Stop or if you have entered the Song Editor and made changes then pressed Exit or if you press Save in the Song Editor The PlyNew soft button allows you to play the song with your last recorded performance You will likely want to hear this first 12 8 Song Mode and the Song Editor Song Mode The MAIN Page Pressing PlyOld will play the current song minus the performance that you just recorded You can toggle between Play Old and Play New without restarting the song by pressing either button while the song is playing This is useful to check if your last performance was better or worse than what was previously saved if anything was previously saved The Locate field allows you choose a start time for the old or new playback This is useful when you just want to hear a certain part of the song without listening to the whole thing The Playing field displays whether to NEW or OLD data is playing Stop halts the playback of either the Old or the New version of the song you are currently auditioning This also resets the song s start location to either the default Bar 1 Beat 1 value or to whatever location you defined in the Locate field
400. ill usually be different after the objects are loaded depending upon the bank for example 128 255 and mode that is specified for loading see Loading Methods on page 13 11 for details Entering in a number from the alphanumeric buttonpad will jump to the indexed entry and typing in a large number like 9999 will go to the end of the list The following soft buttons are used for selecting objects to load Select Select or deselect an object Next Jump to the next selected object in the list Type Jump to the next object of a different type OK Load the selected objects Cancel Exit back to the File List Dialog Press the Select button to select or deselect the highlighted object for loading An asterisk is placed to the left of the object index for any items that are selected The Next button will cause the index into the list to jump to the next selected object forward in the list When the end of the list is reached the search will wrap around from the beginning If there are no items selected then this button doesn t do anything The Type button jumps to the next object of a different type from the one that is currently highlighted This is a convenient way to find a particular type of object in the list When you are finished selecting objects to load press OK and you will be prompted to choose a bank to load the selected object s into See Loading Methods on page 13 11 for instructions on choosing a bank to load to aft
401. illators on page 6 53 for more details Program Mode Program Layer Figure 6 1 VAST Program Structure VAST Program Structure 16 keyboard zones each with independent program MIDI channel and control assignments Selected for performance and editing in Program mode up to 32 layers per program A keymap processed through an algorithm modulated by control sources Up to 128 sample roots assigned to play at programmable key and velocity ranges Individual digital sound recordings stored in ROM stereo samples use two voices of polyphony 6 5 Program Mode KB3 Program Structure KB3 Program Structure There s nothing quite like the sound of the classic Hammond B 3 tone wheel organ especially when played through a Leslie rotating speaker system We ve done extensive testing and analysis with several tone wheel organs and created our own models to emulate the unique tone wheel sound We even took into account the way that older organs start to sound different and arguably better as their capacitors begin to leak and we included a parameter that lets you vary the amount of grunge leakage in your sound KB3 programs use oscillators to emulate the tone wheel sound Each oscillator operates independently and has its own pitch and amplitude control You can control how many oscillators are used for a KB3 program There are two oscillators per voice for a total of 256 You can use up to
402. in PC3A bank Base 1 and it is Program 0 in MIDI Bank 1 Setup Mode The Channel Program CH PROG Page Destination This parameter determines whether the currently selected zone transmits only to the PC3A Local transmits only to the MIDI port MIDI transmits only to the USB port USB_MIDI transmits to a pair of destinations MIDI Local USB_MIDI Local or USB_MIDI MIDI or transmits to all destinations USB_MIDI MIDI Local Channel The Channel parameter defines the MIDI transmit channel for the currently selected zone You can set it to any of the 16 MIDI channels Normally you will want each zone on a separate MIDI channel This is necessary if you want to combine different programs in the setup If two zones have the same MIDI channel and destination but they have different program settings there will be conflicts no MIDI device including the PC3A can respond correctly to two different simultaneous Program Change commands on one channel The result will be that only one Program Change will be recognized and every note played will sound double if Note Maps are on This can create odd and unpredictable timing effects and will reduce your polyphony by 50 Nevertheless there will be occasions when stacking zones on the same MIDI channel might come in handy Suppose you want a physical controller on the PC3A to send data for two different numbered MIDI Controllers on the same channel In this case you must c
403. including before the Start and Alternative Start If you try to move it after the End the End will move with it When you re setting a loop segment for a sample you should adjust both the Loop and End parameters so that the two ends of the waveform would meet or come as close as possible when the loop occurs You can do this visually by zooming in close to the waveform until it becomes a single line then adjusting the Loop and End parameters of the waveform until both ends are the same distance above or below 14 12 Keymap and Sample Editing The Keymap Editor the zero point of the display the horizontal line in the middle of the waveform display Though adjusting these points visually is helpful always listen to the sample and make the final settings based on what sounds best You ll notice an audible click in your sample loop if the ends of the waveform do not meet where the loop occurs The closer you can get the two ends of the waveform the better the sound quality of your loop will be Using zero crossings for the Loop and End parameters may also help reduce clicks at the loop point see Zero and Zero below for details The End E parameter sets the point at which the current sample will stop playback Typically you ll use this parameter to trim unwanted silence off the end of a sample although you can use it to shorten a sample as much as you want Note On Saving Samples Trimmed portions of a sample are not saved Trimm
404. ine x 3 Percussion 3 312 French Hrn Sec kCastanets x 3 Percussion 4 313 Baritone Horn Double Bass alt1 Percussion 5 314 Trumpet Castanets x 3 Perc Layers 1 315 Trombone Tambourine x 3 Perc Layers 2 316 Trombone Trumpet Glockenspiel Perc Layers 3 317 Trombet Chimes Perc Layers 4 318 Trumpbone Xylophone Perc Layers 5 319 Soft Trumpet Timpani Perc Layers 6 320 Harmon Mute Trp Orch Bass Drum Perc Layers 7 321 Tuba Orch Crash Conga Moose Lyr 322 Tuba Horn Stereo Tam Tam PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 367 Tam Tam Left 408 Cello Vla VIn 457 Brush Snare Hit1 368 Tam Tam Right 409 Solo Section 1 458 Brush Snare Hit2 369 Triangle 410 Solo Section 2 459 Brush Stir Short 370 Tambourine Roll 411 SoloSection3 460 Brush Stir Long 371 Tambhit 412 Solo Section 4 461 808 Cowbell 372 Snare Roll 413 Bagpipe Drone 462 808 Kick 373 Snare Hit 414 Bottle 463 808Snare 374 Woodblock 415 Chiff 464 909 Clap 375 Sleigh Bells 416 Harm Pick 465 909 Closed Hat 376 Castanet Hit 417 Harm Wave 466 909 Open Hat 377 Castanet Up 418 GMJazz Gtr 469 Jazz Kit 378 Vibraslap 419 GM Clean Strat 470 GM Standard Kit 379 Temple Block 1 420 Strat Mutes GM Room Kit 380 Temple Block 2 423
405. ined in the keymap Each sample is a separate digital recording of some kind of sound musical vocal industrial any sound at all Individual samples are assigned to specific key ranges from A 2 to D 3 for example and are also assigned to be triggered at specific attack velocities These assignments constitute the keymap When you trigger a note the PC3A looks to the keymap of each layer of the currently active VAST program s to determine which samples to play The sound engine then fetches the requested samples and generates a digital signal representing the sound of the samples This signal first passes through the DSP functions that make up the algorithm It then passes through the PC3A s effects processor and finally appears with some level of effects applied to it at one or more of the audio outputs The layer is the VAST program s basic unit of polyphony that is each layer constitutes one of the 128 voice channels the PC3A can activate at any time If you have a program that consists of two layers covering the note range from A 0 to C 8 each key you strike triggers two voice channels Note One exception to this structure is when using a KVA oscillator the sound source for that layer is not derived from a keymap but is generated at the algorithm stage though keymap information is still used to set key range and maximum amplitude After this the structure is the same as described above See Editing VAST Programs With KVA Osc
406. ing velocity values of 127 or none to leave rests in the arpeggiation The sequencer uses the velocity received from the first note played as the center position to shift velocities up or down from If no other keys are playing patterns will start over each time a key is pressed there are some exceptions to this when using ARPEGGIATOR Latch parameters other than Keys though a newly triggered pattern will always start at step 1 When triggering velocity patterns from more than one key at a time each consecutive step of the pattern shifts the velocity from a different inputted key the order of which is decided by the order parameter on the ARPEGGIATOR page Note For patterns with negative velocity values if the velocity of the first played note is low enough that a pattern step could result in a velocity of zero some notes may have a velocity of zero and therefore produce no sound You can edit the included patterns by pressing Edit with a pattern highlighted in the VelPatt field see edit screen below The top line of the EditVelocityPatt page displays the pattern s name and total number of steps This page also shows the full name for a pattern whose name does not fit on the ARPEGGIATOR page Each pattern can have up to 48 steps and each step can shift velocities by 127 steps You can insert a step with a value of none by entering 127 and then shifting down one more step A step with the value none cause
407. ing on which mode you enter Song mode from If you enter Song mode from MIDI mode Program mode or Quick Access mode the Pan of each MIDI channel is set in MIDI mode on the Channels page If you enter Song mode from Setup mode the Pan of each MIDI channel is set if a zone uses the same MIDI channel on the SetupMode CH PROG page set with the Channel parameter If a zone does use a MIDI channel that one of the tracks in your song uses the Pan of that track will be set by the ExitPan parameter of that zone on the SetupMode PAN VOL page If multiple zones use the same MIDI channel the ExitPan of the highest numbered zone that uses that channel will set the Pan for tracks that use that channel If ExitPan is set to NONE the value for EntryPan is used If EntryPan and ExitPan are set to NONE then the track for that channel uses the Pan setting of that channel in MIDI mode on the Channels page If there is no zone that uses certain channels used by your song then those channels in your song will use the Pan setting of those channels in MIDI mode on the Channels page If Mode is set to Merge you will be able to overdub when recording on a track containing previously recorded data You ll usually want to set Mode to Merge when RecMode on the BIG page is set to Loop Otherwise each time through the loop the previously recorded information will be erased If you set Mode to Erase the previously recorded data on the record enabled track will be repl
408. ing synced to the current zone s arpeggiator this determines how many notes must be played by the current zone s arpeggiator before a downbeat occurs By decreasing or increasing the value of the Num Beats parameter you can make zones with a SyncType setting of Downbeat or DownbeatWait behave as if downbeats are occurring less or more frequently Real time Control of Arpeggiator Parameters You can have real time control over several arpeggiator parameters by assigning physical controllers to special arpeggiator Controller Destinations Any input or entry value froma physical controller assigned to an arpeggiator Controller Destination overrides the programmed values for the parameters of the arpeggiator on that controller s zone The override remains in effect until you select a different setup or a different program in Program mode Remember each of the following Controller Destinations affects only the arpeggiator for the zone which your controller is assigned to Corresponding Controller ARPEGGIATOR Operation Number Parameter 147 ArpOn Any controller value turns the Arpeggiator On 148 ArpOff Any controller value turns the Arpeggiator Off 150 ArpOrder Arpeggiator Order each range of values selects one of nine options in order of the parameters list 0 14 Played 15 28 Upwards etc 29 42 43 56 57 70 71 84 85 98 99 112 113 127 Simultaneous 151 ArpBeats Arpeggiator Beats each range of values selects on
409. ing the current keymap Delete Delete the current keymap from memory Factory ROM keymaps cannot be deleted Special Double Button Presses in the Keymap Editor Suppose you have a sample whose root key is C 4 and you want to assign it to A0 because you don t expect to play it often If you want it to play back without transposition you ll have to adjust the Coarse Tune parameter Calculating the right value for Coarse Tune can get tedious if you re assigning a large number of samples Fortunately there s a short cut 1 Assign a sample root to a key range either using the Lo Hi and Sample parameters or using the Assign soft button 2 Highlight the value of the Coarse Tune parameter 3 Press the Plus Minus buttons at the same time The value of Coarse Tune changes automatically If the sample is assigned to one note the PC3A sets Coarse Tune so that the note plays the sample without transposition If the sample is assigned to a range of notes the PC3A sets Coarse Tune so that the middle note of the range plays the sample without transposition 14 6 Keymap and Sample Editing The Keymap Editor Building a Keymap Read below for detailed directions on manually creating and editing a keymap See the preview function on page 11 18 for a way to automatically create a program and keymap To build a keymap first go to the Program mode main page this can be done by repeatedly pressing the Exit button From the Program mo
410. inger position and pressure Poshode SPrind ir Ribbon Relative On more ARF SW JSWHITCH IFIEBEON JF Parameter Range of Values Default Ribbon Configuration One Section Three Sections One Section Position Mode Relative Absolute Relative Spring On Off On Center 0 to 127 64 Ribbon Configuration You can use the Ribbon as one controller or divide it up into three smaller sections each with its own controller assignments Choose a value of One Section or Three Sections for the Ribbon Configuration parameter With Three Sections chosen the page changes such that you can adjust the parameters of each section 7 40 Setup Mode The Ribbon Configuration RIBCFG Page PosMode SPring Sectionl Relative On Sectionz Relative On Sections Felative On HARP SH SWITCH JRIEBOH JF Position Mode PosMode When you touch the Ribbon the PC3A responds in one of two ways depending on the setting of the PosMode parameter Relative means that wherever you touch the Ribbon becomes the zero point for whatever the Ribbon is controlling you won t notice any change in the sound until you slide your finger Relative mode tends to be the most natural for performance just wiggle your finger anywhere on the Ribbon to get vibrato in many factory programs and setups You get the same effect no matter where you do the wiggling Absolute means that the zero point for the Ribbon is always at exactly the sa
411. ins signal flow and DSP units e Read the Effect Mode and the Effects Pages section see page 9 4 for details on quickly changing Aux effects settings in Program mode This section can also be used a reference for the effects pages in Setup mode and Song mode For details on effects parameters in the Program Editor see The Program FX PROGFX Page on page 6 47 and The Layer FX LYR_FX Page on page 6 49 e Read the The Chain Editor section see page 9 9 for instructions on how to edit and create your own effects Chains presets e Lastly the Effects Parameters section see page 9 12 contains details on the parameters for each type of effect available in the Chain Editor Effects Overview This section gives an overview of the basic effects types available in the PC3A PC3A effects Chains presets effects routing in the PC3A effects processor power management and overriding the Aux Chains stored with each Program Read the Insert Effects and Aux Effects sections to learn about the two types of effects that can be applied during different stages of a program s signal path Insert Effects Insert Effects are placed directly in the signal path at the output of a single program These Insert Effects can apply to either the whole program or only to selected layers within the program Each program layer and program on a zone track can have its own Insert Effect chain up to 11 insert chains can be loaded depending on available proce
412. ion range Each note of the arpeggiator will randomly choose a velocity within the given range See the table below for velocity ranges tj fo e The Chimp through Chimp4 settings function in a similar fashion to the Human settings see above Like the Human settings the Chimp settings randomly change played note velocity within a range but the Chimp settings have larger randomization ranges The Chimp settings use the velocity received from the first note played as the center of the randomization range Each note of the arpeggiator will randomly choose a velocity within the given range See the table below for velocity ranges Note For Human and Chimp modes if the velocity of the first played note is low enough that the selected randomization range could result in a velocity of zero some notes may have a velocity of zero and therefore produce no sound Velocity Setting Velocity Randomization Range Human1 3 Human2 6 Human3 10 Human4 15 Chimp1 25 Chimp2 35 Chimp3 50 Chimp4 64 7 45 Setup Mode The Ribbon Configuration RIBCFG Page A MissNotes1 through MissNotes9 makes the PC3A randomly miss playing a percentage of inputted notes See the table below for percentages and their equivalent settings Each of these settings also randomly changes some of the inputted velocities in a range of 5 with the purpose of simulating a more human played sound Note Missed Notes are
413. ions on these functions see Saving and Naming on page 5 3 The ARPEGGIATOR 2 Page Latch es gt ric T First Avail Lokes L SYno Tyre None Hikes G9 Hum Beats 4 Gliss Off TS Se ee Se Se more d Parameter Range of Values Default Latch Keys Overplay Arpeg Add Auto Keys Pedals Autohold 1NoteAuto Low Key C 1 to G9 C 1 High Key C 1 to G9 G9 Glissando Off On Off SyncTo First Avail Riff1 16 Main Seq Arp1 16 First Avail FirstRiff Av FirstArp Av SyncType None DownBeat AnyBeat None DownBeatWait AnyBeatWait Num Beats 1 32 4 7 49 Setup Mode The Ribbon Configuration RIBCFG Page Latch Latch determines how the Arpeggiator responds to notes when they are triggered Keys means that the Arpeggiator plays only while you are holding one or more keys down or note triggers on As you play different notes they get added to the Arpeggiator and as you release notes they get taken out If you play notes faster than the Arpeggiator s current tempo each subsequent note will be added to the arpeggiation at the next division of a beat This can cause a lag between the time you play the note and the time you hear it in the arpeggiation In the next three modes the Arpeggiator latches notes only when MIDI Controller 157 Latch sends a value of On 64 or higher An easy way to experiment with these modes is to assign the Mod Wheel to send MIDI 157 In Overplay mode the Arpegg
414. ious 65 Big LA Strings 42 Joe s Clav 66 DarkNYCStudio 43 Rufus Marley WAH 67 Pop Tripper Str 44 Black Cow Clav 68 LoFi Studio Str 45 Hiya Ground sw 69 Vienna Octaves 46 TrampledUnder D6 70 London Spiccato 47 Harpsichord 71 Pizzicato 48 BriteHarpsichord 72 Tremolando D 1 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 73 Choir Complete 104 Rockin Lead MW 135 Perfect PnoPad 74 Haah Singers 105 P Bass 136 Dreamy Piano 75 Manhattan Voices 106 E Bass 137 Piano w DvStrgs 76 Aaahlicious 107 Beasties Bass 138 PnoAgtStrngs 77 NYCinLA 108 Flea Bootsy 139 The Ancient 78 Crystal Voices 109 Big Dummy 140 DancePnoEchplex 79 AiryPad 110 Jaco Fretless 141 Ivory Harp 80 Cathedral Vox 111 UprightGrowler 142 Piano Lushness 81 Classic Comp 112 Levin GabrlFrtls 143 Piano amp Wash 82 Fitty Fitty Lead 113 NYC Kits 144 Piano amp Vox Pad 83 Big Old Jupiter 114 LAKits 145 XfadBelltoneRhds 84 9Yards Bass 115 RockKits 146 Extreme Hardstrk 85 BowhSaw Bass 116 Roots Indie Kit 147 FagenPhaser 86 ARPesque Bass 117 Kikz Snarz MW 148 RoyalScam Rhds 87 DaywalkerBassMW 118 EarthKikznSnrz 149 AustnCtyLmtsWrly 88 Harpolicious 119 Anazlog Machine 150 BrightDynamicWly 89 Slo QuadraPad 120 Produ
415. ir commonly assigned program parameters e Slider I MIDI 28 Slider I usually controls the program s send level to an Aux effect usually reverb or delay In this case use slider I to control the reverb or delay level e SW Switch The SW switch often enables a layer like strings for piano program or an effect e Mod Wheel The Mod Wheel often works with the parameter assigned to the SW switch and controls the level of a layer or the level or intensity of an effect such as tremolo vibrato or wah e Sliders A H Sliders A and B often control filter or EQ parameters that change the brightness of the program Sliders C through H usually control parameters specific to the current programs amplitude envelopes layer volumes and insert effect parameters Press the Info soft button to see all of the controller assignments of the current program See Assigning Program Parameters to Control Sources on page 6 13 for details on making your own controller assignments Program Mode The Program Mode Page Saving Controller Settings in Program Mode Many programs have parameters assigned to the PC3A s sliders mod wheel and the SW button above the mod wheel You can change the settings of these controllers to change the sound of the current program If you switch to a different program the alterations that you made to the previous program will be lost without warning To save a program with its current controller settings
416. is 4 a third and Shift Limit is 7 so notes won t get shifted above G4 The Arpeggiator plays C4 then E4 The next note should be G 4 but that s above the shift limit so the PC3A calculates the difference between that G 4 and the shift limit G4 one semitone It adds that difference to the original starting note C4 and plays that note next C 4 The next note F4 is within the shift limit but the next note A4 isn t so it gets translated into D4 and so on Float Uni uses the same concept and applies it to Unipolar mode when the Arpeggiator reaches the shift limit it calculates the difference between the next note and the limit and transposes the next cycle of notes down by that interval then shifts each subsequent cycle down until it reaches the original pitch Float Bip is similar to Float Uni but the downward shift limit isn t the original pitch it s the negative of the Shift Limit value 7 47 Setup Mode The Ribbon Configuration RIBCFG Page The Arpeggiator can be a lot of fun even if you don t always understand exactly what it s doing Keep in mind that the stranger the algorithm you set up the more unlikely the notes will stay close to one key so if you want to create something that s going to sound at all diatonic keep it simple Shift Pattern ShiftPatt ShiftPatt engages a step sequencer for arpeggiator note patterns The inputted note number of each played key is shifted according to
417. is case only set initial values for each desired parameter as described above see Setting Initial Volume Per Track Volume Sources When An Initial Volume Is Not Set If an initial volume is not stored with each track the volume for each track of your song will be set depending on what mode you were in previous to loading the song If you are in Song mode and have played a song and then you load a song without initial volumes the volume of each track of the newly loaded song will be set by the previously played song Volume settings are tied to MIDI channels so the volume of each track will be dependent on which MIDI channel is assigned to each track in each song If you are in Song mode and you load a song that does not have initial volumes without playing another song first the volume of the MIDI channel for each track is set depending on which mode you enter Song mode from If you enter Song mode from MIDI mode Program mode or Quick Access mode the volume of each MIDI channel is set in MIDI mode on the Channels page If you enter Song mode from Setup mode the volume of each MIDI channel is set if a zone uses the same MIDI channel on the SetupMode CH PROG page set with the Channel parameter If a zone does use a MIDI channel that one of the tracks in your song uses the volume of that track will be set by the ExitVolume parameter of that zone on the SetupMode PAN VOL page If multiple zones use the same MIDI channel the ExitVolume of the
418. is period had 91 tone wheels To get this sound go to the TONEWL page select 91 tone wheels and set lowest pitch to C 1 Start with the Junky Wheel Volume Map and Bob s Organ Map You may also want to increase the Key Click level since this tends to become louder on older organs Middle Period Organs To model one of these instruments set 82 tone wheels and a low note of A 1 Use the Mellow Wheel Volume Map and Eric s Organ Map Set Key Click to a moderate level The Classic B 3 For this sound choose 79 tone wheels and set the low note to be C 2 The best settings here are the Bright Wheel Volume Map and Peck s Organ Map You may also want to reduce the Key Click level 6 71 Setup Mode Chapter 7 Setup Mode In Setup mode the PC3A can take on the identity of 16 distinct instruments and 16 distinct MIDI transmitters each of which can use the setup s physical controller assignments or any subset of those controller assignments For example you can create a setup that is split into 16 different keyboard regions called zones Each zone can play its own program while also transmitting on its own MIDI channel Each zone can also have an independent arpeggiator and one riff You can also record the output of a setup to Song mode Selecting setups in Setup mode is much like selecting programs in Program mode just use one of the normal data entry methods to scroll through the list of setups There are however some impo
419. iteria Box Parameters From and To From and To are available in most TRACK edit functions to define a range of time on the selected track s The From value defines the first bar beat and tick in a range of time selected for editing The To value defines the final bar beat and tick ina range of time selected for editing Events Any and all types of MIDI events are available for editing selectable in this parameter Some events will provide you with settings for a range of values or other MIDI event specific criteria Available Values are All Notes Controllers MonoPress PitchBend ProgChange PolyPress When Events is set to ALL all MIDI events on the track s you are editing that occur in the region of time between the From and To settings will be affected by the edit function When Events is set to Notes note number and velocity ranges can be set for Note events LoKey Determines the lowest note in a range of notes to be affected This can be set to any MIDI note value the default is C 1 High Key Hi Determines the highest note in a range of notes to be affected This can be set to any MIDI note value the default is G9 12 22 Song Mode and the Song Editor Song Editor The TRACK Page LoVel An attack velocity range can be specified as criteria for selecting Note events for editing The LoVel parameter sets the lowest velocity a Note needs to have in order to be edited Notes on the selected track s wit
420. itor Effects FX Bypass In Program Editor bypasses mutes current program s FX preset plays program dry In Chain Editor mutes unmutes currently selected effects box and the Effect Mode button s LED will light when a muted effects box is selected and unlight when an unmuted effects box is selected MIDI Mute 2 Mutes Layer 2 of current program in Program Editor Master Mute 4 Mutes Layer 4 of current program in Program Editor Song Mute Active Mutes active layer of current program in Program Editor Storage Compare Negates effect of unsaved edits and plays last saved unedited version of object being edited in Program Editor Chan Layer In Program Editor these two buttons scroll through layers of current program in Setup Editor scroll through zones of current setup in Quick Access mode scroll through entries in current Quick Access bank In Song Mode change recording track Edit Whenever cursor is highlighting an editable object or parameter takes you to corresponding editor or programming page Program Mode The Program Mode Page Chapter 6 Program Mode Programs are the PC3A s performance level sound objects They re preset sounds equivalent to the patches presets voices or multis that you find on other synths Program mode is the heart of the PC3A where you select programs for performance and editing The PC3A is packed with great sounds but it s
421. jects V 2 3 Programs Press the Info soft button for controller information ID Program 1 Standard Grand 2 Studio Grand 3 RubensteinSWComp 4 Horowitz Grand 5 NYC Jazz Grand 6 PopPowerPiano 7 ColdPliano 8 Grand Evans 9 BluesPiano 1974 10 RockPiano 1974 11 Lola Piano 12 TakeMeToThePilot 13 Deb s Ghost Pno 14 KenBrns Uprigt 15 SMiLE RkyRaccoon 16 Piano amp String 17 Beaten in Rhds 18 Stevie s Rhds 19 G ilpin sSuitcase 20 Duke s Dyno Rhds 21 MotorBootyMutron 22 Sweet Loretta EP 23 Rhds WahSw 24 Hotrod Dyno Rhds Programs ID Program ID Program 25 WoodstockClunker 49 Gregg s B 26 Stage Mix Wurly 50 Real AllOut B 27 Supertramp Wurly 51 CleanPerc 28 FlydDarkside Wah 52 The Ninth Bar 29 What dISayWrly 53 Lord s B3 MW 30 DeepFuzz Wurly 54 OleTime Gospel 31 No Quarter Pnt 55 FooledAgnVox 32 MistyMountain EP 56 BostonScreamer 33 UK Pop CP70 57 Power Pop Horns 34 AcidJazzVelFlute 58 Sax Trumpet Sctn 35 TimbaSynth 59 BigBand AMradio 36 Blue PVC Tubes 60 MeanSalsaSection 37 SimpleHipHopLead 61 R amp B Funk Section 38 Stereo TouchKoto 62 Bassie Orchestra 39 Modwheel DJ 63 P Funk Horns 40 Retro Sparkle 64 70s Stones Horns 41 RealSupastic
422. jects grouped by object type see below Use the alpha wheel or plus minus buttons to select an object from the list Press Rename to bring up the object Rename screen and enter a new name by following the standard renaming procedure For more information see Saving and Naming on page 5 3 Program ee Default aoe Program Program LASI Ho OUT Gr Sd Program Program TEk SundrclhaleCall Rename Cancel As in all naming dialogs on the PC3A you can do a double press of the Left Right cursor buttons to put the naming cursor on the last character of the string This is helpful when putting unique characters at the ends of names Left Right cursor button double press gt Move cursor to the end of the name in any naming dialogue The object Delete utility is useful for deleting unwanted user created objects in order to increase free RAM space in your PC3A On the main Delete page for each object type you can select a bank of objects to delete a range of objects to delete or delete all objects On the Delete advanced page you can select a single object or multiple objects to delete To delete a group or range of objects use the main Delete page see below Use the cursor to select the left column then use the cursor alpha wheel or plus minus buttons to select one or more object types from the list Use the Select soft button to make your selection s which will be marked with a star Select All Types if you want to delete all
423. justments you make there Master mode tuning adjustments affect only the audio output of PC3A program notes and not notes sent via MIDI Transpose Like the Tune parameter above Transpose affects every PC3A program but not those notes sent to the MIDI Out port You can adjust the MIDI transposition sent to the MIDI Out port on the TRANSMIT page in MIDI mode FX Mode With FX Mode set to Performance the PC3A minimizes disruption of existing effects when changing programs and entry values will not disrupt sustained notes when changing programs in Program or Quick Access modes When controlling the PC3A from an external sequencer in Program Mode you will want to set FX Mode to Multitrack to minimize effect disruption FX Mode is set to Performance as a default with some exceptions In Song mode Multitrack mode is always used despite how this parameter is set in Master Mode Also the FX Mode parameter does not affect Setup Mode because it uses its own FX mode Drum Remap This parameter will remap all Drum programs to conform to the General MIDI GM drum map a standard drum map used in many keyboards and synthesizers The GM drum map isn t optimally intuitive in terms of playability so by default the PC3A uses a unique keymap that is more intuitive and lends better to performance However the GM drum map is so commonplace that many players feel more comfortable playing drum programs with the GM drum map Because of this the PC3A is de
424. k Access Editor to create your own banks and store them in the PC3A s memory There s a full description in Chapter 8 You can also use Quick Access banks as a way to remap incoming or outgoing Program Change commands Effects Mode Effects mode sets the behavior of the PC3A s effects processor The Effects mode page lets you tell the PC3A how to select effects configurations called chains Chapters 9 shows you how MIDI Mode You ll use MIDI mode to configure the PC3A s interaction with other MIDI instruments by setting parameters for transmitting and receiving MIDI You ll also use it to configure your PC3A for multi timbral sequencing On the CHANNELS page you can assign a program to each channel and enable or disable each channel s response to three types of MIDI control messages Program Change volume and pan See Chapter 10 Master Mode Master mode described in Chapter11 contains the parameters that control the entire PC3A Global settings for tuning transposition velocity and aftertouch sensitivity and other preferences are adjusted here You can also get to GM Mode from here and set the sample rate for the PC3A s digital output Song Mode Song mode enables you to play sequences songs stored in the PC3A s memory and provides a fully featured sequencer that you can use to record songs You can also record multi timbrally via MIDI or load standard MIDI files Type 0 or 1 The Song Editor also enables you t
425. k and date Use the cursor to move between fields use the alpha wheel or plus minus buttons to change each field On the Set page press the Set soft button to save changes and return to the System Clock page or the Cancel soft button to return to the System Clock page without saving changes The Chrono soft button brings up the PC3A s Chronometer stop watch page see below This can be useful for timing the length of songs or performances Press the Start soft button to begin timing The Chronometer will continue running even if you exit to other screens or modes Press the Stop soft button to stop timing the Reset soft button to reset the Chronometer or the Cancel soft button to return to the System Clock page Reset Press the Reset soft button if you want to return your PC3A s memory to the state it was in when you bought it CAUTION Resetting the PC3A system causes ALL parameters to be restored to default values and ALL user objects to be erased The PC3A will ask you if you want to delete everything meaning all RAM objects and a pair of Yes No soft buttons will appear Press No if you want to keep any objects you have saved Press Yes and everything stored in RAM will be erased After a few seconds the PC3A will return to the Program mode page 11 17 Master Mode Preview Sample PRVIEW Loader About Save Pressing the Loader soft button calls up the Boot Loader See AppendixB Pressing the About
426. k ol 127 Pan 64 Mode Merde Prod dard Grand Locat 1 il Track ibid ai icine sala 2 Find the desired volume level by adjusting the Vol parameter during playback then press stop For this example let s set the Vol parameter to 80 THIN ff everest ye STUFFED Cursna 16925 MU TemPo 106 6 FPecTrkt 1 Uol an 64 Mode Merde Frog 22 eer ric Locat 1 ti Track AN F 5 4 Spiel iach SG 3 Use the left and right more soft buttons at the bottom corners of the display to find the MIXER soft button and press it see below This brings you to the Song MIXER page 15 10 Tutorial Song Mode HAIN Events ee Re 1 333 CurSna 1625 h Song TemPo 106 0 RFRecTrkt 1 Uol Pan 64 Mode Merde Pros 1 Standar rand Locat 1 il 0 ee ee ae 4 On the Song MIXER page press the Keep soft button to store initial values for all tracks see below 64 64 ed Tr 12f 12f 12f 127 127 165 i07 2352 55 Sl 355 n Auto Auto Auto Auto Mb Auto Auto Lol amp Prg 1 ut 5 On the Song MIXER page press the Done soft button or the front panel Exit button You will be asked to save changes to your song just as in Part 3 step 4 of this guide see above Saving your song completes the process of storing initial volume settings with your song Pressing the Keep soft button on the Song MIXER page stores initial values of volume pan and program number for each track Initial values a
427. ke a mistake press Clear then start over e Scroll through the list using the Alpha Wheel the Plus or Minus button under the Alpha Wheel or the cursor buttons the arrow buttons to the right of the display Program Mode The Program Mode Page The Soft Buttons in Program Mode Use the Octav and Octav soft buttons to transpose up or down by a full octave Pressing both Octav buttons simultaneously returns the transposition to its original setting Pressing the Panic soft button sends an All Notes Off message and an All Controllers Off message on all 16 MIDI channels Press the Info soft button to see all of the controller assignments of the current program Scroll down the page using the Alpha Wheel or the Plus Minus buttons The Xpose Xpose buttons are a shortcut for quick transposition in semitone half step increments You can use them to transpose the entire PC3A as much as three octaves up or down The top line of the display shows the current amount of transposition Xpose Pressing both Xpose buttons simultaneously returns the transposition to zero The Xpose buttons transpose the PC3A as well as any MIDI devices connected to the PC3A s MIDI Out port Changing the transposition with the soft buttons also changes the corresponding setting on the MIDI mode TRANSMIT page The Info Box A The info box at the left of the Program mode page gives you information about the current program Generally the info box sho
428. ked Delay alg 174 Gated Delay 2U 194 Drum Bass Zapper alg 174 Gated Delay 2U 195 3BandDly Drums alg 173 3 Band Delay 2U 196 Warped Echoes alg 191 Dual MovDelay 1U 197 Ween vox alg 190 Moving Delay 1U 198 L Flange R Delay alg 191 Dual MovDelay 1U 199 2Dlys 1Chr 1Flng alg 192 Dual MvDly MvDly 2U D 34 PC3A Objects V 2 3 Effect Presets with Algorithms Chorus CHORUS 200 Basic Chorus alg 202 Dual Chorus 1 1U 201 Smooth Chorus alg 202 Dual Chorus 1 1U 202 Chorusier alg 202 Dual Chorus 1 1U 203 Ordinary Chorus alg 202 Dual Chorus 1 1U 204 SlowSpinChorus alg 202 Dual Chorus 1 1U 205 Chorus Morris alg 202 Dual Chorus 1 1U 206 Everyday Chorus alg 202 Dual Chorus 1 1U 207 Thick Chorus alg 202 Dual Chorus 2 2U 208 Soft Chorus alg 202 Dual Chorus 2 2U 209 Rock Chorus alg 202 Dual Chorus 2 2U 210 Sm Stereo Chorus alg 200 Chorus 1 1U 211 Lg Stereo Chorus alg 201 Chorus 2 2U 212 Full Chorus alg 402 Chorus lt gt 4Tap 2U 213 Dense Gtr Chorus alg 201 Chorus 2 2U 214 Standrd Gtr Chor alg 406 St Chorus Delay 1U 215 Bass Chorus alg 202 Dual Chorus 1 1U 216 Stereo Chorus alg 202 Dual Chorus 2 2U 217 Chorus Fastback alg 400 Chorus Delay 1U 218 Wide Chorus alg 202 Dual Chorus 2 2U 219 Nickel Chorus alg 387 WackedPitchLFO 3U 220 Rich Noodle alg 190 Moving Delay 1U 221 PinchChorusDelay alg 406 St Chorus Delay 1U 222 StChorus Delay alg
429. l When Sostenuto is on the layer will respond to all sostenuto messages Controller destination 66 Sostenuto When off the layer ignores sostenuto messages Sostenuto as you may know is a feature found on pianos that have three pedals Pressing the Sostenuto pedal on a piano usually the middle pedal sustains the notes whose keys you were holding down when you pressed the pedal Notes played after the pedal is already down do not get sustained Freeze Pedal FrzPdl This parameter activates or deactivates the layer s response to Freeze pedal messages Controller destination 69 Freeze The Freeze pedal control causes all notes that are on to sustain without decay until the Freeze pedal control goes off If a note is already decaying it will freeze at that level Ignore Release IgnRel When IgnRel is off the layer responds normally to Note Off messages When on the layer will ignore all Note Off messages that it receives This should be used only with sounds that decay to silence when a note is held otherwise the sounds will sustain forever press the Cancel and Enter buttons simultaneously to stop sustained notes This parameter can come in handy when your PC3A is slaved to a drum machine or sequencer which sometimes generates Note Ons and Note Offs so close together that the envelope doesn t have time to play before the note is released If used in combination with ThrAtt or TilDec see below IgnRel allows you play staccato
430. l 3759 Artis YHall 2 3727 Upright EQ 3760 Upright Room 3728 Artis LrgKHall 3761 ParlorPianoEQ 3729 ConcertGrand1 3762 ParlorVerb 3730 ModjJazz Plate 1 3763 PianoTmplateEQ1 3731 Punch Room 3764 ModJazz K2 3732 Concert Grand EQ 3765 Brgt Soundboard 3733 YGrand EQ2 3766 Recital EQ D 28 PC3A Objects V 2 3 Effect Presets with Algorithms Effect Presets with Algorithms How to Use These Tables Each effect preset in the PC3A for effects boxes within the Chain editor is based on an effect algorithm from the Kurzweil KSP8 effects processor To make the fullest use of the PC3A s effects you will need to download a copy of the KSP8 Algorithm Reference from the Kurzweil Music Systems website This book provides extensive detail on all effects parameters For ease of use the algorithms are indexed and linked by name and number For example to find information on the available parameters for PC3A effects preset 1 Small Wood Booth first refer to the chart below for the name and number of the preset s underlying algorithm In this case the KSP8 algorithm is 4 Classic Place The description of the Classic Place algorithm begins on page 19 of the KSP8 Algorithm Reference and its 3 pages of parameters are described starting on page 21 of the KSP8 Algorithm Reference Reverbs Booth 1 Small Wood Booth alg 4 Classi
431. l locations Mode Merge Erase The Mode setting determines whether the shifted events merge with or erase existing events on the destination track from the location point to the end of the shifted region Transpose Use the Transpose function to change the MIDI Note numbers of the selected Note events ee Racks Function 1 1 0 Semitone T n Go Done Semitone 128 to 127 semitones An increment of one semitone represents a change of one MIDI Note number You can transpose Note events only within the range of MIDI Note numbers 0 to 127 12 28 Song Mode and the Song Editor Song Editor Track Functions Grab Grab is similar to the Copy function except that the Grab function allows you to copy selected data from tracks that exist in other songs in memory l O zel rack HLL Function H SecSond BW Sony DstTrack ALL Location 1 1 1 0 Mode Merde Vines 1 Go Dore SrcSong Song List The Source Song parameter is set to the ID and name of the song in memory that contains the desired track data you wish to grab in order to use it in the current song The source track is determined by the Track parameter displayed on upper right hand side of the page selectable with the Chan Layer buttons DstTrack 1 to 16 All Select a destination track for the grabbed events with the DstTrack parameter All selected events from the source song and track described in th
432. l not be affected when remapping to the GM drum map 6 33 Program Mode The OUTPUT Page In most keyboards and synthesizers drum programs are mapped as dictated by the General MIDI GM industry standard The GM drum map isn t optimally intuitive in terms of playability so we developed our own unique keymap that is more intuitive and lends better to performance However the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map So we designed the PC3A such that you can remap drum programs to the GM drum map You can set drum programs to remap to the GM drum map in Master Mode On the Master Mode MAIN page set the drum remap parameter to GM To return drum programs to their original maps set this parameter to None See Drum Remap on page 11 2 in the Master Mode chapter for more information Exclusive Zone Map The Exclusive Zone Map is another parameter that applies principally to drum programs When using a drum program you may want the closed hi hat sounds to cut off open hi hat sounds Since you can remap the keymaps of drum programs this parameter remaps cut off keys accordingly Like Drum Remap you can use this parameter on any program but you probably won t want to do this 6 34 Program Mode The COMMON Page The OUTPUT Page The COMMON page is reached by pressing the COMMON soft button in the Program Editor Here s where you find
433. l rule The PC3A uses two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V These can be either 1 25 X 0 25 size or 5 mm X 20 mm size fuses Extra fuses are not provided so you will need to acquire the correct fuse before you change the voltage Removing the fuse holder Remove the power cord Pry open the fuse holder cover Use a thin tool inserted into the hole where the red voltage indicator shows through Pull up gently to open the fuse holder cover The cover is hinged next to the power cord connection C 1 Pry out the fuse holder If there is only one fuse in the fuse holder you must remove the metal clip on the empty side The clip just pulls off The clip removed from the fuse holder C 3 Remove the fuse Install two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V one on each side of the fuse holder The fuse holder will accept either 1 25 X 0 25 size or 5 mm X 20 mm size fuses If using 5 mm X 20 mm size fuses install them towards the inside end of the fuse holder near the metal pins as shown here Replace the fuse holder in the power entry module with the indicator for the desired voltage towards the edge of the module away from the power switch Close the fuse holder cover and check that the desired voltage indication shows through the hole Replace the power cord PC3A Objects V 2 3 Appendix D PC3A Ob
434. lay the same note the highest note that the sample can be transposed to Automatic transposition relative to the root key can be offset using the Coarse Tune and Fine Tune parameters on the EditKeymap page see Coarse Tune and Fine Tune_ on page 14 4 Continuing with the example press the Assign soft button again Select another sample root at the prompt and press the OK soft button Now trigger F 1 for the Low Key prompt and F 2 for the High Key prompt At this point you ve defined two key ranges the first from A 0 to F 1 and the second from F 1 to F 2 You can repeat the process as many times as you want creating anew key range each time Once you have your samples assigned you may need to transpose them so that they play back at the correct pitch within the range you have chosen To do this highlight the Key Range parameter scroll to the range you need then highlight the Coarse Tune parameter Adjust Coarse Tune to bring the sample to the proper pitch within that key range Then scroll back up to the Key Range parameter select the next range and continue as needed 14 7 Keymap and Sample Editing The Keymap Editor Here s a fairly important point that may or may not affect your keymap construction Suppose you want to build a keymap that uses the same sample in several adjacent key ranges and you plan to add a bit of detuning to the samples in each range You might think that you could build the keymap first then
435. le chromatically relative to the root key Sample pitch relative to the root key can also be offset using the Coarse Tune and Fine Tune parameters see below The KeyRange parameter shows you which key range you re currently viewing or editing key ranges are named by their lowest and highest notes Changing the value of the KeyRange parameter selects from the available key ranges and allows you to view or edit the sample assignment and other parameters of the selected key range When the Key Range parameter is selected you can also scroll through available key ranges using the Alpha Wheel or the buttons Multiple key ranges are only shown if the current Keymap uses more than one key range If the top line of the EditKeymap page displays KeyRange you can scroll through the available key ranges with any parameter on the page selected using the Chan Layer buttons Press the Toggle soft button to toggle the top line between displaying KeyRange and VelRange With the Keyrange parameter selected keyranges can also be selected by holding the Enter button and playing a key The keyrange assigned to that key will be selected Low Key Lo High Key Hi With these parameters you can use any of the data entry methods to change the low and high notes of the current key range You can extend a key range to the full capacity of the PC3A C 0 to G 10 If you extend the current key range into another the boundaries of the other key range will beco
436. lects the corresponding VelPatt Bank for the ARPEGGIATOR page of a controller s zone For example controller value 2 selects VelPatt bank 2 controller value 7 selects VelPatt bank 7 See The ARPEGGIATOR Page on page 7 42 175 VelFixed Set s arpeggiator velocity when ARPEGGIATOR velocity is set to Fixed SeeThe ARPEGGIATOR Page on page 7 42 176 ShKeyNum Shift Key Number see below 177 ShiftKey Shift Key see below 178 ShKeyNuV Same as 176 ShKeyNum but the Shift Pattern s velocity will be modified by the current velocity pattern of the zone Table 7 4 Controller Destination List 7 25 Setup Mode Controllers Shift Key Number Shift Key ShKeyNum ShiftKey These controller destinations allow you to play musical scales and single note patterns on any programmable continuous controller in a setup without the need of playing the physical keys of the keyboard These features are especially useful for playing fast arpeggiations These destinations only work when combined with other destinations and features so be sure to read this whole section to gain a complete understanding Using a Kurzweil Ribbon as a controller gives you the most options but these destinations can also be controlled by any slider pedal key pressure etc Using the Kurzweil Ribbon provides more accurate control since it has a longer physical range than other controllers Also if you set it in Absolute mode you can jump from one note to an
437. leted but the dependent program would remain When deleting objects and their dependents the PC3A deletes only those dependent objects that aren t dependent on other objects that you re not deleting For example suppose you have two setups that contain the same program If you delete one of the setups and delete dependent objects with it the setup gets deleted but the program that s contained in the other setup remains in memory Saving and Loading Files Storage Mode Saving a file simply involves selecting objects or a complete bank of objects to be stored as a single file All objects with IDs within that range will be saved to the file When you load a file the PC3A asks you which bank will receive the file You can load a file into any of the sixteen banks regardless of the bank it was saved from The PC3A will automatically reassign the object IDs See Chapter13 for more information on loading and saving files 5 6 Editing Conventions Saving and Loading Files Storage Mode Special Button Functions The Mode buttons and the Chan Layer buttons have additional functions depending on the mode or editor you re in The table below describes some of these special button functions Button Special Function Program Mute 1 Mutes Layer 1 of current program in Program Editor Setup Mute 3 Mutes Layer 3 of current program in Program Editor QAccess Solo Solos current layer in Program Ed
438. levels and Aux send levels and pre post insert settings for programs on each MIDI channel Most of the settings in Effect mode apply only to Program mode and programs selected from Quick Access mode see The Master Effects Page section below for an exception Setup mode and Song mode have their own Effects pages which are very similar to the pages in Effects mode The following sections can be used as a reference for those pages any differences will be noted Note The settings made in Effect mode can be saved by saving the master table By default the master table is saved when exiting Master Mode see Save on page 11 18 and Master Table Lock Master Lock on page 11 3 for details If you don t save the master table the Effect mode settings will return to their defaults the next time the PC3A is turned on Be careful do not accidentally save the Effect mode settings if you do not wish to The settings on the effects pages for Setup mode and Song mode are saved with each Setup and Song The EffectsEnable Page NOTE In Setup mode and Song mode this page corresponds in appearance and function to the FX page though the FX page works on a per setup song basis HASTER Pressing the CHANEX soft button calls up the EffectsEnable page This page is used to manage and distribute effects processing power DSP units among the programs on each MIDI channel By default the PC3A automatically manages the usage of DSP units see Default DSP Unit U
439. lg 362 LFO Sweep Filter 2U 366 Resonant Filter alg 363 Resonant Filter 1U 367 Dual Res Filter alg 364 Dual Res Filter 1U 368 2 Band Enhancer alg 370 2 Band Enhancer 1U 369 3 Band Enhancer alg 371 3 Band Enhancer 2U 370 Extreem Enhancer alg 371 3 Band Enhancer 2U 371 HF Stimulator alg 372 HF Stimulate 1 1U 372 Ring Modulator alg 380 Ring Modulator 1U 373 PitcherA alg 381 Pitcher 1U 374 Pitcher B alg 381 Pitcher 1U 375 PolyPtVoxChanger alg 382 Poly Pitcher 2U 376 HollowPolyPitchr alg 382 Poly Pitcher 2U 377 Pitcher Chorus alg 411 MonoPitcher Chor 2U 378 Pitcher Flange alg 461 MonoPitcher Flan 2U 379 Pitcher Chor Dly alg 409 Pitcher Chor Dly 2U 380 Pitcher FIng Dly alg 459 Pitcher Flan Dly 2U 381 Ring Linger alg 390 Chaos 2U 382 Waterford alg 103 Revrse LaserVerb 4U 383 Hip Hop Aura alg 256 Allpass Phaser 3 3U 384 Woodenize alg 256 Allpass Phaser 3 3U 385 Marimbafication alg 256 Allpass Phaser 3 3U 386 Frequency Offset alg 385 Frequency Offset 2U 387 Drum Loosener alg 385 Frequency Offset 2U 388 Drum Tightener alg 385 Frequency Offset 2U 389 Vox Honker alg 386 MutualFreqOffset 2U 390 EQ Morpher ah oo alg 365 EQ Morpher 4U 391 EQ Morpher ee aa alg 365 EQ Morpher 4U 392 EQ Morpher aw er alg 365 EQ Morpher 4U 395 Contact alg 387 WackedPitchLFO SU 396 Drum Frightener alg 387 WackedPitchLFO 3U 397 Mad Hatter alg 387 WackedPitchLFO 3U 398 Fallout alg 387 WackedPitchLFO 3U 399 Ascension alg 387 WackedPitchLFO 3U D 40 PC3A Object
440. ll B 443 Ensemble WWinds 382 Bowie Heroes Pad 413 Orchw Bells On 444 BassClar Clar Fl D 5 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 445 Solo Fr Horn 476 Solo Cello fast 507 Glockenspiel 446 Ensemble Fr Horn 477 Solo Cello slow 508 Chimes Glock 447 Lead French Horn 478 Solo Basso 1 509 Bells Across 448 Dyn Orch Fr Horns 479 Solo Basso 2 slo 510 CelesteGlockHarp 449 HornSect Layer 480 String Quartet 511 Chime Bell 450 Solo BrtTrumpet 481 Solo Harp 512 Carillon 451 Hard Trumpet 482 Orch Harp 1 513 Adagio Strings 452 Lead Trumpet 483 Delicate Harp 514 Adagio Divisi St 453 Soft Trumpet 484 HarpArps amp Gliss 515 Lead Strings 454 Slow Soft Trp 485 Slo Orch Chorus 516 Lead Divisi Str 455 Two Lead Trumpets 486 Pipe Stops 517 Fast Strings 456 Lead MuteTrumpet 487 Soft Stops 518 Fast Divisi Str 457 Solo Tenor Sax 488 All Stops 519 Aggresso Strings 458 Sax Horns MuteTrp 489 Chapel Organ 520 AggressDivisiStr 459 Solo Trombone 490 AllStops AllVox 521 Adagio Tutti Mix 460 Ens Trombone 491 Pipes amp Voices 522 AdagioDivisi Mix 461 Trombone Section 492 Orch Timpani 523 Lead Divisi Mix 462 Dyn Orch Bones 493 Solo Timpani 524 Lead Tutti Mix 463 Bari Horn Section 494 Tam
441. llow Vox Muzhar Elec Pno Atk 3276 Mello Vox 2 ARP SAW Brass Attack 3277 Syn Bass Pick ARP PW30 Bow Attack 3278 Syn Guitar OB PW25 Jazz Guitar Atk 3279 Syn Voices Organ Wave 8 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 3311 Ahh Buzz Wave 3483 Brush Toms 3514 ST kick Pr13V 3312 OB Wave 1 3484 Processed Toms 3515 ST kick Yam 3V 3313 OB Wave 2 3485 E Synth Toms 3516 ST kick Yamop 3V 3314 OB Wave 3 3486 Electronic Toms 3517 ST kick Ayt 3V 3456 Kit Tmplt 1 Z 1v 3487 Zild 13 KHats 3v 3518 ST snr Lud1 3v 3457 Kit Tmplt 2 P 2v 3488 Paiste Hats 3v 3519 ST snr Lud2 3v 3458 Kit Tmplt 3 P 3v 3489 Brush Hats 3v 3520 ST snr Lud3 3v 3459 Kit Tmplt 4 Z 2v 3490 Processed Hats3v 3521 ST snr Lud4 3v 3460 Kit Tmplt 5 Zpre 3491 ElectronicHats3v 3522 ST snr Yam 1 3v 3461 Kit Tmplt 6 Bprc 3492 Alt Kiks Snres 1 3523 ST snr Yam2 3v 3462 Kit Tmplt 7 Pprc 3493 Alt Kiks Snres 2 3524 ST snr Yam3 3v 3463 Kit Tmplt 8 Zprc 3494 Alt Kiks Snres 3 3525 ST snr Yam4 3v Vox Kit Templte 3495 Alt Kiks Snres 4 3526 ST snr Yam4op 3v E Kit Templte 1 3496 Alt Kiks Snres 5 3527 ST snr Prl 3v Stereo KickDrums 3497 Alt Kiks Snres 6 3528 Lud brush snr 4v Mono Kick Drums 3498 Alt Kiks Snres 7 3529 3 prt brsh wstir StereoSnareDrums 3499 Alt Kiks Snres 8 3530 Ruff roll snare Mono Snare Drums 3500 Alt Kiks Snres 9 35
442. llowing algorithm adore PITCH ERE 2POLE LOWPASS SHAFER HONE F more ALG IDSFETLIDSFMODTIOUTFPUT more 3 The OUTPUT Page Press the OUTPUT soft button to get to the OUTPUT page where you set the layer s pre and post FX panning There are actually four different configurations of the OUTPUT page which one you see depends on whether the current layer uses a stereo keymap and whether it uses program FX or layer specific effects more on this in The Program FX PROGFX Page on page 6 47 and The Layer FX LYR_FX Page on page 6 49 Regardless of the page s configuration there are parameters for adjusting the pan position the pan mode the pan table if any the crossfade control and the crossfade sense Layers that use stereo keymaps or that use layer specific FX have additional parameters on their OUTPUT pages The following page is for a mono keymap program that uses program FX Fan 8 Pan Mode MIDI Pan Table b None Drum kemat OFF OUTPUT more d 6 31 Program Mode The OUTPUT Page Pan Parameter Range of Values Default Pan or Pan 1 64 0 Pan 2 64 63 Pan Mode Fixed MIDI Auto Reverse MIDI Output Pan 64 0 Output Gain 96 to 48 decibels 0 Output Pan Mode Fixed MIDI MIDI Pan Table Pan Table List 0 None Crossfade Control Control Source List Off Crossfade Sense Normal Reversed Norm Drum Remap Off Kurz1 Kurz2 Off Exclusive Zone Map Zone Map Lis
443. lphanumeric buttons are labeled under each button If the character that appears is not the one you want press the button again Press the button on the alphanumeric pad to switch between upper and lower case characters Press 0 one or more times to enter the numerals 0 through 9 Press Clear on the alphanumeric pad to erase the selected character without moving any other characters Press the Delete soft button to erase the selected character All characters to the right of the cursor will move one space left Press the Insert soft button to insert a space above the cursor moving all characters to the right of the cursor one space to the right Press the Cancel soft button if you decide not to name the object Press OK when the name is set the way you want to save it In addition to the letters and numerals there are three sets of punctuation characters The easiest way to get to them is to press one of the alphanumeric buttons to select a character close to the one you want then scroll to it with the Alpha Wheel Here s the whole list 1 amp 0123456789 lt gt AthroughZ A_ athroughz space Pressing the Plus Minus buttons simultaneously is a short cut to the following characters 0 A a and space If you re wondering how we came up with this sequence of characters it s composed of ASCII characters 33 through 122 When you press OK the final Save dialog appears where you assign an ID to t
444. ls In the center of the page the currently selected storage device is highlighted Use the cursor buttons buttons or the alpha wheel to select one of the two storage devices You can also select the temporary USB drive USB PC connection by pressing the USBDrov soft button When the temporary USB drive is selected there will be a prompt telling you that the USB MIDI connection will be disconnected You must acknowledge this prompt to continue The status of the selected device will be displayed as either ready or you will see a No connection message The top right hand corner of the page displays the currently selected storage device If you are having trouble selecting a device that you have plugged in try exiting Storage mode and then entering Storage mode again 13 1 Storage Mode Storage Mode Page After selecting a storage device use the soft buttons on the Storage Mode page to start one of the available operations STORE Save objects or banks of objects as a P3A file on the current device LOAD Load selected file s or object s from the current device into PC3A memory UTILS Organize files and folders on a USB device USBDrv Select the virtual USB drive when the USB computer port is connected to a computer EXPORT Export MIDI files created in Song mode or a list of Program info controller assignments Format Format the USB device currently connected to the USB Storage port Using USB Devices 13 2
445. ls and Pre Post Ins 10 11 1213141516 E F F E F Pe F F F F F P F FP F F E E F 9 6 Effects and Effect Mode Effects Overview Chain When Override is set to Yes you can select an override Aux Chain for the page s corresponding Aux bus This parameter is not visible when Override is set to No Output This parameter specifies the physical audio output pair for the page s corresponding Aux Chain s output The settings Pri and Sec refer respectively to the primary and secondary physical audio outputs of the PC3A labeled MAIN and AUX on the back panel Setting Output to auto uses the output pair specified in the program on the current channel or the program on the specified Aux Effects channel in Setup or Song mode Mod Override This parameter can be used to override the Mod Control source of the program on the current channel or the program on the specified Aux Effects channel in Setup or Song mode Set a physical controller or other Mod Control source to scale the Aux send level between 96dB and the value set for the aux send level A setting of None yields no override in Mod Control source and uses the Mod Control source specified in the program on the current channel or the program on the specified Aux Effects channel in Setup or Song mode Send Levels and Pre Post Ins On the bottom half of the page there are two parameters for each of the 16 MIDI channel
446. ludes Rotating Speakers breaks the signal into two frequency bands rotates each band separately through a virtual speaker and then combines the outputs with a pair of virtual microphones whose angle relative to the speakers is adjustable A number of very sophisticated parameters have been included in the Rotating Speakers effect to give the effect a great degree of realism Because of the complexity of the effects you might want to approach any parameters that seem a little obscure to you with caution Roto InOut engages or bypasses the rotary speaker effect There are four virtual microphones with two each on the woofer LoMic A and LoMic B and on the tweeter HiMic A and HiMic B Each microphone has Pos position the angle of the microphone from the front of the virtual speaker from 180 to 180 degrees Lvl level from 0 to 100 and Pan the left right panning of the microphone s output from 100 full left to 100 full right Other parameters Lo Beam W and Hi Beam W set the acoustic radiation patterns beam width of the two drivers in the rotating speaker If you imagine looking down on the rotating speaker this is the angle between the 6 dB levels of the beam The range is from 45 to 360 At 360 the driver is omnidirectional Xover Crossover is the frequency at which high and low frequency bands are split and sent to separate rotating drivers The range is 16 to 25088 Hz Lo Gain and Hi
447. me physical location on the ribbon By default this is the center of the Ribbon although you can use the Center parameter to put the zero point elsewhere In Absolute mode just touching the Ribbon affects the sound unless you touch it at exactly the zero point Every movement you make along the Ribbon sends control values based on how far you are from the zero point Spring When Spring is On the Controller to which you ve assigned the Ribbon springs back to its zero point automatically when you lift your finger off the ribbon This is generally the behavior you want When Spring is Off the Controller to which you ve assigned the Ribbon sticks at its current value when you lift your finger off the Ribbon While this can be useful you should be careful with it When Spring is Off if the Ribbon is doing something when you exit the setup it ll continue doing that when you return to the setup This can be good or bad If you want to set Spring to Off in a setup but want to be sure of the initial sound of the setup go to the RIBBON page in the setup and for each Ribbon for which you ve set Spring to Off set the entry value Ent parameter to a value of 0 or whatever you like Center This defines the zero point for the Ribbon or for each section on the Ribbon the point at which the Controller to which the Ribbon is assigned has no effect on the sound You can choose any point between 0 and 127 A value of 64 puts the zero
448. me shortened to accommodate the key range you are extending If the keyrange you are extending covers another keyrange the other key range will be deleted The setting for the low key cannot be higher than the setting for the high key Similarly the setting for the high key cannot be lower than the setting for the low key 14 3 Keymap and Sample Editing The Keymap Editor Velocity Range VelRange This parameter shows the keyboard velocity range in dynamic levels that will trigger a sample for the current KeyRange Ina key range with more than one velocity range each velocity range can use a different sample as well as different CoarseTune FineTune and VolumeAdjust settings Velocity ranges are intended for use with instrument samples recorded at different velocities This helps to make playing sampled instruments sound more realistic Sample volumes are also scaled based on keyboard velocity within each velocity range Velocity ranges for the current Keymap are set using the VelRng soft button see Velocity Ranges VelRng on page 14 5 or the Low Velocity Lo High Velocity Hi parameters see below All keyranges in a Keymap share the same set of velocity ranges Up to eight velocity ranges can be used When the VelRange parameter is selected you can scroll through available velocity ranges using the Alpha Wheel or the buttons Multiple velocity ranges are only shown if the current Keymap uses more than one velocity ra
449. ming program change commands to select programs or setups with different IDs This is handy if the sending unit can t send program change commands higher than 127 First a brief review of Quick Access bank structure Each Quick Access bank can store ten entries each of which can be a program or a setup Each of the PC3A s 10 memory banks can store 20 Quick Access banks except the Zeros bank which can store 75 Therefore when you re in Quick Access mode you have access to 200 or 750 in the Zeros bank programs or setups without leaving the currently selected memory bank The QA Ext program change format lets you select any one of those programs or setups via MIDI If you select another memory bank you have a 10 16 MIDI Mode Program Change Formats different set of 200 programs and setups at your disposal When you re using this format the PC3A will respond to MC 0 or 32 messages for selecting QA banks and to PCHs for selecting entries within the current bank PCHs select entries according to their chronological listing within the QA bank not according to their IDs Command Type Value Range Result MIDI controller 0 or Oto 127 Selects QA bank On 1n 2n 3n 4n 5n 6n 7n in current memory bank 32 MC 0 or MC 32 Standard PCH 0 127 Selects last digit n above of QA bank and entry within that bank Depending on the QA bank entry you want to select you ll send the PC3A either a PCH value 0 to
450. mode intonation maps are used to change the PC3A s intonation in all modes Editing Conventions Object Type and ID Shift patterns Factory preset or user programmed sequences of note shift information used by the arpeggiator for detailed arpeggiations or by the Shift Key Number controller destination Velocity patterns Factory preset or user programmed sequences of note velocity shift information used by the arpeggiator for detailed velocity triggering in arpeggiation Master tables The values that are set for the parameters in Master mode as well as the settings for the parameters on the Transmit Receive and Channels pages in MIDI mode and the programs currently assigned to each MIDI channel Object Type and ID The PC3A stores its objects in memory using a system of ID numbers that are generally organized into banks Each object is identified by its object type and object ID these make it unique An object s type is simply the kind of object it is whether it s a program setup song or whatever The object ID is anumber from 1 to the maximum that distinguishes each object from other objects of the same type For example within a bank you can have a setup a program and an effect all with ID 201 their object types distinguish them You can t however have two programs with ID 201 Object Type Object ID Object Name Program 201 Hot Keys Setup 404 Silicon Bebop Velocity Map 1 Linear ROM fact
451. ms containing the word Horn you would type h o r n This function is not case sensitive it will find upper and lower case characters regardless of what you type When you ve typed the string of characters you want to find press Enter The PC3A searches through the current list of objects or values finds all items that match the string of characters you typed and displays the first one it finds Hold Enter and press one of the Plus Minus buttons to search for the next higher or lower numbered object that contains the string of characters The string you select remains in memory You can store and select a string of characters with each of the numeric buttons Hold Enter and press one of the numeric buttons at any time to select that string for a search When the string appears you can change it or just press Enter to find that string Quick Song Recording and Playback Below the mode selection buttons there are three buttons labeled Record Play Pause and Stop They control the recording and playback of songs from any mode you don t have to be in Song mode to record or play back However you ll need to make sure that the Demo Button parameter on Master Mode Page 2 is set to Off Otherwise these buttons are used for Easy Audition see page 2 7 above Record Play Pause Stop Using these buttons affects the current track of the current song that is the song and track that were selected the last time you were in So
452. n programs which use the PANNER algorithm will respond to real time pan adjustments all other programs will respond on the next note start 11 Express MIDI Expression Default assignment for CC Pedal 1 An attenuator for fading in and out It scales between minimum 0 and the current value of Volume 12 MIDI 12 13 MIDI 13 Default assignment for Slider B 14 MIDI 14 15 MIDI 15 Controls pitchbend for AuxBend2 see The BEND Page on page 7 18 16 CHA 17 Ctl B 18 Ctl C 19 Ctl D 20 MIDI 20 21 MIDI 21 Default destination for Ribbon controls pitchbend for AuxBend1 see The BEND Page on page 7 18 22 28 MIDI 22 28 Default destinations for Sliders C to 29 MIDI 29 Default destination for SW button 30 31 MIDI 30 31 MIDI Controllers 30 31 32 Bank 33 63 33 63 MIDI Controllers 33 63 64 Sustain Default destination for Footswitch 1 65 MIDI 65 66 Sostenut Default destination for Footswitch 2 holds notes that are currently down but not notes played subsequently see Sostenuto Pedal SosPdl on page 6 20 67 Soft Default destination for Footswitch 3 lowers the volume by a preset amount and may soften the timbre as well see The Footswitch Pages FT SW1 FT SW2 FT SW3 on page 7 36 68 Legato Forces mono playback 69 Freeze Envelopes freeze at current state Table 7 4 Controller Destination List 7 22 Setup Mode Corresponding Controllers
453. n Off Control Control Destination List Ft Sw2 Sostenut Ft Sw3 Soft Off Value None 0 to 127 0 Entry State None Off On None Exit State None Off On None 7 36 Setup Mode The Arpeggiator Switch ARP SW Page The Arpeggiator Switch ARP SW Page The PC3A keyboard offers two Panel switches located above the pitch and mod wheels The left switch is the Arp short for arpeggiator button By default the Arp switch functions as the arpeggiator switch and toggles on and off the PC3A arpeggiator but you can assign this switch to any Controller See The ARPEGGIATOR Page on page 7 42 for information on how to configure the PC3A s arpeggiator The ARP SW page parameters are described in Switch Controller Parameters on page 7 30 Ores Tub EEN tr ustate OnControl Aren ExilState On Jalue i177 OffConterolt Areott OffUalue f r More ARF SW SWITCH IE Off Parameter Range of Values Default Type Momentary Toggled Toggled On Control Control Destination List ArpOn On Value None 0 to 127 127 Off Control Control Destination List ArpOff Off Value None 0 to 127 0 Entry Value None Off On None Exit Value None Off On None 7 37 Setup Mode The SWITCH Page The SWITCH Page The right Panel switch is the SW button located above the Modwheel By default this switch is assigned to MIDI29 but you can assign this switch to any MIDI Controller The SWITC
454. n external device see the Storage Mode chapter Preview Sample PRVIEW Press the PRVIEW button to go to the PREVIEW page The PREVIEW page can be used to automatically make anew keymap and program using any sample or group of sample roots Programs created with the preview function are saved in Program Mode This allows you to quickly hear what a sample or group of sample roots will sound like in a program The preview function is also a quick way to begin making a new program which can be edited further if desired If a single sample is selected a single keyrange keymap will be created If a group of sample roots is selected the preview function will try to create a keymap with multiple keyranges based on each sample s root key If the sample or group of sample roots are stereo the created program will be stereo To use the preview function go to the PREVIEW page select a sample or group of sample roots in the Sample field using the Alpha Wheel buttons or the alphanumeric pad then press the OK soft button Next you will be shown a list of banks by ID range bank 1 1 128 bank 2 129 256 etc Use the Alpha Wheel or buttons to choose a bank from this list The preview function will save the created program and keymap using the lowest unused ID numbers available in that bank or higher The preview function will never overwrite existing programs or keymaps Saving to the User bank 1025 1152 and above will make it easi
455. n listen to the layer you are selecting to import along with all other layers in the current program If you want to hear the layer to be imported by itself you must mute the other layers When you have selected the desired layer from the desired program press the Import soft button and the selected layer will be copied from the selected program becoming the current layer Importing layers is a convenient alternative to creating layers from scratch If you have a favorite string sound for example and you want to use it in other programs just import its layer s into the program you re building This will preserve the envelopes and all the control settings so you don t have to reprogram them Delete Layer DelLyr Delete the current layer When you press this button the PC3A asks you if you want to delete the layer press the Yes soft button to start the deletion process or the No soft button to cancel it This prompt prevents you from accidentally deleting a layer Name Save Delete Name calls up the page that enables you to change the name of the current program Save starts the process of saving the current program Delete deletes the current program from memory You can also delete any other program from memory by scrolling through the list that appears when you press the Delete soft button then pressing Delete again when the desired program is selected If you attempt to delete a ROM program the PC3A will say it s deleting the
456. n the KEYVEL page your riff will not be able to be triggered from the keyboard Release The way you release riffs is analogous to the way you trigger them You can assign a physical controller to destination 164 RiffOff or you can select a key or key range with the Release parameter You set this the same way that you set the trigger range Move your cursor so that the left field of the Release parameter is highlighted this will be the low end of the trigger key range Now select a key value by using the Alpha Wheel buttons or intuitive entry Move your cursor to the right field and repeat the process this will be the high end of the trigger key range If you set both of the Release values to AO the Riff will stop when you release AO So if you use the settings described above and in the Trigger section above your setup s riff will start when you press A 0 and it will stop when you press and release AO Note the LoKey and HiKey values on the KEYVEL page do affect the riff If your riff s trigger and release notes are not within the LoKey and HiKey range on the KEYVEL page your riff will not be able to be triggered from the keyboard Conditional Release CondRel The CondRel parameter allows you to have a riff play only while a key is pressed and held and nothing will stop or restart that riff until the key is released To use conditional release set the same range for the Trigger and Release ranges on the RIFF2 page Any k
457. nal device set each desired Zone s Input Channel parameter to match the channel on which the external MIDI device is transmitting It is also possible to use the Input Channel parameter to use multiple external devices which each play a specific Zone or Zones For details on controlling assignments made to the PC3A s physical controllers sliders switches mod wheel etc from an external MIDI device when using an Input Channel see Continuous Controller Messages From External MIDI Devices on page 10 11 Input Channel Settings When setting a MIDI channel number for the Input Channel parameter channel 1 for example you can choose 1 L M or 1M scroll past 16 L M to see all the choices A channel number with a setting of L M indicates that the zone will be playable from the PC3A keyboard L for Local and from the external MIDI controller M for MIDI A channel number with a setting of M indicates that the zone will be playable only from the external MIDI controller and not from the PC3A keyboard You can also choose Any L M or Any M for the Input Channel setting Any L M and Any M will make the zone receive MIDI on any channel that an external device is transmitting This is useful if you are using a single external MIDI controller and are not sure which channel it is transmitting on MIDI Bank Mode BankMode The BankMode you choose determines how bank numbers will be sent over MIDI when the setup is selected and in what format It also a
458. nction parameter is labeled Pitch whereas the two block Lopass function s function parameters are labeled LP Frq and LP Res By adjusting the function parameter you can add a fixed amount of adjustment to any DSP function For the Pitch function adjusting the function parameter will change the pitch in semitone increments Use this as a starting point to set the pitch where you want it to be normally This will shift the pitch of the currently selected layer and will affect the playback rate of sampled sounds Sampled sounds have an upper limit on pitch adjustment It s normal for the pitches of sampled sounds to pin stop getting higher when you adjust the pitch upward in large amounts The oscillator waveforms can be pitched higher Any sound can be pitched downward without limit The primary use of adjusting the function parameter or fine adjust parameter which will be explained under the next heading is to offset the cumulative effects of the other DSP function parameters For example you might set a high value for key tracking defined below for a dramatic change in effect across the keyboard The effect might be too much at one end of the keyboard however so you could use one of the adjust parameters to reduce the initial amount of that effect 6 24 Program Mode The Algorithm ALG Page The PC3A always uses real values of measurement rather than just arbitrary numbers for adjustable parameters This means that
459. nd HiVel set the minimum and maximum velocity limits that the current zone transmits A keystroke in the current zone whose velocity after it has been scaled and offset is below the minimum does not generate a Note On Neither does a keystroke whose velocity after processing is above the maximum These parameters are useful for velocity switching having a key play different sounds depending on how hard you strike it The values can be anywhere from 1 to 127 As with other parameters zones can overlap or be totally discrete or be identical Usually LoVel will have a smaller value than HiVel but as with LoKey and HiKey you may also create a gap in velocity response by setting negative ranges for velocity 127 Velocity Min 1 Max 64 No MIDI Note Ons are transmitted when you strike keys with medium velocity or greater 64 127 Strike Velocity 127 Velocity Min 64 Max 127 No MIDI Note Ons are transmitted unless you strike keys with velocity of medium or greater MIDI Velocity O N 127 64 Strike Velocity Setup Mode The Pan Volume PAN VOL Page The Pan Volume PAN VOL Page By changing the parameters on this page you can define how each zone sends MIDI volume and pan messages Ores Hone Entralolume EntrsaPan n Hone ExitUolume one ExitFan more CHFPRG KEYUEL JPANWOL JBEND more j Parameter Range of Values Default Entry Volume None
460. nd can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this instrument does cause harmful interference to radio or television reception which can be determined by turning the instrument off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the instrument and the receiver Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected If necessary consult your dealer or an experienced radio television technician for additional suggestions NOTICE This apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications AVIS Le present appareil numerique n emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class B prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada SAVE THESE INSTRUCTIONS CAUTION The lightning flash with the arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated
461. nd every page in the current editor by using the soft buttons but often it s easier to use the Edit button shortcut The Exit Button Press Exit to leave the current editor If you ve changed the value of any parameter while in that editor the PC3A will ask you whether you want to save your changes before you can leave the editor See Chapter 5 for information on saving and naming The Exit button also takes you to Program mode if you re on the entry level page of one of the other modes If at some point you can t seem to get where you want to go press Exit one or more times to return to Program mode then try again 3 8 User Interface Basics Navigation Data Entry The data entry section of the front panel includes the Alpha wheel the Plus Minus buttons and the 14 button alphanumeric pad The Alpha Wheel The Alpha Wheel is especially useful because it can quickly enter large or small changes in value If you turn the Alpha Wheel one click to the right you ll increase the value of the currently selected parameter by one increment One click to the left decreases the value by one increment If you turn it rapidly you ll jump by several increments You can also use the Alpha Wheel to enter names when you re saving objects The Plus Minus Buttons These buttons are located just under the Alpha Wheel The Plus button increases the value of the currently selected parameter by one and the Minus button decreases it by
462. nd on the parameters you define in the Setup Editor Zone status LEDs in Setup Mode Take a minute to scroll through some of the factory setups As you change setups you ll notice that the LEDs in the eight Bank buttons above the programmable sliders go on and off and change color These LEDs indicate the status of zones 1 8 in the setup While you re in Setup mode each of the eight zone status LEDs will always be in one of four states Off Empty zone that is a zone that has no program or MIDI channel associated with it For example if you select a setup and only four status LEDs light up regardless of their color the setup contains just four zones Whenever you re in Setup mode the number of lines in the info box matches the number of zone status LEDs that are lit Green Active zone As long as no other zone is soloed an active zone plays notes and generates controller information program changes and entry exit controller values If another zone is soloed an active zone is backgrounded it s status LED remains green but it doesn t play notes or generate controller information Orange Muted zone Muted zones don t play notes or generate controller information but they do generate program changes and entry exit controller values Red Solo zone As you might have guessed only one zone can be soloed at a time When a zone is soloed only that zone plays notes and generates controller information Other zon
463. nding you should check the Mode parameter on the OUTPUT page in the Program Editor If it is set to Fixed then the PC3A is ignoring the MIDI Pan message setting Mode to MIDI allows you to control the program s panning from the Setup Editor Setup Mode The BEND Page Most programs respond to pan messages on the next keystrike This means that if you hold a note and change the pan the current note will stay at its current position until you strike it again However a PC3A program that uses the PANNER algorithm will respond to real time pan adjustments as well The BEND Page The parameters on the BEND page define the bend ranges for each of the three types of pitch bend messages the PC3A can respond to Ores eer AuxBend 1 Ue AusBendi Dwr FiuxBend2Rn9 BendRangeDowntSTa 25T BendRanSeloynict Act more CHePRG EEVUEL PANVOL JEEND more d BendRangelpcstys BendRangelPicts Pa hi Di A Parameter Range of Values Default Bend Range Up semitones Prog 0 to 127 semitones 2 Bend Range Up cents Prog 100 cents 0 Bend Range Down semitones Prog 0 to 127 semitones 2 Bend Range Down cents Prog 100 cents 0 Aux Bend 1 Up 0 to 60 semitones 12 Aux Bend 1 Down 0 to 60 semitones 12 Aux Bend 2 Range 0 to 60 semitones 2 Bend Range Semitones and Bend Range Cents Up and Down A BendRangeUp ST and BendRangeDown ST sends a bend range message to an internal program or a
464. ne HHR Miheel 160 Linear None None more MHEEL JSLIDER SLID ICPEDAL more 3 Parameter Range of Values Default Destination PWUp Control Destination List PitchUp Destination PWDn Control Destination List PitchDwn Destination MWhl Control Destination List MWheel Scale 300 100 Add 128 to 127 0 Curve Linear Compress Expand Linear Entry Value None 0 to 127 None Exit Value None 0 to 127 None 7 32 Setup Mode The SLIDER and SLID2 Pages The SLIDER and SLID2 Pages You can assign each of the PC3A s nine programmable sliders to a destination on each of the 16 zones Or you can assign any combination of sliders to the same zone allowing you tremendous flexibility For example you can assign Sliders A and B to modulate pitch and volume on Zone 1 then assign Slider C to control panning on Zones 2 3 and 10 The SLIDER soft button gives you access to Sliders A E Press the SLID2 soft button to program Sliders F I The SLIDER page parameters are described in Continuous Controller Parameters on page 7 29 n Linear None None Linear Hone Hone Linear None None None None ONES l SligF 5 Linear None None SlidG H Linear Hone Hone SlidH MIDIST H Linear Hone Hone SlidI MIDIZS A Linear None None more WHHEEL SLIDER SLID ICFEDAL 1 more 3 Parameter Range of Values Default Destination Slider A Control Destination List Dat
465. ne soft button calls up the MAIN page If changes were made pressing the Done soft button calls up the Save Changes dialog Song Mode The METRONOME Page All of the parameters affecting the sequencer metronome are on the METRONOME page Like the other pages in the Song Editor you can save changes made in this page Sorel 2 LPOonome x ounti Program x Ick Track hannel x Strona Motes Soft Hote GH Strona Wel s Soft Vel 166 Parameter Range of Values Default Metronome Off Rec Always Rec Count Off Off 1 2 3 4 StartOnly Always 1 StartOnly Program Program List 998 Click Track Channel 1to 16 16 Strong Note 0 to 127 102 Strong Velocity 0 to 127 127 Soft Note 0 to 127 104 Soft Velocity 0 to 127 100 12 13 Song Mode and the Song Editor Song Mode The METRONOME Page Metronome This parameter determines the recording modes in which the metronome plays With Metronome set to Off the metronome never plays With Metronome set to Rec the metronome only plays during recording With Metronome set to Always the metronome plays during playback and recording With Metronome set to CountOff the metronome plays only during count off if the CountOff parameter is set to something other than Off CountOff This parameter determines the number of measures the PC3A will count off before recording With StartOnly selected the PC3A will only count off at the beginning of
466. ned to PitchUp or PitchDwn To keep things simple though you will normally want to use PitchUp and PitchDwn controller destinations 130 and 131 as a Pitch Wheel destinations see PWUp and PWDn on The WHEEL Page on page 7 32 and use MIDI 21 and MIDI 15 controller destinations 21 and 15 for other controllers such as the Sliders and Ribbon see Aux Bend 1 Up Down and Aux Bend 2 Range below Keep in mind that not all MIDI devices respond to Bend Range messages With many older MIDI instruments you must set bend ranges on the devices themselves Changing programs sends a Bend Range message with the current program s values So does pressing Panic which is a quick way to reset your PC3A or MIDI slaves if you ve used a controller to modulate the bend range Aux Bend 1 Up and Aux Bend 1 Down Like BendRangeUp Down Aux Bend 1 defines the range for Pitch Bend messages but does so for those physical controllers assigned to controller destination 21 MIDI 21 There are two parameters related to AuxBend 1 an upward value AuxBend1Up and a downward value AuxBend1Dwn Use these parameters to set values for upward and downward pitch shifting In most factory setups AuxBend 1 is set as the destination for the optional Ribbon controller see The RIBBON Page on page 7 39 Aux Bend 2 Range The PC3A allows you to specify a third pitch bend range this is called AuxBend 2 and it defines the range for controllers set to controller destination
467. nfigure your PC3A or another PC3A to your performance or sequencing needs For example you might save different Master files with every sequence you create using an external sequencer Then when you load the Master file you would have all the correct programs assigned to the appropriate MIDI channels Select Object Type To Store Use the Object Type list on the left side of the page to select the type s of object s to save Scroll through the list using the alpha wheel cursor buttons or buttons Use the Select soft button to select or deselect each object type An asterix appears to the left of selected entries Select All types to select all object types Select Object Range To Store Use the Range Bank list on the right side of the page to select the range or ranges of ID numbers to save for the selected object type s Object ID numbers to save can be selected in groups of 128 objects also known as banks for example objects 1 128 129 256 etc All object ID numbers can be selected by selecting Everything A custom range of object ID numbers can also be created using the SetRng soft button The custom range is the last entry in the Range Bank list by default it is called 1 100 Range but the name of the entry changes to the range set with the SetRng soft button Scroll through the Range Bank list using the alpha wheel cursor buttons or buttons Use the Select soft button to select each bank ran
468. ng files in Storage mode The PC3A always displays the root top level directory when you view a storage device The root directory is displayed as a backslash Path If you press the LOAD button and load a file from a subdirectory called SOUNDS the Path field will appear as Path SOUNDS The backslash character is a directory separator as in the following Path Path NEWTUNE SAMPLES DOGS This represents the directory DOGS which is a subdirectory of the SAMPLES directory which is a subdirectory of the NEWTUNE directory in the root directory If the path is too long to fit on the top line of the display it gets abbreviated The maximum length of a path in the PC3A is 64 characters including the backslash characters Common Dialogues These are dialogues that the PC3A calls up when about to perform certain storage functions The Select Directory Dialogue When storing an object or group of objects the PC3A prompt s you to select a directory in which to save that object or group There are three navigating soft buttons on the left side of the bottom of the page NewDir Create new directory Calls up the New Directory dialogue see the following section Open Opens the highlighted directory Parent Moves you up one level in the directory hierarchy If the display is already at the root directory this button has no effect When you have chosen your directory press the OK soft button to call up the File
469. ng mode When you record the recording track and recording mode are determined by the current settings in Song mode likewise for the playback mode when you re playing a song When the sequencer status is STOPPED neither the Record button LED nor the Play Pause button LED is lit or flashing press Record to put the sequencer in REC READY status The Record button LED lights red Then press Play Pause to start recording The Play Pause button flashes green to indicate the tempo Any countoff is determined by the current Song mode setting for the CountOff parameter Press Play Pause or Stop to end recording and go to the Save dialog where you can save the song or discard it When the sequencer status is STOPPED press Play Pause to begin playing the current song Press Play Pause again to pause playback and again to resume Press Stop to end playback See Chapter 12 in the full manual for more information on Song Mode 3 12 The Operating Modes Selecting Modes Chapter 4 The Operating Modes In this chapter we ll discuss the theory behind the mode concept and we ll describe the basic operating features of each mode What the Modes Are The modes exist to make the PC3A logical to work with With as many performance and programming features as the PC3A has it s helpful to break them into groups These groups are called modes There are eight primary modes they re described briefly in the section called Using the Mod
470. ng of Reverse shifts low notes right and high notes left MIDI pan messages will also affect the pan position when values of Auto and Reverse are selected 6 32 Program Mode The OUTPUT Page Output Pan Gain and Mode When the Layer FX Mode parameter is set to Layer Specific FX on the LYR_FX page three additional parameters appear on the OUTPUT page Out Pan Out Gain and Out Pan Mode rossFadae ar adeSense hh Out Pan 6 Out Pan Mode MIDI Drum Remar Off OUTPUT I These parameters are analogous to the output parameters on the COMMON page but are layer specific the COMMON output parameters apply to all layers You can use the output parameters on the OUTPUT page to adjust the panning and gain of the post FX signal of the current layer Pan Table The factory preset pan tables are key specific panning schemes by which the note that each key produces is uniquely panned These tables are particularly useful for producing the stereo image of a drum set when creating percussion programs or for producing the stereo image of a piano when creating piano programs Pan 8 Pan Mode MIDI Out Gain Bde Pan Table b None Crossfade and Crossfade Sense XFadeSense The Crossfade parameter lets you select a control source to fade the current layer s amplitude from zero to maximum When XFadeSense is Normal the layer is at full amplitude when the Crossfade control is at minimum With XFadeSense set t
471. ng playing to sync to the current arpeggiator will wait for the playing riff or song to restart its loop if it is looped before starting see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the arpeggiator to start ahead of time and have it start in sync at the start of the playing riff or song s loop The difference from Loop is that if there is nothing playing to sync to the arpeggiator will not start If the riff or song that you are syncing to is already running LoopWait behaves just like Loop 7 52 Setup Mode The Ribbon Configuration RIBCFG Page With SyncType set to StopWait if there is already something playing to sync to the current arpeggiator will wait for what is playing to stop before starting This way you can trigger the arpeggiator to start ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that you are syncing to The difference from Stop is that if there is nothing playing to sync to the arpeggiator will not start This can be useful if you want to get your arpeggiator ready to sync before you start whatever you are syncing it to If the riff or song that you are syncing to is already running Stop Wait behaves just like Stop Num Beats This affects the syncing of other arpeggiator or riff zones to the current zone only if those other zones have a SyncType setting of Downbeat or DownbeatWait For zones be
472. nge If the top line of the EditKeymap page displays VelRange you can scroll through the available velocity ranges with any parameter on the page selected using the Chan Layer buttons Press the Toggle soft button to toggle the top line between displaying VelRange and KeyRange Low Velocity Lo High Velocity Hi Use these parameters to set the velocity range of the current key range If you extend the current velocity range into another the boundaries of the other velocity range will become shortened to accommodate the velocity range you are extending If the velocity range you are extending covers another velocity range the other velocity range will be deleted Coarse Tune Coarse Tune allows you to transpose a sample for a given range This is extremely useful when you have set the Root key of the sample for one note but want to assign the sample to a different part of the keyboard and still be able to play it without transposition see Root Key on page 14 10 for details For example if you originally set the Root key at C4 but want the sample assigned to C3 you would set Coarse Tune to 12ST transposing it up one octave Now the original pitch will play at C3 one octave down If you examine the drum and percussion kit keymaps in ROM you will see that we have done this Most of our ROM drum samples have the Root key set at C4 There s a short cut for adjusting the Coarse Tune automatically so that the sample plays with minimal trans
473. nge a songs initial tempo press Record the Song Status will change to REC READY set the tempo desired then press Stop The initial tempo can also be changed with the Tempo parameter on the COMMON page in the Song Editor or at the top of the event list for the Tempo track on the EVENT page in the Song Editor Note You can also set the tempo using the tap tempo function Press the left and right cursor buttons simultaneously to access the TEMPO page see TEMPO on page 11 11 You can also set the tempo to be controlled by an external sequencer Use the Alphanumeric Pad to enter 0 in the tempo field and press enter EXT will appear in the tempo field Any MIDI Time Clock MTC signal received at the PC3A s USB or MIDI in port will now set the Song playback tempo 12 2 Song Mode and the Song Editor Song Mode The MAIN Page Recording Track RecTrk The RecTrk parameter determines which track is record enabled Set the record enabled track to Mult to record more than one channel simultaneously When RecTrk is set to a single track 1 16 Record R is displayed for that track in the Track Status Indicator region above the Track and Channels region Conversely with one exception when any track s Status Indicator is changed to Record R that track is shown as the value for the RecTrk parameter The exception is when RecTrk is already set to Mult you can select the record enabled tracks by toggling the Track
474. nger Snap 434 Triangle Mute 465 Yam182 rev 404 Finger Snap env1 435 TriangleMuteEnv1 466 Closed Hat rev 405 Finger Snap env2 436 Splash Cymbal 467 Open Hat rev 406 Finger Snap env3 437 Shakers Down nl 468 Crash rev 407 Maracas Down 438 Shakers Up nl 469 Snare55 rev 408 Maracas Dwn env1 439 Maracas Up ja 470 e2snrrev 409 Maracas Up 440 Maracas Up elja 471 e2snr3 rev 410 Maracas Up env1 441 Maracas Downja 472 slap snare 411 Shakers Down 442 Maracas Dwnelja 473 tonalsnare 412 Shakers Up 443 Clap no flam 474 new sidestick 413 Tamb Down 444 Maracas Downsal 475 CoughKick 414 Tamb Down env1 445 Maracas Up sal 476 pan Tamb Up 446 Shakers Down sal Open CIsHtIGNREL Tamb Up env1 447 Shakers Up sal globlah2 Tamb Hit 448 Tamb Up env1 sal mutated kick Tamb Hit env1 449 TambDwnenl sal mutated kick 2 Tamb Hit env2 450 Tamb Hit sal warp drop Timbale Hi mf 451 Cross Stck altAR OpnHat scrape Timbale Lo mf 452 Crash Cymbal AR sine2 Timbale Hi ff 453 Sonkik rev kTumba Open env1 Timbale Lo ff 454 YAMkik2 rev mini sweep 2 TimbaleH mf env1 455 BD123 rev kConga ClosedSla TimbaleH ff env1 456 E2kik2 rev kConga Slap TimbaleL mf env1 457 Eamesmrev kick bottom 2 TimbaleL ff env1 458 Eamesh rev Gong Timbale Shell 459 PridryM rev stoneloop TimbaleShellEnv1 460 PrlambH rev pulsegrunge Triangle Open 461 LUDambH rev zipyipe TriangleOpenEnv1 462 YAMamb rev bentblade
475. nly be used with a stand or cart that is recommended by the manufacturer gi This product either alone or in combination with an amplifier and speakers or headphones may be capable of producing sound levels that could cause permanent hearing loss Do not operate for a long period of time at a high volume level or a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist This product should be located so that its location or position does not interfere with its proper ventilation The product should be located away from heat sources such as radiators heat registers or other products that produce heat The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product a e o This product may be equipped with a polarized line plug one blade wider than the other This is a safety feature If you are unable to insert the plug into the outlet contact an electrician to replace your obsolete outlet Do not defeat the safety purpose of the plug 10 The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time When unplugging the power supply cord do not pull on the cord but grasp it by the plug 11 Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings 12 The product should be serviced by qualified se
476. nnel In Setup mode an external MIDI device such as a keyboard or sequencer will play notes of a single program by default if the Local Keyboard Channel parameter is set to off see page 10 10 for details The played program will be on a Zone that has a Channel parameter on the CH PROG page which matches the channel on which the external MIDI device is transmitting If no Zone s Channel parameter matches the external device will play notes of the last program that was using that channel in Program Mode or from a previously loaded Song or Setup Setup Mode The Channel Program CH PROG Page When the Program of a Setup Zone is played from an external MIDI device Setup MIDI parameters most noticeably key range and transposition will not be applied If you want these parameters applied set the Input Channel parameter to match the channel on which the external MIDI device is transmitting See the Input Channel Settings section below for details on setting an Input Channel To play the entire Setup from an external MIDI device see Local Keyboard Channel LocalKbdCh on page 10 10 When Local Keyboard Channel is set to something other than Off the Input Channel parameter has no effect and will appear in parentheses Input Channel basically has the same effect as Local Keyboard Channel except you can choose to play only one or some Setup Zones from an external device instead of all Zones To play more than one Zone from an exter
477. notes With Velocity set to First all notes play at the velocity of the first played note With Velocity set to Played each note repeats with the same velocity you played it at With Velocity set to Last all notes play at the velocity of the most recently played note With Velocity set to Aftertouch the velocities are controlled by keyboard pressure as you hold and push down on any key the velocities get higher and as you ease up they get lower With Velocity set to MIDI 109 MIDI controller 109 continually sets the arpeggiator velocity This works well when MIDI controller 109 is set to a knob or expression pedal With Velocity set to Fixed all notes play with the same velocity The default Fixed velocity is 100 Like MIDI 109 You can control this velocity amount in real time by assigning a controller to VelFixed controller destination number is 175 Input from any physical controller assigned to send VelFixed or any entry value for a controller assigned to send VelFixed overrides the programmed value of the Velocity parameter disabling it until you select a different setup or in Program mode until you select a different control setup on the MIDI mode TRANSMIT page Pattern engages a step sequencer for arpeggiator velocity patterns which shifts the velocity of each arpeggiated note according to a sequenced pattern There are 74 pre programed velocity patterns that you can choose from the VelPatt field some of which create rhythms by us
478. nt control setup can be selected on the MIDI Mode Transmit page using the ControlSetup parameter To edit the current control setup select the ControlSetup parameter on the MIDI Mode Transmit page then press the Edit button to the left of the display You can also select the setup in Setup Mode and then press the Edit button to the left of the display If you edit or overwrite the default Control Setup 126 Internal Voices you can always recall the original control setup by deleting the setup stored at ID 126 This will return the setup to its default settings You can delete a setup by using the Delete soft button in the Setup Editor When selecting or editing the Control Setup only Zone 1 of the setup has an effect on program mode Zones 2 16 are not relevant in Program Mode because the PC3A s physical controllers can only control one MIDI channel at a time in Program Mode See Table 6 4 below for which pages and parameters in the Setup Editor of the Control Setup have an affect on Programs in Program Mode Paw Note The Control Setup doesn t affect the sound of a program only the assignments of certain physical controllers The samples and keymaps assigned to a program are unaffected by the Control Setup While you re in Program mode the PC3A ignores the programs assigned to the setup that you chose as the Control Setup 6 10 Program Mode Control Setup Setup Editor Page Zone 1 CH PROG Control Setup Parameters
479. ntation Chart Model PC3A Manufacturer Date 10 01 14 Young Chang Version 1 0 Digital Synthesizers Function Transmitted Recognized Remarks Default 1 1 Memorized Bese anne Changed 1 16 1 16 Default Mode 3 Mode 3 Use Multi mode for multi timbral Mode Messages applications Altered 0 127 Note Number True Voice 0 127 0 127 Note ON O O YERI Note OFF o o Keys x O After Touch Channels O O Pitch Bender O O O 0 31 0 31 Controller assignments are Control Change 32 63 LSB 32 63 LSB programmable 64 127 64 127 O 1 999 1 999 Standard and custom Progran Change True 0 127 0 127 formats System Exclusive 0 o Song Pos O O System Common Song Sel O O Tune X X Clock O O System Real Time Messages O O Local Control O O All Notes Off O O Aux Messages Active Sense X X Reset X X Notes Manufacturer s ID 07 Device ID default 0 programmable 0 127 Mode 1 Omni On Poly Mode 3 Omni Off Poly Mode 2 Omni On Mono Mode 4 Omni Off Mono O yes X no A 1 Specifications Specifications PC3A8 Height 4 33 11 00 cm Depth 13 98 35 50 cm Length 54 33 138 cm Weight 54 Ib 24 50 kg PC3A7 Height 4 33 11 00 cm Depth 13 98 35 50 cm Length 47 75 121 29 cm Weight 37 35 Ib 16 94 kg PC3A6 Height 4 84 12 30 cm Depth 13 98 35 50 cm L
480. nto a song See Recording A Setup To Song Mode on page 7 69 for details A setting of First Avail will sync the arpeggiator to the first available arpeggiator riff or song from Song mode Note If you have multiple arpeggiators or riffs already playing when using FirstArp Av FirstRiff Av or First Avail for the current arpeggiator the current arpeggiator will sync to the arpeggiator or riff of the lowest numbered zone that has an arpeggiator or riff playing 7 51 Setup Mode The Ribbon Configuration RIBCFG Page SyncType The SyncType parameter allows you to choose how your arpeggiator will sync to other arpeggiators riffs or a song playing from Song mode With SyncType set to None your arpeggiator will start playing as soon as it is triggered It will not sync to anything With SyncType set to DownBeat if there is already something playing to sync to the current arpeggiator will wait for the downbeat of the next measure before starting so you can trigger the arpeggiator to start ahead of time and have it start in sync at the downbeat of the next measure If Syncing to an arpeggiator see Num Beats on page 7 53 for details on changing when an arpeggiator s downbeat will occur With SyncType set to AnyBeat if there is already something playing to sync to the arpeggiator will wait only until the next beat Depending on when you trigger the arpeggiator it will sync up but it may be on an upbeat or a downbeat With S
481. ntrols uniformly affect every note in each layer MnRrate MxRate RateCt Shape Phase LFOl ERS 20H OFF Hone Added LFOY H HHHH OFF Hone Ade ESE ee ee PUN nre en da bana oa for Range of Values Default Minimum Rate 1 4 note 1 8 note 1 8 triplet 1 16 note 0 0 00 to 24 Hz Maximum Rate 0 to 24 Hz 0 00 Rate Control Control Source List Off LFO Shape LFO Shape List Ref Guide Sine LFO Start Phase 0 90 180 270 Degrees 0 6 38 Program Mode The OUTPUT Page Minimum Rate This is the slowest rate at which the LFO runs When its Rate Control is set to OFF or when the control source assigned to it is at its minimum the LFO runs at its minimum rate As previously mentioned the values 1 4 note 1 8 note 1 8 triplet and 1 16 note sync the Minimum Rate with the PC3A s system tempo Of course if you choose to tempo sync your LFO then the LFO rate is fixed and you can specify neither Maximum Rate nor Rate Control The display changes thusly Mnkate MxRate Ralelt Shape Phase LFOl Hone Ades LFOZ EEE aay OFF Hone Ades GG LFO ASR ee e Maximum Rate This is the fastest possible rate for the LFO When its Rate Control is set to ON or when the control source assigned to it is at its maximum the LFO runs at its maximum rate Rate Control Assign any control source in the list to modulate the LFO s rate between its minimum and maximum A continuous control like the Mod Wheel is a natural choice
482. number To create a new controller assignment info entry with the same text as the current info entry press the Dup soft button you will be prompted for a new MIDI controller number only one info entry can be made for each MIDI CC number To delete the current controller assignment info entry press the Delete soft button you will be prompted to confirm or cancel To return to the program editor press the Done soft button or the Exit button See Export on page 13 15 for details on exporting program info Automatic Info Creation Note The following does not apply to controller assignments made for effects within the Chains editor Info text for Chains must be manually created using the INFO page in the Chains Editor When assigning a controller to a parameter on any of the Program Editor pages an Info text entry is automatically created An i appears on the top line of the page to indicate that Info text has been created If you return the controller assignment to OFF the i disappears indicating that the Info text has been removed unless you have gone to the INFO page see note below The automatically created info will use the parameter name for the Info text To rename the Info text press the Edit button while the controller assignment field is still selected This will bring you to the Info Editor page see above and the Info entry for the assigned controller From the Info Editor page press the Exit button to return to the page where y
483. number and RootKey of the sample For stereo samples L or R is displayed after the Root parameter to indicate that you are viewing parameters for the left or right channel of the sample Use the Chan Layer buttons to move between channels of stereo samples Although you can edit parameters for the left and right channels of a sample both channels can only be heard if the Stereo Stereo parameter is set to On in the Program Editor and the same keymap is selected for the Keymap1 and Keymap2 parameters in the Program Editor If the StereoStereo parameter is set to Off in the Program Editor only the left channel of stereo samples will be heard in mono If the sample is part of a group of sample roots you can also use the Chan Layer buttons to scroll through each sample in the group A representative MISC page is shown below Wl Plaubeck Sense Aituoifdiust ISnore Rel lecaYRate fs SameleRate B just 14 9 Keymap and Sample Editing The Keymap Editor Parameter Range of Values Root Key Number C 1toG9 Pitch Adjust Variable depends on sample rate Volume Adjust 64 0 to 63 5 dB Alternative Volume Adjust 64 0 to 63 5 dB Decay Rate 0 to 5000 dB per second Release Rate 0 to 5000 dB per second Loop Switch Off On Playback Mode Normal Reverse Bidirectional Alternative Sample Sense Normal Reverse Ignore Release Off On Root Key The root key represents the keyboard key at which the sample
484. ny data entry method to do this including the letters on the alphanumeric buttonpad Pressing Save calls up the standard Save Dialog Simultaneously pressing the Plus and Minus data entry buttons toggles between saving the setup to the first available empty location or replacing a currently existing setup For more detailed instructions on saving see Saving and Naming on page 5 3 This erases a setup from memory freeing up space to store setups in other locations You can check the free memory in the PC3A at any time on the top line of the pages in Master mode Press Delete and you will be given a choice to Delete or Cancel Press Delete again and an Are You Sure message will appear Press Yes to delete the setup or Cancel to cancel Factory ROM setups can not be deleted New Zone NewZn Press NewZn to create a new zone with default parameters The PC3A imports this zone from Zone 1 of 128 Default Setup If there are parameters or entire pages you use often you can create your own Default Setup and save it to location 128 pressing NewZn will then import zones from your custom Default Setup Duplicate Zone DupZn This adds a new zone with the same parameters as the current zone Import Zone ImpZn You can import or bring in any zone from any setup in memory Press ImpZn and use any data entry method to choose a setup to import from Then use the Chan Layer buttons to select one of that setup s zones Now
485. o Castanet Hit 683 Cuica Hi GM Guiro Castanet Up 684 Filtersnap Cuica Hi alt Vibraslap 685 Guiro Cuica Lo alt Temple Block 1 686 Scratch kEDrum2 Snarel Temple Block 2 687 Whistle Belltree alt Temple Block 3 688 Chinese Cymbal FS 808 Tom 652 Temple Block 4 689 Brush Snare Hit1 720 GMChinCym 653 Church Bell 690 Brush Snare Hit2 721 GM Shrt Whistle 654 kVibraslap 691 Brush Stir Short 722 Orch Crash jk1 655 Solo Violin 692 Brush Stir Long 723 Orch Crash a2 D 59 PC3A Objects V 2 3 Samples ID Sample ID Sample ID Sample 724 Tambourine Roll 775 Vins Div2 L 900 Trombones jk alt 725 Orch Bass Drum a 776 Vins Div2R 901 Cross Stick gtl 726 kOrch Crashjk1 780 Violas Div2 L 902 Maracas Down gtl 727 Snare Hit s1 781 Violas Div2R 904 sinenodemph 728 Snare Roll 785 Celli Div2 L 950 Tenor Saxes med 729 Tambhit 786 CelliDiv2R 998 sinenodemph 730 Sleigh Bells 790 Basses Div2 L 999 silence 731 Temple Blocklign 791 Basses Div2R 3200 steeldrum 732 SoftIrp Pipes 795 Split Ext Pull L 3201 mandolin 733 Glockenspiel 796 Split Ext Full R 3202 banjo 734 Timpani 797 Split Ext Div L 3203 Clav 735 kEDrum1 Cowbell 798 Split Ext DivR 3204 MARIMBA 8rt 736 KkEDruml Kick 799 Sine Wave Chroma PW Saw 20 737 kBrushStir Long 800 Left Piano fjk TX802 dbass2 7
486. o 25 seconds 0 Maximum Delay 0 to 25 seconds 0 Layer Enable Control Source list On Enable Sense Normal Reversed Normal Enable Min 127 64 Enable Max 127 127 Opaque Layer Off On Off Sustain Pedal Off On On2 On Sostenuto Pedal Off On On Freeze Pedal Off On On Ignore Release Off On Off Hold Through Attack Off On Off Hold Until Sustain Off On Off Program Mode The LAYER Page Low Key LoKey This sets the lowest active note for the current layer This parameter s value cannot be set higher than the value for HiKey The standard MIDI key range is C 1 G 9 0 127 Middle C is C 4 High Key HiKey Here you set the highest active note for the current layer This parameter s value cannot be set lower than the value for LoKey Low Velocity LoVel With this parameter you define the lowest attack velocity at which the layer will be enabled generate a sound The values for this parameter and the next are expressed in the standard musical dynamics markings similar to the values available for the velocity maps Attack velocities that are below this threshold will not trigger notes If you set this parameter s value higher than the HiVel value the layer will not play at all High Velocity HiVel Similarly this will set the highest attack velocity at which the layer will be enabled Attack velocities above this threshold will not trigger notes in this layer Using LoVel and HiVel you can set up velocity swi
487. o Pressure messages from being recorded to any track Alternatively you can erase Mono Pressure messages from specific tracks after recording To do this go to the EditSong Track page see Song Editor The TRACK Page on page 12 21 On the EditSong Track page use the Chan Layer buttons to choose the track to edit visible in the Track field at the top right corner of the display Set the Function parameter to Erase and the Events parameter to MonoPress Use the From and To fields to select the entire length of your song and press the Go soft button to erase Mono Pressure messages from the selected track Repeat this for each desired track You can also choose ALL for the Track parameter to erase Mono Pressure messages from all tracks Controller Messages When recording a setup to Song mode with Mult selected for RecTrk in Song mode you may often be recording more controller messages than you realize This can happen because multiple setup zones often respond to the same physical controllers This is likely to be the case when you use a setup created by duplicating zones and do not change the controller destination assignments for each new zone Often this is the desired behavior such as when using zones to create layers For example if zone one sends pitch bend messages from the pitch wheel and you duplicate this zone to create a layered zone two you will likely want the zone two to send the same messages from the pitch wheel This way the pitch
488. o Reverse the layer is at zero amplitude when the Crossfade control is at minimum This parameter is similar to the Srcl and Depth parameters for the Amp function on the DSPCTL and DSPMOD pages but the attenuation curve for the Crossfade parameter is optimized specifically for crossfades To crossfade two layers in the same program assign the same control source for the CrossFade parameters in both layers then set one of their XFadeSense parameters to a value of Norm and the other s to Rvrs Drum Remap The Drum Remap parameter should generally not be changed This parameter lets the PC3A know how drum programs are mapped so that drum sounds can be properly remapped when using the General MIDI GM drum map see below Kurz1 designates that the current drum program was originally a PC2 program and that it uses the PC2 drum map programs 113 119 use this map Kurz2 designates that the current drum kit uses the new PC3A drum map all other factory drum programs use this map 120 241 248 369 376 The new drum map is similar to that of the PC2 except tom tom sounds have been moved into octave C3 C4 so they are more easily playable with the main kick and snare drum sounds in that octave When editing a kit make sure to follow the layout of the drum map being used if you want to be able to properly remap the kit to the GM drum map Programs that have the Drum Remap parameter set to Off will not be viewed by the PC3A as drum programs and wil
489. o do this highlight a parameter which uses a value from the control source list hold down Enter then strike the key corresponding to the control source you want to choose LFO1 for example is assigned to B5 Also for almost every parameter you can hold the Enter button and move the Data Slider Slider A to run through the range of values for the currently selected parameter This is not as precise as the Alpha Wheel but much faster Changing the Current Layer in Multi Layer Programs When editing a multi layer program you can quickly switch between layers by holding the Enter button then striking a key The PC3A will change the current layer to that key s layer If the key is part of more than one layer subsequent key strikes will cycle through each layer that has that key in its range Note This method for changing the current layer in a multi layer program will NOT work if the currently highlighted parameter has a note number or control source for its value In this case the key you strike will function as described above 3 11 User Interface Basics Quick Song Recording and Playback Search There s a convenient way to find any string of characters within the currently selected list or range of values Hold the Enter button and press any of the numeric buttons A dialog appears Type in the string of characters you want to find For example if you re looking at the program list and you want to find all progra
490. o have finer control ofa parameter compared to other continuous controllers To take advantage of this assign the destination for Sect1 to a CC number between 0 and 31 and the ribbon will additionally send to a destination 32 higher than the set destination For example MIDI22 would also send to the destination MIDI54 In this case if you set a Program parameter source 7 39 Setup Mode The Ribbon Configuration RIBCFG Page field to MIDI22 the parameter will automatically also use MIDI54 as a source enabling the 768 step resolution when using the one section ribbon The additional source that is automatically used will not be seen in the Program Editor this happens behind the scenes but both CC numbers will be sent to the MIDI Out and USB port Also note MIDI32 through MIDI63 are not available in the Program parameter source fields as they are reserved for using CC numbers 0 31 as described above When the ribbon is used as a one section controller if a MIDI CC above 63 is used as the destination for Sect1 only one CC number will be sent and the ribbon will have a resolution of 128 steps When the ribbon is used as a three section controller each section will only send one CC number and each section will have a resolution of 128 steps The Ribbon Configuration RIBCFG Page Once you ve selected a destination for the optional Ribbon controller you can use the parameters on the RIBCFG page to define how the ribbons respond to f
491. o modify existing sequences stored in memory See Chapter12 Storage Mode Storage mode lets you load and save programs and other objects using an USB device See Chapter13 Editing Conventions Introduction to Editing Chapter 5 Editing Conventions Introduction to Editing Programming editing the PC3A always involves three basic operations mode selection navigation and data entry First select the mode that relates to the object you want to edit a program a setup etc Then select the object you want to edit and press the Edit button to enter the editor within that mode For programs setups songs and quick access banks these objects are selected when you are on the main page of their corresponding mode In these cases you can press the Edit button with anything selected on their main page to access their editor Often there will be more objects inside of these main page editors such as shift patterns and velocity patterns and they can be edited by selecting their parameter with the cursor and pressing the Edit button An editor contains all the parameters that define the object you re programming Next you navigate around the editor s page s with the soft buttons and select parameters with the cursor arrow buttons When you ve selected a parameter its value is highlighted by the cursor you can change its value with one of the data entry methods When you change a value you ll normally hear its e
492. o recognize and remember them This is called latching the notes The Arpeggiator then processes them by playing them repeatedly and or transposing them up and down the keyboard You have control over several processing parameters velocity order duration transposition orchestration whether the notes are played simultaneously and whether the intervals between notes are filled chromatically You can also tell the Arpeggiator how to deal with new information coming from the keyboard when the Arpeggiator is already processing notes The arpeggiator also includes step sequencers for note and velocity shifting allowing you to more precisely control how your MIDI note input is processed Set the arpeggiator parameters on the ARPEGGIATOR and ARPEGGIATOR2 pages The ARPEGGIATOR Page A Note In Program Mode simultaneously press the Arp and SW buttons above the Wheels to view the Arpeggiator page for the Contol Setup which controls arpeggiator settings in Program Mode see Control Setup on page 6 9 for details one LimitOPt ShiftLimit 124 UniPolar hittAmount HST PlavOrder Played Welt Plaved Duration 1060 TS ARP RIFFi RIFE More d Parameter Range of Values Default Active On Off off Beats 1 1 Whole Notes to 1 384 96 notes per 1 16 16th Notes beat Play Order Played Upwards Downwards UpDown Played UpDown Repeat Random Shuffle Walking Simultaneous Duration 1 to 100 100
493. o return to the Setup mode main page 6 Press the Record button and then the Play Pause button to begin recording The metronome will count off 1 bar and then recording will begin you can set metronome and other recording settings in Song mode 7 Press the Stop button to stop recording You will see the usual Song mode save changes dialog where you can review retry or save your song see The Save Changes Dialog on page 12 8 8 After saving your song you will be returned to the Song mode MAIN page where your saved song will be loaded You can continue to record or edit the song in Song mode just as you would with any other song see Song Mode and the Song Editor on page 12 1 Each program from each zone in your setup is automatically assigned to a track change the RecTrk parameter in order to record to a single track You can also continue to record from Setup mode by going back to step 3 above Remember to set the tempo step 5 above before recording as the song tempo will change if your setup is saved with a different tempo Notes About Recording A Setup To Song Mode Ta Tempo The tempo of a setup is set on the SetupMode COMMON page see The COMMON Page on page 7 65 If you plan to record a song from the same setup several times it is convenient to set your desired tempo on the SetupMode COMMON page and save it with your setup By doing this you will not need to reset your setup tempo to the desired song tempo every time you l
494. o the right of the display are four buttons arranged in a diamond fashion These are called the cursor buttons They move the cursor around the currently selected page in the direction indicated by their labels The cursor is a highlighted reversed rectangle sometimes it s an underscore It marks the value of the currently selected parameter cy LLLLLL OOGA dd Exit Programming the PC3A involves selecting various parameters and changing their values Select parameters by highlighting their values with the cursor You can change the highlighted value with any of the data entry methods described in the data entry section below The Chan Layer Buttons To the left of the display are two buttons labeled Chan Layer Their function depends on the current mode In Program mode for example they shift through the MIDI channels showing the program assigned to each channel This changes the MIDI channel the PC3A uses internally as well as the channel you re using to send information to other synths connected to the PC3A s MIDI Out port MIDI slaves Changing the current MIDI channel also changes the corresponding setting on the MIDI mode TRANSMIT page When you press both Chan Layer buttons at the same time you will be returned to Channel 1 Check out the chart on page 3 10 for more shortcuts you can make with double button presses When you re in the Program Editor the Chan Layer buttons let you view each layer in the program
495. oad your setup as in step 5 above Riffs If you are using Riffs in your setup do the following to make each Riff play at your setup s tempo which also becomes your song s tempo For each zone that has a riff go to the SetupMode RIFF2 page see The RIFF2 Page on page 7 58 and set the BPM parameter to Setup Remember to save changes to your setup when exiting the Setup Editor Effects When recording a setup into Song mode the song will not retain the Aux or Master effects settings of your setup If you would like your song to use the same effects as your setup copy the settings of your setup s FX AUX1 AUX2 and MASTER EFFECTS pages to the FX AUX1 AUX2 and Master Effects pages in your song Alternatively playing your song from setup mode will allow you to hear the effects To do this load your song press the Setup Mode button to enter Setup mode and choose your setup then press the Play Pause button This will play your song from Setup mode and the effects will be intact 7 69 Setup Mode The Utility Soft Buttons Mono Pressure When recording a setup to Song mode with Mult selected for RecTrk in Song mode you may notice that every track has recorded Mono Pressure messages even if there is nothing else recorded on a track If this bothers you you can set the MonoPress parameter to Off on the Song Event Filter Recording page see Song Mode The Filter Pages RECFLT and PLYFLT on page 12 15 This will prevent Mon
496. ocity Setup Mode The Key Velocity KEY VEL Page Velocity Offset MIDI Velocity VelOffset also changes the response but in a more direct way by adding or subtracting a constant to the key velocity For example if this is set to 25 assuming a scale of 100 then 25 is added to the velocity of every keystroke usually making the sound that much louder The softest possible keystroke will have a value of 25 while a keystroke with velocity of 102 will produce the same sound as a note with velocity 127 102 25 127 Negative values diminish the response a setting of 25 means the loudest velocity available will be 102 while any keystroke 25 or below will produce a velocity of 1 a velocity value of zero has a special meaning in MIDI and cannot be used for Note Ons You can think of Scale as being a proportional change to the velocity while Offset is a linear change The maximum values for Offset are 127 The following illustration shows the effects of Velocity Offset Note that Velocity Offset is the only parameter changed in this example the other parameters are set to their defaults scale 100 curve linear min 1 max 127 127 Velocity Offset 64 low velocity keystrikes produce medium MIDI velocity and greater iui Velocity Offset 64 Al i low velocity keystrikes result in MIDI velocity of 1 maximum MIDI velocity reduced fo R 64 127 Strike Velocity Setup Mode MIDI Velocity
497. ode to Constant to have values modified in a uniform fashion as determined by the Scale and Offset settings for the entire selected region of time and range of values When the Change function is applied with Mode set to PosRamp the selected velocity or controller values will gradually change over the region of time defined by the locations set for the From and To parameters from the original value to the new value determined by the Scale and Offset settings The first events being modified within the region will have little or no change from their original values The amount of Scale and Offset applied will increase as the song approaches the Bar and Beat defined in the To parameter where the full amount of described change will occur You can set Mode to NegRamp to achieve the opposite dynamic effect of PosRamp NegRamp works in the same way but the amount of Scale and Offset applied will decrease from the full amount of change described by Scale and Offset to little or no change as the song approaches the bar beat and tick defined in the To parameter 12 30 Song Mode and the Song Editor Song Editor The EVENT Page Remap Use the Remap function to apply the values of any one type of controller data already recorded ona track to another controller type The effect the real time changes of the Old controller had will be replaced by the effect the New controller has by using the exact same controller values Done
498. ods KVA layers can also be altered by using keymaps with natural amplitude envelopes See below for details on each method Examples of Simple DSP Control and Modulation Select the program 1019 VA1NakedPWMPoly and press the Edit button Press the ALG soft button to view the algorithm and function blocks in use The 3 block PWM oscillator that you see is generating the sound in this program Select the empty function block to the right of the PWM block and use the alpha wheel to scroll to the LOPASS function You should immediately hear a difference in the sound of the program because the LOPASS function is set by default to cut some of the high frequencies from any signal that passes through it in this case the PWM signal is 6 55 Program Mode Function Soft Buttons passing through With the LOPASS function still selected press the Edit button This brings you to the main parameter for the LOPASS object on the DSPCTL page which is LP Frq you can also reach this page using the DSPCTL soft button Here you can adjust the initial value of the function in this case it is cut off frequency for the low pass filter For this example leave this initial value set to its default With the LP Frq parameter selected press right on the cursor button to get to this function s sub page the right half of the display Select the Veltrk parameter and use the alpha wheel or alpha numeric pad to turn it all the way up to 10800ct Now keyboard
499. ograms though you must start with an existing KB3 program to do this Aregular PC3A program cannot be turned into a KB3 program If you re not sure whether the current program is a KB3 program check the KB3 button located above the right most slider If the blue LED is on then the current program is a KB3 program Enter the KB3 program editor by pressing the Edit button while a KB3 program is selected in program mode You ll quickly see that the KB3 editor differs from the standard VAST program editor KB3 Editor The Tone Wheels TONEWL Page KB3 Mode uses DSP generated waveforms for the lower half of its tone wheels and samples for the upper half of its tone wheels Using the parameters on the TONEWL page you can specify which sample you wish to use the number of tone wheels which will affect how many other voices are available to you and other related settings Edit roa UNENHEELS UFFerTonewheelkesmat ps Sine a Ja alttun UpPpPerUJolAdiusti Ade oyersPoze sE HumTonelhee1s 9 UePerePose GST Ordanhar Equal JURE HheelllolMart T IFAHEF SetDBR FITCH 1 more 3 Parameter Range of Values Upper Tone Wheel Keymap Sample List Upper Volume Adjust 96 to 96 dB Number of Tone Wheels 24 to 91 Organ Map Equal Peck s Bob s Eric s Wheel Volume Map Equal Bright Mellow Junky Globals On Off Lower Transposition 120 to 127 semitones Upper Transposition 168 to 87 semitones U
500. ograms on all Zones of the Setup If a Local Keyboard Channel is set but you are sending CCs to a different channel these CCs will be received normally by the Program in the Setup Zone for that channel Using External CCs In Setup Mode Local Keyboard Channel None Input Channel Enabled To control a program parameter via external MIDI CC in Setup Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning An External CC Number As A Control Source For A Program Parameter section above To use an InputChannel see page 7 6 Local Keyboard Channel must be set to None The InputChannel makes an external MIDI controller s continuous controllers behave as if they were the PC3A s physical controllers When an external MIDI controller is sending a CC on the channel set for InputChannel external CCs can control the destinations set for each of the PC3A s physical controllers Send the default CC for a physical controller to control its destination see the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table below for defaults The CC is received in Setup Mode and sent to a Program based on the destination set in Setup Mode In the Setup Editor use the alphanumeric pad to set each PC3A physical controller Dest OnControl or OffControl field to the CCs you assigned in Program Mode When setting a CC destination the number may turn into the name of the PC3A physical controll
501. ol Setup in Program Mode or current Zone in Setup Mode Velocity Map Settings on Master Mode MAPS Page PC3A Song Mode VelocityMap Settings on MIDI Mode Transmit Page MIDI Destinations PC3A Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3A audio outputs The receive Velocity Map affects the way the PC3A receives MIDI velocity values from its USB or MIDI In port see the circled box above for its location in the MIDI signal flow Different maps output different MIDI velocity values for the same received MIDI attack velocity Each map applies a different curve to received MIDI attack velocities and remaps them to new velocities before letting them pass this parameter has no effect on MIDI data sent from the PC3A s keyboard The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect the MIDI attack velocity before reaching the receive Velocity Map The default map Linear allows MIDI velocities to pass unchanged Maps Light 1 3 make it increasingly easier to produce high MIDI velocity values for the same key strike velocity with Light 3 being the easiest so these maps may work better for users who play with a lighter touch Hard 1 3 make it increasingly harder to produce high MIDI velocity values for the same key strike velocity with Hard 3 being the
502. oller values 27 to 30 will trigger notes in the highest possible full octave Using a slider for this controller only about 1 4th of the length of the slider would be triggering notes This decreased useful range makes the controller harder to use accurately To remedy this you can adjust a controllers behavior by using the Scale parameter on the corresponding controller s setup page see Scale below Adjust the Scale value to stretch the useful values of the controller across it s whole physical range A scale value of less than 100 will be helpful for patterns with fewer than 12 steps Experiment by adjusting the scale value until the highest desired note is triggered at the top of the controller s physical range See Scale in the Continuous Controller Parameters section of this chapter for more details on the Scale parameter For shift patterns with more than 12 steps you will run out of controller values before your shift pattern triggers in every octave If you want to be able to access all of the available octaves you can achieve this by setting multiple controllers to Shift Key Number Next use the Scale and Add parameters for each controller adjusting each to trigger the desired range of octaves see Add below 7 28 Setup Mode Controllers Continuous Controller Parameters The continuous physical controllers are those that have a range of values the two wheels the optional ribbon controller the nine sliders the two
503. oller when the switch is off The default value is 0 You might want to change this as in the soft switch example above in order to bring the zone up to full volume when you release the pedal set OffValue to 127 Entry Ent and Exit States Entry State determines whether an initial setting for the switch will be sent when the setup is selected There are three choices None no change Off the Off value and On the On value With a Panel Switch button if the Entry State is On the button will light as soon as you select the setup Exit State similarly determines whether a setting for the switch will be sent when you leave the setup either for another setup or for Program mode The same three choices On Off and None are available This is very useful for turning off sustains when changing setups 7 31 Setup Mode The WHEEL Page The WHEEL Page The two wheels are typical of what is found on many keyboards The left one is normally used for pitch bend and springs back to center while the right wheel is normally used as a standard Mod Wheel On the Wheel page in the Setup editor the pitch wheel has two parameters one for pushing the pitch wheel up and one for pushing it down whereas the mod wheel has one The WHEEL page parameters are described in Continuous Controller Parameters on page 7 29 Ores Dest Scale Add Curw Ent Exit FHP Lae Ta EGG H Linear Hone None PuDn Pitchlyn 100 H Linear Hone Ho
504. ols the duration or decay time 0 5 sec is a good starting point Range is 0 to 1 3 seconds in the 2 DSP unit version of the effect and 0 to 2 seconds in the 3 DSP unit version Dly Fine adjusts the delay with a resolution down to 0 2 ms Range is 20 0 to 20 0 ms Spacing determines the starting pitch of the descending buzz and how fast it descends by setting the initial separation of impulses and the subsequent rate of increasing impulse 9 19 Effects and Effect Mode Effects Overview Filters separation The spacing between impulses is given in samples 20 8us At low values the buzz starts at high frequencies and drops slowly while at high values the buzz starts at a lower pitch and drops rapidly Range is 0 0 to 40 0 samples with a resolution of 0 2 sample Contour controls the overall shape of the reverb When set to a high value sounds passed through the reverb start at a high level and it slowly decays As the control value is reduced it takes more time for the effect to build up before decaying At a value of around 34 the reverb behaves like a reverse reverb building up to a hit When it is set to zero the effect acts like a simple delay Range is 0 to 100 There are four types of Resonant Filter effects in the PC3A All of them have these parameters in common Filter Type or FiltType can be Lowpass Highpass Bandpass or Notch band cut Resonance is the resonance of the filter adjustable from 0 to 50
505. omething playing to sync to the riff will wait only until the next beat before stopping when released Depending on when you release the riff it will stop in sync with a beat but it may be on an upbeat or a downbeat With RelSynTyp set to DownBeatWait the riff will wait for the downbeat of the next measure to stop when released The difference from DownBeat is that if there is nothing playing to sync to the riff wont stop when released If another riff is already running DownBeatWait behaves just like DownBeat 7 61 Setup Mode The Ribbon Configuration RIBCFG Page With RelSynTyp set to AnyBeatWait if there is already a something playing to sync to the riff will wait for the next beat before releasing The difference from AnyBeat is that if there is nothing playing to sync to this riff will not stop when released This can be useful if you want to stop a riff in sync only when another riff is playing If something is already playing to sync to AnyBeatWait behaves just like AnyBeat With RelSynTyp set to Loop if there is already a riff or song playing to sync to the current riff will wait for the playing riff or song to restart its loop if it is looped before stopping when released see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can release the riff to stop ahead of time and have it stop in sync at the start of the playing riff or song s loop With RelSynTyp set to Stop
506. on determines how quickly a sound fades to silence after a Note Off is triggered Press the AMPENV soft button to reach the Amplitude Envelope page For many programs it will look like the diagram below which tells you that the amplitude envelope for the current layer is the sample s default natural envelope Many factory ROM programs use the natural envelope which is custom designed for each sample and waveform during its original development process A natural envelope usually contains more detail than a user envelope and may make samples of acoustic instruments sound more realistic Mode EGG EA CIA SI more d If you want to build your own amplitude envelope just turn the Alpha Wheel a click The value Natural will change to User and a set of AMPENV parameters will appear The sound will change when you do this because the default settings for the User envelope as shown in the diagram below take effect as soon as you leave Natural mode Returning to Natural mode applies the original amplitude envelope once again Sore JAMPENWENU JENIUS JENUCTL more d You ll tweak the parameters on the AMPENV page when you want to shape the amplitude characteristics of your sounds A graphic view of the amplitude envelope will appear on the display to give you a visual sense of the envelope s characteristics The dots along the envelope graphic indicate the breakpoints between the envelope s various segments The AMPENV page
507. on for that selected signal path 6 28 Program Mode The DSP Control DSPCTL Page Before reading further be sure to read Algorithm Basics on page 6 23 and Common DSP Control Parameters on page 6 24 Press the DSPCTL soft button to call up the DSP Control DSPCTL page which is displayed below Function Pitch WelTrk DSPCTL JDSFNOD The DSP Control DSPCTL Page sHctl key ict OUTPUT more d Parameter Range of Values Default Pitch 128 to 127 semitones 0 Fine Adjust 100 cents 0 Hertz Adjust 10 00 Hertz 0 Key Tracking 2400 cents key 0 Velocity Tracking 7200 cents 0 Function Function Parameter Depends on Function Depends on Function Function Function Parameter Depends on Function Depends on Function Function Function Parameter Depends on Function Depends on Function Function Function Parameter Depends on Function Depends on Function Level Level 96 to 24 decibels 6 Key Tracking 2 00 decibels key 0 Velocity Tracking 96 decibels 35 Each field in the left hand column of the page is a function parameter of the current layer s algorithm You can coarsely adjust the function parameter in these left hand fields as noted in Common DSP Control Parameters any adjustments made to the function parameters on the DSPCTL page are reflected in the corresponding function parameters on the D
508. on program FX Layer Specific FX Mode With Layer Specific FX selected you can configure the effects for the current layer This mode s parameters are similar to those of the PROGEX page This mode is shown in the following display ode Insert A Hone IL Aux Send off Pre Post ins Post Tube de Aux Zend off Pre Post ins Post Tyre dB Aux1 Mod ON Aux Mod ON a ee es EER more d All of the Layer Specific FX mode parameters have the same functions and ranges of values as their corresponding parameters on the PROGEX page See The Program FX PROGFX Page on page 6 47 for more information on these parameters Use Another Layer s FX Mode With Use Another Layer s FX selected you can put the current layer through the effects of another layer You can specify the layer through whose effects you wish to put the current layer 6 49 Program Mode The Controllers CTLS Page The Controllers CTLS Page Press the CTLS soft button to call up the CONTROLLERS page The CONTROLLERS page shows a list of the PC3A s controllers sliders Mod wheel switch etc which can be used to control program parameters Use this page to set values for each controller that will be saved with the program entry values When a program is loaded the entry values on this page are sent to any program parameters that have been assigned to these controllers For example the electric piano program 25 WoodstockClunker has Tr
509. on the DSPMOD page are reflected in the corresponding function parameters on the DSPCTL page The 6 30 Program Mode The OUTPUT Page right hand side of the DSPCTL page is the subpage of the highlighted function parameter on the subpage are the programmable parameters To access the parameters on the subpage highlight the function parameter you wish to edit and then press the gt button to move the cursor into the subpage Each function parameter s subpage contains the programmable parameters of the highlighted function parameter By assigning control sources to modulate a function parameter you can enable real time control of your program s sound and behavior You can assign Src1 to any control source and can specify its maximum value with the Depth parameter Src2 is different you can assign it to any control source but can also assign a control source to its maximum value with the DptCtl parameter You can then specify the range of Src2 s depth with the MinDepth and MaxDepth parameters Paw Note The PC3A features an easy shortcut for quickly assigning any of the PC3A s realtime controllers sliders wheels buttons etc to a currently selected parameter such as the Src1 and Src2 parameters above Simply hold the Enter button and move the desired controller The label of a function parameter depends on its corresponding function block in the current layer s algorithm The above DSPMOD page corresponds to the fo
510. onal Kurzweil Ribbon Controller into the modular Ribbon jack on the rear panel The ribbon controller itself should rest on a flat surface it fits nicely between the keys and the buttons and sliders on the front panel The ribbon is a continuous controller You can program the ribbon controller to send MIDI Controller messages 1 127 as well as several specialized messages It generates values of 0 127 for whatever MIDI Controllers you assign it to send Just press it and slide your finger along the ribbon to change the value of the message it s sending You can configure the ribbon to have one control section that runs its entire length or to have three sections of equal length It sends its highest values when you press it at the end where the cable connects When you configure it to have three sections each section sends its highest values at the end closest to the cable Caution The modular jack is designed for connection to the Kurzweil Ribbon Controller option only Don t plug any other modular plugs into the Ribbon jack Switching On the Power The PC3A s power switch is on the rear panel adjacent to the power cable connection When you power up the display briefly shows some startup information The Program mode display then appears It looks like the diagram below though your PC3A may be different from the example rosramlode brand ExPsl thel 14 15 lnVers 3569 BOnZzo Tamper Fedal fas 3590 EitliteBoatbx 101
511. ong Mode and the Song Editor Getting Started with the Sequencer lorelai 12 1 W harisa ARR RON E eee A 12 1 Song Mode The MAIN Page p co cli 12 1 Current Song CHESONB iii 12 2 bill 12 2 Recording Track RecTrk 12 3 Program Prog 12 3 IRR lia 12 3 Volume VoD lira ao 12 4 IM a E E A eae tt T EAE RATORI TTI 12 5 Mil Luana 12 6 OLII PRI RR RO ER O 12 6 Mode Indicators and x 12 6 MIA cieca 12 6 Track Status idee elia 12 6 Track Channels 12 7 Song Mode The BIG Page Song Mode The MISC Page Soft Buttons on the MAIN Page The Save Changes Dialog Time In Metron Song Mode The FX Pages Song Mode The MIXER Page The Rec Play and Stop Soft Buttons The Keep Soft Button The Done Soft Button Song Mode The METRONOME Page Metronome CountOff Program Channel Strong Note Strong Vel Soft Note Soft Vel The Rec Play and Stop Soft Buttons The Done Soft Button ProgChange MonoPress PolyPress The Rec Play and Stop Soft Buttons The Done Soft Button Control Chase Key Wait Song Mode The STATS Page xi The Song Editor 12 19 Song Editor The COMMON Fae lla 12 19 bili 12 19 LOI AAE RETI TTT IR TT TT 12 19 PX Track ARRE TIRO 12 20 Dinlicck relati 12 20 MidiDst ARR RO CRE DE A mina 12 20 Soft Buttons on the COMMON PASS iaia 12 21 Song Editor The TRACKPAgS Lilia riali 12 21 Common Parameters for Edit Song Track Functions 12 22 Region Criteria Box Parameters n 1
512. ong if the MAIN page settings were changed while recording or with recording armed or if any of the BIG page settings were changed About ID s When saving you must choose an ID An ID gives you a way to locate a song aside from its name you can store up to 2 560 unique ID s for each object type songs setups programs etc though many ID s are already used for factory ROM objects ID s also allow you to save songs with the same name under different ID s and rename them at a later time if desired Choose an unused ID to save anew song The next available unused ID is automatically selected when 15 6 Tutorial Song Mode Part 4 editing a factory ROM song When editing a song that has been stored in user memory any originally unused ID the edited song s ID is automatically selected This assumes that you wish to replace the existing song but you can choose another ID if desired to save a new copy Choose a used ID to replace an existing saved song If you replace a factory ROM song you can revert to the original song by deleting the song using the Song Mode Delete soft button Record Additional Tracks When you are happy with your first track and you have saved your song so far move on to adding other instrument parts on other tracks You can record up to 16 tracks 1 On the Song mode MAIN page use the Chan Zone buttons to the left of the display to Set the RecTrk parameter to an unused track number for e
513. ons section Creating Loops With The Big Time Page On the Big Time page you can set the sequencer to loop a selection of bars Set the Loop parameter to Loop and set a time for the Time In and Time Out parameters Now pressing Play Pause on the front panel will cause your selection to play repeatedly and seamlessly You will most commonly want to set your Time In and Time Out points to equal an even number of bars such as 2 4 8 etc Recording into a looped section of bars is a common technique for recording sequence based music For example with a drum program selected for a track you could record a drum part by playing one drum sound each time through a 2 bar loop until the entire 2 bar drum beat sounds complete Next you could set the RecMode parameter to Unloop To use the UnLoop setting the Loop parameter must be set to Loop and a loop length must be set with the Time In and Time Out parameters on the BIG page With the RecMode parameter set to Unloop any existing tracks will be played back as if they were looping from the Time In to the Time Out point but they are actually being re recorded linearly over absolute Bars and Beats until you press Stop UnLoop allows you to record a linear track over a short looping section without first having to copy the section over and over again to achieve a new desired Song length The End point of the Song is extended to the downbeat of the empty Bar immediately following the last Bar you
514. ontrollers the Control Setup allows you to set other available parameters for each physical controller such as Scale Curve Add and Switch Type see Continuous Controller Parameters on page 7 29 for details on these parameters Default Control Setup Setup Editor Program Editor Parameter Controller Destinations Control Sources Continues for all controllers SlidA sends Dest Data MIDI CC 6 FOOT SWITCH 1 sends ly OnControl OffControl Sustain MIDI CC 64 Source Data CC a parameter is controlled by the physical controller that is sending MIDI CC 6 Source Sustain CC ai parameter is ul y the physical controller that is sending MIDI CC 64 Figure 6 2 Examples Of How The Control Setup Defines The PC3A s Physical Controller Assignments While In Program Mode Program Mode Control Setup Control Setup Advanced Features The control setup can also be used to set other parameters which affect program mode See Chapter 7 Setup Mode for details on each of these parameters e Velocity scaling can be set in the Setup Editor with parameters on the KEY VEL page Though a master velocity map can be set with the Velocity Map parameter on the Master Mode MAPS page see page 11 5 setting velocity scaling in the Control Setup provides more options e Programmable switch destinations can be set on the Setup Editor PRG SWITCH pages In Program mode the Programmable Switches act as Program Select but
515. onvenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a 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 Warning To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids such as vases are placed on the equipment To completely disconnect this equipment from the AC Mains disconnect the power supply cord plug from the AC receptacle 2014 Young Chang Co Ltd All rights reserved Kurzweil is a product line of Young Chang Co Ltd Kurzweil Young Chang V A S T and PC3A are trademarks of Young Chang Co Ltd All other trademarks and copyrights are property of their respective companies Product feat
516. op Line On the top line of most pages there s a reminder of which mode you re in and which page you re on Many pages display additional information in the top line as well The Program mode page above for example shows you the current amount of MIDI transposition and the currently selected MIDI channel The top line is almost always reversed that is it has a white background with blue characters The Bottom Line The bottom line is divided into six sometimes fewer sets of reversed characters that serve as labels for the six buttons directly beneath the display These labels and the functions of the buttons change depending on the currently selected page Consequently the buttons that select these functions are called soft buttons 3 6 User Interface Basics Navigation The Soft Buttons The soft buttons are called soft because their functions change depending on the currently selected mode and page Sometimes they perform specific functions like changing MIDI channels in Program mode In the Program Editor and other editors they re also used to move to different pages of programming parameters If a soft button s label is in all capital letters KEYMAP for example pressing the corresponding soft button takes you to a page of parameters If the soft button is labeled in lower case or mixed case letters Save for example the soft button performs some kind of function The Cursor Buttons T
517. or example if you set Shift to 12 set the limit to 60 and play C6 then those ghost notes don t sound but they take up rhythmic space the Arpeggiator waits for the cycle to play itself out before starting over 7 46 Setup Mode The Ribbon Configuration RIBCFG Page Unipolar means that after playing up to the shift limit the Arpeggiator begins shifting notes in the opposite direction until it reaches the original pitch where it reverses again To determine the next note when it reaches the shift limit the Arpeggiator calculates the interval between the shift limit and what the next note would be if the shift limit weren t there It then plays the note that is the calculated interval lower than the last note before the shift limit The same thing happens in reverse when the arpeggiated notes get back down to the original pitch The following table makes this easier to visualize by showing the result of arpeggiating one note C4 in Unipolar mode with Shift Amount set to 3 ST and various values for Shift Limit Resulting Arpeggiation When LimitOption is Unipolar Shift Limit Comment Up Down Up Same notes play in both directions 6 ST F 4 C4 D 4 F 4 D 4 C4 D 4 when Shift Limit is a multiple of Shift Amount Last upward note before shift limit is F 4 next upward note would be A4 7 ST G4 C4 D 4 F 4 E4 C 4 D 4 which is 2 ST from shift limit G4 therefore first downward note is E4 2 S
518. ording or with recording armed or if any of the BIG page settings were changed For more detailed instructions see Saving and Naming on page 5 3 12 9 Song Mode and the Song Editor Song Mode The MAIN Page Song Mode The BIG Page On the BIG page the PC3A displays in a large font the page s name the current time location of the playhead of the sequencer in a Bar Beat Tick format like the Riff time location display Also displayed is the current status of the sequencer and the BIG page s six parameters jp ID Loot Gi Gi Rechode H Meteor STOPPED Sini Pere PETS Lod Teava Delete more s Parameter Range of Values Default Bar Current Position Beat Depends on Time Signature Tick 0 to 959 0 Bar Time In Beat 1to4 Tick 0 to 959 0 Bar Time Out Beat 1to4 Tick 0 to 959 0 Bar Song End Beat 1to4 Tick 0 to 959 0 Loop Loop E3 RecMode Linear PunchIn UnLoop Linear Metron Off Rec Always CountOff Rec Time In The Time In parameter determines the start time for Loop or Punch In recording more on this below Time Out The Time Out parameter determines the stop time for Loop or Punch In recording 12 10 Song Mode and the Song Editor Song Mode The MAIN Page Song End Loop The Song End parameter determines the end point for the song Note that when Time Out and Song End are set
519. orus with depth 3 values 0 17 vibrato with depth 1 values 18 35 vibrato with depth 2 values 36 53 vibrato with depth 3 VolAdjust Provides an overall volume adjust for the KB3 model Use this parameter to normalize KB3 programs with other programs BendRngUp BendRngDn Respectively control the upward and downward pitch bend ranges of the KB3 program Sustain Set On or Off to enable or disable response to MIDI sustain MIDI 64 By default MIDI sustain MIDI 64 is sent by Switch Pedal 1 Sostenuto Set On or Off to enable or disable response to MIDI sostenuto MIDI 66 By default MIDI sostenuto MIDI 66 is sent by Switch Pedal 2 LesliePedal Set the pedal source Sustain Switch Pedal 1 CC 64 by default Sost Switch Pedal 1 CC 66 by default Soft Switch Pedal 3 CC 67 by default to toggle between Fast and Slow for the Leslie speaker rotation speed 6 68 Program Mode KB3 Editor The EQ Page KB3 Editor The EQ Page The four column headers on this page represent two shelving bands of equalization and two parametric bands The KB3 EQ offered here though is not implemented as a true EQ section instead it adjusts the volume of the tone wheels based on frequency If the tone wheels are based on sine waves then this acts similarly to a real EQ Low Shelf Para Mid 2 ete Parameter Group Available for each EQ band F 415Hz Boers idea lic iti Hi h Shelf Para Mid H
520. ory preset objects have ID numbers in a number of banks When you save objects that you ve edited the PC3A will ask you to assign an ID If the original object was a ROM object the PC3A will suggest the first available ID in the User Bank starting at 1025 If the original object was a memory object you ll have the option of saving to an unused ID or replacing the original object Double press the and buttons beneath the alpha wheel to select the next available user location Objects of different types can have the same ID but objects of the same type must have different IDs to be kept separate When you re saving an object that you ve edited you can replace an existing object of the same type by giving it the same ID The object you are replacing will be deleted permanently There is one exception to this If you write over a ROM object factory preset you can always revert to the original factory ROM object by deleting you new object that uses the ID The object that you had replaced the ROM object with will be permanently deleted and the original ROM object will appear in its place Many parameters have objects as their values for example the Intonation parameter in Master mode In this case the object s ID appears in the value field along with the object s name You can enter objects as values by entering their IDs with the alphanumeric pad This is especially convenient for programs since their ID numbers are usually th
521. ou made the controller assignment Note After assigning a controller to parameter if you go to the INFO page the Info text entries for each controller assignment will remain set unless you remove them with the Delete soft button on the INFO page If you change the controller assignment for a parameter after going to the INFO page the parameter s last Info text entry will remain in addition to the newer Info text entry automatically made for the controller assignment This is done a to ensure that user renamed Info text does not get deleted if a controller assignment was accidentally changed while editing the program To remove an unused Info text entry locate the entry on the INFO page and use the Delete soft button Soft Buttons This section describes the soft buttons that perform specific functions as opposed to selecting programming pages The descriptions below are arranged in the order in which you would see the soft buttons if you pressed the more gt button repeatedly You can always get to these buttons regardless of which page is currently selected 6 51 Program Mode Function Soft Buttons Set Controllers SetCtl As explained in The Controllers CTLS Page the SetCtl soft button captures the values of the nine sliders modwheel breath controller and switch New Layer NewLyr Create a new layer numbered one above the highest existing layer The new layer s parameters are those of the single layer in Prog
522. ough the hookup of your PC3A We ll take a look at the rear panel then describe the power audio and other cable connections Before You Start Don t connect anything until you make sure your PC3A is properly and safely situated Also if your PC3A has been out in the cold give it time to warm up to room temperature before starting it since condensation may have formed inside the PC3A It is normal for the rear panel near the MIDI jacks to become warm after a while Connecting the Power Cable Line Cord The PC3A runs on AC power 100 120 230 or 240 volts at 50 60 Hz Your dealer will set the voltage switch to match the voltage in your area The voltage level is set with a selector on the rear panel of the PC3A Unless you are sure it needs to be changed you shouldn t adjust this When you ve connected the cable at the PC3A end as you face the back of the PC3A the power connection is at the right plug it into a grounded outlet If your power source does not have the standard three hole outlet you should take the time to install a proper grounding system This will reduce the risk of a shock BALANCED 100 120 V F_500mA L FAST ACTING POWER 220 240 V F 250mA L FAST ACTING AUX MAIN lass Right Hit ti Right I 220 240V 250mA 50 60 He Connecting Audio Cables Analog After you ve turned down the level on your sound system connect the PC3A s analog audio output
523. pWait behaves just like Loop With RelSynTyp set to StopWait if there is already something playing to sync to the current riff will wait for what is playing to stop before releasing This way you can trigger the riff to stop ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that you are syncing to The difference from Stop is that if there is nothing playing to sync to the riff will not stop when released If the riff or song that you are syncing to is already running StopWait behaves just like Stop Note For all RelSynTyp settings except Stop StartWait and Stop Wait a riff can sync its release Paw with its self For example you could use riff 1 and sync it to its self by setting Riff 1 for the RelSynZn parameter Then if you set DownBeat for the RelSynTyp parameter when released the riff would always wait until its next downbeat to stop Duration Dur Duration changes the duration of each MIDI note The original durations of the notes in the sequence are multiplied by the selected percentage 100 will cause no change values smaller than 100 will result in shorter durations values larger than 100 will result in longer durations Velocity Velocity changes the velocity of each MIDI note The original velocities of the notes in the sequence are multiplied by the selected percentage 100 will cause no change values smaller than 100 will result in lower velocities values larger t
524. page see below allows you to set a controller destination to be triggered by playing a specific key In addition to generating a standard MIDI note on message each key of the PC3A can be set to trigger a controller destination TRIGGER KEYS can be set independently per Zone By using Zones with overlapping key ranges a single key can trigger multiple controller destinations On the TRIGGER KEYS page select the Key field and choose a note by holding the Enter button and playing the desired key you can also use the Alpha Wheel buttons or alphanumeric pad to choose a note With the desired note selected use the Dest field to select a controller destination see The Controller Destination List for details Set a value to send to the controller destination with the Value field Once a destination and value are set the playing the key will send the value to the controller destination on the Zone s MIDI Channel see Channel_on page 7 5 for details on setting each Zone s MIDI channel This may also send a continuous controller message to the MIDI or USB out ports depending on the Zone s Destination parameter see Destination on page 7 5 for details 7 67 Setup Mode The Utility Soft Buttons The Utility Soft Buttons Name Save Delete In addition to the Setup Editor s pages there are basic library and editing soft buttons Their functions are described below This enables you to rename the current setup Use a
525. page 6 40 and The Function FUN Page on page 6 41 Press the INFO soft button to go to the INFO page where you can edit the controller assignment info for the current Chain Info allows you to add a description for each FX Mod you have assigned When a Program or Setup uses a Chain that has been stored with info you can view the info by pressing the Info soft button on the Program mode or Setup mode main pages This allows you to easily view which Chain parameters are controlled by which assigned physical controllers or MIDI CC numbers On the INFO page use the Chan Layer buttons to scroll through the current Chain s list of controller assignment info Each assignment info entry has a MIDI controller number and a Text parameter to describe what the assignment controls One info entry can be made for each MIDI CC number To edit the text of a controller assignment press the Text soft button To create a new controller assignment info entry press the New soft button you will be prompted for a MIDI controller number To create a new controller assignment info entry with the same text as the current info entry press the Dup soft button you will be prompted for a new MIDI controller number only one info entry can be made for each MIDI CC number To delete the current controller assignment info entry press the Delete soft button you will be prompted to confirm or cancel To return to the Chain editor press the Done soft button or the Exit
526. pitch to the ending pitch This may cause a small click at each sample root transition You can eliminate clicks by setting the Mono Sample XFade parameter to On When the Mono Sample XFade parameter is set to On the PC3A performs a crossfade at each sample root transition to eliminate clicks Globals This is another toggle which affects LFO2 ASR2 FUNs 2 and 4 When off these three control sources are local they affect each individual note in the layers that use them as a control source They begin operating each time a note in that layer is triggered When the Globals parameter is set to On these control sources become global that is they affect every note in every layer of the current program they re not specific to any one layer When these control sources are global they begin operating as soon as the program is selected When Globals are on LFO2 ASR2 and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they re global You ll use global control sources when you want to affect all notes in a program uniformly and local control sources when you want to affect each note independently For example you d use a global LFO controlling pitch to create a Leslie effect on an organ sound since you want the effect applied to all the notes you play You d use a local LFO controlling pitch to create a vibrato for a solo violin since you want to be able to vary the rate and depth of the vibrato
527. ple rate to an external S PDIF source Although no audio signal is received by the Sync In jack its clock is received and may be used to set the output sample rate For details see the Master Mode OUTPUT page parameter Digital Output Dig Out in Ch 11 page 10 NOTE Sync In is NOT a Word Clock input Only a valid S PDIF signal is recognized SYNC IN DISPLAY vali pA CC PEDALS SE CONTRAST oustain volume wah Diga OUT O 6 Connecting MIDI The simplest MIDI configuration uses a single 5 pin MIDI cable either from the MIDI Out port of your PCSA to the MIDI In port of another instrument or from the MIDI Out port of another MIDI controller to the MIDI In port of the PC3A There are all sorts of possible configurations including additional synths personal computers MIDI effects processors and MIDI patch bays Depending on your system you may want to use the PC3A s MIDI Thru port to pass MIDI information from a MIDI controller to the PC3A and on to the next device in your system You can also connect MIDI devices to the PC3A s MIDI Out port which can send channelized MIDI information from the keyboard or through the PC3A from your MIDI controller The MIDI Thru port can be configured to serve as an additional MIDI Out by sliding the nearby switch to the Out position SYNCIN MIDI DISPLAY SWITCH asa CC PEDALS THRU OUT IN THRU ped CONTRAST
528. ple will take to decay to zero amplitude when the note trigger is released The higher the value the faster the release rate This release affects each sample individually and is in effect only when the amplitude envelope for the program the Mode parameter on the AMPENV page in the Program Editor is set to Natural In this case the release begins as soon as the note is released If Mode is User the settings on the AMPENV page override the setting for ReleaseRate To create an extended sample loop that will play data after the sample s loop on key up set the Alternative Start sample pointer after the sample end pointer then set a relatively low value for the release rate Loop Switch This parameter activates or deactivates the looping of the currently selected sample When set to On the sample will loop according to the settings on the TRIM page When set to Off the sample will play through to its End point and stop Playback Mode Playback This parameter lets you modify the direction in which the sample is played Set it to a value of Reverse if you want the sample to play from its End E point to its Start S point Choose a value of Bidirectional to cause the sample to play from Start to End then reverse direction and play again from End to Loop and back repeating until the note trigger is released this works only when the Loop Switch parameter is set to On Alternative Sample Sense AltSense This provides a convenient w
529. ples change the start alt start loop point and end point of samples and even assign a controller to adjust sample start point in real time If you ve used other Kurzweil gear you ll have no trouble getting up and running quickly Bear in mind however that the PC3A s beauties are more than skin deep you ll want to read this manual as well as the materials at the www kurzweil com website to take full advantage of your instrument 1 1 Introduction Keeping Current Check for new documentation and operating system upgrades before you start using your instrument When new software is available for the PC3A it will be posted at www kurzweil com You ll use the PC3A s Boot Loader described in this manual to upgrade your instrument to use the new software Overview of the PC3A Pictured below is the 88 key PC3A8 KURZWEIL PC3G8 The PC3A s 1400 programs include improved piano sounds from the German D Grand EXP expansion and improved guitar drums synth brass and woodwind sounds from the KORE64 expansion Also included are string sections from the Orchestral and Contemporary sound blocks Stereo Triple Strike Piano Classic Keys for realistic vintage electric piano sounds and General MIDI GM sounds Multi zone performance setups are also provided many of these
530. portant Note About External Sequencers If using the PC3A transport controls to record to an external sequencer you must be in Song mode with the RecTrk set to None If this is not done you will simultaneously record to the external sequencer and the selected RecTrk if in Song Mode or activate the Quick Song Recording function from other modes This will cause unwanted sequences to be recorded in the PC3A s sequencer If you are also triggering PC3A sounds from the external sequencer you will run into the same issue when using the transport on the external sequencer if it is sending MMC In this case either turn off outgoing MMC on the external sequencer or use the same precautions as above The Load and Save Buttons The Load soft button calls up a scrolling list from which you can quickly locate and load a sequence You can select a sequence using either the Alpha Wheel or buttons or you can enter a sequence s ID number The Save button calls up the Save As dialog The NewSng and CirSng and Delete Soft Buttons The NewSng soft button creates a new song using the Default Sequence specified on Page 2 of Master Mode as a parameter template Pressing this button is the same as selecting 0 New Song The ClrSng soft button creates a new song whose parameters are set to the default values listed in the table beneath this section s header Song Mode The MAIN Page Keep in mind that the selected program for the new song w
531. position in the assigned key range See Special Double Button Presses in the Keymap Editor on page 14 6 Fine Tune This gives you further pitch control Once the sample s pitch is close to the desired note use the Fine tune to sharpen or flatten it as much as a half semitone Master Transpose MasterXpose This parameter does not really pertain to the keymap itself Instead it is identical to the Transpose parameter found on the MIDI mode TRANSMIT page If you change the value here the same value will be reflected on the MIDI mode TRANSMIT page and vice versa It transposes the entire instrument globally The reason it is placed on this page is that it will allow you to assign samples across the entire keyboard easily when you are using a keyboard that has fewer than 88 notes Volume Adjust Here you can adjust the volume of the notes in the current key range This enables you to make each key range play at the same volume even if the samples in the various ranges were recorded at different volumes 14 4 Keymap and Sample Editing The Keymap Editor The Soft Buttons in the Keymap Editor Toggle Pressing the Toggle soft button switches the function that the Chan Layer buttons perform while on the EditKeymap page Press the Toggle soft button to toggle the top line between displaying KeyRange or VelRange If the top line of the page displays KeyRange then the Chan Layer buttons will scroll between the available key rang
532. pper Tone Wheel Keymap Use this parameter to indicate the keymap and thereby the samples to use for the upper tone wheels You can use any keymap from ROM though you must specify a keymap that uses looped samples for KB3 Mode to work correctly When in Program mode the keymap assigned to the program appears in the info box 6 59 Program Mode KB3 Editor The Tone Wheels TONEWL Page Upper Volume Adjust Since sample volumes can vary while the volume of DSP generated waveforms will remain consistent you may find it necessary to adjust the level of the sample based tone wheels This parameter lets you adjust the amplitude of the upper sample based tone wheels relative to amplitude of the waveform generated tone wheels Number of Tone Wheels This parameter lets you specify the number of tone wheels used by a KB3 program The classic tone wheel organs used 91 tone wheels though the lowest 12 were for the pedals only Therefore you may find 79 a good number of tone wheels to specify for realistic organ emulations This would leave you 88 voices for other programs You can specify up to 91 tone wheels The number of PC3A voices used by a KB3 program is number of tone wheels 1 2 rounded to the next highest whole number if the result is a fraction So for example with 79 tone wheels specified you would use 40 voices Keep in mind that these voices are permanently allocated and running while the KB3 program is selected and
533. program but it doesn t actually do it 6 52 Program Mode Function Soft Buttons Editing VAST Programs With KVA Oscillators The PC3A uses KVA oscillators as another way to generate sounds in VAST programs Unlike keymaps which play samples stored in ROM KVA oscillators create DSP generated waveforms every time they are triggered The KVA oscillators can create a range of waveforms from high quality simple waveforms familiar to users of classic analog synths to complex waveforms which take advantage of the PC3A s internal processing power and complex signal routing capabilities Though the PC3A does have keymaps containing samples of basic synth waveforms the use of KVA oscillators provides users with better portamento more modulation options higher sound quality and other advantages which will be explained in this section Learning to use KVA oscillators instead of keymaps where appropriate is simple and will increase the versatility of your VAST editing capabilities VAST programs using layers with KVA oscillators can also be combined with other layers using keymaps Basic Use of KVA Oscillators To understand the basic minimal setup of a KVA based program select the program 1019 VA1NakedPWMPoly and press the Edit button If you are familiar with editing VAST programs the first thing you may notice is that on the KEYMAP page Keymap is set to 999 Silence More on this in Advanced Use Of KVA Oscillators on page 6 55
534. programs with their standard GM names The left side of the screen shows you what PC3A program is being used for the selected GM program Pressing left on the cursor moves you to this field Use the cursor s up down buttons the alphanumeric pad the plus minus buttons or the alpha wheel if you wish to select a different PC3A program for the current GM program Don t use the program or category buttons because these will change the currently selected GM program The newly selected PC3A program will be used by the current GM program though the name of the GM program will not change To save these settings you must save the master table see Save below Saved settings can be recalled after powering off or leaving GM mode To restore GM mode s factory selected programs press the Reset soft button see below Pressing the OBJECT soft button calls up the OBJECTS page see below From here you can choose one of two utility functions for renaming or deleting selections of user created or edited objects Press the Rename or Delete soft button to access each function see below for details The OBJECTS page also displays the number of user objects saved to internal memory in the UserObjects field the maximum number of user objects that can be saved to internal memory in the MaxUserObjects field and the amount of free internal memory in the IntMemoryFree field this does not include user sample RAM The MaxUserObjects field shows the maximum
535. r As with the other parameters on the KEYMAP page this shifts the position of the keymap Different attack velocities will play different pitch shifts of the sample root assigned to that note range If the shift is great enough the next higher or lower sample root will be played which in some cases many drum programs for example will play an entirely different sound Positive values will play higher pitches of the sample root when you use hard attack velocities they shift the keymap downward while negative values will play lower pitches Method AltMethod See Alternative Switch AltControl and AltMethod below Stereo You ll use this parameter when you re working with stereo samples When you set this parameter to On the KEYMAP page changes slightly Stereo TimbreShift 3 HS PlasBackMode Normal AltControl UFF PITCH AMP more An additional Keymap parameter appears The two keymap parameters are distinguished as Keymap 1 and Keymap 2 The KEYMAP page parameters will affect both keymaps When the Stereo parameter is set to On the OUTPUT page for the current layer will show an additional pair of Pan parameters The PC3A contains both stereo and mono samples Keymaps designed for stereo use are labeled with names beginning with Stereo or ending in Left Right L or R For stereo keymap playback set Stereo On and assign corresponding Left and Right keymaps to Keymap1 and
536. r any combination of destinations depending on your needs For example a value of Local disables the USB and MIDI Out ports Use this setting when you want to play the PC3A but not to send any MIDI information to other MIDI instruments local control only Alternatively you would set this parameter to MIDI or USB_MIDI if you only wanted to send MIDI data to other MIDI instruments from the MIDI port or USB port and no MIDI data would be sent locally to the PC3A s sound engine A value of MIDI Local would send MIDI data only to the MIDI out port and the PC3A s sound engine For Setup mode this parameter acts as a final filter for which ports will send MIDI information For example if this parameter is set to MIDI_USB MIDI anda setup zone has its Destination parameter set to MIDI Local on the SetupMode CH PRG page MIDI data will be sent only through the traditional MIDI port Both parameters MIDI Xmit Destination and the setup Destination parameter in the SetupMode CH PRG page act as filters and both are active in Setup mode Paw Note This parameter has no effect on Song mode In Song mode each track s destination ignores this parameter Channel This defines which MIDI channel the PC3A uses to transmit MIDI messages when not using a setup or Song mode each zone determines this in a setup each track determines this in a song The value for this parameter matches the current MIDI channel displayed on the top line of the Program mod
537. r Range of Values Default Type Momentary Toggled Toggled On Control Control Destination List OFF On Value None 0 to 127 None Off Control Control Destination List OFF Off Value None 0 to 127 None Entry Value None Off On None Exit Value None Off On None 7 64 Setup Mode The COMMON Page The Programmable Switch Pages SWPRG1 to SWPRG8 The COMMON page contains parameters that affect every zone in the current setup Mutes AuxFaChan kEBS3Chan Delete COMMON more Parameter Range of Values Default Tempo 20 to 300 120 Clock Source Internal External Internal Aux FX Channel 1 to 16 1 KB3 Channel 1 to 16 1 Mutes Zone Mutes KB3 Control Zone Mutes Arpeggiator Global Off Arp 1 to 16 Off Tempo When Clock Source is set to Internal the Tempo parameter sets the PC3A system s tempo The Tempo parameter values are in units of BPM beats per minute You can also set the tempo using the tap tempo function Press the left and right cursor buttons simultaneously to access the TEMPO page see TEMPO on page 11 11 Clock Source With the Clock Source parameter you can set the PC3A within the current setup to generate its own tempo by setting Clock Source to Internal or you can set the PC3A to sync up with the tempo from another device assuming the device is sending MIDI clock data to the PC3A via MIDI or USB by setting Clock Source to External When Clock Source is set to Ex
538. r keys move the cutoff frequency down Random Controls the degree to which a random amount of amplitude variation is added to the key click ReTrigThresh This parameter lets you set the volume level below which key click must decay before it will be retriggered Note Attack Controls the attack characteristic of notes Normal provides a smoothed attack while a setting of Hard has an instant attack and will produce an audible click in addition to any amount of key click specified with the other parameters on this page you might prefer not to specify any additional key click when you use this setting PercHard sets a hard attack level for percussion only notes without percussion use a normal attack Note Release Controls the release characteristic of notes A setting of Normal has a smoothed release while a setting of Hard has an instant release Hard will produce an audible click 6 66 Program Mode KB3 Editor The MISC Page KB3 Editor The MISC Page The MISC page contains an assortment of control parameters including Leslie speed control and vibrato chorus selection LeakMode SPesdCt1 UibChortt1 Parameter Preamp Expression Response OLAS BendEnaUF BendEn9SDn Sustaln i Range of Values Off On Leakage 96 0 to 0 0 dB in 0 5 dB increments Leak Mode None Type A Type X Type Y Type Z Type R Speed Control Slow Fast Vibrato Chorus Control
539. ram 3 Now move to the strings by pressing the Category Strings button If you press the Category Organ button again you will be returned to program 3 in the Organ category In this way each category can have a favorite program You can make program selections within each category ahead of time This way you ll be able to access the program you want in any category simply by pressing appropriate category button Important things to remember about your favorites e You must save your PC3A s Master Table to remember your selections across power cycles See Chapter11 for information about the Master Table e Your selections are bank dependent In other words you can save 16 in the Base 1 bank 16 in the Exp 1 bank etc User Interface Basics Pitch Wheel and Mod Wheel Pitch Wheel and Mod Wheel To the left of the PC3A s keyboard are the Pitch Wheel and the Mod Wheel as well as the SW and Arp buttons Push the Pitch Wheel away from you to raise the pitch of the note s you are playing Pull it towards you to lower the pitch Most programs are set so that the pitch wheel will raise and lower pitch by a whole step although some programs use the pitch wheel to lower pitch by as much as an octave The Pitch Wheel has a spring so that it will snap back to place i e back to the original pitch when you release it The Mod Wheel performs a variety of functions Different programs may use it for filter sweeps
540. ram 999 called Default Program When you press this button the PC3A will tell you that it is creating a new layer then will return to the page you were on The new layer becomes the current layer and is the highest numbered layer in the program If the current program already has its maximum number of layers the PC3A will tell you that you can t add any more Program 999 makes a good template for programs that you build from the algorithm up You might want to edit Program 999 to adjust one or more parameters to values you want to use in your template program If you like the settings of the default layer as they are however remember not to make any permanent changes to Program 999 Duplicate Layer DupLyr Create a copy of the current layer duplicating the settings of all its parameters The copy becomes the current layer and is the highest numbered layer in the program Import Layer ImpLyr Copy a specific layer from another program into the current program This button brings up a dialog that prompts you to select a layer number and a program number The dialog tells you the currently selected layer and the total number of layers in the program Use the Layer or Layer soft buttons or the alpha wheel to change the layer number If the current program has only one layer pressing these buttons will have no effect Use Prog or Prog soft buttons or the alpha wheel to change the program number While you are in this dialog you ca
541. ram on the current channel or in Setup mode and Song mode by the program on the specified Aux Effects channel Aux override allows you to audition and select anew Aux chain without editing a program In Effects mode the Setup Editor or Song mode press the AUXFX1 or AUXFX2 soft buttons to set overrides for Aux Chain selection and other Aux Effects parameters The Chain specified for the Aux override is used instead of the chain of the current channel or instead of the specified Aux Effects channel in Setup and Song mode Also send levels and other parameters normally specified within individual programs can be set to fixed values on the Aux Override pages See The Aux 1 Override and Aux 2 Override Pages on page 9 5 for details 9 3 Effects and Effect Mode Effects Overview Effect Mode and the Effects Pages A In Program mode or with a program selected in Quick Access mode press the Effect mode button to enter Effect mode Effect mode allows you to quickly change program effect settings without entering the Program Editor and set Master effects You can set DSP unit usage for programs on each MIDI channel You can override the current Aux Chains set by the program on the currently selected MIDI channel by selecting new Aux effect Chains You can also override other Aux settings that are usually set by the program on the currently selected MIDI channel such as physical audio output settings controller assignments for Aux send
542. rameter press Edit Quick Access mode Quick Access Editor Press Edit Quick Access Editor Quick Access mode Press Exit Song Editor Select CurSong parameter press Edit Song mode Program Editor Select Program parameter press Edit Most editors Previous mode or editor Press Exit Finding Square One If at any time you don t know where you are and the mode LEDs are all unlit press Exit one or more times This will return you to the entry level of whatever mode you were in and if you press Exit enough times you will always return to Program mode the startup mode If you ve made any changes you ll be asked whether you want to save before leaving any editor Press the No soft button or the Exit button if you don t want to save If you want to save press the Rename or Yes soft button and you ll see the Save dialog which is described in Saving and Naming on page 9 3 Using the Modes You can play your PC3A regardless of the mode you re in The PC3A s MIDI response is almost always active Even so there are three modes that are more performance oriented than the others These are Program Setup and Quick Access modes We ll describe each of the eight modes briefly in this section Program Mode The PC3A starts up in Program mode where you can select play and edit programs The Program mode entry level page shows the currently selected program as well as a small segment of the program list Th
543. rameter is set to Equal changing Int Key has no effect 11 9 Master Mode OUTPUT Default Sequence The Default Sequence parameter specifies the song that is used as a template for new and clear songs in Song mode OUTPUT The OUTPUT page has options for digital audio output volume and sample rate You can also set the analog Aux outputs to mirror the primary analog outputs You can also control the MIDI clock source and MIDI clock output Lu PU onc Dig Dut Volume Dis Out Aux Out Pair Mode Normal Clock Source Internal more MAIN HAFS JOOUTFOTITEMFO more g Parameter Range of Values Default Output Clock Off On Off Digital Output Volume Dig out volume Variable Fixed Variable Digital Output Dig Out Digital Output List 48 KHz Aux Out Pair Mode Normal Mirror Primary Outputs Normal Clock Source Internal External Internal Output Clock To send a MIDI clock pulse to the MIDI Out port set this parameter to On Otherwise set it to off Digital Output Volume Dig out volume The Digital Output Volume parameter specifies the behavior of the PC3A s Digital Output Setting this parameter to Variable makes the Digital Output respond to changes made on the volume slider Setting this parameter to Fixed makes the Digital Output output a signal with a fixed volume Digital Output Dig Out This Digital Output parameter specifies the PC3A s digital output sample rate Internally clock
544. rcentage is applied to the quantize grid 0 swing is straight time 100 produces a swing feel triplet feel A positive Swing value determines how close every other grid location is moved to a point 1 3 of the way towards the next grid point Negative Swing moves every other grid location closer to a point 1 3 of the way towards the previous grid point Release Yes No Set the Release parameter to Yes if you would like each quantized Note event s Note Off message to be aligned to the grid location nearest to the time the key was originally released 12 27 Song Mode and the Song Editor Song Editor Track Functions Shift The Shift function allows you to offset the existing MIDI events forward or backward in time any number of ticks 1 480th of a Beat and beats This function only affects the End point if any of the shifted events are after the End point of the song Events can not be shifted beyond the End point or before Bar 1 Beat 1 Tick 0 The events can be shifted only as far as these temporal boundaries All events that can t be shifted the full Ticks amount will be placed at the boundary location Eg a TEAL Pecks Function 1 56 Amount 1 Mode Amount Bars Beats Ticks The Ticks parameter specifies the number of bars beats and ticks that the MIDI events from within the selected region are moved forward for positive values or backward for negative values in time relative to their origina
545. rding the entire performance Here we will describe the method that is easiest for fixing specific passages in a track For a way to fix single notes see Song Editor The EVENT Page on page 12 31 in Chapter 12 Song Mode and the Song Editor 1 On the Song mode MAIN page use the Chan Zone buttons to the left of the display to Set the RecTrk parameter to the track that you want to fix For example let s fix track 1 see below GHH Se a DL GIUPPE Curses MY Sond TemPo 166 H FPecTrk ol 127 Pan 64 Mode Merde Prod dard Grand Locat 1 il Track ibs si tein adel TERA 2 Set the Mode parameter to Erase see below This causes previously recorded notes to be erased when a track is being recorded into E aian A i l an ee dl r urena 1625 H4 Sond Tem os RecTrks 1 Wolti v r Pant 64 Mode Prod nese Grand Locat i chem o e di 3 Press the BIG soft button to go to the Big Time page 4 On the Big Time page set the RecMode parameter to PunchIn This causes recording to only take place between the times set in the Time In and Time Out fields 15 8 Tutorial Song Mode 5 Set times for the Time In and Time Out fields to select the time to fix For this example we will fix bar 3 see below lt r STOPPED Loot Rechode PunchIn ee Eric a Metron Rec F more BIG Load Save I more s Note If you need to fix a section which isn t exactly within one bar or an even division of
546. re explained in Chapter10 so we won t go into them here You should be able to change programs by sending Program Change commands from your MIDI controller Easy Audition Any time you want to hear what a program sounds like highlight the program s name while in Program mode then press the Play Pause button to play a brief sample The Demo Button parameter on the Master Mode MAIN page must be on for Easy Audition to work the parameter is on by default Master mode is described in Chapter 11 2 7 Startup PC3A Programs Program Mode Display Take a minute to familiarize yourself with the Program mode display It gives you some helpful basic information like the MIDI transposition what MIDI channel you re on and which program is currently selected ee oe Farcuszion 1 Fercussion 4 Fero LaYers 5 T Conga Moose Lyx 125 New Marinos IRE Re Panic Info Info Box There s a box at the left side of the display The info box as it s called displays information about the current program there s also an info box for Setup mode Soft buttons On most PC3A screens the bottom line of the display identifies the function of each of the buttons beneath the display We call these buttons soft buttons because they do different things depending on what s currently showing in the display In Program and Quick Access modes you can change octaves with the Octav and Octav buttons under the display The Info sof
547. re the settings that will be used when your song is played back from the beginning Volume pan and program settings can change automatically over the course of the song if you change them while recording but pressing the Keep button stores the current value for each setting to be recalled at the song s beginning 6 Follow the above procedure in steps 4 and 5 to store current values as initial values after changing any volume pan or program parameters Note Most users will want to store initial values as described above Advanced users may not want to store initial values for every track For details on saving an initial value for a single track only see the Program Volume and Pan sections in the Song Mode The MAIN Pagein Ch 12 p 1 Part 6 b Recording Volume Automation You can also record volume automation Volume automation is the method of recording a series of volume event messages that change a track s Vol parameter over the course of the song This is useful for fading instruments in or out of a song or adjusting instrument volumes for only specific sections of a song 1 On the Song mode MAIN page make sure the Mode parameter is set to Merge see below Also make sure the RecMode parameter has been set to Linear as in Part 5 step 9 above 15 11 Tutorial Song Mode Curing 1625 My song RecTrk 1 Prog E Standard Grand Track itt indo iiim nin 2 Press the Record button then press Play Pause
548. re transmitted this channel is the current channel in Program mode If the highlighted entry contains a setup the bottom right hand field of the page displays the word Setup The MIDI Program Change commands that the PC3A receives when in Quick Access mode can differ from those in Program or Setup mode This depends on the setting you have for the PrgChgMode parameter on the MIDIMode Receive page in MIDI mode If PrgChgMode is set to Extended or K2600 the PC3A responds to Program Change commands as it would in Program or Setup mode If PrgChgMode is set to QAccess the PC3A responds to Program Change commands by calling up the corresponding entry in the current QA bank not the actual program number of the entry Quick Access Mode The QA Editor Soft Buttons In Quick Access Mode Use the Octav and Octav soft buttons to transpose up or down by a full octave Pressing both Octav buttons simultaneously returns the transposition to its original setting Press the Info soft button to see all of the controller assignments of the current program Scroll down the page using the Alpha Wheel cursor or the buttons The Xpose Xpose buttons are a shortcut for quick transposition in semitone half step increments You can use them to transpose the entire PC3A as much as three octaves up or down The bottom line of the display shows the current amount of transposition Xpose Pressing both Xpose buttons simultaneously returns the tr
549. reate two zones assigned to the same channel but with different controller assignments Here s one example if a receiving synth is using Controller 1 for modulation depth and Controller 13 for modulation speed you can increase both the depth and the speed with Slider A Start by assigning Slider A in Zone 1 to MWheel and in Zone 2 to MIDI 13 then assign both zones to the same MIDI channel You may want to make sure you aren t sending doubled notes Use the Note Map parameter on the KEY VEL page to set one zone s Note Map to Linear and the other zone s Note Map to Off Another example create two or more zones that are identical except for their transposition settings Now you can play parallel intervals or chords with single keystrikes MidiBank Before reading this section on MIDI Banks be sure to read the note in the section Program on page 7 4 The PC3A s programs are divided into 17 MIDI Banks numbered 0 16 Program 46 in MIDI Bank 3 which is PC3A bank Orchestra for example is 430 Lead Oboe The MIDI Bank parameter displays which bank the current program is assigned to and automatically changes to match the Program value you set You can send Bank Select messages to external MIDI devices as well by setting the Destination parameter to a destination including MIDI or USB_MIDI then changing MidiBank Some instruments may have more banks than the PC3A Bank switching via MIDI makes it easy for the PC3A user to selec
550. ress 9999 and then Enter on the alphanumeric button pad Bar Beat and Tick Bar Beat and Tick are editable parameters for each event They determine when an event happens relative to the other events within the song Event Type and Value The Event Type and Value region displays the MIDI event type and related information at each Event list location in the song Different event types display different kinds of information and have different editable values The event type is the left most field You can highlight this field and change the event type MIDI note events are denoted by a gt followed by the note name The gt is effectively the event type for notes and to change the event type highlight the gt To change the note highlight the note name Table 12 1 on the next page lists the ranges of the editable event values 12 32 Song Mode and the Song Editor Song Editor The EVENT Page Event Type Values Program Change PCHG 0 to 127 Pitch Bend BEND 8192 to 8191 Mono Pressure MPRS 0 to 127 Poly Pressure PPRS 0 to 127 C 1toG9 MIDI Note Events gt Note events have four editable values Note Name Attack Velocity indicated by a v Release Velocity indicated by a and Note Duration Note Number C 1toG9 Attack Velocity v1 tov127 Release Velocity 1 to 1127 Note Duration Bar Beats Ticks MIDI Controller Events CTRL
551. rgans Consequently the info box shows only the waveform used in the program Because of their architecture KB3 programs require different processing within the PC3A KB3 programs play only on a single channel at a time VAST programs will work fine on that channel too The quickest way to get to the KB3 programs is by pressing the KB3 button that s above the sliders When you re ready to start doing your own programming check out Chapter 6 Setups Setups are preset combinations of programs Setups can have up to 16 zones each of which can be assigned to any range of the keyboard overlapping or split Each zone can have itsown program MIDI channel and MIDI control assignments as well as riff and arpeggiator settings Press the Setup mode button to the left of the display Its LED will light telling you that you re in Setup mode Notice that the Setup mode display is similar to the Program mode display If the setup has four or fewer zones the box at the left shows you the programs assigned to each of the setup s zones If the setup is composed of more than four zones then the box displays the first four zones at the top of the box will be text showing the total number of zones See Ch 7 page 1 for a more detailed description eTLuPerio LIST 3245 Pulsebea 3249 Shaft Fuzz Pocuma DIO wr Giorgio SEM Strings tai Add A Pad 1 lcd Gos sal BSE A ale Oetay etau Panic Info Te Er Many setups incl
552. right Bass 2 150 Sine Wave 181 Pulse Wave 1 3 kEBass Slap 151 Partials 12 182 Buzz Wave kAcoustic Bass 152 Partials 13 183 Bell Wave Dry Kit 1 153 Partials 14 184 Clav Wave Dry Kit 2 D 45 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 232 Dry Kit 3 273 VeryMutedTriang1 323 Tuba Hrn Section 233 Ambient Kit 1 274 Marimba 324 Tuba Sft Trp 234 Ambient Kit 2 275 Vibes 325 kBone Trp 2 235 Electric Kit 1 276 Vibes Bells 326 kHarmon Mute Trp 236 Electric Kit 2 277 Agogo Bells 327 Plucked Harp 237 Light Kit 278 Agogo Bells Keys 328 Harp Arpeggios 238 Hybrid Kit 1 L 279 Triangle Keys 329 Harp Gliss 239 Hybrid Kit2 R 280 Layer Vibes 333 Nylon String Gtr 240 Hybrid Kit3 L 300 Flute 337 Choir 241 Hybrid Kit4 R 301 Flute2 341 Cathedral Organ 242 Kicks and Snares 302 Oboe 342 Church Organ 243 Jazz Toms Kicks 303 English Horn 343 Timpani Perc88ky Sine Toms Kicks 304 Bassoon BassDrum amp Snare Ride Cymbal 305 Bsn Ehrn Oboe Percussion 5b Drum Lyrs1 C4 B4 306 Bassoon Oboe Timpani Perc76ky Drum Lyrs2 C4 B4 307 Clarinet Tam Crsh BD Timp SFX Layers C4 B4 308 Eng Horn Oboe Temple amp WdBlock Reverse Drums 309 kSynflute Brt Percussion 1b Percussion 1 310 kSynflute mello Percussion 2b2 Percussion 2 311 French Horn kTambour
553. riple Saw oscillator consists of three saw waves This oscillator s distinctive parameter is Detune which has settings from 0 50 cents allowing you to detune two of the saw waves by up to 50 cents away from the root pitch of the key played Detune affects two of the saw waves one is detuned above the original root pitch and the other is detuned below the original root pitch The third saw wave always plays the root pitch and is not affected by Detune 8 Block SYNC SQUARE master gt gt gt gt SYNC SQUARE slave See above Setting Up The Sync Square Oscillator on page 6 55 Use Of Keymaps and Natural Amplitude Envelopes With KVA Oscillators Keymaps are important in layers using KVA oscillators even though their samples are not usually heard in these layers see the note below for exceptions Keymap selection is important because the maximum amplitude set for each key in the keymap is applied to the oscillator For most uses of KVA oscillators users will want to use the 999 Silence keymap because each key in the keymap is set to the same maximum amplitude unlike many instrument keymaps The 999 Silence keymap ensures uniform amplitude behavior of an oscillator and with the amplitude envelope set to user mode users can easily shape all aspects of an oscillator s amplitude The PC3A also has the ability to apply natural amplitude envelopes to oscillators With an amplitude envelope set to natural mode each oscillator note takes on
554. rithm Reference Guide available as a free download at www kurzweil com Ring Modulation Ring modulation multiplies two signals the carrier and the modulator together to produce unusual often non harmonic overtones The Ring Modulator effect in the PC3A has two modes L R in which two mono signals are modulated together and Osc in which the input is stereo and it is modulated with the sum of five waveforms that are generated from oscillators within the effect itself Four of these oscillators are sine waves while one Oscillator 1 offers a selection of waveforms Wet Dry When the effect is in L R mode this controls how much of the left signal only is passed dry the right signal isn t passed dry at all Mod Mode selects between the two modes Osc1 Lvl is the level of Oscillator 1 from 0 to 100 Osc1 Freq is the frequency of Oscillator 1 from 16 to 25088 Hz Osc1 Shape is the waveshape of Oscillator 1 selectable from Sine Saw Saw Pulse and Tri Osc1PlsWid Pulse Width When Osc1 Shape is set to Pulse this sets the pulse width as a percentage of the waveform period When the width is set to 50 the result is a square wave This parameter has no effect if other waveform types are chosen Range is 0 to 100 Osc1Smooth smooths removes the higher harmonics from the Saw Saw and Pulse waveforms A Sawtooth wave becomes mote like a triangle wave and a Pulse wave becomes more like a sin
555. rmLyr 535 OrganReeds kBongo Hi 505 Floor Tom 536 Crashonly kBongo Lo 506 Mid Tom 537 KitLayers1 kBongo Slap 507 HiTom 538 kGuiro kConga Open 508 Dub Kitl 539 kBelltree kConga Closed Glub Kit 540 kFingersnap kConga Slap Standard Kit2 541 kOrchestra Hit kTumba Open Drums w Bass1 542 kWhistle kTumba Flathand AS Elec Kit1 543 kBirds kCajon Hit AS Elec Kit3 544 kice Rain kCajon Mute PhunkDrums 1 545 kFret Noise kTambourine Up Standard Kit1 546 kTelephone kTambourine Hit ElecKit 3 547 kGunshot kMaracas Rango Kit 548 kChinese Cymbal kShaker Up Boinker Kit 549 kBrush Snare Hit kShaker Down ElecTuneKik1 550 kBrush Snare Hit kTemple Block Glock Alt As5 551 kBrush Stir Shor kVibraslap DrumPad Map1 552 kBrush Stir Long kCuica Clave Transposed 553 kSyn Drum Glock rel alt Perc Layers 7b2 554 k808 Kick k2 vel 1___ Percussion 2c 555 k808 Snare 593 k3 vel 1___ PercLayers2 cage 556 k909 Closed Hat 594 k4 vel 12_ PercLayers7 cage 557 k909 Open Hat 595 k4 vel 1 23 4_ PercLayers1 cage 558 k808 Cowbell 596 k5 vel 1_2_3 45 PC3A Objects V 2 3 Effect Presets with Algorithms ID Keymap ID Keymap ID Keymap 597 k6 vel 1_2 3456 754 Vc Vnl Full L 836 Fast Pianet 598 k7 vel 1_234567 755 Vc Vnl Full R 840 RMI Electra Pno 599 k8 vel 12345678 756 Vce Va VnIIFulL 841 RMIElectra Pno2
556. rol sources including every MIDI control number a host of LFOs ASRs envelopes and other programmable sources Srcl works in tandem with the parameter beneath it on the page Depth Choose a control source from the list for Src1 then set a value for Depth When the control source assigned to Src is at its maximum the pitch will be altered to the full depth you set For example if you set Src1 to MWheel and set Depth to 1200 ct the pitch will rise as you push the Mod Wheel up on your PC3A or MIDI controller reaching a maximum of 1200 ct 12 semitones or one octave 6 25 Program Mode The Algorithm ALG Page Source 2 Src2 This one s even more programmable Like Src1 you choose a control source from the list But instead of setting a fixed depth you can set a minimum and maximum depth then assign another control source to determine how much depth you get Try this example Make sure Src1 is set to OFF first so the two sources don t interact Start with Program 199 and press Edit Press the PITCH soft button to select the PITCH page Set the Src2 parameter to a value of LFO1 then set the Minimum Depth parameter to 100 ct and Maximum Depth to 1200 ct Then set the Depth Control parameter to MWheel This lets you use the Mod Wheel to vary the depth of the oscillation in pitch generated by the LFO Now when the Mod Wheel is down the pitch will oscillate between a semitone 100 ct up and a semitone down the default
557. roller to control its destination see the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table below for defaults In Program Mode these destinations are set in the Control Setup see Control Setup on page 6 9 for details By default the destinations for the PC3A s physical controllers are the same as their default CC numbers To control an assigned parameter send the assigned default physical controller CC to the channel set for Local Keyboard Channel If a Local Keyboard Channel is set but you are sending CCs to a different channel these CCs will be received normally by the Program in that channel 10 11 MIDI Mode The RECEIVE Page Using External CCs In Setup Mode Local Keyboard Channel None Input Channel None To control a program parameter via external MIDI CC in Setup Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning An External CC Number As A Control Source For A Program Parameter section above To control an assigned parameter send the assigned CC number to the channel for the Setup Zone which contains the program Using External CCs In Setup Mode Local Keyboard Channel Enabled Input Channel None To control a program parameter via external MIDI CC in Setup Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning An External CC Number As A Control Source For A Program Parameter s
558. rs that are so essential to the tone wheel sound while the buttons above them the Bank Buttons can control the KB3 effects Leslie vibrato chorus and percussion When using a KB3 program in Setup Mode you must set the Mutes parameter to KB3 Control in order to use the Bank buttons for controlling KB3 effects see Mutes on page 7 66 for details Drawbars One of the standard performance features of many tone wheel organs is the set of drawbars for emulating the stops on a pipe organ Moving the drawbars controls the amplitude of either the fundamentals or the harmonics of the notes The PC3A s sliders serve as the nine drawbars found on most tone wheel organs Pushing the sliders up is the equivalent of pushing the drawbars in removing fundamentals or harmonics Subharmonics Fundamental Harmonics 16 51 3 8 4 27 3 2 145 11 3 Li Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Slider Table 6 1 Standard Drawbar Settings for the Hammond B3 6 6 Program Mode KB3 Program Structure KB3 Mode Effects Buttons Bank Buttons When using a KB3 program the Bank buttons above the sliders control KB3 effects instead of choosing program banks as they usually do in program mode The KB3 function is labeled below each button their LEDs indicate the status of the various effects for the current KB3 program This status is saved as part of each program You can change the eff
559. rs with hard knee characteristic the compression action comes in abruptly when the signal reaches the threshold expanders multiband compressors that break the signal up into three frequency bands and compress them all separately sidechains or output EQs reverbs and compressors in combination gates gated reverbs All of the Compression effects use these parameters FdbkComprs Feedback Compression selects whether to use feed forward set this to Out or feed back set this to In compression The feed forward configuration uses the input signal as a side chain source which is useful when the compressor has to act really quickly The feed back configuration uses the compressor output as the side chain source which lends itself to more subtle but not as quick reacting compression Atk Attack Time for the compressor is adjustable from 0 0 to 228 0 ms Rel Release Time for the compressor is adjustable from 0 to 3000 ms SmoothTime smooths the output of the expander s envelope detector by putting a lowpass filter in the control signal path Smoothing will affect the Attack or Release times only when this parameter is longer than one of the other times The range is 0 0 to 228 0 ms Signal Dly Delay puts a small delay in the signal relative to the sidechain processing so that the compressor or gate knows what the input signal is going to be before it has to act on it 9 16 Effects and Effect Mode
560. rtant differences between a program and a setup A program plays on a single keyboard zone and ona single MIDI channel A setup enables you to use up to 16 keyboard or MIDI controller zones each of which can have its own program MIDI channel and control assignments The parameters you define for each setup affect programs only while you are in Setup mode An exception to this is the control setup which we discuss on page 6 4 Press the Setup mode button to enter Setup mode You ll see a list of setups which you can select with any data entry method 150 blues Jam in Upright Growler 131 Techno Substance MIC Jazz brand 32 Acoustic Split Studio Strings 135 Slap A Fil 134 Black Cow Split Tet Ge Ena S The info box on the left hand side of the main Setup mode page displays the zones and corresponding programs used in the current setup Below the program name for each zone is a line representing the zone s key range For example in the setup above Acoustic Split the zone for the program NYC Kits has a key range that covers the entire keyboard from approximately C 1 to G9 The zones for the programs Studio C Strings and NYC Jazz Grand have key ranges that approximately cover the upper two thirds of the keyboard and Upright Growler covers part of the lower keyboard You can also see which zones have a riff indicated by riFF to the right of the program name For example in the setup above the
561. rtouch values for the same physical key press value Each map applies a different curve to received MIDI pressure aftertouch values and remaps them to new values before letting them pass The default map provides the widest range of pressure aftertouch expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect MIDI pressure aftertouch values before and after reaching the Master Press Map The default map Linear allows MIDI pressure aftertouch values to pass unchanged Maps 2 4 make it increasingly easier to produce MIDI pressure values for the same physical pressure applied to a key with 4 Easiest being the easiest Maps 4 7 make it increasingly harder to produce MIDI pressure values for the same physical pressure applied to a key with 7 Hardest being the hardest 11 7 Master Mode MAIN Intonation Most modern western music uses what is known as equal temperament This means that the interval between each semitone of the 12 tone octave is precisely the same as every other semitone However many different intonation intervals have evolved over the centuries and across cultures and instruments so equal temperament will not sound appropriate for certain styles of music The PC3A supplies you with 17 different factory intonation maps which are useful for a range of different styles By changing the value for this param
562. rvice personnel when The power supply cord or the plug has been damaged Objects have fallen or liquid has been spilled into the product The product has been exposed to rain The product does not appear to be operating normally or exhibits a marked change in performance E The product has been dropped or the enclosure damaged gow 13 Do not attempt to service the product beyond that described in the user maintenance instructions All other servicing should be referred to qualified service personnel 14 WARNING Do not place objects on the product s power supply cord or place the product in a position where anyone could trip over walk on or roll anything over cords of any type Do not allow the product to rest on or be installed over cords of any type Improper installations of this type create the possibility of a fire hazard and or personal injury RADIO AND TELEVISION INTERFERENCE WARNING Changes or modifications to the instrument not expressly approved by Young Chang could void your authority to operate the instrument IMPORTANT When connecting this product to accessories and or other equipment use only high quality shielded cables NOTE This instrument has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This instrument generates uses a
563. s Off Empty No No No No Table 7 1 Zone Status in Setup Mode Remember that any changes you make to zone status in Setup mode are temporary as soon as you select another setup that setup s programmed zone status takes over To change a setup s zone status permanently use the Setup Editor see Status on page 7 6 Soloing a Zone To solo a zone set the Status parameter on the Setup Editor CH PROG page see The Setup Editor and The Channel Program CH PROG Page below to Solo The Chan Layer buttons in addition to scrolling through the zones of the current setup now select the soloed zone If you scroll through zones 1 8 you will see the red solo LED moving across the bank buttons above the sliders After one zone is soloed you can solo zones 1 8 by pressing on the corresponding Bank button above the sliders this action unsolos the previously soloed zone Additionally you can configure a setup such that you can solo zones in real time from outside of the editor by assigning a controller on the desired zone to destination 162 SoloZn See Controllers on page 7 19 for more information on controller destination assignments in Setup mode The Setup Editor From Setup mode press the Edit button to enter the Setup Editor where you can make changes to the currently selected setup Use the soft buttons to select the various Setup Editor pages The upper line of each page displays the usual mode reminder as well as t
564. s Bidirectional Noise Normal Alt Control Control Source List Off Keymap Assign a keymap from ROM to the current layer Keymaps are collections of samples assigned to note and velocity ranges With the Keymap parameter selected press the Edit button to enter the Keymap editor see The Keymap Editor on page 14 1 for details Transpose Xpose Transpose the current keymap up as much as 127 semitones ten octaves and a perfect fifth or down as much as 128 semitones ten octaves and a minor sixth Key Tracking KeyTrk This is one of the six common DSP control parameters On the KEYMAP page key tracking affects the interval between notes The default value of 100 cents a cent is a hundredth of a semitone gives you the normal semitone interval between each note Higher values increase the interval lower values decrease it Negative values will cause the pitch to decrease as you play higher notes When you make changes to this parameter you ll need to keep in mind that KeyTrk on the KEYMAP page works in conjunction with KeyTrk on the PITCH page Therefore you ll need to check the KeyTrk value on both pages to see how key tracking works within a program Unless you re looking for nonstandard note intervals the values of the KeyTrk parameters on the PITCH and KEYMAP pages should add up to 100 cents 6 14 Program Mode Editing VAST Programs Velocity Tracking VelTrk This is another common DSP control paramete
565. s Send Level top row and Pre Post Insert bottom row The setting for each Send Level parameter determines if each channels Aux Send Level is overridden and if so by what value A value of p means no override i e use the values specified in the program A value of p can be set by entering 99 with the alphanumeric pad and then pressing the Enter button or by using the Alpha wheel or buttons to scroll below 96db Note In most factory ROM programs the send level for Aux 1 is controlled by an Aux mod set to MIDI28 slider I If a send level override is set it will usually be scaled by the entry value for slider I each time a program is selected To defeat this behavior set the Mod Override parameter to ON then set the Send Level override value The setting for each Pre Post Insert parameter determines if the Aux routing for each channel is overridden and if so by what routing Pre means that the Aux Send takes place before any Insert Effect is applied whereas a setting of Pst means that the Aux Send takes place post Insert Effect Of course if the program on the channel has no Insert Effects loaded then this parameter will make no difference A value of p means no override i e use the values specified in the program 9 7 Effects and Effect Mode Effects Overview The Master Effects Page NOTE In Setup mode and Song mode this page corresponds in appearance and function to the MASTER E
566. s V 2 3 Effect Presets with Algorithms Chorus Combi CHORUS 400 BasicChorusDelay alg 400 Chorus Delay 1U COMBI 401 Chorus PanDelay alg 400 Chorus Delay 1U 402 Chorus amp Echo alg 400 Chorus Delay 1U 403 CDR Lead alg 403 Chor Dly Reverb 2U 404 CDR Lead 2 alg 403 Chor Dly Reverb 2U 405 Chorus Delay 2 alg 400 Chorus Delay 1U 406 Doubler amp Echo alg 400 Chorus Delay 1U 407 Chorus Booth alg 403 Chor Dly Reverb 2U 408 ChorusSmallRoom alg 403 Chor Dly Reverb 2U 409 ChorusMedChamber alg 404 Chorus lt gt Reverb 2U 410 Chorus MiniHall alg 404 Chorus lt gt Reverb 2U 411 Chorus HiCeiling alg 404 Chorus lt gt Reverb 2U 412 ChorBigBrtPlate alg 404 Chorus lt gt Reverb 2U 413 CathedralChorus alg 404 Chorus lt gt Reverb 2U 414 Flam Dly Bckgrnd alg 403 Chor Dly Reverb 2U 415 CDHall Halo alg 403 Chor Dly Reverb 2U 416 CrackedPorcelain alg 401 Chorus 4Tap 1U 417 RichDelay alg 403 Chor Dly Reverb 2U 418 FastChorusDouble alg 400 Chorus Delay 1U 419 MultiTap Chorus alg 401 Chorus 4Tap 1U 420 Chorused Taps alg 402 Chorus lt gt 4Tap 2U 421 MultiEchoChorus alg 405 Chorus lt gt LasrDly 2U 422 DeepChorDlyHall alg 403 Chor Dly Reverb 2U 423 ClassicEP ChorRm alg 403 Chor Dly Reverb 2U 424 Chorus Slow Hall alg 404 Chorus lt gt Reverb 2U 425 SoftChorus Hall alg 404 Chorus lt gt Reverb 2U 426 Chorus Air alg 4
567. s no matter the time signature For example ina 4 4 time signature there are 960 ticks in a beat since a beat is worth a quarter note in 4 4 To find the value of an 8th note divide 960 by 2 since there are two 8th notes in a quarter note Divide 960 by 4 for 16th notes by 6 for 16th note triplets by 8 for 32nd notes and so on You can also use record quantization which automatically moves recorded notes to the nearest set time division such as 8th or 16th notes See Part 7 Quantizing below for details Part 1 Assign Instruments To Tracks 1 Press the Exit button until you reach the ProgramMode page Next press the Song mode button located with the mode buttons to the left of the display This will bring you to the Song mode MAIN page see below g Step 2 below CENNO RRSSIIO TemPo 178 Hodes Merce Locat 1 il IF rae qELI ae Rec hk Nehle Prod 1 Standard FA Li Track if air im Ten ore 2 Onthe Song mode MAIN page choose 0 New Song in the CurSng field if not already selected This loads an empty song file see above 3 Use the Chan Zone buttons to the left of the display to Set the RecTrk parameter to 1 This sets the track that you will be recording to see below MA LEV nta 10995 DL GIUPPE Cursras Sora TemPo 178 RecTrk iol 127 Panied Mode Merde Prod dard Grand Locat 1 il Track of Paste Rae RISI stor Ten nora 15 2 Tutorial Song Mode 4 Use the cursor
568. s 7 43 Duration 7 44 Glissando 7 50 Latch 7 49 Limit 7 46 Limit Option 7 46 Low Key LoKey and High Key HiKey 7 50 Order 7 43 Shift 7 46 shifting notes 7 46 Velocity 7 44 ASCII characters 5 3 ASR page Program Editor 6 40 ASR parameters 6 40 6 41 Assign sample 14 6 Assigning samples to keymaps 14 3 Atk Rate 9 20 Atk Time 9 16 Attack 9 17 Attack parameter ASR 6 41 Attack Portamento parameter Common 6 36 Attack Time and Level parameters AmpEnv 6 43 Audio cables 2 2 AutoPan 9 24 B Bank Buttons 3 2 Bank Select MIDI Receive page 10 9 Banks 3 2 Basic editing 5 1 Basic MIDI channel 10 6 Bass Freq 9 15 Bass Gain 9 15 Battery 1 4 Boot Loader 1 4 Bootloader B 1 Bottom line of display 3 6 Bounce Song Mode TRACK Page 12 25 Brake 9 23 Breath 2 4 breath 1 5 Brightness 2 5 Build 9 13 Building a keymap 14 7 Buttons Panic 6 2 Bypass effects 5 7 C Cab Bypass 9 21 Cab Preset 9 21 Cabinet HP 9 21 Cabinet LP 9 21 Cabinet simulations 9 21 Carrier ring modulation 9 25 Cascade Mode 1 3 6 1 6 27 Category buttons 3 4 CenterGain 9 25 CentrAtten 9 24 Chain Info Export 13 15 Chains effect D 15 Chan Layer buttons 3 7 5 7 Change Song Mode TRACK Page 12 30 Changing intonation key 11 9 Channel Program CH PROG Page 7 4 Channels on and off 10 14 Characters 5 3 Chorus 9 18 Index i Clicking during portamento 6 36 6 37 Clock 11 17 setting 2 7 Source 11 11 COMMON Page Song Mode 12 19 Common
569. s Entry If you want to store a setup in the current entry instead of a program press the Type soft button when you do this notice that the Type field change from Program to Setup also notice that the channel indicator disappears since setups can transmit over several channels The list of objects changes from the program list to the setup list Just as with programs the cursor highlights the setup s ID and name Use the Alpha Wheel or buttons to scroll through the setups You can also use the alphanumeric pad followed by the Enter button to choose a Setup by ID Keep in mind that you can have both setups and programs in the same QA bank Naming And Saving A Quick Access Bank When you ve filled each entry with the object you want press the Name soft button if you want to rename the bank or press the Save soft button to begin the save procedure Or press the Exit button to exit the QA editor and the Save Changes dialog comes up 8 3 Effects and Effect Mode Effects Overview Chapter 9 Effects and Effect Mode The PC3A boasts a powerful effects processor that puts the power of an entire studio at your fingertips This chapter contains everything you ll need to know to use the PC3A s effects and Chain Editor to their fullest potentials e Read the Effects Overview section below for a description of the differences between Insert Aux and Master effects This section also explains the concepts of effects Cha
570. s for Shift to negative 0 63 off 64 127 on 171 ShiftPatt Selects one of the 128 patterns in the ShiftPatt Bank for the ARPEGGIATOR page of a controller s zone 172 ShiftPBank A controller value selects the corresponding ShiftPatt Bank for the ARPEGGIATOR page of a controller s zone For example controller value 2 selects bank 2 controller value 7 selects bank 7 173 VelPatt Selects one of the 128 patterns in the VelPatt Bank for the ARPEGGIATOR page of a controller s zone 174 VelPBank A controller value selects the corresponding VelPatt Bank for the ARPEGGIATOR page of a controller s zone For example controller value 2 selects bank 2 controller value 7 selects bank 7 175 VelFixed Set s arpeggiator velocity when velocity is set to Fixed for the ARPEGGIATOR page of a controller s zone 7 54 Setup Mode Riffs A The Ribbon Configuration RIBCFG Page Riffs are full songs or individual tracks of a song created in the PC3A s Song mode that you can trigger in setup mode Standard MIDI files may also be imported to Song mode and then used as riffs in setups Every zone in a setup can have it s own riff a completely independent sequence You can use a setup with many riffs to trigger and stop looped sequences of different instrument parts Alternatively a single riff can play multiple instrument parts Each riff could be used as a different song section of a backing track To use a riff first
571. s of signal paths in the PC3A display the program signal moves from left to right through the Chain Use the cursor buttons to select an effect box or empty spot in the Chain The effect loaded into the selected effect box can be changed by numeric entry with the Alpha Wheel or with the buttons and can be changed with either the effect box or the Effect field at the bottom of the page highlighted The double button press will jump to the next effect category Pressing the Insert soft button adds a new effect box to the Chain in the currently selected block slot and pushes the currently selected effect box down the Chain to the right Ifyou have run out of DSP units you will not be able to create additional effects boxes Pressing the Remove soft button takes the currently selected effect out of the Chain Effects and Effect Mode Effects Overview Editing Effect boxes To edit the parameters of an effect select its effect box on the MAIN page and press the Edit button For each effect there are one or more pages of parameters that are specific to that effect See Effects Parameters on page 9 12 for details on parameters for each type of effect Any parameter controlled by an effect Mod will display a value of FxMod and cannot be edited To return to the MAIN page of the chain editor press the Exit button The MOD Pages There are three pages for configuring effects mods MOD1 MOD2 and MOD3 All three pages are ess
572. s oscillator s distinctive parameter is PWM Wid which adjusts pulse width from values of 1 99 With PWM Wid set to a value of 50 PWM produces a square wave The further the PWM Wid parameter is set from 50 the narrower the pulse width becomes changing the shape of the output waveform and thus altering the oscillator s tonal quality 6 57 Program Mode Function Soft Buttons 3 Block PWM Pulse Width Modulation Anti Aliased recommended Same as 2 Block PWM See above 4 Block SYNC SAW Sync Saw consists of two saw waves one that you hear the slave and one that controls the slave the master This oscillator s distinctive parameter is SyncOff which controls the offset of the slave and master waves With SyncOff set to 0 the master has no effect on the slave When an offset is set the slave restarts its wave cycle every time the master wave completes a cycle Offsets cause the slave to restart its cycle in the middle of normal sawtooth cycles which causes the slave s waveform shape and sound to be altered SUPER SAW The Super Saw oscillator consists of two saw waves This oscillator s distinctive parameter is Detune which has settings from 0 50 cents allowing you to detune both of the saw waves by up to 50 cents away from the root pitch of the key played Detune affects both saw waves one is detuned above the original root pitch and the other is detuned below the original root pitch TRIPLE SAW The T
573. s taken place on that track While the sequencer is stopped press Record select the program press Stop and save the song This preserves all changes you have made to any other track parameters volume pan tempo etc You can also change the initial program at the top of a track s EVENT list see Song Editor The EVENT Page on page 12 31 Any MIDI program changes on the current RecTrk or Chan cause the ID and name of the track s program to change during playback Program changes can be written to the event list of the current RecTrk by changing the Prog parameter while recording If a program change takes place the program will only return to the initial program if triggered by another program change or if the sequencer is stopped and restarted from the beginning of the sequence One exception to this is when using the Control Chase feature you would only need to restart the sequence before the first program change in order to return to the initial program see Control Chase on page 12 17 Prog changes to Trk if RecTrk is set to None or Mult This field indicates which track is currently being triggered by the keyboard and you can use this Trk field to select a track Track Number Trk This parameter is available only when RecTrk is set to None or Mult replacing the Prog parameter It indicates which track is currently being triggered by the keyboard and you can use this field to select a track 12 3 Song Mode and
574. s the arpeggiator to play nothing for that step allowing you to create rhythmic patterns by using none to leave spaces Pressing Step removes the last step in the list pressing Step inserts a new velocity step at the 7 44 Setup Mode The Ribbon Configuration RIBCFG Page end of the list the pattern editor remembers the values of removed steps until you save or exit Use the cursor to move between pattern steps use the alpha wheel alphanumeric pad or plus minus buttons to enter the velocity shift amount for each step Press More to see a second page for patterns with more than 24 steps Press Delete to delete the pattern from memory Press Rename to rename the pattern and save Pressing Save gives you the option to save the pattern or rename and save To create a new VelPatt edit an existing pattern and choose Rename when saving Press Exit to return to the ARPEGGIATOR page When exiting the editor it will automatically give you the option to save the pattern if changes have been made For more detailed instructions on these functions see Saving and Naming on page 5 3 15 Ste oot 33 SIPZI O 19 SIPZZ2i 2 SIPZIs Erri The Human1 through Human4 settings randomly change played note velocity within a range in order to make arpeggiation sound more human like with each note varying slightly in velocity The Human settings use the velocity received from the first note played as the center of the randomizat
575. s to your sound system using a pair of stereo or mono audio cables Mono cables will always work but if you re going into balanced inputs use stereo cables for a better signal to noise ratio and a bit more volume The PC3A s analog outputs are balanced and generate a hotter signal than some previous Kurzweil instruments You ll find four 1 4 inch balanced audio output jacks on the rear panel For now connect one end of each audio cable to your mixing board or PA system inputs and connect the other end to the jacks marked Main Left and Right on the rear panel of the PC3A If you have only one input available use the PC3A s Main Left output to get the full signal in mono In Master mode you can set the Aux outputs to duplicate the Main Outs useful for monitoring and other operations They are always in stereo as is the headphone out Startup Startup the Details Digital For digital audio output from the PC3A connect a 75 Ohm coaxial cable from the PC3A s RCA Digital Out jack to the AES or S PDIF input of the receiving device You may need an RCA to XLR adapter to connect with the receiving device If the receiving device receives only optical signals you ll need a converter as well The PC3A s Master Page press the Master mode button lets you select a range of useful sample rates for the digital output The RCA jack labeled Sync In allows you to synchronize the PC3A s S PDIF Digital Audio output sam
576. sage below for details You can also override the default DSP unit usage by using the EffectsEnable page see Manual Management of DSP Unit Usage below for details About DSP Units Each Effect Chain is composed of an effect box or a series of effect boxes Each effect box uses a certain amount of the PC3A s effects processing power represented as a number of DSP units The number of DSP units used by an effect box or Chain reflects how complex the effects algorithm is more complex effects require more processing power You can use up to 16 DSP units at a time shared between all effects except Master effects which don t use any DSP units Default DSP Unit Usage In Program Mode the program on the currently selected MIDI channel will have priority for using DSP units followed by programs on the lowest to highest MIDI channel The PC3A loads Effects and Effect Mode ZA Effects Overview effects for programs on each of the 16 MIDI channels until all of the 16 DSP units are used up In Setup and Song Mode the MIDI channel of the lowest used zone track will have priority for using DSP units This zone track will use as many DSP units as it need for its effects then the MIDI channel of the next highest used zone track will use DSP units to load its effects and this continues until all of the DSP units are used up Manual Management of DSP Unit Usage You can override the default DSP unit usage and manually control
577. same If you enter Setup Mode and then return to Program Mode the arpeggiator in Program Mode will be returned to its default settings The default settings for the arpeggiator in Program Mode are set on Zone 1 of the Control Setup see Control Setup below for details Note Settings for the arpeggiator in Program Mode are not saved with each program Settings for the arpeggiator in Program Mode can only be saved by editing arpeggiator settings for Zone 1 of the Control Setup Because arpeggiator settings are not saved with each program Setup Mode should be used when you wish to save a program with specific arpeggiator settings A Setup can contain up to 16 programs each with their own arpeggiator settings see Chapter 7 Setup Mode for details MIDI Channels To select a MIDI channel to use in Program mode use the Chan Layer buttons at the left of the display The current MIDI channel is displayed in the top right corner of the Program mode main page Notes played on the PC3 keyboard are sent to the MIDI out port on the currently selected MIDI channel For basic use of Program mode playing a single Program the MIDI channel can usually be ignored For multitimbral use of Program mode playing multiple different programs at once select each MIDI channel then select a Program for each In Program mode when sending MIDI data to the PC3 from an external MIDI device the PC3 can play up to 16 different programs at once one on each MIDI channel
578. saw oscillator that can add an input signal to its output NOISE Aliased not recommended Anoise oscillator that can add an input signal to its output 2 Block SINE A sine oscillator that can add an input signal to its output The Sin Pch and Sine Am parameters affect the pitch and amplitude of the sine waveform without affecting the pitch of the input source RES NOISE A noise generator combined with a low pass filter with resonance control Use the Noiz Frq parameter to control the cut off frequency of the filter Use the Noiz Q parameter to control the amplitude of the resonance a boost or cut at the cut off frequency One technique for use of this function is to set a high value for Noiz Q so that you hear a the resonance create a tone and then on the DSPCTL page set C4 as an initial frequency for Noiz Frq and set Keytrk to 100ct key on the Noiz Frq sub page Doing this causes the noise resonance frequency to match the note of the key played SHAPED SAW The Shaped Saw oscillator is a sawtooth oscillator with the ability to morph its output shape between sawtooth and sine wave without crossfading This oscillator s distinctive parameter is Shape which controls the morphing With Shape set to 0 the oscillator produces a pure sawtooth wave With Shape set to 127 the oscillator produces a pure sine wave Values in between morph between the two wave shapes PWM Pulse Width Modulation Aliased not recommended Thi
579. see Control Setup on page 6 9 The setup 126 Internal Voices is the default Control Setup which should be used as a template in most cases Be careful not to save over setup ID 126 6 56 Program Mode Function Soft Buttons Oscillator Specific Control And Modulation Parameters Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator s intended function Below is a list of these oscillators and their distinctive parameters grouped by block size Though the following parameters could be left at one setting utilizing one of the DSPCTL or DSPMOD techniques described in the above examples will expose a wider range of expression from each oscillator 1 Block LPNOIZ A noise generator combined with a low pass filter Use the Noiz Frq parameter to control the cut off frequency of the filter NOISE Asimple noise generator Use the Noise parameter to control the noise initial amplitude SW SHP Sawtooth Shaper This oscillator is capable of basic FM Synthesis Its distinctive parameter is Pch Coar This oscillator must come after the sound source in an algorithm either keymap or oscillator in order to hear the effect of Pch Coar which can radically change whatever the oscillator receives as an input Works well placed after a Sine source SINE Aliased not recommended Same as 2 block version but without the Sine Am parameter SAW Aliased not recommended A
580. setup is loaded from Quick Access mode Setups disregard the ProgChang setting and instead use the EntryProgChg parameter on the SetupMode CH PROG page See The Channel Program CH PROG Page on page 7 4 Songs disregard this ProgChang setting and instead use the ProgChang parameter on the Song Event Filter Playback page accessed from the PLYFLT soft button in Song mode Change Setups ChgSetups This parameter determines the exact timing of setup changes when you select a different setup either by a normal data entry method or via MIDI program change commands Choose KeyUp to indicate that you want setup changes to take place only when you ve released all currently held notes Choose Immediate to indicate that you want such changes to happen immediately when you select the setup The RECEIVE Page AllHotes ft Prachanode asiclhanne MIDIMode Uelocit Map 1 Linear ulti Hormal Extended MSex n BankSelect Ctl 32 LocalKbd None Praths RatCha Press RECV to select the RECEIVE page where you define the PC3A s response to incoming MIDI signals with one exception pertaining to Quick Access mode which we ll explain later Parameter Range of Values Default Basic Channel 1 to 16 1 MIDI Mode Omni Poly Multi Multi All Notes Off Normal Ignore Normal Program Change Mode Program Change Type List Extended Velocity Map Velocity Map List 1 Linear Pressure Map Pressure M
581. setups use note triggers to play factory recorded songs that provide grooves and arpeggiation that make great templates for performance or recording An on board sequencer with front panel transport buttons lets you record your ideas any time inspiration strikes This sequencer Song mode lets you play back MIDI type 0 or 1 sequences record and play back your own songs and record multi timbral sequences received via MIDI In addition to V A S T capability a few of the features that by themselves make the PC3A an impressive stage and studio machine are e 128 voice polyphony e Fully multi timbral voices so that different programs can be played on each MIDI channel e Anon board digital effects processor provides multiple simultaneous effects including real time effects control internally or via MIDI e More effects processing power than Kurzweil s own KSP8 studio effects processor e Two additional balanced analog outputs in addition to the standard stereo audio output pair as well as a digital output All of the outputs are available simultaneously For backup storage and moving files two types of USB ports are provided on the back panel of the PC3A A USB storage port allows you to connect a USB device such as a thumb drive and a second USB Computer port lets you connect the PC3A to a computer for file transfer and MIDI connectivity Introduction VA 1 Programs VAST Synthesis The PC3A s Variable Architecture Synt
582. show the layer s assigned to that key If more than one layer is assigned to the same key repeatedly striking the key while continuing to hold the Enter button will cycle through all layers assigned to that key This method will work in most places within the Program Editor but there is an exception if the parameter you have highlighted has a note number or control source as its value then holding Enter and striking a note will call up that note or control source For all other parameters however this method will switch between layers The Soft Buttons in the Program Editor The Program Editor s soft buttons are labeled by the words that appear in the bottom line of the display These buttons have two important jobs in the Program Editor selecting pages and selecting specific functions If a soft button is labeled in all uppercase letters pressing it will take you to the page it describes If the button is labeled in mixed uppercase and lowercase letters pressing it will execute the software function described by the label Pressing the LAYER soft button for example will take you to the Layer page while pressing the Save soft button will initiate the process for saving the currently selected program There are more pages and functions in the Program Editor than there are soft buttons Therefore two of the soft buttons are dedicated to scrolling through the list of pages and functions If you don t see the button for the page or fun
583. signed such that you can remap drum programs to the GM drum map When the Master Page Drum Remap is set to None no remapping takes place in Program mode When the Master Page Drum Remap is set to GM the PC3A remaps Drum programs to the GM drum map ID Entry Global means that any entry you make from the alphanumeric keypad will select the object indicated regardless of the bank it is in For example in program mode type 36 of the alphanumeric keypad to select program 36 If Numeric Entry is set to Bank your selection will be limited to the currently selected bank For instance in Program mode if you are in Orchestra bank and you enter 65 then the current program becomes program 65 of the Orchestra bank viz 449 HornSect Layer Setup Controllers SetupCtls The Setup Controllers parameter affects how the PC3A s physical controllers relate to Entry Values in Setup Mode see Entry Ent and Exit Values on page 7 30 With the Setup Controllers parameter set to Instant moving a physical controller assigned within a Setup will instantly send anew MIDI value to that assignment With the Setup Controllers parameter set to PassEntry moving a physical controller assigned within a Setup will not send anew MIDI value to that assignment until the physical controller passes the value set for its Entry Value Instant is set by default but PassEntry can be useful so that Setup controller assignments don t jump far from their entry v
584. signing to keymaps 14 3 Playback mode 6 16 Tuning 14 4 Save dialog 5 3 Save soft button 6 52 Saving Naming 15 6 Rename 15 6 Song Mode 15 5 Saving and naming Objects Saving 5 3 Saving files 5 6 Saving Master and Everything Files 13 7 Saving objects RAM 5 4 ROM 5 4 Saving programs 6 52 Saving RAM objects 5 2 Saving ROM objects 5 2 SC Input 9 17 Search function 3 12 Select soft button 13 14 Selecting modes 3 1 4 1 Selecting parameters 3 6 Selecting programs and setups 2 7 Sequencer tutorial 12 1 sequencer 15 1 Set drawbars 6 62 Setup Compare Editor 7 3 Setup button 5 7 Setup Editor 7 3 Delete Soft Button 7 68 Delete Zone DelZn Soft Button 7 68 Duplicate Zone DupZn Soft Button 7 68 Import Zone ImpZn Soft Button 7 68 Index vii Local Program LocalPrg 7 4 Name Soft Button 7 68 New Zone NewZn Soft Button 7 68 Soft buttons 7 68 Setup Mode Pressure Press Page 7 35 Ribbon Configuration RIBCFG Page 7 40 RIBBON Page 7 40 WHEEL Page 7 32 Setup mode 4 2 7 1 Setup Mode analog output settings 7 6 Setups 2 9 Aux Bend 1 7 19 Aux Bend 2 7 19 BEND Page 7 18 Bend Range 7 18 COMMON Page 7 65 Continuous Control Pedal CPEDAL Page 7 34 Continuous Controller Parameters 7 29 Controllers 7 19 Curve Curv 7 29 Destination 7 5 Destination Dest 7 29 Entry Ent and Exit States 7 31 Entry Pan Exit Pan 7 17 Entry values 7 30 Entry Volume Exit Volume 7 17 Footswitch FOOTSW Page 7 36 Low and high key 7 10 Low Velo
585. sion Decay F S Bank button 7 also sends and responds to MIDI CC 70 values 64 127 Fast values 0 63 Slow 6 63 Program Mode KB3 Editor The PERC2 Page Harmonic This parameter switches between high and low harmonic percussion settings The actual pitch is controlled by the LowHarm and HighHarm parameters You can toggle between low and high harmonics by pressing Bank Button 8 labeled Percussion Pitch H L Bank button 8 also sends and responds to MIDI CC 72 values 64 127 High values 0 63 Low VelTrack Here is where you specify the degree to which key velocity controls percussion volume A value of zero corresponds to no velocity tracking which is like a real tone wheel organ Other values add velocity tracking so that increased velocity results in louder percussion LowHarm Controls which drawbar is used as the basis for the percussion when Harmonic is set to Low On an actual tone wheel organ this is Drawbar 4 2nd harmonic The actual pitch obtained depends on the drawbar tuning HighHarm Controls which drawbar is used as the basis for the percussion when Harmonic is set to High On an actual tone wheel organ this is Drawbar 5 3rd harmonic The actual pitch obtained depends on the drawbar tuning StealBar Controls which drawbar is disabled when the percussion effect is turned on On an unmodified tone wheel organ the ninth drawbar is the one disabled Any drawbar can be selected KB3 Editor Th
586. so can use the alphanumeric pad to select a program number directly Reset Channels RsetCh Panic When you press this soft button the PC3A asks if you want to reset all channels If you press Yes all settings on the CHANNELS page will return to their default values When the project s over you can reset the Channels to restore the audio routing to each individual program a value of Prog rather than selecting each channel s page and setting the Pair parameter back to a value of Prog Press No if you decide not to reset the channels Panic sends All Notes Off and All Controllers Off messages to the PC3A and all MIDI channels 10 18 Master Mode MAIN Chapter 11 Master Mode MAIN Press the Master mode button to enter Master mode which contains parameters affecting the PC3A s overall performance and system setup You can set the system Clock so that the PC3A will time stamp your files correctly You can use the Object tool to rename or delete selections of objects You can also enter the Boot Loader to access a number of system and file utilities or use Reset to delete all user objects and restore the PC3A s memory to its original factory settings When you exit Master Mode or MIDI Mode the PC3A saves a Master Table unless MasterTableLock is On more on this below The Master Table remembers the settings of the Master pages as well as the state of the PC3A such as which programs are assigned to each channel
587. soft button During playback every time you press FromTo the PC3A updates the value of From to match the current playback location Position the cursor over the To parameter to change the value of To in a similar fashion If you haven t selected either the From or To parameter pressing FromTo during playback updates From or To or both depending on the current playback location the value of the Locate parameter at the time you press FromTo If you press it while the Locate value is earlier in the song than the current To value the PC3A updates the From value If you press FromTo again without stopping playback while the Locate value is later than the current From value the PC3A updates the To value Play will start the playback of the song from the Bar and Beat set in the Locate parameter When the song is playing this soft button functions as a Pause button Stop stops the playback of the song and return to the Bar and Beat set as the Locate value Go performs any of the Track based edit functions described above Done will return you to the EditSong COMMON page 12 23 Song Mode and the Song Editor Song Editor Track Functions Song Editor Track Functions This function erases specified events from a region of time but it doesn t delete the region of time The result is like erasing a section of recording tape If you want to completely remove a segment and shorten the length of the track you can do it with the
588. soft button calls up the general info page for the PC3A On this page is the version of the installed OS and factory object Press any key to leave this page Pressing the Save soft button saves the Master Table object which saves many important PC3A settings as defaults Since the Master Table is always saved when exiting Master Mode or MIDI mode the Save soft button is only needed in order to save when Master Table Lock is on see Master Table Lock Master Lock on page 11 3 above The Master Table saves the current configuration of the pages in Master mode The Master Table also saves default settings for which program is selected on each of the 16 channels in Program mode note that these channel settings are often altered by loading a song in Song mode The current channel and program selected in Program mode when the Master Table is saved will be loaded by default the next time the PC3A is powered on The Master Table saves settings from MIDI mode for the Transmit Receive and Channels pages The Master Table also saves settings for favorite programs see the User Interface Basics chapter page 3 4 Lastly the Master Table saves settings for the Master Effects page in Effect mode Only one Master Table object can be saved in the PC3A s internal memory and this should be sufficient for most users For users who wish to save alternate Master tables for quicker access to different system configurations the object must be saved to a
589. ss Clear All Selections If you want to store most but not all of the items in a file for example if there are some songs in RAM that you don t want to be stored in the file it may be fastest to first select all objects using the Left Right double press and then manually deselect any unwanted items Storage Mode Storage Mode Common Features The LOAD Page Pressing the LOAD soft button calls up the LOAD page see below where you can load groups of objects from P3A PC3 K26 K25 or KRZ files individual objects from within those files a MIDI sequence file or files MID Use the cursor buttons buttons or the alpha wheel to browse the files in the currently selected storage device See below for descriptions of the soft buttons on this page which help you browse and select the files in the currently selected storage device After selecting the file or files to load press the OK soft button and you will be prompted to choose a bank to load the selected object s or MIDI file s into See Loading Methods on page 13 11 for instructions on choosing a bank to load to after pressing OK Paw Note When selecting a file to load file names on the Load page that are longer than eight characters will be shortened to eight characters and spaces will be removed This has no effect on the names of objects stored within a P3A or other compatible file type When loading a MIDI file MID to Song mode the PC3A will attempt to
590. ss as if you had pressed Stop The Stop soft button halts the playback or recording and resets the song s location to either the default Bar 1 Beat 1 value or to whatever location you defined with the Locate parameter If the location is defined as something other than Bar 1 Beat 1 press Stop twice to reset to 1 1 Pressing Stop when the Song Status is RECORDING will always prompt the Save changes to this song dialog described below and provides you with the opportunity to listen to the new song and compare it with the old previously saved song before answering Yes or No The PC3A also has dedicated front panel buttons for Record Play Pause and Stop You ll find them just below the eight mode buttons Additionally you can control these functions from any external sequencer that sends MIDI Machine Control MMC messages The PC3A will automatically listen to any MMC messages received at the USB or MIDI in port The PC3A will also automatically send its own MMC messages from the USB and MIDI out port enabling the 12 7 Song Mode and the Song Editor Song Mode The MAIN Page PC3A s transport to control an external sequencer This works from any mode though in Program mode you will want to make sure that the Demo Button function is set to off You can do this from the Master Mode Main page When Demo Button is set to off you can still hear Program demos by pressing the cursor up and down buttons simultaneously Im
591. ssic Plate 51 3BandDrumComp 129 Basic Delay 1 8 21 MediumWarm Plate 52 Snare Compressor 147 snarcmp1 22 Real Plate 53 Snare Cmp w Rvb 176 Lead EGT6 23 Smooth Plate 54 Kick Compressor 193 LitePad2 24 Gated Plate 55 Hard Knee Comprs 203 PhaseDly1 25 Basic Delay 1 8 56 Bass Comp Mutrn 204 ThinphaseSweep 26 4 Tap Delay BPM 57 PnoEnhancement 206 hhpitchr1 27 Echo Plecks BPM 58 LA2A for Strings 209 Snarcmp1 28 Timbered Taps 59 Resonant Filter 210 SymphonyHall 1 29 Dub Delay 60 Aux Echoplex 211 SymphonyHall 2 30 Sm Stereo Chorus 61 Bandsweep Filter 212 SymphonyHall 3 31 Chorusier 62 Hi FrequencyStim 213 Jazz Stage D 20 PC3A Objects V 2 3 Effect Chains Chain Chain Chain 214 Live Room 275 gshot vrb 337 Hot Leslie 122e 215 String Chamber 276 deep part1 338 Hot Leslie 122f 216 Fife Stage 277 DbISloFlangeCmp 339 Soul Leslie122 4 217 Live RecitalHall 278 alphacentauril 340 Leslie B 122 218 AbbeyBrasHall2 279 Timbered Taps 2 341 Joey Leslie 122 219 Smooth Long Hall 300 GospelDistLeslie 342 Hot Leslie 122 220 kickemp3 301 GimmeSomeLeslie 343 Hot Leslie 122h 223 kickemp4 302 DF OrganRoom 344 TapChorus Leslie 224 snarcmp4 303 GimmeSomeLesl 345 SlowPhased Leslie 226 kickemp5 304 GimmeSomeLesl2 363 Nonkb3 A 229 Bright Hat Room 310 AcceleratorLes 2 364 Warm Leslie12 230 BrightFlange 312 ExpressLeslie 365 WarmDistlLesldw 233 snarshaper6
592. ssic Verb 2U 36 Brt Empty Room alg 7 TQ Verb 3U 37 Med Large Room alg 12 Panaural Room 3U 38 Bigger Perc Room alg 7 TQ Verb 3U 39 Sizzly Drum Room alg 5 Classic Verb 2U Chamber 40 Live Chamber alg 11 OmniVerb 3U 41 Brass Chamber alg 1 MiniVerb 1U 42 Sax Chamber alg 1 MiniVerb 1U 43 Plebe Chamber alg 1 MiniVerb 1U 44 JudgeJudyChamber alg 7 TQ Verb 3U 45 Bloom Chamber alg 7 TQ Verb 3U 46 ClassicalChamber alg 7 TQ Verb 3U 47 In The Studio alg 4 Classic Place 2U 48 My Garage alg 4 Classic Place 2U 49 Cool Dark Place alg 11 OmniVerb 3U Hall 50 Small Hall alg 5 Classic Verb 2U 51 Medium Hall alg 1 MiniVerb 1U 52 Real Niceverb alg 5 Classic Verb 2U 53 Opera House alg 5 Classic Verb 2U 54 Mosque Room alg 7 TQ Verb 3U 55 Grandiose Hall alg 1 MiniVerb 1U 56 Elegant Hall alg 1 MiniVerb 1U 57 Bright Hall alg 1 MiniVerb 1U 58 Ballroom alg 1 MiniVerb 1U 59 Spacious Hall alg 5 Classic Verb 2U 60 Classic Chapel alg 5 Classic Verb 2U D 30 PC3A Objects V 2 3 Effect Presets with Algorithms 61 Semisweet Hall alg 5 Classic Verb 2U 62 Pipes Hall alg 404 Chorus lt gt Reverb 2U 63 Reflective Hall alg 5 Classic Verb 2U 64 Smoooth Hall alg 5 Classic Verb 2U 65 Empty Stage alg 7 TQ Verb 3U 66 Pad Space alg 11 OmniVerb 3U 67 Bob sDiffuseHall alg 9 Diffuse Verb 3U 68 Abbey Piano Hall alg 7 TQ Verb 3U 69 Short Hall alg 13 Stereo Hall SU
593. ssing power see DSP Units Manage and Distribute Processor Power for Effects on page 9 3 for details Aux Effects Aux Effects unlike Insert FX are not applied to the whole output of a program but are blended in with the original unprocessed program sound Each Program Setup or Song has two stereo Aux Sends that go to the Aux 1 and Aux 2 Effects The Aux Effects are global available to all channels zones tracks at the same time and there can be only one set of Aux effects Aux 1 and Aux 2 loaded at a time Each Aux effect can be set to be applied either pre or post Insert Effect see Signal Flow below for details In Program mode the Aux Effects come from the program loaded on the currently selected MIDI channel In Song and Setup modes there is a parameter to select the track or zone whose program specifies the Aux Effects Alternatively the Aux Effects stored with each program can be temporarily overridden by using the Effect button in Program mode or set directly on the AUX1 and AUX2 pages in Song or Setup mode see Aux Override on page 9 3 for details 9 1 Effects and Effect Mode Effects Overview Master Effects After the signal goes through the Insert and Aux effects the master EQ compressor effects are applied globally to the signal at the main outputs Neither the EQ nor the Compressor use up any DSP units so you needn t account for them when managing DSP units for effects processing power See The Ma
594. ster Effects Page on page 9 8 for details Chains The object used for Insert and Aux Effects is referred to as a Chain A Chain contains a single effect box or is a series of connected effect boxes Each program can have one main Insert Chain or individual layers within a program can have their own Insert Chain that will be used instead of the program s main Insert Chain Programs Setups and Songs can each have two Aux Chains You can select from the same set of Chains to use for both Aux and Insert Effects Up 11 Insert Chains and two Aux Chains can be active at a time depending on DSP unit usage see DSP Units Manage and Distribute Processor Power for Effects on page 9 3 for details Signal Flow When using effects it is important to understand how your signal is being processed For each Program zone or track your signal can be sent to the Aux effects before or after being processed by the Program s Insert effects The diagram below is for a program that does not use layer specific effects showing the possible routes that the signal of a program can flow through to reach the different types of effects Follow the appropriate route to help visualize the stages in which the signal is being processed A circle with an arrow through it shows a point where the signal level can be adjusted Dashed lines indicate different routes that the signal can flow based on the Aux pre post settings and Master FX Order settings A
595. sts L M U LM U L 0 LAU The MIDI data on each track has a destination assignment selectable with the TrackDest parameter There are four possible indicators L Local The track s MIDI data will be transmitted locally only to the PC3A s internal sound generator None of the track s MIDI data will be sent to the USB or MIDI Out port M MIDI The track s MIDI data will be transmitted only to the MIDI Out U USB MIDI The track s MIDI data will be transmitted only to the USB port None Pairs and groups of the above letters indicate that MIDI is being sent to each letter s corresponding destination 12 20 Song Mode and the Song Editor Song Editor The TRACK Page Soft Buttons on the COMMON Page TRACK calls up the TRACK page This page accesses useful track based edit functions There is a selectable edit function that can be applied to the selected track or all tracks in your song The TRACK page is described on page 12 21 EVENT calls up the EVENT page an event list style editor On the EVENT page in the Song Editor you can scroll through modify add or delete any or all of the tracks MIDI events The EVENT page is described on page 12 31 Rec Play and Stop function as described in The Rec Play and Stop Soft Buttons on page 12 7 Save calls up the Save as dialog Song Editor The TRACK Page This page allows you access to useful track based edit functions These f
596. t 0 None Use this parameter to position the current layer s pre FX signal Negative values pan the signal to the left channel positive values pan to the right and a value of zero pans to the center To adjust the post FX final stage gain and panning of the current program go to the COMMON page and adjust the Output parameters see The COMMON Page on page 6 35 or to adjust a layer s post FX audio signal individually go to the LYR_FX page and set the Layer FX Mode parameter to Layer Specific FX see The Layer FX LYR_FX Page on page 6 49 and then return to the OUTPUT page and adjust the output parameters An additional pan parameter Pan2 appears if you have the Stereo parameter on the KEYMAP page set to a value of On rossFade LU FadeSense Norm a Pan s Pan Modes MIDI Pan Table None Drum Remake Off OUTPUT more d Pan Mode When the mode is Fixed the pan position remains as defined with the Pan parameter ignoring MIDI pan messages When the mode is MIDI MIDI pan messages MIDI 10 will shift the sound to the left or right of the Pan parameter setting Message values below 64 shift it left while those above 64 shift it right A setting of Auto assigns the pan setting of each note based on its MIDI note number In this case Middle C MIDI note number 60 is equivalent to the Pan parameter s setting Lower notes shift increasingly left while higher notes shift increasingly right A setti
597. t algorithms can be compared to connecting different DSP functions with different wiring diagrams Think of the left side of each block as its input and the right side as its output Depending on the algorithm the signal may split into two wires enabling part of the signal to bypass certain portions of the algorithm Split wires may rejoin within the algorithm or they may pass all the way through as split signals If the last block has two wires at its output we call it a double output algorithm If it has one wire it s a single output algorithm even if there are two wires in earlier portions of the algorithm Each block of the algorithm represents a certain function in the signal path In every non cascaded algorithm see Alt Input for Algorithms Cascade Mode below the signal flows first through a one stage DSP function that controls the pitch of the samples in the keymap this function is represented as a block labeled PITCH in the upper right hand corner of the display In fact the first DSP function in each algorithm always controls pitch even though it doesn t apply in every instance and as will be explained later in this section it is bypassed in cascaded algorithms Similarly the last DSP function always controls the final amplitude of the signal this function is represented as a block labeled AMP in the upper right hand corner of the display The number of function parameters a DSP function can have depends on the r
598. t an algorithm and press the edit button This action calls up the Edit Algorithm EditAlg page in which you can edit the wiring of the selected algorithm MPULS OutPuts um Blocks OutePuthtode Parameter Range of Values Default Inputs 1 2 1 Outputs 1 2 1 Number of Blocks 1 to 4 2 Output Mode Normal Sep L R Normal In addition to having a selectable function each function block has three editable parameters number of inputs number of outputs and block size the Output Mode parameter is an editable parameter of the algorithm as a whole When you first enter the EditAlg page there will be a cursor in the parameter field and the first block of the algorithm will be highlighted To select a block for editing move the cursor down the display until no parameter field is highlighted then using the lt and gt buttons highlight the block you wish to edit Press the button to move the cursor back into the parameter fields and then select the parameter you wish to edit The Output Mode parameter determines the number of outputs from the algorithm With Output Mode set to Normal the algorithm has one output With Output Mode set to Sep L R the algorithm has two outputs each of which is sent to a separate stereo channel To edit the signal path select either an input of a block or an output of the entire algorithm By scrolling with Alpha Wheel or the and buttons you can see every possible configurati
599. t button shows you relevant details about the current item The Xpose Xpose buttons are a shortcut for quick transposition in semitone half step increments You can use them to transpose the entire PC3A as much as three octaves up or down The top line of the display shows the current amount of transposition Xpose Press both Xpose buttons simultaneously to return transposition to zero The Panic button or a double press of Cancel and Enter at the bottom of the alphanumeric keypad sends an All Notes Off message and an All Controllers Off message both to the PC3A and over all 16 MIDI channels You won t need it often but it s nice to have VAST Programs A normal VAST program is what most of the factory programs are The info box contains details about the different layers in each program usually indicating the keymap used in each layer The line under the keymap name indicates the layer s keyboard range In this case only the first two displayed layers extend across the entire keyboard A 0 to C 8 The x symbol to the right of each layer shows that the keymap is a stereo keymap hos amr Farcuszion 1 Fercuszion 4 Fero LaYers 5 T Conga Moose Lyr 123 Hew Marimba Octay Octav Panic Into EG 2 8 Startup Quick Access KB3 Programs KB3 organ programs differ from VAST programs in that they don t have layers Instead they rely on oscillators that mimic the tone wheels used in many popular o
600. t is easier if you write an initial volume after you have found the desired setting Setting Initial Volume Per Track Follow these steps to change the current RecTrk s initial volume While the sequencer is stopped press Record change the value of Vol press Stop and save the song follow the same method to quickly set initial program or pan settings Initial program volume and pan can also be set at the top of each track s event list see Song Editor The EVENT Page on page 12 31 Setting Initial Values For All Tracks An important last step before saving a finished song is to store initial values of Program Volume and Pan for all tracks This can be done at any time but is best done as a last step if you plan to make a lot of adjustments to these settings To write initial settings for all tracks press the Keep soft button on the Song MIXER page see Song Mode The MIXER Page on page 12 12 After pressing the Keep soft button you must save your song to save these settings you are automatically prompted to save upon exiting the Song MIXER page Pressing the Keep soft button stores the current value of each track s Program Volume and Pan settings as initial settings Be sure that these values on each track are set to the value that you wish to store as the settings may have changed if you have written any automation Note Don t use the Keep soft button if you would like certain tracks to not be stored with initial values In th
601. t sounds on external instruments no matter how many banks they might have When you change the value of the Program parameter the value of MidiBank automatically changes correspondingly If you want to transmit a MIDI Bank number different from the one corresponding to the local program select the local program first then change the MIDI bank If you select an empty bank like Bank 53 the zone will still produce sound on the PC3A provided that Destination is set to a destination including Local The Program parameter will display whatever internal program you set but the bank number transmitted over the MIDI Out port will be different from the internal program s bank number 7 5 Setup Mode The Channel Program CH PROG Page MIDI Program MidiProg Status Out MidiProg defines which program number is transmitted out the MIDI Out port on the current zone s MIDI channel When you change the value of the Program parameter the value of MIDIProg automatically changes correspondingly If you want to transmit a MIDI program change number different from the one corresponding to the local program select the local program first then change the MIDI program Different programs are accessible depending on the value of the BankMode parameter Value of BankMode Available Programs Ctl 0 or Ctl 32 0 to 127 Ctl 0 32 0 to 127 K2600 0 to 99 None None This parameter determines what the current zone does when you s
602. t to use For most of the PC3A s physical controllers their destination name in the source field is displayed with the name of the controller on the PC3A s front panel 6 11 Program Mode Editing VAST Programs Editing VAST Programs A The Program Editor is where you begin to modify the PC3A s resident sounds and to build your own sounds around sample keymaps or KVA oscillators see Editing VAST Programs With KVA Oscillators on page 6 53 for some differences There s virtually no limit to the sounds you can create using the tools in the Program Editor Note This section describes the Program Editor as it applies to VAST programs See Editing KB3 Programs on page 6 59 for information about editing KB3 programs To enter the Program Editor start in Program mode and press Edit The Program mode LED will go out and the KEYMAP Keymap page will appear teren AST TimbreShift 160ct kei PlasBackMode Normal Act AltControl sOFF PITCH JAMP e MONE The top line of the display gives you the usual reminder of your location It also tells you which layer you re viewing and how many layers there are in the program You can use the Chan Layer buttons to scroll through the layers if the program has more than one i ts Here s a method for jumping quickly to a specific layer in a program it s especially useful in multi layered drum programs Hold the Enter button and strike a key The display will
603. tching between up to eight layers If you need even more you can do it using the Enable and Enable Sense S parameters page 6 19 Pitch Bend Mode Bend This determines how Pitch bend control messages will affect the current layer A value of All bends all notes that are on when the Pitch bend message is generated A value of Key bends only those notes whose triggers are physically on when the Pitch bend message is generated notes held with the sustain pedal for example won t bend This is great for playing guitar solos on top of chords play a chord hold it with the Sustain pedal then play your licks and bend them all you want the chord won t bend with it A value of Off disables Pitch bend for the current layer To apply the same Pitch Bend Mode setting to the entire program make sure to set the same setting for each layer Trigger Trig Set Trig to Rvrs to have notes of the current layer triggered on key up The initial velocities of notes triggered this way are determined by the release velocities of the keys that trigger them The default setting is Norm Delay Control DlyCtl Here you select from the Control Source list a control source that will delay the start of all notes in the current layer The length of the delay is determined by MinDly and MaxDly described below You ll assign a continuous control like MWheel for the DlyCtl parameter when you want to vary the delay time and a switch control if you want the d
604. ted velocity range is highlighted in the chart and its name is displayed in the VelRange field With the VelRange field selected you can use the Alpha Wheel or buttons to move between the available velocity ranges if there is more than one velocity range available You can also use the Chan Layer buttons at any time to move between the available velocity ranges If there is more than one velocity range available you can adjust the dynamic range of each using Lo and Hi parameters These Hi and Lo parameters are the same as the Low Velocity Lo and High Velocity Hi parameters on the EditKeymap page see Low Velocity Lo High Velocity Hi on page 14 4 for details Changes made with either set of parameters are shown on both pages New Range NewRng The NewRng button lets you define a new keyrange to edit whether it s to assign a different sample or to adjust the pitch or volume Just press NewRng then play the note you want as the low note then the high note The PC3A will prompt you for each note When you trigger the high note you ll return to the Keymap editor page and the new keyrange you defined will be selected The next change you make will affect only that edit range 14 5 Keymap and Sample Editing The Keymap Editor If you set anew keyrange that s completely within an existing key range the existing key range will be split into two keyranges with the new keyrange between the two At this point you must c
605. ter You might do this to remove silence at the beginning of a sample or to remove some or all of the attack You can t decrease the Start point of samples below zero The Alternative Start A parameter lets you set a second optional start or end point for the current sample The Alternative Start will be used when the Alt Switch parameter on the KEYMAP page is set to On or when it s set to a specific control source and that control source is generating a value of more than 5 For example if you assign MWheel as the control source for the Alt Switch parameter the Alternative Start will be used when the Mod Wheel or whatever control source you have set to send MWheel is above its halfway point The Alternative Start can be set before after or at the same point as the Start or End If you set the Alternative Start after the End you can extend the play of looped samples Normally looped samples will play through to the End then will loop back to the Loop point and continue looping like this until the note is released when they go into their normal release If the Alternative Start is set after the End looped samples will loop in the same way while notes are sustained As soon as you release the notes however the samples will play through to the Alternative Start point before going into release The Loop L parameter sets the beginning of the looped portion of the current sample The Loop can be set at any point before the End
606. ternal the Tempo parameter disappears from the display Aux FX Channel The Aux FX Channel determines the FX channel through which the aux sends of all of the zones in the current setup are sent For example if a zone 2 in a setup has a program with 25 Basic Delay 1 8 as an Aux FX and zone 2 is assigned to channel 5 then setting the Aux FX Channel to 5 sends the programs of all of the zones in the setup through zone 2 s Program s Aux FX i e through 25 Basic Delay 1 8 7 65 Setup Mode The Programmable Switch Pages SWPRG1 to SWPRG8 KB3 Channel With this parameter you can specify the KB3 channel in the current setup Note that if you assign a KB3 program to a zone not assigned to the KB3 channel the PC3A will notify you on the CH PROG page and the KB3 program will not load Before selecting a KB3 program for a Zone set the KB3 channel to match the channel set for that Zone on its CH PROG page Mutes The Mutes parameter gives you control over the behavior of the Bank buttons the buttons above the sliders By default in Setup Mode the PC3A uses the Bank buttons to control the muting and unmuting of zones see page 7 2 for details When using a KB3 Program ina Setup you must change the Mutes parameter to KB3 Control to use the Bank buttons to control KB3 effects Set the Mutes parameter to Zone Mutes to make the Bank buttons control their default functions of muting and unmuting of zones Paw Note For set
607. ternate start points 6 16 Program Mode Emulating Legato Play The LAYER Page If you place the Alt point after the initial attack transients of the sample then you can use the Alt Switch to emulate legato playing in an acoustic instrument As an example set Keymap to 14 Flute Now set the AltControl parameter to Chan St Channel State Now if you play notes separately the initial breathy chiff will be heard But if you play the notes legato connecting them smoothly the Alt point is used and you do not hear the chiff This is because the Chan St is turned on as long as any note is being held Most of the PC3A s ROM samples have their Alt points set for purposes of legato play In most cases the difference in attacks is subtle but for some sounds like drums the difference can be more noticeable The LAYER Page Press the LAYER soft button to call up the LAYER page Here you ll set a number of parameters that affect the current layer s keyboard range attack and release characteristics and response to various controls Pod 999 Sere ust o H iia SosFPdl On Fr Pdl Orn ISnRel Off 127 TheAtt i Off Parameter Range of Values Default Low Key C 1toG9 co High Key C 1toG9 C8 Low Velocity ppp to fff ppp High Velocity ppp to fff fff Bend Off Key All All Trig Normal Reversed Normal Delay Control Control Source list Off Minimum Delay 0 t
608. ters This feature allows you to control the sample playback start end time triggered by any control source The alternate sample start point can be adjusted by editing a sample see Editing Samples on page 14 9 and The TRIM Page on page 14 12 for details Use the AltControl parameter to specify a control source that will cause the sample to begin or end at the Alt point Then use the AltMethod parameter to choose between switched and continuous calculation of the Alt point If the value of AltMethod is Switched the PC3A will use the Alt point when the relevant control source is at a value greater than 64 at Note Start If AltMethod is Continuous the Alt point will vary depending on the value of the relevant control source at Note Start As an example suppose you re working with a flute keymap and wish to control the amount of chiff heard at the beginning of the sound On the KEYMAP page in the Program Editor set AltControl to MWheel Now the Mod Wheel controls how much of the initial sample attack is used If you set AltMethod to Switched and move the Mod Wheel at least half way up at Note Start the sample will begin at the pre set alternate start point in this case slightly past the initial chiff If you set the AltMethod to Continuous the PC3A will interpolate the sample s starting point based on the position of the Mod Wheel If the Mod Wheel is 75 of the way up at Note Start the sample will begin 75 of the way between normal and al
609. tertouch expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect MIDI pressure aftertouch values before reaching the transmit Pressure Map The default map Linear allows MIDI pressure aftertouch values to pass unchanged Maps 2 4 make it increasingly easier to produce MIDI pressure values for the same physical pressure applied to a key with 4 Easiest being the easiest Maps 4 7 make it increasingly harder to produce MIDI pressure values for the same physical pressure applied to a key with 7 Hardest being the hardest 10 4 MIDI Mode Program Change ProgChang When ProgChang is set to On the PC3A sends program change commands to its USB or MIDI Out port when you select programs or setups from the front panel or from your MIDI controller Select a value of Off when you want to change programs on the PC3A but don t want to send program change commands to the USB or MIDI Out port This parameter doesn t affect the type of program change command that s sent it just determines whether any command is sent at all The type of program change command is determined by the BankMode parameter on the CH PROG page in the Setup Editor of your control setup See Control Setup on page 6 9 for more details The RECEIVE Page Pa Note The ProgChang parameter applies to all modes except Song mode and Setup mode or when a
610. th These two parameters work together to let you assign a control like the Mod Wheel to affect the current layer s amplitude envelope in realtime The value of the Source parameter defines which control affects the envelope section and the value of the Depth parameter defines how much the rate is multiplied when the control is at its maximum value 127 No effect is had when the control is at its minimum value 0 and Depth values are scaled for controller values in between 6 46 Program Mode The Program FX PROGFX Page Pa Note For each note triggered you can only set the controller value that will scale the Depth parameter of an envelope section before that section of the envelope is triggered For controllers assigned for Attack the controller value used will be the last received before the note is triggered For controllers assigned for Decay the controller value used will be the last received before the final section of the attack envelope reaches its maximum amplitude For controllers assigned for Release the controller value used will be the last received before the note is released To put it another way for each envelope section you cannot change the rate of a note s envelope once that section of the envelope has been triggered Impact Impact can boost or cut note volume by up to 24 dB during the first 20 milliseconds of the attack of an envelope This feature is an easy way to get more thump from your bass and
611. the Song Editor Song Mode The MAIN Page A Volume Vol You can set a volume level for each track as a value between 0 and 127 If the channel of the RecTrk or the control channel if RecTrk is set to Multi or None contains any recorded volume change controller 7 the change will be reflected as the Vol parameter s value in real time as well as on the MIXER page Also changing the Vol value while recording will write volume automation controller 7 messages to the current RecTrk s event list Initial Volume Settings Each song file does not automatically save your volume setting for each track To make a song save your volume settings for each track you must write an initial volume for each track Initial volume is the volume setting that will be used when your song is played back from the start of bar 1 An initial volume setting is essentially a volume automation message that is written before the first tick of a track Initial volume settings are not automatically written during recording because they make it harder to try out different volume settings for a track For example an initial volume will reset any volume adjustments that you make during playback each time the song is stopped and played from the start of bar 1 or if the song is stopped and played from any point if the Control Chase parameter set to On on the Song MISC page see Song Mode The MISC Pageon page 12 17 If you plan to try out different volume settings i
612. the Utilities page to create directories folders on the current USB device or use the Utilities page to delete rename or copy files on the current USB device See the soft buttons below for the each available function 13 14 Soft Buttons on the Utilities Page NewDir Delete Rename Copy Open Parent Create a new directory folder in the current directory Directories created by the PC3A can have names up to eight characters long Delete the highlighted file from the current device Change the name of a file Copy a file to a different directory After pressing Copy you must select a directory to copy to press the Open soft button to open the directory to copy to then press the Ok soft button to copy the file You can also press the NewDir soft button to create a new directory to copy to Opens the highlighted directory Moves you up one level in the directory hierarchy If the display is already at the root directory this button has no effect Storage Mode Export Format Export Press the EXPORT soft button to go to the Export page The Export page allows you to export MIDI files created in Song mode lists of controller assignment info that are automatically created for each Program and each Chain or a list of all objects in text format Developers can also export an object in XML format or export a KPN To export a MIDI file created in Song mode the song must be currently loaded in Song mode Go
613. the amplitude qualities of each sample in a keymap with each note relative to sample key placement Each sample in a keymap has a natural envelope that was created during it s original development process Natural envelopes have much more detail than what is possible to create with the user amplitude envelope and they are useful when trying to mimic specific instrument amplitude envelopes When using this technique remember that the maximum amplitude of each key is set by the current keymap You can still control the overall parameters of a natural envelope by using the ENVCTL page See the programs 213 Perc gt Morph gt Bass amp 315 ElectroPercSynth for examples of KVA layers that use this technique Each program uses percussion keymaps with natural envelopes to produce a fast percussive attack Also note that when using a KVA oscillator and a keymap other than 999 Silence the layer will use the name of the keymap in the info box on the main Program page even though it is not the true sound source of the layer Note The samples from a keymap are not heard when using an oscillator unless an algorithm is used to route the keymap signal around the oscillator and into a MIX function block or unless it is an oscillator that processes its audio input 6 58 Program Mode KB3 Editor The Tone Wheels TONEWL Page Editing KB3 Programs You can edit a wide assortment of any KB3 program s parameters You can also create your own KB3 pr
614. the final levels that each segment achieves at completion The levels are expressed as percentages of the maximum possible amplitude for the current layer Attack segment 1 always starts at zero amplitude and moves to its assigned level in the time specified by its time value So the default settings of 0 seconds and 100 mean that the first segment of the attack section moves instantly from zero amplitude to 100 amplitude Increase the time of Attack segment 1 if you want the sound to ramp up more slowly Attack segments 2 and 3 affect the sound only when you set a nonzero value for time They will then move to their assigned levels in the time specified Their starting levels are equal to the final levels of the preceding segment Decay Segment The decay section has only one segment It has values for time and level just as for the attack section The decay section begins as soon as the attack section has been completed It starts at the same amplitude level as the attack segment preceding it and moves to its assigned level in the time specified You ll hear a note s decay section only when the attack section is completed before a Note Off message is generated for that note To create a sustaining envelope simply set the Decay segment s level to a nonzero value Release Segments Like the attack and decay sections each of the three segments in the release section has values for time and level Each segment reaches its assigned level in
615. then playing C 4 will result in the pitch C4 but will actually play the sample normally assigned to G 3 and shift its pitch up four semitones This will increase the playback rate of the sample so although the pitch remains normal the timbre is brighter You d get the same effect by setting the Xpose parameter on the KEYMAP page to 4 semitones then setting the Adjust on the PITCH page to 4 semitones For multi sample layers with narrow key ranges large amounts of timbre shifting will cause different sample roots to be played back Playback Mode This gives you numerous options for manipulating the samples in the current layer as you trigger them Normal leaves the samples unaffected while Reverse plays them in reverse At a value of Reverse the samples will continue to loop as long as notes are sustained To play them just once in reverse you would adjust the length of the layer s amplitude envelope explained later in this chapter BiDirect bidirectional causes the samples to loop infinitely alternating between normal and reversed playback Noise replaces the samples with a white noise generator Alternative Controller AltControl See Alternative Switch AltControl and AltMethod below Alternative Switch AltControl and AltMethod Many but not all PC3A sample roots have been pre assigned a carefully chosen alternate sample start point that can be selected using the Alternate Switch feature AltControl and AltMethod parame
616. tination track at the data s original location No matter what channel the current track source track is set to when you use the bounce function the events will be played on the destination track s channel Mode Merge Erase The Mode setting determines whether the bounced events merge with or erase existing events on the destination track from the location point to the end of the copied region 12 25 Song Mode and the Song Editor Song Editor Track Functions Insert The Insert function is used to add blank time to the current song modifying the song s End point appropriately The Insert function will affect all tracks This is similar to splicing a piece of blank tape to an existing segment of recording tape Pe rack HLL Function Location Amount Location Bars Beats Ticks The insertion point for the blank time being added is selected as a Bar and Beat Location value Events that occurred at or after this Bar and Beat before you insert time are not erased when you perform this function rather they are offset by the length of the blank time being added to a Bar and Beat later in the song Amount Bars Beats Ticks The length of the blank time being added is defined as a number of Bars and Beats in the Amount parameter There are no Region Criteria parameters available for the Insert function Delete The Delete function is used to remove a region of time from the current song This func
617. tion List Foot Destination Breath Control Destination List Breath Scale 300 100 Add 128 to 127 0 Curve Linear Compress Expand Linear Entry Value None 0 to 127 None Exit Value None 0 to 127 None 7 34 Setup Mode The Pressure PRESS Page The Pressure PRESS Page The PC3A features mono pressure commonly called aftertouch on other keyboards A word about pressure Key Range in a zone does not define which notes will generate pressure in that zone If pressure is enabled in a zone playing with aftertouch anywhere on the keyboard will produce data For example if Zone 1 s Key Range is C3 C5 and you play C2 and push down on the note pressure messages will be sent from Zone 1 As with any other physical controller however you can disable pressure in any zone or scale it or offset it differently in the various zones It might help to think of pressure as an extra wheel wheels operate in a zone regardless of Key Range and so does pressure The PRESS page parameters are described in Continuous Controller Parameters on page 7 29 Note MIDI pressure generated on the PC3A keyboard is first affected by any Pressure Scale Offset and Curve settings made on each zone s PRESSURE page The resulting pressure values are then affected by any Press Map settings made on the Master Mode MAPS page see page 11 7 Also MIDI pressure messages sent to the USB or MIDI out port are first affected as explained above and then
618. tion is different from the erase function because not only does it remove the events from the selected time it will delete the entire selected range of time from the song modifying the song s End point appropriately on all tracks This is similar to cutting a section out of a tape and splicing the ends Pe rack HLL Function 1 56 12 26 Song Mode and the Song Editor Song Editor Track Functions Quantize Use the Quantize function to adjust the timing of Note events Keep in mind that only Note events are quantized other types of events such as controllers are not quantized Sira Releaze Go Done Quant Off 1 to 100 The Quantize parameter determines how much the selected Note events are moved towards grid locations If set to Off no aligning of previously recorded notes to grid locations will occur If set to 100 every recorded Note event will be aligned to the closest grid location defined by the Grid setting Notes will be moved to a position half way between the grid location and the original Note event location if Quant is set to 50 Grid 1 1 to 1 480 This setting determines the size of the Quantize grid expressed as a fraction of a Bar with a 4 4 meter Set Grid to 1 1 for whole note grid 1 16 for sixteenth notes All of the standard note durations and every fractional Bar divisions in between are available as the size of the Input Quantize grid Swing 100 to 125 The Swing pe
619. tion will be short If you have scrolled through a Sustain MIDI Controller 64 message with an On value then you will hear the note sustain as if the sustain pedal was depressed The note will continue to sustain until you scroll through a Sustain message with a value of Off You can also jump directly to a specific bar and beat by typing the bar number and beat number then pressing Enter Keep in mind if you have controller or program data previous to the point that you jump to those events may not have been executed and you may hear unexpected results For example if you have program changes at bar 1 and bar 8 and you jump from bar 1 to bar 9 any notes you scroll through will be played with the program change from bar 1 Initial Program Volume Pan At the top of the event list for each track you can view and change the initial program volume and pan settings for the current track See Song Mode The MAIN Page on page 12 1 for details on initial settings for program volume and pan Each of these parameters can be set to NONE by entering 0 on the alphanumeric pad and then pressing the minus button to find NONE Location The first column represents the Bar and Beat Locations of the different events in a song Scroll through the events on the selected track s with the Alpha Wheel or enter in a specific Bar and Beat on the alphanumeric button pad to jump to events occurring on that Beat A quick way to jump to the End point ina track is to p
620. to 127 The first layer would play when your Mod Wheel was above its midpoint and the second layer would play when the Mod Wheel was below its midpoint You could achieve the same effect by having the Enable Sense orientation in both layers set to Norm and the minimum and maximum values set as follows minimum 0 and maximum 63 for one layer minimum 64 and maximum 127 for the other Using this parameter in conjunction with the Enable parameter you can easily create velocity switching for as many layers as you have in your program This is useful for drum programs since you can define a different velocity trigger level for each of the 32 layers available in drum programs First set the Enable parameter for the Layer 1 to a value of GAttVel global attack velocity This causes the layer to play based on the attack velocity of your keystrokes Then set the Enable Sense S parameter to a value of Norm and adjust its minimum and maximum values the two numerals to the right of Norm to a narrow range Don t use negative values since they don t apply when you re using GAttVel as the layer enabler Repeat this for each layer in the program Bear in mind that if you want to set up 32 different velocity levels for a program with equal intervals between each layer then you have a range of 4 for each level Layer 1 is 0 3 Layer 2 is 4 7 and so on It won t be easy to play precisely enough to trigger the layer you want On the other hand if
621. to Song mode and load the desired song then return to the Storage mode EXPORT page and press the Song soft button You will be prompted first to choose a directory to save the file into and then you will be prompted to name the MIDI file When you name the file you can use the Type field to choose to export either a Standard MIDI File type 1 saves with multiple channels or Standard MIDI File type 0 saves all channels as 1 channel To export a list of controller assignment info for all Programs or for all Chains press the PrInfo soft button or the FXInfo soft button You will be prompted to choose a directory to save into and then you will be prompted to name the info file A comma separated value file will be exported To export a list of all objects in text format press the ObjLst soft button You will be prompted to choose a directory to save into and then you will be prompted to name the file A comma separated value text file will be exported listing each object type with ID number object name and whether the object is internal or user To export an object in XML format press the ObjFmt soft button Choose an object from the list using the Alpha Wheel buttons or the alphanumeric pad then press the Ok soft button You will be prompted to choose a directory to save into and then you will be prompted to name the file To export a KPN press the KPN soft button Choose a Domain and Channel then press the Ok soft button You
622. to a zone s arpeggiator With Tempo BPM set to External the riff will syne to external MIDI clock You can also manually choose a tempo by selecting a value from 20 to 400 for BPM Use the Alpha Wheel or buttons to choose between the options or set a tempo You can also use the alphanumeric pad followed by pressing the Enter button to enter a tempo 7 59 Setup Mode The Ribbon Configuration RIBCFG Page A SyncZone The SyncZone parameter determines which zone a riff will sync to You can choose to sync to a riff or arpeggio in a specific zone by setting SyncZone to Riff 1 16 or Arp1 16 and the current riff will always sync to the riff or arpeggio in the set zone For example if you have a drum riff in zone 1 and a bass riff in zone 2 you may always want the bass riff in zone 2 to sync to the drum riff in zone 1 In this case you would set the bass riff SyncZone to Riff 1 You may want to have a little more freedom and not be tied to the drum riff as the main timekeeper Maybe you want to start with the bass riff and have the drum riff start later In this case you would set SyncZone to FirstRiff Av With this setting the riff will look for the first available riff to sync to So if both the drum riff and the bass riff have this parameter set to FirstRiff Av the riff that is started first will be the master If the bass riff starts first the drum riff will see that as the first available riff to sync to and will do so
623. tons if none of them are assigned to a destination in the control setup If at least one Programmable Switch is assigned in the control setup then the assigned Programmable Switch buttons act as assigned but none of the buttons function as program select buttons e Ribbon settings can be set on the Setup Editor RIBBON and RIBBON CONFIGUR pages e MlDIaftertouch can be turned off on the Setup Editor PRESSURE page by setting the Dest field to OFF e OntheCH PROG page you can set the Bank Mode which determines the type of MIDI bank messages that Program Mode will send to the USB and MIDI out ports when changing programs See Program Change ProgChang on page 10 5 to disable the PC3A from sending program change messages e The Destination parameter on the CH PROG page determines where MIDI messages are sent Usually this should be kept at its default setting USB_MIDI MIDI LOCAL and the MIDI message destination for Program mode should be set with the Destination parameter on the MIDI Mode Transmit page see page 10 2 for details The Destination parameter on the CH PROG page works in combination with the Destination parameter on the MIDI Mode Transmit page For example if the Destination parameter on the CH PROG page is set to MIDI LOCAL then MIDI messages will not be sent to the USB port even if USB_ MIDI MIDI LOCAL is selected for the Destination parameter on the MIDI Mode Transmit page Selecting And Editing The Control Setup The curre
624. torage Device EEEE EEEE nn 1 5 Chapter 2 Startup M k ConnecHonS PRO e OT OT 2 1 Make MuSiC lin 2 1 Startup the De te ts cssctcssspacassnoancndacssanaboganiossessnoeronuntsciasssdstansasucinaboasosoebcasdbconavasansassonasia itis 2 2 bedda 2 2 Connecting the Power Cable Line Cord 2 2 Connecting Audio Cables 2 2 Cone MID o a a a A helen 2 3 bobine 2 4 Billi cilea iaia oi 2 4 ADDON tens TOO RO RR SO E I N TT tae eerie 2 5 CARE RR RARO O RA 2 5 USB stofaghiPore i licia 2 6 Usb Computer Port ricca 2 6 SAR lee 2 7 Penn 2 7 Selecting Programs 2 7 BIVIO illa e 2 7 Program Mode Display lilla 2 8 ATI E EE A EE ees 2 8 KB3 Programs EEEE 2 9 Wien 29 CRAS Lean 2 9 The Other Modes 2 10 Chapter 3 User Interface Basics Mode Selection POTEET RA i RT LP AE Program and Category Buttons Picking favorites Pitch Wheel and Mod Wheel STA MMI leale The Display The Chan Layer Buttons The Edit BOB ili The Exit Biol Pool The Alpha Wheel lirici a The Plus Minus Buttons The Alphanumeric Pad Double Button Presses Intuitive Data ENEy Li aa Changing the Current Layer in Multi Layer Programs Search Chapter 4 The Operating Modes What the Modes Are inn Selecting Modes Finding Square One Using the Modes Program Mode Sepe able Quick Access Mode Effects Mode MIDI Mode Song Mode Storage Mode Chapter 5 Editing Conventions Introduction to abet lirici What s an Object Object pesati
625. tremolo vibrato wah or layer volume The Arp button turns on and off the PC3A s Arpeggiator The SW button MIDI 29 can be programmed to do a variety of things Often it is used for layer enable or effect enable 3 5 User Interface Basics Navigation Navigation The navigation section of the front panel consists of the display and the buttons surrounding it These navigation buttons will take you to every one of the PC3A s programming parameters The Display Your primary interface with the PCSA is its backlit graphic display As you press various buttons this fluorescent display reflects the commands you enter and the editing changes you make The ample size of the display 240 by 64 pixels enables you to view lots of information at one time Pages Within each mode the functions and parameters are organized into smaller related groups that appear together in the display Each one of these groups of parameters is called a page Each mode has what we call an entry level page it s the page that appears when you select that mode with one of the mode buttons Within each mode and its editor s the various pages are selected with the navigation buttons There are many pages but there are a few features common to each page The illustration below shows the entry level page for Program mode GREENE 1 4 7 lnVers Pinno mp Lett Fiano mi Lett Fiano Lett tele rae EL HYE Jazz Grand IEN CHEI z The T
626. tself which results in a series of notches in the frequency spectrum generally referred to as a comb filter In the PC3A the flanger is a multi tap delay line all but one of whose taps can have their lengths modulated up and down by a low frequency oscillator LFO The rate of the LFO is expressed in Tempo StatDlyLvl Static Delay Level is the level of the first non moving tap Negative values invert the polarity of the tap The range is 100 to 100 0 turns the tap off DlyCrs and DlyFin are the coarse and fine length controls for the Static delay StatDly and for the minimum value of the moving delays Dlyn The coarse range is 0 to 228 ms and the fine range adjusts the coarse range in samples 1 48 000 sec 20 8usec from 127 to 127 Xcurs Crs and Xcurs Fin determine how far the LFO modulated delay taps can move from the center of their ranges The total range of the LFO sweep is twice the excursion If the excursion is set to 0 the LFO does not move and the tap behaves like a simple delay line set to the minimum delay The coarse range is 0 to 228 ms the range 0 to 5 ms is most effective for flanging The fine range adjusts the coarse range in samples from 127 to 127 Quantize This effect produces digital distortion known as quantization noise by limiting the number of bits available to the signal See effect 329 Aliaser DynamRange dynamic range controls how many bits to remove from the signal data words
627. ttack Portamento parameter below When applying portamento to multi sampled sounds Acoustic Guitar for example the PC3A will play more than one sample root as the pitch glides from the starting pitch to the ending pitch This may cause a small click at each sample root transition You can eliminate clicks by using the Mono Sample XFade parameter see below Portamento Rate The setting for Portamento rate determines how fast the current note glides from starting pitch to ending pitch The value of this parameter tells you how many seconds the note takes to glide one semitone toward the ending pitch At a setting of 12 keys second for example the pitch would glide an octave every second The list of values is nonlinear that is the increments get larger as you scroll to higher values Attack Portamento This parameter toggles between two types of portamento When set to On the PC3A remembers the starting pitch so you don t have to hold a note on to achieve portamento The pitch always glides to each new note from the previously triggered note When set to Off the pitch will glide to the most recently triggered note only when the previous note is still on in other words you must use legato fingering 6 36 Program Mode The OUTPUT Page Mono Sample XFade When applying portamento to multi sampled sounds Acoustic Guitar for example the PC3A will play more than one sample root as the pitch glides from the starting
628. tton to stop arpeggiation at any time 1NoteAuto is similar to Autohold except only the last note played is latched even if previously played notes are still being held 1NoteAuto is specifically designed for use with Shift Patterns see above because Shift Patterns are designed to be played from one note at a time though you can use 1NoteAuto without a Shift Pattern as well Using 1NoteAuto for zones that use a Shift Pattern ensures that Shift Patterns will sound correct by only allowing one note at a time to 7 50 Setup Mode The Ribbon Configuration RIBCFG Page trigger the pattern You can use the Panic soft button to stop arpeggiation at any time 1NoteAutoLow and 1NoteAutoHi are also designed for use with Shift Patterns They work similarly to 1NoteAuto except 1NoteAutoLow always latches the lowest note when holding multiple notes and 1NoteAutoHi always latches the highest note when holding multiple notes You can also use these latch types without a Shift Pattern if desired Low Key LoKey and High Key HiKey The Arpeggiator processes notes within the range of these parameters Notes outside the specified range play normally and do not become part of the arpeggiation sequence Set the LoKey and HiKey parameters using the data entry wheel or buttons Glissando When the Glissando parameter is On the Arpeggiator chromatically fills between latched notes When Glissando is on the Arpeggiator ignores the Shift Amount
629. ttons to the left of the display to choose the track to erase volume automation from You can view the selected track number in the upper right corner of the screen 5 Set the Events parameter to Controllers see below Eq Sonos RAL Function Erase To nin a EventeG fi Gil ori ollers SE ma ez Lollal 127 6 Setthe Controller parameter to Volume You can do this quickly by selecting the Controller field entering 7 on the alphanumeric pad and pressing Enter Make sure the LoVal parameter is set to 0 and the Hi parameter is set to 127 see below 15 13 Tutorial Song Mode Eq Sona FALE Function Erase ae aera Use the From and To parameters to set the range of time from which you want to remove your volume automation You can play the song and watch the Locate field to determine these times For this example let s say that we want to erase volume automation from bar 3 see below Ea b Sonos FALE Function Erase ers Controller Uolume Lolal Hi 5 127 Done 8 Press the Go soft button to delete the selected volume automation A screen will appear reading Erase Operation Completed Press the OK soft button to return to the EditSong TRACK page see below Soro Erase ho Completed 9 Once back on the EditSong TRACK page press the Play Pause button to hear the result Next press the Exit button twice to return to the Song mode MAIN page You will be
630. u are syncing to The difference from Stop is that if there is nothing playing to sync to the riff will not start This can be useful if you want to get your riff ready to sync before you start whatever you are syncing it to If the riff or song that you are syncing to is already running StopWait behaves just like Stop RelSynZn Release Sync Zone RelSynZn has the same settings available as SyncZone see SyncZone above but RelSynZn determines what the releasing stopping of the current riff will be synced to when a parameter other than None is selected for RelSynTyp see below RelSynTyp Release Sync Type RelSynTyp has the same settings available as SyncType see SyncType above but RelSynTyp determines how the releasing stopping of the current riff will be synced to other riffs arpeggiators and Songs depending on your settings made for the RelSynZn parameter With RelSynTyp set to None your riff will stop playing as soon as it is released It will not sync to anything With RelSynTyp set to DownBeat if there is already something playing to sync to the current riff will wait for the downbeat of the next measure before stopping when released so you can trigger the riff to stop ahead of time and have it stop in sync at the downbeat of the next measure If Syncing to an arpeggiator see Num Beats on page 7 53 for details on changing when an arpeggiator s downbeat will occur With RelSynTyp set to AnyBeat if there is already a s
631. u choose the other should be set to 0 None set each bus Output to Main and set the Aux Send parameter to either 0 dB or 100 Then set the Pre Post Insert parameter to Post To hear a program put through two effects in parallel i e through two distinct effects choose your desired effects for the Insert and either Aux again for whatever Aux you choose the other should be set to 0 None set each bus Output to Main and set the Aux Send parameter to either 0 dB or 50 Then set the Pre Post Insert parameter to Pre With respect to each other the Auxes are always in parallel that is they cannot be cascaded Type The Type parameter determines how the selected wet aux signal i e with effects applied is mixed into the final signal Additionally it determines the units in which the Aux Send parameter values are When Type is set to dB the Aux Send parameter values are in units of decibels dB The value specified in the Aux Send parameter is the amount of program signal sent to the aux effects chain To hear equal parts wet signal and dry signal the signal with no effects applied on the main audio output set the main Insert effect to 0 None and the Insert Output to Main and set the Aux 1 effect to your desired effect and the Aux 1 Output to Main Then set the Aux1 Send to OdB If you want only wet signal on the main audio output set the main Insert Output to Sec keep in mind that by this method the dry signal is sent
632. u want to use you can send it single PCHs from 0 to 127 to select programs within that memory bank The PC3A s response depends on the setting for the Bank Select parameter on the MIDI Mode RECV page If you want to change the memory bank the PC3A must receive either an MC 0 or 32 message with value 0 127 The next PCH in the range 0 127 will select the correspondingly numbered program in the newly selected bank The following table of examples should help make it clear Bank Change Program Change Result Command Received Command Received MC 0 or 32 value 0 PCH value 99 Program 99 Base1 bank 99th program MC 0 or 32 value 1 PCH value 41 Program 169 Base2 bank 41st program MC 0 or 32 value 1 PCH value 129 Program 258 Classic Keys bank 2nd program KB3 bank selected no change in current program bank ii None selection is pending for next PCH QAccess Using this setting is similar to using the Extended program change format but it goes one step further Incoming program change commands are interpreted just as they are in the normal Extended format But the resulting program change number instead of selecting a program selects a Quick Access bank entry you must be in Quick Access mode for this to work There are two advantages to using this format First it allows you to select both programs and setups using program change commands without having to switch between Program and Setup modes Second you can remap inco
633. ude arpeggiation and note triggered songs to create some pretty amazing grooves that you can use as is or as templates for your own material As you play with these setups experiment with the sliders and other controllers for a wide range of effects Some of these grooves keep playing after you ve released the keys that got them going When you want to stop them select another setup or press the Setup mode button or Stop for riffs Quick Access A really convenient way to select programs and setups is to use Quick Access mode where you select a Quick Access bank from a list of factory preset or user programmed banks Each bank contains ten memory slots or entries where you can store any combination of programs or setups While you re in Quick Access mode you can select any program or setup in the bank with buttons 0 through 9 or the cursor keys The PC3A comes with a few Quick Access banks already programmed so you can get an idea of how they work You ll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching Press the Quick Access mode button to the left of the display Its LED lights to tell you you re in Quick Access mode Startup Software Upgrades The top line of the display tells you which Quick Access bank is selected Use the Chan Layer buttons to the left of the display to scroll through the banks The names of each of the ten entries in the b
634. ues for the same received MIDI attack velocity Each map applies a different curve to received MIDI attack velocities and remaps them to new velocities before transmitting them to the USB or MIDI Out port this parameter has no effect on MIDI data sent from Song mode or to the PC3A s sound engine The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style See the diagram above for the other pages that affect the MIDI attack velocity before reaching the transmit Velmap The default map Linear allows MIDI velocities to pass unchanged Maps Light 1 3 make it increasingly easier to produce high MIDI velocity values for the same key strike velocity with Light 3 being the easiest so these maps may work better for users who play with a lighter touch Hard 1 3 make it increasingly harder to produce high MIDI velocity values for the same key strike velocity with Hard 3 being the hardest so these maps may work better for users who play with a harder touch Piano Touch simulates the general velocity response of an acoustic piano and is best suited for playing acoustic piano sounds Easy Touch is similar to the Light settings making high velocities easier to play but it allows more sensitive control over playing high velocities by not boosting the MIDI velocity for fast strike velocities as much as it does for medium strike velocities GM Receive mimics the v
635. uick Access Editor Enable disable effects or set Aux overrides for Program Mode ora program selected from Quick Access mode Define how your PC3A sends and receives MIDI information and configure each channel to receive independent program volume and pan messages that override the normal Program mode settings Define performance and control characteristics for the entire PC3A 3 1 User Interface Basics Bank Buttons Song mode Use the PC3A s sequencer to record and play back your keyboard performance play Type 0 and Type 1 MIDI sequences and record multi timbral sequences received via MIDI Storage mode Interface with the PC3A s USB storage or computer ports to load and save programs setups samples and more The PC3A s tone wheel organ emulation is called KB3 mode You automatically enter this mode when you select a KB3 program The KB3 Bank button takes you there directly Mode Buttons MODE rogram MIDI PI Mute 1 L oje 2 Setup Master Hi L 6 Q Access Song si ee Effect Storage FX O Compare When you press a mode button its LED lights up to indicate that the mode has been selected If pressing a mode button does not light its LED press the Exit button one or more times then try again Additional labeling for each mode button indicates special functions that relate to some of the PC3A s editors Bank Buttons The Bank buttons situated in the top left corner of the PC3A
636. ulated as a step value of 0 Use the chan up down buttons to change the direction in which pattern steps are played indicated by Up Down or Flat on the right of the top line With pattern direction set to Up the pattern plays as expected starting at step one and moving up through each step towards step 48 With pattern direction set to Down the pattern starts at step one but then moves to the last step and continues to move backwards through the steps down towards step 1 Additionally patterns set to Down base all notes after step one in the octave below the first note played These settings are most useful for arpeggiating chord patterns upwards or downwards from the root note Patterns set to Flat will not repeat in other octaves like those set to Up or Down depending on the Limit parameter Patterns set to Flat play without transposition the Limit parameter will not transpose the pattern but it can still restrict note range 7 48 Setup Mode The Ribbon Configuration RIBCFG Page Jor Rename Press Delete to delete the pattern from memory Press Rename to rename the pattern and save Pressing Save gives you the option to save the pattern or rename and save To create a new ShiftPatt edit an existing pattern and choose Rename when saving Press Exit to return to the ARPEGGIATOR page When exiting the editor it will automatically give you the option to save the pattern if changes have been made For more detailed instruct
637. ume Envelope control Hi EQ Layer volume for thumps and release FX control 1 FX distortion drive FX distortion warmth Reverb delay control I MIDI 28 3 3 User Interface Basics Program and Category Buttons Program and Category Buttons Use the Program and Category buttons in conjunction with the Bank buttons to select PC3A programs by Bank type and instrument category Each Bank contains 128 programs divided into 16 categories Each of the 16 categories contains 8 programs To select a program first press one of the Bank buttons above the sliders on the left side of the front panel to select a bank then press a Category button and a Program button The Category and Program buttons are on the front panel between the screen and the alpha wheel Note The instrument names above the Category buttons are relevant for Banks 1 and 2 Base 1 and Base 2 For all other Banks the Category buttons select a group of 8 programs to be selected by the Program buttons but the group of programs may not match the instrument name of the selected Category button PROGRAM CATEGORY Piano1 Piano2 EPiano1 EPiano2 Pop Ke Clavier Organ Brass J a J a Strings Voices Synths Pads d a a a Bass Drums Percussion Bi a a d Picking favorites When you select a program within a category your selection will be remembered For example choose program 3 in the Organ category press Category Organ then Prog
638. unctions are Erase Shift Copy Transpose Bounce Grab Insert Change Delete Remap Quantize For each function there is a set of parameters to control how the function operates and on what region of the selected track s As usual the top line of this page displays the selected track or tracks Select the available current track s for editing by using the Chan Layer buttons Press both of the Chan Layer buttons together to select All tracks Below is an example of the TRACK page for the Bounce function i i 1 1 18 To 1 1 Events All You will notice that the page is divided into two halves with the right half being a separate box This is called the Region Criteria box The parameters in this box are used to select the range of events from a start Bar and Beat to and end Bar and Beat for modification as well as which types of events function will affect Function From DUstTracks Mode x The parameters in this box will generally be the same for most functions For some functions however some parameters may not apply For example Quantize and Transpose apply only to notes while Remap applies only to Controllers In addition to the Region Criteria box parameters the Locate parameter is also found on each function 12 21 Song Mode and the Song Editor Song Editor The TRACK Page Since these parameters are common to most Track functions we will define them first Then we ll
639. ups with a KB3 program you can program a switch to toggle back and forth between having the Bank buttons control KB3 effects and having the Bank buttons Mute Zones Pick a switch say SW which is right next to the Arp button Choose a zone and go to the SWITCH page or corresponding editor page for whatever switch you choose Set the switch Type to Toggled OnControl to KB3Mutes enter 169 or scroll to the end of the Controller List OnValue to 127 OffControl to KB3Mutes and OffValue to 0 The SW switch will now toggle the Bank button functions for the Setup Arpeggiator Global ArpGlobal With the ArpGlobal parameter you can set the Arpeggiator of a single Zone to play notes on all Zones in the Setup For example if ArpGlobal is set to Arp 3 all zones will be played by the arpeggiator in in Zone 3 if the arpeggiator in Zone 3 is active In addition to OFF there are as many ArpGlobal settings as there are Zones in the current setup For example in a seven zone setup you can select a value of OFF or Arp 1 7 for ArpGlobal To exclude a Zone from being played by the global arpeggiator set the Arpeggiator parameter to Off on the CH PROG page for that Zone see Arpeggiator on page 7 8 for details For details on the arpeggiator for each Zone see The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages on page 7 42 7 66 Setup Mode The Programmable Switch Pages SWPRG1 to SWPRG8 TRIGGER KEYS KEYTRG The TRIGGER KEYS
640. ures and specifications are subject to change without notice You may legally print up to two 2 copies of this document for personal use Commercial use of any copies of this document is prohibited Young Chang Co retains ownership of all intellectual property represented by this document Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative US Customers American Music amp Sound 22020 Clarendon Street Suite 305 Woodland Hills CA 91367 Tel 800 431 2609 Fax 818 597 0411 Email info americanmusicandsound com www kurzweil com support kurzweil com Customers outside the US Young Chang Co LTD 9th Floor Bldg 102 I Park Jeongja Dong Bundang Gu Seongnam Si Gyeonggi Do 463 859 South Korea Tel 82 31 786 7900 www twitter com KurzweilMusic WWW f www facebook com kurzweilmusicsystems www youtube com user Kurzweil Tutorials Table of Contents Kurzweil International Contacts iv Chapter 1 Introduction Keeping CUTr r sisenenud 1 2 A RAR OR VR 1 2 VAGTSWINEG E lie ri pria 1 3 KB3 Tone Wheel Emo lla 1 3 VA LETOS TAIS RR mene ene ee nee ene Tee Tene Tm nnE are eee ene Te en anne rene 1 3 HowtoUseThisMandal lilla 1 4 Do I Have Everything 1 4 Boot TT lee 1 4 Eluana 1 4 2 0 0141 in 1 5 Sound ROM Expansion Card _ n 1 5 bela 1 5 Ribbon Controll t o lla ii 1 5 B eath Controller ci ioni 1 5 USB S
641. ushes Kit 682 Rawhide Kit 713 Turntablism Kit 652 HipgigJunior Kit 683 Shrugie Kit 714 Studio3and4 653 Cocktail Kit 684 Big Dog Kit 715 RadioKings 654 BeatBoxBrush Kit 685 Sweeper Kit 716 ResonntTraps 655 Jinglehop Kit 686 Gravel Dump Kit 717 AmbientRock 656 Tiny Bopper Kit 687 Mudflap Kit 718 Coliseum Kit 657 Move nAir Kit 688 Mud Slinger Kit 719 RipperKit 658 Ali s Punch Kit 689 Shrug s Bros Kit 720 TripTrash 659 Rock Trance Kit 690 Wet Sponge Kit 721 Beatbox 660 Ringling Pop Kit 691 Succotash Kit 722 SumpKitMWSus 661 Marley Kit 692 Backsweep Kit 723 ElectroKitMW D 8 PC3A Objects V 2 3 Programs ID Program ID Program ID Program 724 Paper Tom 778 Poly Sweep 2 809 8 Diapason 725 Boinker 779 Scat Vocals 810 8 Ped Bourdon 726 GlubFlangeKit 780 Scat Choir 811 8 Reed 727 DryFattyKit 781 FMSgareBell 812 8 Gamba 728 Drums w Bass 1 782 Toot Lead 813 8 DiaCeleste 729 RMI ElecKit 783 WetToot 814 8 Ballpark Stop 730 GateClapDrmLE 784 LegatoBrassyLead 815 8 Viol 731 Dub Kit 785 Treble FM Lead 816 51 3 Ped Bourd 732 Rock Room Drums 786 Delicate FM Lead 817 4 Open Flute 733 ResNoise Kit 787 Micromoog Plus 818 4 Stop Flute 734 144ms Gated Kit
642. vb 14 744 Blackestfriday 799 Synth Shimmer 705 Small Hall11 745 Flange 4 801 PhaseDly1 706 PnoRvb21 750 Good Leslie1 802 Shredlead1 707 Empty Stage 11 754 Good Leslie4 803 ThinphaseSweep 708 Mutron 2 756 Good Leslie 6 804 EnvComp41 711 PlainComp12 757 WhitrShadeLeslie 805 MoogBASSComp11 713 CDR Synth 758 Inagadadavita 806 SynFatener amp Ech4 714 SynthFlangenDely 799 GoodLordLeslie 807 Shredlead15 715 QuantzEnhanceSyn 760 Small HallComp1 808 PlainComp21 716 BladerunnrRvb 762 GoodLeslie 5 809 Garth D 23 PC3A Objects V 2 3 Effect Chains Chain 810 BassFleaCompMu 811 Chr amp Echo 2 812 BasicCDR2 813 ShaperFuzzLead 2 814 AM Big Band 815 Clunker20 816 PadFX3 817 SynFatener amp Ech5 818 MarleyClav1 819 Flange Echo 4 820 Deep Fuzz Clav 3 821 GetBack1 822 Deep Fuzz Clav 5 823 ChrsDly4 824 Leslie Basic 825 MoogBASSComp5 827 EPChr1 Dyno 828 Synphase17 829 Leslie Comp 1 830 PhaseDly 104 831 GoodLeslie 52 832 CPChrRvb1 833 DistLeslie Basic 834 CompKit111 835 CarlosSyn 836 MaroonSynbass 838 FloydEP1 839 PnoCmpSndBoard 1 840 SuperTrmpPhase 841 Wurly 1 842 ShortPlate4EPs 843 ShortPlate4EPs2 844 Aux Dark Room 2 845 846 847 848 849 850 851 853 854 855 856 857 858 859 860 862 864 865 866 867 868 869 871 872 873 874 875 876 877 878 879 880 881 Chain Elton1 Aux Chamber BowiePnol BluesPnoCmpRvb 1 New Gtr 31 Soundboard 3 OmniStage MedPlateJaz
643. velocities will affect the LP Frq parameter A velocity of 127 will cause the filter s cut off frequency to move up 10800 cents from its initial value a velocity of 0 will have no effect on the cut off frequency and values in between will increase the cut off frequency by a scaling between 0 and 10800 cents Overall this will cause higher played velocities to increase the cut off frequency making the oscillator sound brighter and lower velocities to lower the cut off frequency making the oscillator sound duller This method can be used to control any DSP function that is loaded into an algorithm See Common DSP Control Parameters in Algorithm Basics on page 6 23 for other control parameters available on the DSPCTL page Alternatively you could assign cut off frequency to be controlled by any continuous controller such as the Mod Wheel Start again with the unedited patch 1019 VA1NakedPWMPoly Follow the same steps as above but instead of changing any parameters on the DSPCTL page press the DSPMOD soft button to reach the DSP Modulation page On the left side of the screen choose the parameter for LP Frq and then press the right cursor button to reach the LP Frq sub page On this sub page you can assign any continuous controller to control the cut off frequency of the LOPASS function or the main parameter for any function loaded in the current algorithm Select the Src1 parameter hold the Enter button and move the Mod Wheel to quickly select
644. verview Enhancers Enhancers modify the spectral content of the input signal by boosting existing spectral content or stimulating new ones Two and three band versions are provided Drive adjusts the input into each band Increasing the drive will increase the effects Range is 79 0 to 24 0 dB Xfer adjusts the intensity of the transfer curves Range is 100 to 100 EQ Morpher This effect uses two four band bandpass filters A and B and moves between them This can produce very convincing human vocal type sounds FreqScale offsets the filter frequencies for each set of filters After setting the filter parameters Freq Gain and Width the FreqScale parameters will move each of the four filter frequencies together by the same relative pitch Range is 8600 to 8600 cents Morph A gt B When set to 0 the A parameters are controlling the filters and when set to 100 the B parameters control the filters Between 0 and 100 the filters are at interpolated positions When morphing from A to B settings the A filter 1 will change to the B filter 1 A filter 2 moves to B filter 2 and so on Range is 0 to 100 Compressors Expanders and Gates A wide range of Compression and Expansion effects is available in the PC3A The various effects include different combinations of e compressors with soft knee characteristic the compression action comes in gradually as the signal level approaches the threshold e compresso
645. will receive MIDI information and the settings of the parameters on the MIDI CHANNELS page will be in effect When off the channel will ignore all MIDI information Program Use this parameter to assign a program to the currently selected channel The channel will still respond to program change commands received via MIDI unless the PrgLock parameter described below is set to On 10 14 MIDI Mode Program Change Formats Pan This offsets the pan position of the current program as set on the OUTPUT page in the Program Editor A value of 0 is maximum offset to the left 64 is no offset and 127 is maximum offset to the right Changing the value of this parameter is like inserting a MIDI pan message MIDI Pan MIDI 10 messages will change the value of this parameter unless the PanLock parameter described below is set to On If the Mode parameter on the OUTPUT page in the Program Editor is set to Fixed changing the value of Pan on the CHANNELS page in MIDI mode has no effect Volume This sets the volume for any program assigned to the currently selected channel A value of 0 is silence and a value of 127 is full volume The value of this parameter will change in response to MIDI Volume MIDI 07 messages unless the VolLock parameter described below is set to On Program Lock Pan Lock Volume Lock When the parameter locks are set to On the three parameters they control do not respond to their respective MIDI
646. will be prompted to choose a directory to save into and then you will be prompted to name the file USB devices come formatted and ready to use with the PC3A If you ever need to format a device however you can use any computer with USB device formatting capability or format it using the PC3A To format a USB device with the PC3A plug the USB device into the PC3A s USB Storage port then press the Storage button to enter Storage mode Press the soft button labeled Format The PC3A will ask you if you want to format Press the OK soft button to format the device or the Cancel soft button to return to the Storage mode main page Caution Formatting will erase all files on the USB device make sure anything that you wish to save is backed up on another device 13 15 Keymap and Sample Editing The Keymap Editor Chapter 14 Keymap and Sample Editing The Keymap Editor The Keymap Editor lets you customize the PC3A s factory preset keymaps and save them to RAM You can also build your own keymaps from scratch see Building a Keymap on page 14 7 Keymaps are an integral part of every layer of a program Each keymap contains a set of parameters determining which sample s the PC3A will play when you trigger a note Each layer has at least one keymap but it can have two keymaps when you re working with stereo samples Each of these stereo keymaps uses two of the 128 available voices Each keymap consists of a set of key note
647. will play back without transposition that is at the same pitch as the pitch of the original sample Use the buttons or Alpha Wheel to select a RootKey note or use the alphanumeric pad followed by the Enter button to enter a RootKey by MIDI note number Pitch Adjust Use this parameter to change the pitch of the sample relative to the key from which it s played Setting a value of 100cts for example will cause the sample to play back one semitone higher than normal This parameter is handy for fine tuning samples to each other if they re slightly out of tune Volume Adjust Uniformly boost or cut the amplitude of the entire sample Alternative Start Volume Adjust AltVolAdjust This parameter sets the amplitude of the sample when the alternative start is used See page 6 16 for a discussion of AltSwitch Decay Rate This parameter defines how long the sample takes to decay fade to zero amplitude silence Decay Rate affects each sample individually and is in effect only when the amplitude envelope for the program the Mode parameter on the AMPENV page in the Program Editor is set to Natural If Mode is User the settings on the AMPENV page override the setting for DecayRate DecayRate takes effect in the loop portion of the sample after all the attack stages of the amplitude envelope are complete 14 10 Keymap and Sample Editing The Keymap Editor Release Rate The release rate determines how long the sam
648. ws the keymap assigned to each layer for KB3 programs the info box shows the keymap used for the upper tone wheels The line beneath the name of the keymap indicates the keyboard range of that layer In the diagram above for example there s one layer that extends from C 0 to C 8 the default range The representation of these layer ranges is approximate they re intended to let you know if you have a layered keyboard lines overlapping or a split keyboard lines not overlapping Stereo keymap layers are indicated in the info box with a double circle symbol The info box can display up to four layers at a time If the current program has more than four layers you can view their keymaps by pressing and holding down the Enter button and scrolling with the Chan Layer buttons Note For VAST layers using KVA oscillators the info box may or may not show the name of the oscillator being used See Advanced Use Of KVA Oscillators on page 6 55 for more details The info box can also be set to show the assignment and current MIDI CC value for the last moved controller see Display on page 11 3 for details Controllers Assignments For Factory ROM Programs Many of the programs included with the PC3A factory ROM programs can be controlled by using the PC3A s physical controllers sliders wheels switches pedals etc Press the Info soft button to see all of the controller assignments of the current program Here is a list of controllers and the
649. x of both lines and 100 maximum turns off line 1 L Diff Dly and R Diff Dly adjusts the delay lengths of the diffusers Range is 0 to 100 ms Diff Amt adjusts the diffuser intensity Range is 0 to 100 C Fdbk n Dly adjusts the delay length of the C channel s nth feedback tap fed back to the C channel s delay input Range is 0 to 2600 ms 9 14 Effects and Effect Mode Effects Overview Spectral Multitap Delays These 4 and 6 tap delays have their feedback and output taps modified with shapers and filters In the feedback path of each tap are a diffuser hipass filter lopass filter and imager Each delay tap has a shaper comb filter and balance and level controls Fdbk Image sets the amount that the stereo image is shifted each time it passes through the feedback line Range is 100 to 100 Tap n Shapr adjusts the intensity of the shaper at each output tap Range is 0 10 to 6 00 x Tap n Pitch adjusts the frequency of the comb filter at each output tap Range is C 1 to C8 in semitones Tap n PtAmt adjusts the intensity of the comb filter at each output tap Range is 0 to 100 Gated Ducking Delay This runs the last thing you played through a looping delay but only outputs the delay signal when you aren t playing Gated Ducking Delay is great for that announcer sound sound sound so popularin Monster Truck radio spots DegenRegen This one s a big looping delay with lots of gain distortion and filtering
650. xample track 2 HHIH Events tase STOPPED CurSn4s MY Sond TemPo 166 H RecTrRE ol 12r Fan 64 Mode Herse Frog ano Stack Locat 1 DO Track F E ati i Tose i re 2 Setthe instrument sound for the current track Use the cursor buttons to navigate to the Prog field and choose a program with the plus minus buttons alpha wheel or by entering the desired program number with the alphanumeric pad This sets the instrument sound for the current track For example choose program 105 P Bass to make the next track contain the bass part for this song see below This would be useful to play a bass part that matches the root notes of your left hand piano part from track 1 cona TAI pf events Tease STUFFED CurSna 1925 MY Sond TemPo 1606 H RecTrk z x Hode Merde Prog Locat 1 il Track P Poe ee eee ee eee ee Ss m more BIG Lost save Tore a 3 Follow the same steps in Part 3 above starting on step 2 to start and stop recording and review save or discard your performance When saving the song with your new tracks recorded press the Save soft button on the SongMode save as page in order to replace the currently saved song with your new version 4 Repeat the steps above with different track and program numbers to add additional instrument parts to your song 15 7 Tutorial Song Mode Part 5 Fixing Mistakes For each track in Song mode you can fix mistakes in your performance without re reco
651. y affect every note in every layer of the current program not just the one to which they re applied When these control sources are global they begin operating as soon as the program is selected When Globals are on LFO2 ASR2 and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they re global You ll use global control sources when you want to affect each note in a given layer uniformly and local control sources when you want to affect each layer s note independently Lower Transpose Upper Transpose These two parameters let you transpose the upper and or lower tone wheels in semitone steps away from their default tunings 6 60 Program Mode KB3 Editor The Drawbars DRAWBR Page KB3 Editor The Drawbars DRAWBR Page Mode Steps Press the Drawbr soft button to view the DRAWBR Page This page lets you edit KB3 s drawbars When you set Mode to Preset the preset drawbar settings on this page will be installed at program selection The drawbar values will immediately change however as soon as you move the corresponding drawbar Set Mode to Live if you want the drawbar volume settings at program selection to be determined by the positions of the drawbar controllers sliders With either setting any engagements of the drawbar controllers subsequent to program selection will affect drawbar volumes This parameter lets you specify the increments by which drawbar volum
652. y for KB3 programs The PC3A uses one voice of polyphony for every two tone wheels in a KB3 program In the Voices utility the voices used by the tone wheels appear as solid rectangular block meaning that the voices are used for the KB3 program They don t get reallocated at any time since they re always on even if you re not playing any notes Any voices not dedicated to a KB3 program behave normally So ifyou have a setup that contains a KB3 program in one zone and VAST programs in one or more other zones you can monitor the voice allocation of the non KB3 voices in the section of the display that isn t constantly filled with solid rectangular blocks CPU usage is displayed in percent on the bottom of the page which reflects how much of the PC3A s total available CPU power is being used from moment to moment Generally having more voices complex Programs and effects in use at once will result in higher CPU usage 11 16 Master Mode Reset CLOCK Pressing the CLOCK soft button allows you to view the PC3A s System Clock see below When objects are saved they are time stamped with the date and time of this clock This time stamp can be seen in the file properties when viewing the files with a computer 17 42 03 Jan 22 2009 hhii Le pie Chrono Set Cancel The Format soft button changes the view format of the date on this page The Set soft button brings you to the Set clock page where you can set the system cloc
653. y other layer Any of the 32 layers of a program can go into any other layer When you re ready to jump in and start creating programs turn to Chapter 6 KB3 Tone Wheel Emulation In addition to VAST synthesis the PC3A offers many oscillator based programs that give you the classic sound of tone wheel organs like the Hammond B3 KB3 mode as we call it is completely independent of VAST and has its own set of editing procedures Nine dedicated sliders on the PC3A s front panel give you real time drawbar control over these organ sounds Buttons above the sliders control rotating speaker speed percussion and other organ features The quickest way to get to the KB3 programs is by pressing the KB3 button above the sliders to the left of the screen The blue LED in the KB3 button will light when the current program is a KB3 program VA 1 Programs The VA 1 Virtual Analog Synthesizer programs included with the PC3A offer realistic emulations of classic analog synthesizers built from Kurzweil s unique anti aliased DSP generated oscillators The PC3A s power shaped oscillators let you transition smoothly from one waveform into another in real time without using cross fades VA 1 programs are scattered throughout the PC3A Look for them in the Synth Category and the Classic Keys Bank You ll see KVA Oscillator appear in the Keymap screen on the left hand side of the display Introduction How to Use This Manual This
654. y other note in the pattern in any octave With a slider you have to go through all the intermediate notes of the pattern A way of partially doing this with sliders is to assign the Shift Key Number controller to several sliders with different ranges See The Ribbon Configuration RIBCFG Page on page 7 40 for details on Ribbon options and Scale and Add on page 7 29 for details on changing controller ranges Shift Key Number ShKeyNum controller destination 176 works in a similar way to Key Number KeyNum controller destination 134 Both controllers basically generate a monophonic stream of notes The difference is that Key Number plays through all notes chromatically while Shift Key Number only plays notes relative to a Shift Pattern For example when controlling Shift Key Number from a slider notes are triggered from a Shift Pattern in forwards order as you move the slider up and backwards order as you move the slider down If in our zone we have selected the Shift Pattern 2 minor the notes being played by the slider will be only the root the minor third and fifth in the chosen key triggering notes in any octave up and down the keyboard See Shift Key below for details on selecting the root note and octave Selecting The Desired Notes You must select a Shift Pattern for the desired zone in order for Shift Key Number to have an effect To select a Shift Pattern for the current zone in a setup enter the setup editor and go to the
655. y running DownBeatWait behaves just like DownBeat With SyncType set to AnyBeatWait the riff will wait for the next beat to start The difference from AnyBeat is that if there is nothing playing to sync to this riff will not start This can be useful if you want to start multiple riffs synced to one riff You could have a bass riff set to AnyBeatWait for instance and trigger the riff while no other riffs are running As soon as you start another riff the bass riff will start playing as well provided that it is set to sync to another riff or the first available If something is already playing to sync to AnyBeatWait behaves just like AnyBeat 7 60 Setup Mode The Ribbon Configuration RIBCFG Page With SyncType set to Loop if there is already a riff or song playing to sync to the current riff will wait for the playing riff or song to restart its loop if it is looped before starting see Loop on page 7 59 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the riff to start ahead of time and have it start in sync at the start of the playing riff or song s loop With SyncType set to Stop if there is already something playing to sync to the current riff will wait for what is playing to stop before starting This way you can trigger the riff to start ahead of time and have it start in sync at the release stopping of the riff arpeggiator or song that you are syncing to With SyncType set
656. yet still hear the entire length of the attack and decay sections of the amplitude envelope Hold Through Attack ThrAtt When on this parameter causes all notes in the layer to sustain through the entire first attack segment of their amplitude envelopes even if the notes have been released If you have a sound with a slow attack or an attack that s delayed with the delay control setting this parameter to On will make sure your notes reach full amplitude even if you re playing fast When set to Off notes will release as soon as you release the note generate a Note Off If the first attack segment of the layer s amplitude envelope is very short you probably won t notice a difference between values of On and Off 6 20 Program Mode The AMP Page Hold Until Decay TilDec When on this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released Looped amplitude envelopes will not loop however if the notes are released before reaching the end of the final attack segment Notes will go into their normal releases if they are released after the envelope has looped When set to Off notes will release as soon as a Note Off message is generated The PITCH Page Pressing the PITCH soft button takes you to the DSPCTL page with the Pitch function highlighted See The DSP Control DSPCTL Page on page 6 29 for more information on the Pitch
657. yncType set to DownBeatWait if there is something playing to sync to the arpeggiator will wait for the downbeat of the next measure to start The difference from DownBeat is that if there is nothing to sync to the arpeggiator will not start This can be useful if you want to start multiple arpeggiators synced to something else For example you could have a bass arpeggiator set to DownBeatWait for instance and trigger the arpeggiator while no other arpeggiators are running As soon as you start something else to sync to the bass arpeggiator will start playing as well provided that it is set to sync to something else or the first available If something to sync to is already running DownBeatWait behaves just like DownBeat With SyncType set to AnyBeatWait if there is something playing to sync to the arpeggiator will wait for the next beat to start The difference from AnyBeat is that if there is nothing to sync to this arpeggiator will not start This can be useful if you want to start multiple arpeggiators synced to something else You could have a bass arpeggiator set to AnyBeatWait for instance and trigger the arpeggiator while no other arpeggiators are running As soon as you start something to sync to the bass arpeggiator will start playing as well provided that it is set to syne to something else or the first available If another arpeggiator is already running AnyBeatWait behaves just like AnyBeat With SyncType set to Loop if ther
658. ype parameter allows you to choose how your riff will sync to other riffs arpeggiators and Songs depending on your settings made for the SyncZone parameter With SyncType set to None your riff will start playing as soon as it is triggered It will not sync to anything With SyncType set to DownBeat if there is already something playing to sync to the current riff will wait for the downbeat of the next measure before starting so you can trigger the riff to start ahead of time and have it start in sync at the downbeat of the next measure If Syncing to an arpeggiator see Num Beats on page 7 53 for details on changing when an arpeggiator s downbeat will occur With SyncType set to AnyBeat if there is already a something playing to sync to the riff will wait only until the next beat Depending on when you trigger the riff it will sync up but it may be on an upbeat or a downbeat With SyncType set to DownBeatWait the riff will wait for the downbeat of the next measure to start The difference from DownBeat is that if there is nothing playing to sync to the riff will not start This can be useful if you want to start multiple riffs synced to one riff You could have a bass riff set to DownBeatWait for instance and trigger the riff while no other riffs are running As soon as you start another riff the bass riff will start playing as well provided that it is set to sync to another riff or to the first available riff If another riff is alread
659. zone for the program NYC Kits has a riff If there are more than four zones in the current setup you can view the other zones by holding down the Enter button and using the Chan Layer buttons to scroll through the current setup s zones You can transpose the entire setup up or down by octaves with the two Octav soft buttons Use the two Xpose soft buttons to transpose the setup up or down by half steps When you transpose a setup the split points between zones remain in place each program is transposed within its respective zone The Panic soft button sends All Notes Off and Reset All Controllers messages to all zones and stops all arpeggiators and riffs 7 1 Setup Mode Press the Info soft button to see a list of all of the controller assignments for all zones of the current setup On the Info page use the Alpha Wheel cursor buttons or buttons to scroll through the list When you select a setup in Setup mode the PC3A sends a number of MIDI messages on each of the MIDI channels used by the setup Some of these include Program Change commands MIDI Bank Select messages Pan and Volume messages and entry values for physical controllers entry values are the values that take effect as soon as you select the setup there are also controller exit values which are the values of the controllers when you leave the setup either by selecting another setup or by exiting Setup mode The values of all these messages depe

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