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1. Chain Chain Chain 214 Live Room 275 gshot vrb 337 Hot Leslie 122e 215 String Chamber 276 deep partl 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 122g 220 kickemp3 301 GimmeSomeLeslie 343 Hot Leslie 122h 223 kickcmp4 302 DF OrganRoom 344 TapChorus Leslie 224 snarcmp4 303 GimmeSomeLesl 345 SlowPhasedLeslie 226 kickcmp5 304 GimmeSomeL esl2 363 Nonkb3 A 229 Bright Hat Room 310 AcceleratorLes 2 364 Warm Leslie12 230 BrightFlange 312 ExpressLeslie 365 WarmDistlLes1dw 233 snarshaper6 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 L
2. 25 The Comfy Club alg 9 Diffuse Verb 3U 26 Spitty Drum Room alg 7 TQ Verb 3U 27 Stall One alg 7 TQ Verb 3U 28 Green Room alg 7 TQ Verb 3U 29 Tabla Room alg 12 Panaural Room 3U 30 Large Room alg 7 TQ Verb 3U 31 Platey Room alg 14 Grand Plate 3U 32 Bathroom alg 5 Classic Verb 2U 33 Drum Room alg 12 Panaural Room 3U 34 Small Dark Room alg 12 Panaural Room 3U 35 Real Room alg 5 Classic Verb 2U 36 Brt Empty Room alg 7 TO Verb 3U J37 MedLargeRoom lalg12PanauralRoom 3U 38 Bigger Perc Room alg 7 TO 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 TO Verb 3U 46 ClassicalChamber alg 7 TO 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 Mini Verb 1U 58 Ballroom alg 1 MiniVerb 1U 59 Spacious Hall alg 5 Classic Verb 2U D 12 PC3K Objects V 1 31 Effect Presets with Algorithms
3. 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 Dynamics DYNAMICS 330 HKCompressor 3 1 alg 330 HardKneeCompress 1U 331 HKCompressor 5 1 alg 330 HardKneeCompress 1U 332 SK FB Comprs 6 1 alg 331 SoftKneeCompress 1U 333 SKCompressor 9 1 alg 331 SoftKneeCompress 1U 334 SKCompressr 12 1 alg 331 SoftKneeCompress 1U 336 Compress w SC EQ alg 332 Compress w SC EQ 2U 337 Compress Expand alg 341 Compress Expand 2U 338 Comprs Expnd EQ alg 342 Comp Exp EQ 3U 339 Expander alg 340 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 D 21 PC3K Objects V 1 31 Effe
4. 60 Classic Chapel alg 5 Classic Verb 2U 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 3U 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 D 13 PC3K Objects V 1 31 Effect Presets with Algorithms
5. 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 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 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 MiniVerb 2U 109 Gate Plate alg 3 Gated MiniVerb 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 OmniPl
6. 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 Sustain 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 37 Setup Mode The Arpeggiator Switch ARP SW Page The Arpeggiator Switch ARP SW Page The PC3K keyboard offers two Panel switches located above the pitch and mod wheels The left switch is the Arp short for arpeggiator button By default the Arp switch functions as the arpeggiator switch and toggles on and off the PC3K arpeggiator but you can assign this switch to any Controller See The ARPEGGIATOR Page on page 7 43 for information on how to configure the PC3K s arpeggiator The ARP SW page parameters are described in Switch Controller Parameters on page 7 31 Ores Tupe EEC cry state Ontontrol HePUn ExilState Ornialue 127 OffControl ArFoff OffUalue more ARP SH None Off SWITCH JRIBEON JRIECFG more 3 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 Non
7. PC3K Objects V 1 31 Setups ID SETUP ID SETUP 94 Mwhl Blips ARP 125 Hazel Jam 95 Mwheel DJ Arp 126 Internal Voices 96 Margarita Split 127 Clear Setup 97 Constant Gardener 128 Default Setup 98 Run Rago Run 129 Get Berni 99 Bionic Rock 100 Pea Soup 101 Walking Arps 102 Eminence in C 103 Vampire Nightclub 104 Kurz Jacinto 105 Music Bed 106 Octavia 107 Rosin Rhythm 108 Insanity 109 Bells 110 LowChunkerGroove 111 Hold Sum Notes 112 Reich Piano 113 AnaBouncer 114 The Factory 115 FattyFatFat 116 Brass Bouncer 117 Electric Dancer 118 Treso Pulser 119 Mellow Tripper 120 SpacePulser 121 Mood Arp C2 122 Strum Thurmond 123 Drum n Bassr 124 funk setup D 10 PC3K Objects V 1 31 Effect Presets with Algorithms Effect Presets with Algorithms How to Use These Tables Each effect preset in the PC3K is based on an effect algorithm from the Kurzweil KSP8 effects processor To make the fullest use of the PC3K s effects you will need to download a copy of the KSP8 Algorithm Reference from the Kurzweil Music Systems website This book provides extensive detail on all effects parameters For ease of use the algorithms are indexed and linked by name and number For example to find information on the available parameters for PC3K effects preset 1 Small Wood Booth first refer to t
8. etereo UNENHEELS UPPerTonewheelKe4maFP PASS SER se alttur UpPPerUolAdiuzt Ade oyersPoze i E HumTonebhee 1s a UPpersPose s UST Ordanhar Equal Junk WheelUolMaP i IFAHEF SetIEF FITCH more 4 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 Upper 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 60 Program Mode 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
9. 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 C 4 PC3K Objects V 1 31 Programs Appendix D PC3K Objects V 1 31 Programs Press the Info soft button for controller information ID Program ID Program ID Program 1 Standard Grand 27 Supertramp Wurly 53 Lord s B3 Mwheel 2 Studio Grand 28 FlydDarkside Wah 54 Ole Time Gospel 3 RubensteinSWComp 29 What d I SayWrly 55 FooledAgnVox 4 Horowitz Grand 30 DeepFuzz Wurly 56 Boston Screamer 5 NYC Jazz Grand 31 No Quarter Pnt 57 Power Pop Horns 6 Pop Power Piano 32 Misty Mountain EP 58 Sax Trumpet Sctn 7 ColdPliano 33 UK Pop CP70 59 BigBand AMradio 8 Grand Evans 34 AcidJazzVelFlute 60 MeanSalsaSection 9 Blues Piano 1974 35 TimbaSynth 61 R amp B Funk Section 10 Rock Piano 1974 36 Blue PVC Tubes 62 Bassie Orchestra 11 Lola Piano 37 SimpleHipHopLead 63 P Funk Horns 12 TakeMeToThePilot 38 Stereo TouchKoto 64 70s Stones Horns 13 Deb s Ghost Pno 39 Modwheel DJ 65 Big LA Strings 14 Ken Brns Uprigt 40 Retro Sparkle 66 DarkNYCStudio 15 SMiLE RkyRaccoon 41 RealSupasticious 67 Pop Tripper Str 16 Piano amp String 42 Joe s Clav 68 LoFi Studio Str 17 Beaten in Rhds 43 Rufus Marley WAH 69 Vienna Octaves 18 Stevie
10. The Keymap Editor Chapter 14 Keymap and Sample Editing The Keymap Editor The Keymap Editor lets you customize the PC3K s factory preset keymaps and save them to RAM You can also build your own keymaps from scratch see Building a Keymap on page 14 7 Keymaps are an integral part of every layer of a program Each keymap contains a set of parameters determining which sample s the PC3K will play when you trigger a note 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 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 PC3K 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 tha
11. 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 155 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 A common 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 described 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
12. 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 between 0 and 127 The K2000 K2500 and K2600 support o
13. Riffs With SyncType set to AnyBeatWait the riff will wait for the next beat to start The difference from AnyBeat is that if there is nothing playing to sync to this riff will not start This can be useful if you want to start multiple riffs synced to one riff You could have a bass riff set to AnyBeatWait for instance and trigger the riff while no other riffs are running 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 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 62 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 to StartWait if there is nothing playing to sync to the current riff will wait for something it can sync t
14. Storage Mode Directories Depending on your computer s operating system you may sometimes see a scary device removal warning on your desktop after using the PC3K virtual drive You may disregard sucha message without worries of damage to your PC3K or computer AN Caution Do not remove a USB device while the display says Loading or Saving Removing a USB DN device during a file transfer can cause data corruption Formatting a USB Device See Format on page 13 12 Directories Path A directory lets you group files together as you might separate documents using folders in a file cabinet You can create directories on a USB device You can even create subdirectories within directories Directories appear in the normal file list with the indicator lt dir gt to the right of the directory name Directories are handy for organizing your song and program files The PC3K provides many operations for setting up and managing directories and the files within them The Path field shows the current directory on the current device This field is displayed upon returning to the Storage mode page after you have pressed one of the Storage mode soft buttons and viewed the file contents It stays visible on the Storage mode page until you power down or do a soft reset The PC3K always starts at the root top level directory when you power it up or when you change the value of the CurrentDisk parameter When you use the disk functions to vie
15. The PC3K 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 PC3K Unless you are sure it needs to be changed you shouldn t adjust this When you ve connected the cable at the PC3K end as you face the back of the PC3K 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 F Soma L FASTACTING ANALOG OUTPUTS POWER D 220 240V F 250mA L FAST ACTING Et AUX __ MAIN __ HEADPHONES Left Right Left Right NM mono nu 220 240 250nA EN YAN VAN YAN VAN E 50 60 He E Connecting Audio Cables Analog After you ve turned down the level on your sound system connect the PC3K s analog audio outputs 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 PC3K 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 you
16. multiple programs can have their Insert Effects loaded simultaneously The Aux Effects are global and there can be only one set Aux 1 and Aux 2 loaded at a time In Program mode the Aux Effects come from the program loaded on the current selected channel In Song and Setup modes there is an option to select the track or zone whose program specifies the Aux Effects Alternatively the Aux Effects can be set directly on the AUXFX1 and AUXFX2 pages in Song or Setup mode or by using the Effect button in Program mode The following figure shows the signal paths for a multitimbral setup or song Insert Chain 7 a t ost 1 EA Lal n DI ie 4 Output O O Processor Power Allocation Each Effect Chain is composed of an effect box or a series of effect boxes Each effect box uses a certain amount of the PC3K s effects processing power The amount of processing power used by an effect box or Chain reflects how complex the effect s algorithm is more complex effects require more processing power Accordingly each Chain and effect box uses a certain number of DSP units you can have up to 16 DSP units used at a time In Program mode the programs loaded on each of the 16 MIDI channels are normally considered active so effects are loaded for as many as is possible In addition to a pair of Aux Effects whether they are the program s or the overrides in Effects mode more on this later the Insert E
17. Effects Chorus 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 Atk Attack Time is the time for the gate to ramp from closed to open reverse if Ducking is on after the signal rises above threshold adjustable from 0 0 to 228 0 ms Rel ease 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 Chorus 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 h
18. 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 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 PC3K keyboard or via MIDI and outputs a rhythmic pattern of MIDI notes You can control the speed and nature of the pattern in real time Each Arpeggiator can affect both the PC3K and external MIDI instruments 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 PC3K 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 to 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 o
19. Press the CHANLS soft button to select the CHANNELS page where you can define numerous parameters for each MIDI channel independently Use the Chan Layer buttons to select the MIDI channel you wish to work on The CHANNELS page is very useful when you re doing multi timbral sequencing with programs assigned to numerous MIDI channels The CHANNELS page lets you set several control characteristics for each MIDI channel 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 PC3K receives on a given MIDI chamnel 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 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 para
20. See The ARPEGGIATOR Page on page 7 43 173 VelPatt Selects one of the 128 patterns in the current ARPEGGIATOR VelPatt Bank SeeThe ARPEGGIATOR Page on page 7 43 174 VelPBank Each range of seven values 0 6 7 13 112 127 selects one of the 17 ARPEGGIATOR VelPatt Banks See The ARPEGGIATOR Page on page 7 43 175 VelFixed Set s arpeggiator velocity when ARPEGGIATOR velocity is set to Fixed SeeThe ARPEGGIATOR Page on page 7 43 176 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 5 Controller Destination List Continued 7 26 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 ra
21. through a series of digital signal processing DSP functions that you select The PC3K 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 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 ane AE ALG JOSPCTLIDSPMOD OUTPUT more 3 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 different 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
22. 1234 56 r 8 9 1611 1213141516 E F F e F F F F F F e e F F F e F F F FP e Override This parameter switches on or off the Aux override Set Override to Yes to select an override Aux Chain on this page Set Override to No to allow the current program or zone or track 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 labeled MAIN on the back panel and secondary labeled AUX on the back panel physical audio outputs of the PC3K Setting Output to auto uses the output pair specified in the current program or the program on the specified Aux Effects channel Mod Override This parameter can be used to override the Mod Control source of the current program or the program on the specified Aux Effects channel A setting of None yields no override in Mod Control source and uses the Mod Control source specified in the current program Send Levels and Pre Post Ins There are two parameters for each of the 16 MIDI channels Send Level top row and Pre Post Insert bottom row The setting for the parameter Send Level determines if the current program s Aux Send Level is overridden an
23. 588 Adagio Tremolo 621 Aggresso Violin d 910 ClassicTrafficB3 589 Lead Violins I 622 Aggresso Viola 911 Warm B3 590 Lead Violins II 623 Aggresso Viola d 912 Warmer B3 591 Lead Violins div 624 Aggresso Cello 913 ChorusEcho Organ 592 Lead Violas 625 Aggresso Cello d 914 SlowPhase Organ 593 Lead Violas div 626 Agresso Bassi 915 EchoRoom B 594 Lead Celli 627 Agresso Bassi d 916 Lord s DirtBomb 595 Lead Celli div 628 Agresso Tremolo 917 Mellow Mitch 596 Lead Bassi 629 Rigby s Strings 918 Sly s Revenge 597 Lead Bassi div 630 Keyboard Strings 919 LateNighter 598 Lead Tremolo 631 StringMachine 920 Firebreathing C3 599 Fast Violin I 632 Lush Pad 921 Mr Smith 600 Fast Violin II 633 Add A Pad 1 922 Errol G 601 Fast Violin div 634 Add a Pad 2 923 Testify 602 Fast Viola 635 Hi Res StringPad 924 Wah B3 Echoplx 603 Fast Viola div 636 LoFi Strings 925 Sweet n Nice 604 Fast Cello 637 Blue Resonance 926 Soft Chords 605 Fast Cello div 638 AutoRes StrPad 927 Sputteringing B3 606 Fast Bassi 639 Ethereal Joe 928 Melvin C 929 All Out 960 VAST1 3Ch Perc2 1006 WheelGrowlMoogue D 7 PC3K Objects V 1 31 Programs ID Program ID Program ID Program 930 J s Comper 961 Fisher s VAST B3 1007 The Way It Is 931 Brother Jack 962 Ripply Six 1008 AlphaCentauri 932 Model One 963 Ripple Siner 1009 SynOrcWhaleCall 933 Thick Gospel 964 Ripple Thump 1010 Downes
24. ASRs are three section unipolar envelopes attack sustain and release The PC3K s ASRs can be triggered by a programmable control source and can be delayed ASR1 is always a local control ASR2 is local by default but becomes global if the Globals parameter on the COMMON page is set to On ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or tremolo enabling delays in those effects The ASR page consists of two rows of five parameters one row for each of the ASRs Trigger Mode Delay Attack Release ASF 1 EE or r Hs Hs Gs ASRZ Horm Hs He As Ear EA EA UTA E 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 triggers 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
25. Algorithms D 11 Editing 6 18 All Controllers Off 10 6 All Notes Off 10 6 Alpha Wheel 2 7 3 9 Alphabetic entry 3 9 5 3 Alphanumeric pad 3 9 Alt Input for Algorithms 6 17 Alternative Attack parameter Keymap Parameters 6 21 Alternative Start Sample Editor 14 12 AMPENV page Program Editor 6 41 Amplitude envelope Decay segment 6 43 Natural 6 41 User 6 41 Amplitude envelope parameters 6 42 6 43 Amplitude envelopes 6 41 Append soft button 13 9 Arp Active 7 43 Arp button 3 5 Arpeggiator Active 7 43 Beats 7 43 Duration 7 44 Glissando 7 51 Latch 7 50 Limit 7 47 Limit Option 7 47 Low Key LoKey and High Key HiKey 7 51 Order 7 44 Shift 7 47 shifting notes 7 47 Velocity 7 44 ASCII characters 5 3 ASR page Program Editor 6 39 ASR parameters 6 39 6 40 Assign sample 14 6 Assigning samples to keymaps 14 3 Atk Rate 9 18 Atk Time 9 14 Attack 9 15 Attack parameter ASR 6 40 Attack Portamento parameter Common 6 35 Attack Time and Level parameters AmpEnv 6 42 Audio cables 2 2 AutoPan 9 22 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 13 Bass Gain 9 13 Battery 1 4 Bipole 9 24 Boot Loader 1 4 Bootloader B 1 Bottom line of display 3 6 Bounce Song Mode TRACK Page 12 25 Brake 9 21 Breath 2 4 breath 1 5 Brightness 2 5 Build 9 11 Building a keymap 14 7 Buttons Panic 6 10 Bypass effects 5 7 C Cab Bypass 9 20 Cab Preset 9 19 Cabinet
26. C5 G4 G5 C5 C6 G4 G5 The glissando changes direction around each change in direction of the latched notes 7 51 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 4 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 on a 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 arpeggiator 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 th
27. In Setup Song and Effect mode Chains selected for Aux overrides can be edited from the AUXFX1 and AUXFX2 pages A Chain is made up of a number of effect boxes of which you can have up to 16 in a Chain that each have a single effect loaded 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 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 ariel Erik ica pele a Effect 369 3 Band Enhancer more MATA Remove MOD more 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 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 S
28. 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 PosMode SPring cen Sectionl Relative On Ed Section Relative Un 64 Sections Relative On 64 Position Mode PosMode When you touch the Ribbon the PC3K responds in one of two ways depending on the setting of the PosMode parameter Relative means that wherever you touch the Ribbon becomes the zero point for whatever the Ribbon is controlling you won t notice any change in the sound until you slide your finger 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 7 41 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages Spring Absolute means that the zero point for the Ribbon is always at exactly the same physical location on the ribbon By default this is the center of the Ribbon although you can use the Center paramet
29. The Controllers CTLS Page The Controllers CTLS Page Press the CTLS soft button to call up the Controllers CTLS page The Controllers page is a list of the controllers on the PC3K you will be most likely to use as control sources and the values of those controllers The page appears thusly Controller Range of Values Default Value Slider A 6 None 0 127 0 Slider B 13 None 0 127 0 Slider C 22 None 0 127 0 Slider D 23 None 0 127 0 Slider E 24 None 0 127 0 Slider F 25 None 0 127 0 Slider G 26 None 0 127 0 Slider H 27 None 0 127 0 Slider 28 None 0 127 0 Modwheel 1 None 0 127 0 Breath Controller 2 None 0 127 0 Switch 2 29 0 127 0 In addition to being able to enter controller values you can use the SetCtl soft button located to the right of the CTLS soft button which captures the positions of the controllers listed on the page Keep in mind that because the controllers are digital you must engage the controller every time you change programs before the PC3K recognizes any change in the controller value If you change programs and then press the SetCtl soft button before engaging any of the controllers the control values will remain at zero The number in parentheses that appears next to the controller name is the MIDI controller number with which that controller transmits and receives by default i e with the Control Setup set to 126 Internal Voices on
30. The small downward pointing arrow represents the beginning of the release section 6 41 Program Mode The Amplitude Envelope AMPENV Page Because the PC3K s ROM samples are stored in a compressed format applying an altered amplitude envelope can change more than just the amplitude of your sound since it also changes the rate at which the samples are decompressed for playback When the samples are made to play back with altered envelopes the timbres can evolve in new and interesting ways The AMPENV page 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 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 Valu
31. To select a Shift Pattern for the current zone in a setup enter the setup editor and go to the 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 KeyVel 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
32. Use the Quantize function to adjust the timing of Note events Keep in mind that only Note events are quantized other types of events such as controllers are not quantized Quant Off 1 to 100 The Quantize parameter determines how much the selected Note events are moved towards grid locations If set to Off no aligning of previously recorded notes to grid locations will occur 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 percentage 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 t
33. 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 recording 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 BIG Page Song Mode The BIG Page On the BIG page the PC3K displays in a large font the page s name the current time location of the playhead of the sequencer in a Bar Beat Tick format like the Riff time location display Also displayed is the current status of the sequencer and the BIG page s six parameters Time In Time O
34. You can plug a USB mass storage device such as a thumb drive into the PC3K for backing up archiving sharing your work and updating your software Any size USB mass storage device will work though thumb drives are recommended for their portability durability and low price The USB Storage port is on the back panel of the PC3K but it is easily accessible from the front of the instrument 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 PC3K 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 Loading or Saving Removing a USB device during a file transfer can cause data corruption gt USB O Computer Storage USB Computer Port Next to the USB Storage port on the back panel of the PC3K is a USB Computer port The USB Computer port works for MIDI transmit and receive or to connect your PC3K to a computer for file transfer By default the USB port is 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 PC3K and do not use extension USB cables The PC3K s USB Computer port is only intended for connection to a USB Type A port In USB Storage mode a PC3K virtual drive will appear on your computer desktop One imp
35. amp Blocks 532 Fast Tremolandi 565 Marcato Mix 3 500 Stereo Tam tam 533 SloStr Prs Trem 566 Slo Muted Strings 501 Cymbal Roll Tr 534 Marcato PrsTrem 567 Largo Mix 502 Xylophone 535 Sfz Prs Trem 568 Largo Mix 2 503 Solo Marimba 536 Poltergeist Pad 569 Largo conSordino 504 Orch Marimba 537 AdagioTremSplit 570 Largo 8ves 505 Vibraphone 538 Full Pizzicato 571 Espressivo Lead 506 Celeste 539 Touch Full Pizz 572 EspressivoViolas 507 Glockenspiel 540 Variable Pizz 573 Slow Thick Mix 574 VerySloVeryThick 607 Fast Bassi div 640 Adagio Magic D 6 PC3K Objects V 1 31 Programs ID Program ID Program ID Program 575 Touch Thick Mix 608 Fast Tremolo 897 Ezra s Burner 576 More Viola 609 Legato Violins I 898 HotTubeGospel 577 SloStr Prs Swell 610 Legato Violins II 899 B3 Midrange 578 Rite of Strings 611 Legato Violin div 900 Blues amp Gospel 579 Adagio Violins I 612 Legato Violas 901 Prog B3 Perc 2 580 Adagio ViolinsII 613 Legato Viola div 902 Prog B3 Perc 3 581 AdagioViolin div 614 Legato Celli 903 Tube B3 Perc 582 Adagio Violas 615 Legato Celli div 904 Prog B3 Perc 4 583 AdagioViolas div 616 Legato Bassi 905 BrightTubeScream 584 Adagio Celli 617 Legato Bassi div 906 Zepelin Solo 585 Adagio Celli div 618 Legato Tremolo 907 Argent B3 586 Adagio Bassi 619 Aggresso Violin 908 MusselShoals B3 587 Adagio Bassi div 620 Aggresso VIn II 909 XtremeTubeB3Perc
36. 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 39 Program Mode The Function FUN Page Attack This defines how long the ASR takes to ramp up from minimum to maximum effect on whatever it s patched to Release This defines how long the ASR takes to fade to minimum from its maximum If the ASR s trigger switches off before the ASR has reached maximum the ASR releases from that level The Function FUN Page FUN is short for function The PC3K s four FUNSs 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
37. 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 PEREMI SE 1 47 layers Pinno mp Lett Piano mi Left Piano Left ar Rbondr Thum 5 HYE Jazz klec Staut The Top 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 thes
38. 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 Function Det Track Mode i 1 1 To 1 i Events Al From 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 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 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 edi
39. 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 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 been made For more detailed instructions on these functions see Saving and Naming on page 5 3 Key Action Map The Key Action Ma
40. 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 AS O Se dodo e a 4 J 6 T o Ed E 5 1 Bet 64 64 64 d 92 165 113 92 SO 121 Pro 243 318 167 232 55 561 355 14 4 Di A Parameter Range of Values Default Current Pan 0 to 127 None Current Volume 0 to 127 None Current Program Program List None Selected Track Trk 1 to 16 1 Current Program Program List Current Program For Selected Track Current Volume 0 to 127 127 Current Pan 0 to 127 64 Uneditable these values are an expanded view of the mixer values for the currently selected track which can be edited in the first three rows of the MIXER page 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 Done soft button calls up the MAIN page If changes were made pressing the Done soft button calls up the Save Changes dialog 12 12 Song Mode and the Song Editor S
41. s MIDI Out port There s a discussion of the local keyboard channel in Chapter 10 6 8 Program Mode The Program Mode Page The Program Mode Page 4 PoSr am Piano Lett lia snostio 111 1002 Tempo SuncPulse Octav cette Panic Tinto re AO The top line of the Program mode entry level page shows your mode location the present MIDI transposition the MIDI bank name and MIDI program number of the highlighted program and the current MIDI channel The info box at the left of the Program mode page gives you information about the current program Generally the info box shows the keymap assigned to each layer 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 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 For KB3 programs the info box shows the keymap used for the upper tone wheels 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
42. 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 the GM drum map The standard PC3K programs will not be visible until GM mode is turned off
43. the index changes accordingly This index is remembered for one level down and therefore is useful when stepping through a list of subdirectories from a single directory level In the Load function pressing Open for a standard file will start the Load Object feature This allows selected individual objects from the file to be loaded into the PC3K For example pressing Open while in the Delete function will display the objects within the file in a scrollable list however no delete action will be possible on the individual objects Pressing the OK soft button will cause the PC3K to proceed with the selected function After pressing OK there may be further dialogs such as bank specification for the Load function confirmation for Delete or name entry for Rename One exception to this is in the Load function when a directory is highlighted pressing OK is the same as pressing Open it displays the contents of the highlighted directory Press the EXPORT soft button to go to the Export page The Export page allows you to export MIDI files created in Song mode or lists of controller assignment info that are automatically created for each Program and each Chain To export a MIDI file created in Song mode the song must be currently loaded in Song mode Go 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 a
44. 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 PC3K 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 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 ro
45. 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 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
46. 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 CAUTION Danger of explosion if battery is incorrectly replaced Replace only with the same or equivalent type CR2032 15 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 mois ture 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 Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative American Music amp Sound 5304 Derry Avenue C Agoura Hills California 91301 USA telephone 800 994 4984 fax 818 597 0411 Email Info AmericanMusicAndSound com Kurzweil Co LTD iPark Building 102 Floor 9 Jeongja Dong 9 Bundang Gu Soungnam Shi Gyeonggi Do 463 859 South Korea www ycpiano co kr
47. 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 Mode 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 son
48. 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 None None Ear EA EA UTA E 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 PC3K 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 40 Program Mode The Amplitude Envelope AMPENV Page The Amplitude Envelope AMPENV Page Amplitude envelopes have three sections attack decay and release The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event The decay section determines how quickly and how much a sustained sound fades before a Note Off is triggered The release section determines how quickly a sound fades to silence after a Note Off is triggered 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 th
49. 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 PC3K 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 alphanumeric 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 with
50. 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 En Function Srcsond El Dst Track ALL Location 1 11 0 Hode Merde Times 1 ond Go ore 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 the 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 f
51. 1 31 Programs ID Program ID Program ID Program 476 Solo Cello fast 509 Bells Across 542 Lead amp Adagio 477 Solo Cello slow 510 CelesteGlockHarp 543 Adagio Split 478 Solo Basso 1 511 Chime Bell 544 Adagio Bs VIn I 479 Solo Basso 2 slo 512 Carillon 545 TripleStrike Str 480 String Quartet 513 Adagio Strings 546 AdagioTutti 8ves 481 Solo Harp 514 Adagio Divisi Str 547 AdagioDiv 8ves 482 Orch Harp 1 515 Lead Strings 548 Adagio Octaves 483 Delicate Harp 516 Lead Divisi Str 549 Lead amp 8vaAdagio 484 HarpArps amp Gliss 517 Fast Strings 550 Dual Slow Split 485 Slo Orch Chorus 518 Fast Divisi Str 551 LeadTuttiMix B 486 Pipe Stops 519 Aggresso Strings 552 Lead Strings Split 487 Soft Stops 520 AggressDivisiStr 553 Lead MixOctvs 488 All Stops 521 Adagio Tutti Mix 554 Divisi Mix solo 489 Chapel Organ 522 AdagioDivisi Mix 555 Lead Upper Range 490 AllStops AllVox 523 Lead Divisi Mix 556 Lead Div 8ves 491 Pipes amp Voices 524 Lead Tutti Mix 557 Dual UpperDivisi 492 Orch Timpani 525 Fast Tutti Mix 558 Dual Upper tutti 493 Solo Timpani 526 Fast Divisi Mix 559 Dual Half Trem 494 Tam Cym BD Timp 527 AggressTutti Mix 560 Fast Mix Octaves 495 Basic Orch Perc 528 AggressDivisiMix 561 Fast Divisi 8ves 496 Timp amp Aux Perc 529 Agrs lo Trem hi 562 Marcato divisi 497 Temple Blocks 530 AgresTrem 8ves 563 Marcato Mix 1 498 Modern Blockery 531 AgressoHalfTrem 564 Marcato Mix 2 499 Perc
52. 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 O 32768 offset ticks 127 32256 offset ticks 7 66 Setup Mode The FX Pages FX AUXFX1 AUXFX2 and MASTFX The FX Pages FX AUXFX1 AUXFX2 and MASTFX The four Setup mode FX pages FX AUXFX1 AUXFX2 and MASTFX work the same way as the Effects mode pages CHANFX AUXFX1 AUXFX2 and MASTER See Chapter 9 Effects for information on editing these pages You can use then Effect FX Bypass Mode button to bypass effects while editing The Programmable Switch Pages SWPRG1 to SWPRG8 The PC3K 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 31 e MEE TO OnControl Exit State On Jalue Hone OffControl OFF OffUalue Hone CEE JSHPRGZ iS SbHPEG4 more Hone Hone Parameter 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 Val
53. 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 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 that it is possible for the PC3K to run out of delay memory with over generous settings of DelayScale or very slow Tempos Some Delay algorithms 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 algorithm 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 de
54. 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 SyntheticRmFlg 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 25 PC3K Objects V 1 31 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
55. 417 Rich Delay 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 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 Reverb 2U 426 Chorus Air alg 404 Chorus lt Reverb 2U 427 PsiloChorusHall alg 404 Chorus lt Reverb 2U D 23 PC3K Objects V 1 31 Effect Presets with Algorithms 428 SpeeChorusDeep alg 400 Chorus Delay 1U 429 Chorus Room alg 404 Chorus lt Reverb 2U 430 Chorus Smallhall alg 404 Chorus lt Reverb 2U 431 Chorus Med Hall alg 404 Chorus lt Reverb 2U 432 Chorus Big Hall alg 404 Chorus lt Reverb 2U 433 Chorus Echoverb alg 402 Chorus lt gt 4Tap 2U 434 Chorus Bass Room alg 404 Chorus lt gt Reverb 2U 435 New Chorus Hall alg 404 Chorus lt Reverb 2U 436 Floyd Hall alg 404 Chorus lt 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 a
56. 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 43 151 ArpBeats Arpeggiator Beats 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 43 152 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 43 153 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 43 154 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 43 155 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 43 156 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 43 157 Latch For Arpeggiator Latch Pedals m
57. A wide range of Compression and Expansion effects is available in the PC3K The various algorithms include different combinations of e compressors with soft knee characteristic the compression action comes in gradually as the signal level approaches the threshold e compressors 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 algorithms 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 9 14 Effects Compressors Expanders and Gates 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 Re
58. Bank Buttons The Bank buttons situated in the top left corner of the PC3K 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 Exp 2 User mu B3 mun On Off Chor Vib Depth On Off Loud Soft DecayF S Pitch H L Percussion The Bank buttons have special functions in KB3 mode indicated by labels beneath each button User Interface Basics Sliders Sliders In KB3 mode the PC3K s nine sliders emulate an organ s drawbars For example slider A emulates an organ s 16 drawbar In other modes the sliders can be used to send values for different MIDI controllers In either case you may have to move the slider past the current value for its selected function before slider movement will have any effect 16 5 1 3 A B Data MIDI 13 G m 3 3 fee c D E F G H I MIDI 22 MIDI 23 MIDI 24 MIDI 25 MIDI 26 MIDI 27 MIDI 28 Most VAST programs use the sliders for these functions A TtT Oo ii m g A a HA 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 volume Envelope control Hi EQ Layer volume for thum
59. Channel This parameter determines the MIDI channel to which the metronome program and events are sent 12 13 Song Mode and the Song Editor Song Mode The METRO Page 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 METRO 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 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 wou
60. 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 Velocity Setting Randomization Range Human1 3 Human2 6 Human3 Human4 Chimp1 5 Chimp2 5 Chimp3 50 Chimp4 64 MissNotes1 through MissNotes9 makes the PC3K randomly miss playing a percentage of inputted notes See the table below for percentages and their equivalent settings Each of these settings also randomly changes some of the inputted velocities in a range of 5 with the purpose of simulating a more human played sound Note Missed Notes are actually output as notes with a velocity of zero Velocity Setting aber MissNotes1 10 MissNotes2 20 MissNotes3 30 MissNotes4 40 MissNotes5 50 MissNotes6 60 MissNotes7 70 MissNotes8 80 MissNotes9 90 7 46 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages Shift Amount You can
61. Control Source List On On the PC3K 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 the program If you exceed the maximum number of DSP units the PC3K will notify you that you have done so and no effects will be applied to the program 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 6 47 Program Mode The Program FX PROGFX Page 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 e
62. DSP ALGS and DSP objects some filters oscillators etc can not be converted so the user may have to adjust some Program layers to new ALGs or DSP objects Program objects that use the K series ROM soundset can be converted after installation of the optional K2661 ROM compatibility file available as a free download from www kurzweil com All PC3 Program objects can be loaded KB3 programs created with a K2500 or K2600 cannot be loaded to the PC3K however the PC3K contains a variety of KB3 programs which can easily be modified and edited Also Triple Mode programs created with the K26 series cannot be loaded to the PC3K however PC3K 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 17 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 PC3K only has three switch pedals All PC3 Setup objects can be loaded E 1 PC3K Legacy File Conversion Object Types and Conversion Details Index Numerics 50 Weight 9 22 A A Dry gt B parameter 9 11 A gt B cfg parameter 9 11 About 11 16 Adding layers 6 51 additional sounds 1 5 Adjust parameter EnvCtl 6 45 Adjusting sample volumes 14 4 AIF Automatic Preview in a Program 11 17
63. DSPCTL page with the Pitch function highlighted See The DSP Control DSPCTL Page on page 6 28 for more information on the Pitch 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 28 for more information on the Amp function 6 26 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 PITCH AA JUSPCTLIDSPMOD OUTPUT more 4 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 the 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
64. Data Entry Data Entry The data entry section of the front panel includes the Alpha wheel the Plus Minus buttons and the 14 button alphanumeric pad The Alpha Wheel The Alpha Wheel is especially useful because it can quickly enter large or small changes in value If you turn the Alpha Wheel one click to the right you ll increase the value of the currently selected parameter by one increment One click to the left decreases the value by one increment 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 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 T
65. 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 Alll All Trig Normal Reversed Normal Delay Control Control Source list Off Minimum Delay 0 to 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 6 22 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 ISP 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 Velocit
66. Editor Corresponding Effect Button Name Page and Comments Category Parameter 1 Rotary Fast Slow MISC SpeedCtl 2 On Off MISC VibChorCtl 3 Vibrato Chorus Vibrato MISC VibChorSel Disabled if Button 2 is off 4 Depth 1 2 3 MISC VibChorSel Disabled if Button 2 is off 5 On Off PERC Percussion 6 Volume Loud Soft PERC Volume Disabled if Button 5 is off Percussion 7 Decay Fast Slow PERC Decay Disabled if Button 5 is off 8 Pitch High Low PERC Harmonic Disabled if Button 5 is off Table 6 2 KB3 Mode Buttons and Corresponding Parameters MIDI Control of KB3 Programs When you re playing a KB3 program from an external MIDI source there are two things to keep in mind e Certain MIDI Controller numbers always control specific KB3 features e The value of the LocalKbdCh parameter affects how KB3 programs respond to MIDI Controller messages Controller Numbers Table 6 3 lists the MIDI Controller numbers that control KB3 features The first column lists the Controller numbers that KB3 programs always respond to the PC3K also sends these Controller numbers to its MIDI Out port when you re using the local keyboard channel we ll say more about that on page 6 7 Program Mode MIDI Controller KB3 Program Feature Number PC3K Drawbar1 6 Drawbar2 13 Drawbar3 22 Drawbar4 23 Drawbar5 24 Drawbar6 25 Drawbar7 26 Drawbar
67. Enable is set to a specific control source like MWheel Some local control sources KeyNum 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
68. Ent and Exit Values Entry value allows you to specify an initial value for a controller in a setup that will be sent whenever you select that setup For example if you want to make sure that all of the modulation in a zone is turned off when you select a setup assign a physical controller to a destination of MIDI 01 MWheel and set Entry Value to 0 Entry values ignore the current position of the physical controller when the setup is selected In fact if the physical controller is above or below the entry value when the setup is selected which it often is moving the controller will have no effect until it is past its entry value In the modulation example above moving the assigned controller won t turn on any modulation until it s pushed all the way down 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 PC3K 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 a
69. Makes a duplicate of the currently selected event and temporarily stores it in 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 Song Mode and the Song Editor Song Editor The EVENT Page 12 34 Storage Mode Storage Mode Page Chapter 13 Storage Mode Storage mode lets you use a USB device such as a thumb drive to load save back up and copy files between the PC3K and the outside world Storage mode in the PC3K allows flexibility to organize files and their contents Its features can save you time by allowing you to select and organize files and directories Here s a summary of Storage mode functionality e USB Storage port e USB Computer port e FAT 32 file system compatibility e Support for song files
70. Many stereo algorithms are also available in a mono configuration Refer to the KSP8 Algorithm Reference Guide for complete information on Mono algorithm parameters You can download a copy of this manual at the Kurzweil Music Systems web site www kurzweil com 9 25 Effects Mono Algorithms 9 26 MIDI Mode The TRANSMIT Page Chapter 10 MIDI Mode The PC3K sends and receives MIDI on traditional 5 pin DIN connectors and through USB MIDI can be sent and received on all ports at once Press the MIDI mode button to enter MIDI mode 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 PC3K 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 PC3K sends MIDI information to its USB or MIDI Out port These settings to some extent affect the PC3K s response to its own keyboard and controllers but they primarily affect the responses of other MIDI devices that are receiving MIDI from the PC3K 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
71. 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 Swing The Swing parameter determines the amount in units of percent of swing applied during quantization Release The Release parameter determines whether or not note off events are quantized Key Wait With Key Wait set to on a key strike will trigger playback of a sequence if the play pause button is armed or trigger recording of a sequence if the record button is armed Song Mode The STATS Page The STATS page is a display only page that shows the status of the PC3K 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 PC3K event pool with 0 New Song selected and no other user objects loaded in any other modes 3 y The events in the PC3K 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 PC3K Note event is comprised of the note on and note off events All other events are stored as single events on the PC3K The fields on the STATS page are e Max t
72. Off On Off Root Note C 1 to G9 C4 SrcTrack Source Track ALL 1 to 128 ALL Re Channel Off On Off 7 58 Setup Mode Riff Riffs 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 Beat Subdivision Tick Value Moment Quarter note 1st 0 1st 0 8th note 2nd 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 4th 480 5th 640 6th 800 Table 7 6 Subdivision Values 7 59 Setup Mode Riffs Stop Use the Stop parameter to specify the r
73. On Off see The COMMON Page on page 6 33 e Level Velocity Tracking see The DSP Control DSPCTL Page on page 6 28 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 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 6 53 Program Mode Editing VAST Programs With KVA Oscillators Le 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 Note Be sure to differentiate between
74. Oscillators on page 6 55 for more details Control Setup The Control Setup defines what the PC3K s physical controllers wheels sliders pedals etc do while you re in Program mode It s a convenient way to apply the controller assignments in your setups globally Just choose an existing setup to be the Control Setup using the ControlSetup parameter on the MIDI mode TRANSMIT page Li 6 Internal Voices MI CO ProgChand On ChsasetuPs Immediate hannel il Transkose AST WelocituMars 1 Linear Praths EstCha Panic While you re in Program mode many of the controller assignments for Zone 1 of the Control Setup also apply to the programs you play this is true for MIDI control messages as well unless you have turned off MIDI control Program Mode The Program Mode Page If you don t like the way the physical controllers work in Program mode you can either select a different Control Setup or edit the existing one Any changes you make to the current Control Setup will also affect the way that setup works in Setup mode There are a few important points to remember about the Control Setup e The current Control Setup governs controller assignments for all modes except Setup where each setup has its own unique assignments e The current Control Setup is used by all programs in Program mode e You cannot change the Control Setup from within Program mode e The Control Setup doesn t affect the soun
75. PC3K Objects V 1 31 Effect Chains Chain Chain Chain 917 Aux Echplex 950 Snarcmp112 983 RayEP 1 918 Farfisal 951 Snarcmp113 984 EnhanceComp121 919 Good Leslie33 952 EnvKickcmp1 985 Clunker Ila 920 Zep Leslie 953 Kickcmp602 986 Pad Depth Pt1 921 Snarcmp801 954 Snarcmp112 987 AuxChorusHall 922 kickcmp401 955 HipHop Drms101 988 TechnoSyn1 923 Deep Fuzz 6 956 PnoCmpSndBoard10 989 Synphase102 924 SynEnv4 957 Epicsnarel 990 CompDelay 925 SmallComp9 958 JumpSynth 991 CompMeltrn 926 KickComp201 959 Funksnare88 992 ARP 927 GoodLeslie 9 960 Kickcmp441 993 Triplet delay 928 Falgor Gtr 961 Upright3 994 Bigverb 929 KickComp701 962 HopKickcmp701 995 Syncpulse 930 Good Leslie34 963 Leslie Comp 2 996 compbass 2 931 Syncblip 964 Kickcmp301 997 CompDelay3 932 CompDelay3 965 PnoRvb 1 998 Comp501 933 Cheese Horns2 966 PnoRvb2 999 RMIPhasel 934 SynthCDR20 967 HipHop Drms201 1000 Joey Leslie 122 935 Vintage Horns 2 968 Breakdrums1 2000 GM Reverb 936 Chorus Pan Delay 969 Blackfriday2 2001 GM Chorus 937 Snarcmp101 970 CompDelay101 938 Filter1 971 Sax Chamber 2 939 Syncpulsedw 972 Clunker501 940 Kickcmp501 973 Horn Plate 1 941 Snarshaper601 974 Vintage Horns 942 ProBassComp3 975 BrightFlange2 943 SynEnv5 976 ThinphaseSweep2 944 SnareComp101 977 Small Comp102 945 BostonLeslie2 978 EPPhasel 946 Kickcmp104 979 NonKB3LesliePdl2 947 Leslie MShoals 980 FlangeComp3 948 Snarc
76. PC3K responds to All Notes Off messages received over MIDI Ignore causes these messages to be ignored If you re using a Roland product as a MIDI controller for your PC3K 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 PC3K 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 PC3K always responds to its own Panic button by shutting off all active notes and controllers Program Change Mode PrgChgMode This determines how the PC3K 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 PC3K with external MIDI gear which is producing notes that are too loud or too quiet The default map provides the widest range of velocity expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3K Keyboard MIDI In via MIDI In port or USB Computer port VelocityMap Settings on
77. 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 Command Received MC 0 or 32 value 0 Program Change Command Received PCH value 99 Result 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 MC 0 or 32 value 7 None KB3 bank selected no change in current program bank 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 incoming 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 en
78. 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 Classic 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 26 PC3K Objects V 1 31 Effect Chains
79. Setup Mode the parameter must first have a source assigned within the Program Editor as described in the Assigning A CC Control Source section above To use an InputChannel see page 7 8 Local Keyboard Channel must be set to None To control an assigned parameter for a program on a zone that has an InputChannel set send the correct CC number to the channel set for that zone s InputChannel If the CC is listed in the External MIDI CC Remapping table below the CC will be remapped to the destination set for that physical controller in the Setup Editor In this case you must use the Setup Editor to assign that physical controller s destination to the original CC number that you sent For destinations that show a name a corresponding MIDI CC number can be found by finding the name in The Controller Destination List see page 7 22 Within the Setup Editor you can also set a PC3K physical controller to send a CC number to a program on a zone If this is done with a InputChannel set you will also be able to control a parameter by sending the default CC number for that physical controller to the channel set for InputChannel The table below lists the default CC number used to control the assignments of PC3K physical controllers while in Setup Mode Also for each physical controller if a CC is listed in the Additional MIDI CC Which Always Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode column then
80. 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 5 7 Editing Conventions Special Button Functions Program Mode VAST and KB3 Programs Chapter 6 Program Mode Programs are the PC3K s performance level sound objects They re preset sounds equivalent to the patches presets voices or multis that you find on other synths Program mode is the heart of the PC3K where you select programs for performance and editing The PC3K is packed with great sounds but it s also a synthesizer of truly amazing depth and flexibility When you re ready to start tweaking sounds the Program Editor is the place to start The PC3K 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 w
81. System Exclusive ID SysExID The SysExID parameter differentiates between more than one MIDI device of the same model You won t need to change the default setting of 0 unless you have multiple PC3Ks or K2600s K2500s or K2000s receiving SysEx messages from a single source In that case make sure each instrument has a different SysExID Then you can direct SysEx messages to the appropriate PC3K with the SysExID byte that s included with every SysEx message A value of 127 specifies Omni Receive That is at this value a PC3K responds to a SysEx message regardless of the SysEx ID of the message Bank Select BankSelect allows you to choose between having the PC3K 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 parameter mainly affects how external MIDI devices interact with 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 PC3K s keyboard When the LocalKbdCh parameter is set to Off an external MIDI device will trigger a single program The triggere
82. The Program mode LED will go out and the KEYMAP Keymap page will appear DI Pose EeuTrk UelTrk tere AST Timbre Shift 160ct ke4 PlasvBackMode Normal cl AltContral OFF PITCH A gt 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 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 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 functi
83. The simplest MIDI configuration uses a single 5 pin MIDI cable either from the MIDI Out port of your PC3K 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 PC3K 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 PC3K s MIDI Thru port to pass MIDI information from a MIDI controller to the PC3K and on to the next device in your system You can also connect MIDI devices to the PC3K s MIDI Out port which can send channelized MIDI information from the keyboard or through the PC3K 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 SYNC IN MIDI P DISPLAY SWITCH sa CC PEDALS THRU OUT IN THRU ed CONTRAST 2 BREATH RIBBON usain fluid wah Ge 5 6266 2 You can also use the PC3K s USB port to send and receive MIDI By default the PC3K will show up as a USB MIDI device If you choose USB Temporary Drive from Storage mode the PC3K 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
84. 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 PC3K 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 Quant and Grid on page 12 17 Play Order This parameter determines the order in which the PC3K 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 that 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 D5 and F 5 in that order The
85. Time Out Punch With the Punch parameter set to Punch the sequencer in RECORDING mode will record events only between Time In and Time Out Metro The Metro parameter determines the recording modes in which the metronome will play With Metro set to Rec the metronome only plays while recording is in progress With Metro set to Always the metronome plays during playback and recording With Metro set to Off the metronome doesn t play at all Song Mode The FX Pages The four Song mode FX pages FX AUXFX1 AUXFX2 and MASTFX work the same way as the Effects mode pages CHANFX AUXFX1 AUXFX2 and MASTER See the Effects mode chapter for information on editing these pages 12 11 Song Mode and the Song Editor Song Mode The MIXER Page Song Mode The MIXER Page The MIXER page shows the current settings for the program number panning and volume of each track in groups of 8 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
86. When you enter Storage mode and select USB PC Connection a virtual drive named PC3K will appear on your computer s desktop Load files from your computer to your PC3K by putting files on the PC3K virtual drive then selecting USB PC Connection in Storage mode to load the files Save files from the PC3K to your computer by using this configuration with the Storage modes Store function Saved files will temporarily appear on the PC3K 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 PC3K virtual drive to your computer s drive or else the data will be lost Note When transferring files to and from the PC3K via the USB Computer Port the maximum size of files that can be transferred is approximately 1 6MB This is suitable for most objects For transferring audio sample files use the USB Storage Port with a USB mass storage device such as a thumb drive 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 PC3K s available object and sample memory When you leave Storage Mode there will be a prompt telling you that the PC3K is turning back into a USB MIDI device You must acknowledge this prompt 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 13 2
87. 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 13 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 PC3K 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 PC3K deletes only the object but keeps the dependent objects In our example the setup would get deleted but the dependent program would remain When deleting objects and their dependents the PC3K 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 S
88. 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 button 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
89. all of the settings of the TRANSMIT page are in effect except for ChgSetups which only applies 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 Bs nm ProgChand On ChasetuPs Immediate ontrolse Destination hannel il TransPose BST Uelocit MaP 1 Linear Praha 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 The Control Setup on page 7 2 for more information on the control setup Destination 4 The Destination parameter tells the PC3K which ports will carry MIDI information and dete
90. an additional pair of Pan parameters The PC3K 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 Keymapl and Keymap2 respectively For keymaps beginning with Stereo assign the same keymap to both Keymap1 and Keymap2 If you select the same keymap for Keymapl and Keymap2 the PC3K automatically uses the left side for Keymapl1 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 parameter s value to Off 6 20 Program Mode The KEYMAP Page Timbre Shift This parameter works only on multi sample keymaps and changes the root selection for each key you play With this parameter you can radically alter the current layer s timbre basic sound characteristics The nature of the change depends on the timbre itself so this parameter calls for experimentation Basically timbre shifting
91. 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 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 StopWait 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 being synced to the current zone s arpeggiator this determines how many notes must be played by the current zone s arpeggiator before a downbeat occurs 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
92. 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 MIDI Velocity O E 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 Vel Trk values may respond only subtly to Offset and Scale or not at all 7 14 Setup Mode The Key Velocity KEY VEL Page Velocity Curve VelCurve VelCurve lets you taper the velocity response The default setting is Linear which means that the output velocity changes directly proportionally to the played velocity Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64 and steeper than the linear curve at keystrike velocities above 64 In other words when you re playing softly you ll notice velocity differences less than with a linear curve while when yo
93. 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 7 50 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 158 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
94. 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 PC3K 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 The top line of the display tells you which Quick Access bank is selected Use the Chan Layer buttons to the left of the display to scroll through the banks The names of each of the ten entries in the bank are listed in the center of the display Many of their names will be abbreviated The currently selected entry s full name is shown near the bo
95. 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 ma Jor Ster Fename 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 instructions on these functions see Saving and Naming on page 5 3 7 49 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages The ARPEGGIATOR 2 Page Latch CCPM nc To First Avail Lokes C Src TYRE None Hikes iG 9 Hum Beats 4 Gliss Off AAA AAA A AA more Parameter Range of Values Default Latch Keys Overplay Arpeg Add Auto Keys Pedals Autohold 1NoteAuto
96. bank etc User Interface Basics Pitch Wheel and Mod Wheel Pitch Wheel and Mod Wheel Pitch Mod To the left of the PC3K s keyboard are the Pitch Wheel and the Mod Wheel as well as the SW and Arp buttons Push the Pitch Wheel away from you to raise the pitch of the note s you are playing Pull it towards you to lower the pitch Most programs are set so that the pitch wheel will raise and lower pitch by a whole step although some programs use the pitch wheel to lower pitch by as much as an octave 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 tremolo vibrato wah or layer volume The Arp button turns on and off the PC3K 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 PC3K s programming parameters The Display Your primary interface with the PC3K is its backlit graphic display As you press various buttons this fluorescent display reflects the commands you enter and the editing changes you make The ample size of the display 240 by 64 pixels
97. 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 A plus 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 A small 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 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 initiall
98. below Ske Object tupe kanje Bank A iii 1 123 rogram 129 2 oe Ala LI fan 3 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 buttons Select Select 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 range Note in the Range Bank field that the second to last entry is Range with a range of numbers next to it You can set this range in the Set Range dialogue by pressing the SetRng button If you try to set an invalid range such as 102 23 then the PC3K will inform you that the range is invalid Advnce Call up Store Advanced page see below Store Store the selected objects to the current storage device Pressing this soft button calls up the Select Directory dialogue Cancel Exits the Store page and returns you to the Storage mode page In the main body of the page are two fields Object Type and Range Bank To select objects for storage firstly select an Object Type If there are any user def
99. but you probably won t want to do this The COMMON Page The COMMON page is reached by pressing the COMMON soft button in the Program Editor Here s where you find 12 frequently used parameters that affect the entire current program not just the current layer N Globales Off DutGain Bde OutPan El OPanmodes MIDI OHILFO ASE FUN more Notice that when the Monophonic parameter is set to its default value of Off the four 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 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 6 33 Program Mode The COMMON Page 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
100. buttons simultaneously returns the transposition to zero The Xpose buttons transpose the PC3K as well as any MIDI devices connected to the PC3K s MIDI Out port Changing the transposition with the soft buttons also changes the corresponding setting on the MIDI mode TRANSMIT page Controller Entry Values in Program Mode To capture entry values for sliders go to the Controllers page by pressing the CTLS soft button in the program editor The soft button next to it SetCtl allows you to capture the values of your sliders Mwheel and MIDI 29 the SW button located above the Mod Wheel 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 this button is located next to the DRAWBR soft button 6 10 Program Mode Editing VAST Programs Editing VAST Programs Le The Program Editor is where you begin to modify the PC3K s resident sounds and to build your own sounds around sample keymaps or KVA oscillators see Editing VAST Programs With KVA Oscillators on page 6 53 for some differences There s virtually no limit to the sounds you can create using the tools in the Program Editor Note This section describes the Program Editor as it applies to VAST programs See Editing KB3 Programs on page 6 60 for information about editing KB3 programs To enter the Program Editor start in Program mode and press Edit
101. 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 general rule The PC3K 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 C 1 Pull up gently to open the fuse holder cover The cover is hinged next to the power cord connection Pry out the fuse holder LI 7 CI C 2 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 C 3 The clip removed from the fuse holder Remove the fuse Install two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V one on each side of the fuse holder The fuse holder will accept either 1 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
102. cannot be located for example if you ve changed USB devices the PC3K displays the current device s root directory The display shows the 3 character extension of all files in the directory except directories themselves Extensions are created when the file is saved by the PC3K You cannot modify the extensions on the PC3K This is because the PC3K uses the extensions to tell it what kind of data the files contain Directories created by the PC3K have up to 8 character names with no extension A directory can have an extension if it is created on an external computer more on this later The MID extension is used by the PC3K for MIDI Type 0 or Type 1 sequence files When loading files the PC3K will try to find out the type of file if it doesn t recognize the extension Soft Buttons on the Utilities Page NewDir Create a new directory Delete Delete files from the current device Rename Change the filename of a file Copy Single or multiple file copy between devices Open Opens the highlighted directory 13 11 Storage Mode Export Export Format 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 first open a directory for viewing the index is 1 the first file in the list The PC3K remembers the index of the previous directory you were in before you pressed Open so if you return to that directory by pressing Parent
103. 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 Quick Access Editor Enable disable effects or set Aux overrides Define how your PC3K 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 PC3K 3 1 User Interface Basics Mode Buttons Song mode Use the PC3K s sequencer to record and play back your keyboard performance play Type 0 and Type 1 MIDI sequences and record multi timbral sequences received via MIDI Storage mode Interface with the PC3K s USB storage or computer ports to load and save programs setups samples and more The PC3K s tone wheel organ emulation is called KB3 mode You automatically enter this mode when you select a KB3 program The KB3 Bank button takes you there directly Mode Buttons MODE Program MIDI ji Lg di Setup Master dd Cg i Q Access Song i RISE Effect Storage oe 3 ICI 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 PC3K s editors
104. control internally or via MIDI In fact the PC3K offers more effects processing power than Kurzweil s much lauded KSP8 studio effects processor The PC3K offers 128 megabytes of user sample memory Samples can be loaded via USB from a thumb drive or directly from a computer and samples remain loaded even while power is off Once samples are loaded into the PC3K s flash memory there is zero load time for those samples when powering on the instrument The PC3K is compatible with most K series object files with extensions KRZ K25 or K26 including samples keymaps programs and setups see Appendix E for details Additionally the PC3K can load PC3 files that were created with the PC3 The PC3K can also load WAVE and AIFF files see page 13 7 for details In addition to the standard stereo audio output pair there are two additional balanced analog outputs as well as a digital output All of the outputs are available to you simultaneously For backup storage and moving files there s two types of USB ports on the back panel of the PC3K A USB storage port allows you to connect a USB device such as a thumb drive anda second USB Computer port lets you connect the PC3K to a computer for file transfer and MIDI connectivity Introduction How the PC3K Works How the PC3K Works The PC3K integrates three MIDI driven components a MIDI controller the keyboard or an external MIDI controller a sound engine and an effects pro
105. controllers sounds until another note is triggered or until a KeyVel message with velocity 0 is sent 7 27 Setup Mode Controllers Selecting The Desired Key Root Note Shift Key ShiftKey controller destination 177 allows the user to select the key root note of the Shift Pattern triggered by Shift Key Number A Shift Pattern is a relative pattern based 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 DF 40 49 50 59 F 60 68 F 69 78 G 79 88 G 89 98 A 99 108 AH 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
106. 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 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 PC3K Keyboard MIDI In via MIDI In port or USB Computer port MIDI Destinations PC3K Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3K audio outputs The transmit Pressure Map affects the way the PC3K 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 PC3K s sound e
107. first note the Arpeggiator plays is the G 4 The second note will be either B 4 the next note chronologically or F 5 the previous note chronologically that is the last latched note If the second note is B 4 the third note will be either D 5 or G 4 If the second note is F 5 the third note will be either G 4 or D 5 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 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 b
108. 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 Available Modes How to Get There Editor Status Editors 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 parameter 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 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
109. 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 Note Shift 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 Note Shift Last upward note before shift limit is F 4 next upward note would be 7 ST G4 C4 D 4 F 4 E4 C 4 D 4 A4 which is 2 ST from shift limit G4 therefore first downward note is E4 2 ST 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 Ha F 4 pr 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 Ha F 10 ST A 4 C4 D 4 Pid A4
110. ine ail A 2 Appendix B PC3K Bootloader Using the Bootloader Menu rie B 1 System Update PC3K Software Objects Etc ie eee ene B 2 Run Diags PC3K Diagnostics Utility iii B 2 System RESET certis reeni ld abran las dida B 2 System Utiliti s ili La o aaa B 3 TOC xiii Appendix C Changing PC3K Voltage Removins the fuse holdet uria aaa nno Leni filari lina C 1 Appendix D PC3K Objects V 1 31 CLOS A A ira D 1 DOES tarada abarca ada SATA DITO D 9 Effect Presets with AlgOrthm Sa iesiri iron sortean lodo n han die nea iaia D 11 How to Use These Tables iii nea iaia D 11 Reversi aaa D 11 Del Srita a id astas D 15 CAOS A A AE EA a A a a D 17 A A NN RN D 18 Phaser iia adi D 18 Trem Panner Spatial aii nit i rie D 19 RO tradi taria ia iaia RO a D 19 Distortion AA AA ione alate D 20 Dynamic ida ilatina Neba D 21 EOF FIlterss ita alain aaa D 21 Chorus Combi A EI LL lena e Rn D 23 Flange Combi LELLA LL LO leur D 24 EffectChalnsaiii Gialli alal ea D 26 Appendix E PC3K Legacy File Conversion Object Ty pes and Conversion Details sisses rania an iii a E a E Ei EE E EE RE R E 1 Soundblock Sample OO iii a iii E 1 Keymap Object veria ORO IE AIAR EEE E E 1 Program ODJECHS iii in id E 1 Setup ODJECES a eroon ae Lari LIRE ito E 1 Index TOC xiv Introduction Chapter 1 Introduction Greetings Your new instrument offers amazing acoustic electric and synthe
111. into a bank that already contains programs Example Starting with the following objects already stored in the PC3K internal RAM Program ID Program Name 129 Piano Stack 133 Ole Upright 1 134 WestCoastPno 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 13 10 Storage Mode The Utilities UTILS Page Program ID Program Name 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 The Utilities UTILS Page Pressing the UTILS soft button calls up the Utilities page where the PC3K displays the contents of the current directory in an alphabetized scrolling list If the current directory
112. 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 5 3 Using the Modes You can play your PC3K regardless of the mode you re in The PC3K 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 PC3K 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 Press Exit segment of the program list The Program Editor takes you to the core of the PC3K 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 PC3K programs or controlling additional synths connected to the PC3K 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
113. listening to the sample then if needed search for a nearby zero crossing 14 13 Keymap and Sample Editing Editing Samples 14 14 Specifications Appendix A Specifications MIDI Implementation Chart Model PC3K MIDI Implementation Chart Manufacturer Date 12 01 07 Young Chang Version 1 0 Digital Synthesizers Function Transmitted Recognized Remarks Default 1 1 Memorized Basic Channel Changed 1 16 1 16 Default Mode 3 Mode 3 Use Multi mode for multi Mode Messages timbral applications Altered 0 127 Note Number True Voice 0 127 0 127 Note ON O O Velocity Note OFF O O Keys X O After Touch Channels O O Pitch Bender O O O 0 31 O 0 31 Controller assignments are Control Change 32 63 LSB 32 63 LSB programmable 64 127 64 127 p EN O 1 999 O 1 999 Standard and custom rogram Change x i True 0 127 0 127 formats System Exclusive O 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 AII 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 Specifications PC3K8 Height 4 33
114. 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 drum sounds 6 46 Program Mode The Program FX PROGFX Page The Program FX PROGFX Page Press the PROGEX soft button to call up the Program FX PROGEX 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 Hal Outputs Main co DutPut Main Huxi Send off Pre Post ins Post Type de dux Send do Pre Post ins Post Tyre dB more PROBES LYR_Fs more d 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
115. modes except Song mode and Setup mode or when a setup LIU 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 6 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 EEA m n BankSelect Ctl 6732 LocalKbcd None asiclhanne MIDIMode LU AllNotesott Mormal PraChaMode Extended Uelocit MaP 1 Linear 1 Praha RatCha Press RECV to select the RECEIVE page where you define the PC3K 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
116. o 3SramP PPIlIause Program assigned 125 mre 4096 GH Fiano 1 E gt da Grand Piang gatan Det 11 11 Master Mode OBJECT OBJECT Replacing Default General MIDI Programs The PC3K s GM sounds consist of PC3K programs tailored to work well in all GM sequences but you can also edit or exchange these programs to suit your taste The PC3K provides you with a GM sound set editor which allows you to replace the PC3K s default GM programs with any other PC3K factory or user created program For example you could choose a different factory or user created piano program to replace the default GM program 1 Ac Grand Piano 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 PC3K program 47 Harpsichord This way any GM sequence that uses GM program 1 would now use the new harpsichord program that you selected Using a PC3K program that does not resemble the instrument named in the current GM program would technically make the PC3K incompatible with GM but some users may want to do this as a way to remix GM sequences It is easy to replace default GM programs in order to make a custom GM sound set Once in GM mode the right side of Program Mode screen displays a list of the GM programs with their standard GM names The left side of the screen shows you wh
117. 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 C8 Saving and Naming Standard 88 note Keyboard Move cursor to start of name Move cursor left one space Move cursor right one space Shift Space aA E _ if o fo x Gi io gt El A Ne lt lt Gi Di n ze n Mi Do N x Space Shift Move cursor left one space Move cursor right one space Move cursor to end of name AO _T_ ME mm gt C2 se c
118. 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 to the auxiliary audio outputs 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 PC3K control source The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod contro
119. 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 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 4 1 The Operating Modes Using the Modes The
120. 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 the Song Editor Song Mode The MAIN Page Volume Vol You can set a volume level for each track as a value between 0 and 127 If the channel of the RecTrk or the control channel if RecTrk is set to Multi or None contains any recorded volume change controller 7 the change will be reflected as the Vol parameter s value in real time as well as on the MIXER page Also changing the Vol value while recording
121. 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 do not appear on the COMMON page This is because only monophonic programs can use portamento 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 25 when you are using Monophonic programs since the lack of Note Off messages will prevent you from switching programs properly FEE MonoPhonic Global Off LedatoP134 OutGsin AdE Portamento Om ARPA Uff OutFam a Foramen o il TH kers OF anmode MIDI ONILF ASe FOUN more s o 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 remai
122. 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 30 Dest Scale Add Curu Ent Exit FHUP A ee El Linear None None FHIn Pitchllun 100 B Linear None None MWA MHheel 160x E Linear None None LANA JSLIDER CPEDAL more d 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 33 Setup Mode The SLIDER and SLID2 Pages The SLIDER and SLID2 Pages You can assign each of the PC3K s nine programmable sliders to a destination on each of the 16 zones Or you can assign any combination of sliders to the same zone allowing you tremendous flexibility For example you can assign Sliders A and B to modulate pitch and volume on Zone 1 then assign Slider C to control panning on Zones 2 3 and 10 The SLIDER soft button gives you access to Sliders A E Press the SLID2 soft button to program Sliders F I The SLIDER page parameters are described in Continuous Controller Parameters on page 7 30 Fi None None Hone None Hone None Hone Hone Linear Linear Linear Or
123. 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 for more information on Song Mode 3 12 The Operating Modes What the Modes Are Chapter 4 The Operating Modes In this chapter we ll discuss the theory behind the mode concept and we ll describe the basic operating features of each mode What the Modes Are The modes exist to make the PC3K logical to work with With as many performance and programming features as the PC3K has it s helpful to break them into groups These groups are called modes There are eight primary modes they re described briefly in the section called Using the Modes 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 PC3K 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
124. 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 Anti Aliased Oscillators Aliased Oscillators Size Name Type Size Name Type 1 Block LPNOIZ noise low pass 1 Block SINE filter SAW 2 Blocks SINE TRI SINE SQUARE SAW f NOISE RES NOISE noise low pass filter with resonance SW SHP Sawtooth Shaper SQUARE 2 Blocks SHAPED SAW 3 Blocks PWM Pulse Width Modulation PWM Pulse Width Modulation 4 Blocks SYNC SAW SUPER SAW TRIPLE SAW 8 Blocks SYNC SQUARE master gt gt gt gt SYNC SQUARE slave 4 blocks each 6 54 Program Mode Editing VAST Programs With KVA Oscillators Setting Up The Sync Square Oscillator The Sync Square oscillator is actually comprised of two oscillators a master and a slave set up to emulate the way sync square oscillators worked on classic analog synthesizers To create a program using Sync Square select Default Program 999 Select none on the keymap page Select user on the Ampe
125. page or corresponding editor page for whatever switch you choose and set OnControl to KB3Mutes enter 169 or scroll to the end of the Controller List Do this for all zones in the setup Now you can toggle back and forth between having drawbars or having sliders work on the non KB3 sounds by pressing the SW switch See Editing KB3 Programs on page 6 60 for more information on the KB3 mode and the KB3 channel Mutes The Mutes parameter gives you manual control over the behavior of the buttons above the programmable sliders There s really only one case in which you d need to worry about this parameter when you have a setup that contains both VAST programs and a KB3 program and you want the buttons to control KB3 features By default the PC3K uses the Mute buttons the buttons above the sliders on keyboard models to control the muting and unmuting of zones which means you don t have real time control over any KB3 features Change the Mutes parameter to KB3 Control to use the Mute buttons as real time KB3 controllers The white labeling above the buttons describes their functions Arpeggiator Global ArpGlobal With the ArpGlobal parameter you can set each zone s Arpeggiator to act as if they all have the same parameters on the ARPEGGIATOR page 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 ArpGl
126. powerful and versatile tool for songwriters composers and anyone else who wants to record and play back songs As with any tool however it s best to start with the basics If you are familiar with other sequencers you will have no problem using Song mode in the PC3K Read through this section however to learn about the features that make the PC3K s sequencer unique 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 advantages 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 playb
127. pressed e Left Right cursor double press Select All Objects e Up Down cursor double press Clear All Selections If you want to store most but not all of the items from 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 13 6 Storage Mode The LOAD Page The LOAD Page Pressing the LOAD soft button calls up the LOAD page see below where you can load P3K PC3 K26 K25 or KRZ files or individual objects from within those files as well as WAV and AIF audio samples from the current storage device see below for details Along the bottom of the Load page there are four soft buttons Below are descriptions of their functions SelAll Parent Open OK Cancel SelAll Parent A Ta Select the highlighted file An asterix appears to the left of selected files To deselect a file highlight the file and press the Select soft button again Multiple files can only be selected if they are in the same directory Entering a new directory will deselect all files Press the SelAll soft button to select all files in the current directory directories within the current directory will not be selected Press the SelAll soft button again to deselect all files in the current directory Entering a new directory will deselect all files Moves
128. 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 effect on the object you re editing The PC3K 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
129. range in samples from 127 to 127 Quantize Flange The Quantize portion of this algorithm produces digital distortion known as quantization noise by limiting the number of bits available to the signal DynamRange dynamic range controls how many bits to remove from the signal data words 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 ridiculously 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 new kind of reverb which produces a dela
130. 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 PC3K C 0 to G 10 If you extend the current key range into another the boundaries of the other key range will become 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 In a key range with more than one velocity range each velocity range can use a different sample as well as different CoarseTune FineTune and VolumeAdjust settings Velocity ranges are intended for use with instrument samples recorded at different velocities Thi
131. 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 6 Master Mode MAPS Intonation Most modern western music uses what is known as equal temperament This means that the interval between each semitone of the 12 tone octave is precisely the same as every other semitone However many different intonation intervals have evolved over the centuries and across cultures and instruments so equal temperament will not sound appropriate for certain styles of music The PC3K supplies you with 17 different factory intonation maps which are useful for a range of different styles By changing the value for this parameter you select from among the intonation maps stored in the PC3K s memory You can furt
132. 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 PC3K 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 Call up the page that enables you to change the name of the current program 6 51 Program Mode Function Soft Buttons Save Delete INFO Start the process of saving the current program Delete 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 PC3K will say it s deleting the program but it doesn t actually do it Press the INFO soft button to go to the INFOEDIT page where you can edit the controller assignment info for the current program On the INFOEDIT 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 To edit the text of a controller assignment press the Text soft button To create a new controller a
133. set to Rvrs Both layers would have their Enable Sense minimums set to 64 and their maximums 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 6 24 Program Mode The LAYER Page Repeat this for each layer in the program Bear in mind that if you want to set up 32 different velocity levels for a program with equal intervals between each layer then you have a range of 4 for each level L
134. 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 The PC3K always uses real values of measurement rather than just arbitrary numbers for adjustable parameters This means that you specify pitch in semitones ST and cents ct and amplitude in decibels dB Remember that the parameters on the control input pages are cumulative they can add to or subtract from the effects of the other parameters on the page depending on their values 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 Only the function parameters can be
135. 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 more like a triangle wave and a Pulse wave becomes more like a sine 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 algorithm 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 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 9 23 Effects Stereo Analyze 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 i
136. system contained inside the instrument This file system is based on flash memory technology and will persist across power cycles When the PC3K starts up the Bootloader copies the synthesizer program into memory and executes it just like a PC boots up when you turn it on The PC3K 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 PC3K 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 PC3K Boot Loader Version 1 0 Run System Run System System PC3K Update Diags Reset Utilities Use the soft buttons underneath the display to choose an action Run PC3K Press this soft button to run the PC3K from the Boot Loader without restarting the PC3K 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 locat
137. the items on the two Master mode and MIDI mode pages Saving Master files is a good way to configure your PC3K or another PC3K 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 The Store Advanced Page Pressing the Advnce soft button calls up the Store Advanced page on which every user defined object as well as its object type on the PC3K is displayed and selectable for storage On this page you can select and store objects individually rather than by range The objects are organized by numerical ID and object type There are five soft buttons on the Store Advanced page Select Select 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 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 and returns you to the Store page Shortcuts when Storing Individual Objects Selecting or deselecting all of the objects at once can be done with the following double presses two front panel buttons simultaneously
138. the PC3K s Boot Loader described in this manual to upgrade your instrument to use the new software Pictured below is the 88 key PC3K8 KURZWEIL EG PC3K8 EL Overview of the PC3K The PC3K s 800 programs include the Orchestral and Contemporary sound blocks General MIDI GM Stereo Triple Strike Piano Classic Keys for realistic vintage electric piano sounds and new String Sections Multi zone performance setups are also provided many of these 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 Before we get into explaining VAST here are a few of the features that by themselves make the PC3K an impressive stage and studio machine It has 128 voice polyphony and is fully multi timbral so that different programs can be played on each MIDI channel There s an on board digital effects processor providing multiple simultaneous effects including real time effects
139. 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 comer 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 relative size of its function block on the Algorithm page 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
140. 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 PC3K 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 PC3K 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 PC3K s physical controllers with a lower case c and MIDI Controllers with an upper case C 7 20 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 PC3K 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 PC3K The PC3K s physical controllers include the following The nine sliders A B C D E F G H I in the Assignable Controllers section The two Continuous Control Pedal jacks CC Pedal 1 a
141. 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 PC3K 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 PC3K may be different from the example l 407 lovers Pinno mp Lett pane a 3 RubensteinsW om Piano Left Fhosdz Thum NYC Jazz Gra Octav IHE 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 PCSK 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 PC3K for this purpose 2 5 Startup Startup the Details USB Storage Port
142. 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 PC3K 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 PC3K will automatically listen to any MMC messages received at the USB or MIDI in port The PC3K 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 5 PC3K s transport to control an external sequencer This works from any mode though in Program mode you will want to make sure that the Demo Button function is set to off You can do this from Master Mode Page 2 When Demo Button is set to off you can still hear Program demos by pressing the cursor up and down buttons simultaneously Important Note About External Sequencers If using the PC3K 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 PC3K s s
143. 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 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 INoteAutoLow 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 Note Shift 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
144. to Continuous the PC3K 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 alternate start points 6 21 Program Mode The LAYER Page Emulating Legato Play If you place the Alt point after the initial attack transients of the sample then you can use the Alt Switch to emulate legato playing in an acoustic instrument As an example set Keymap to 14 Flute Now set the AltControl parameter to Chan St Channel State Now if you play notes separately the initial breathy chiff will be heard But if you play the notes legato connecting them smoothly the Alt point is used and you do not hear the chiff This is because the Chan St is turned on as long as any note is being held Most of the PC3K 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 A u P b HHH SosFPdl HBS FrzFdl Rel Tan 127 ThrAtt On Orn Off Off Parameter Range of Values
145. 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 Loop Wait if there 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 62 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the arpeggiator to start ahead of time
146. 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 soft button During playback every time you press FromTo the PC3K 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 curren
147. well as the 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 PC3K responds to MIDI signals received from a MIDI controller connected to the PC3K 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 The display diagrams you see in this chapter show the default values for setup 126 Internal Voices 7 5 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 and assign zones to be controlled by the PC3K s Arpeggiator MidiBamk MidiFro9 pae Ila PROG Standard Grand _MIDI FHIT E InFutChannel Hone BankMode EntryPraChs CH PRE EE UE
148. you can make fixed adjustments to the function parameter On the DSPMOD subpages there are programmable parameters that you can assign to any control 6 13 Program Mode Algorithm Basics 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 14 More information on the subpages can be found in The DSP Control DSPCTL Page on page 6 28 and The DSP Modulation DSPMOD Page on page 6 29 Highlighting any of the function blocks on the ALG page and pressing the Edit button takes you to the DSPCTL 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 three input functions appear only in algorithms that are structured for three input functions You can change the nature of each layer of 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 com
149. 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 can 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
150. 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 PC3K Diagnostics Utility press the EXIT button You will return to the main Boot Loader 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 PC3K 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 PC3K will ask you to confirm this action Press OK to complete the clear function and CANCEL to stop without altering anything B 2 System Utilities Format Flash Press the soft button labeled Format Flash to reinitialize the internal file system This deletes all objects and the current OS If possible remember to first save your work in the Storage menu Once deleted the files are completely removed from the PC3K and there is no way to retrieve them This will delete everything that was stored internally on the PC3K and lea
151. zen ene cene 7 17 Th Pan Volume PAN VOL Page arcaico nazio ae 7 18 Entry Volume Exit Vol Me iia inicias 7 18 Entry Parm Exit Lac Ti O E ei 7 18 The BEND Pace aiii idea nia El asian 7 19 Bend Range Semitones and Bend Range Cents Up and Down 7 19 Aux Bend 1 Up and Aux Bend 1 Down lie nen nono corno no ce ce ee cene ze ze zen 7 20 Aux Bend 2 Ra ge sini olii e n RE a a e a 7 20 Controller ii en id hss LL Be A liada 7 20 Continuous Controller ia aa 7 21 Switeh Controllers ici diia ee al air 7 22 The Controller Destination Lian a E ve LL Lan ve iaa 7 22 Shift Key Number Shift Key ShKeyNum ShiftKey ie 7 27 Continuous Controller Parameter a a eee eee 7 30 Switch Controller Parameters ei 7 31 The WHEEL Pages aranci EI Elia 7 33 The SLIDER and SLID2 Pages alal i 7 34 The Continuous Control Pedal CPEDAL Page ie 7 35 The Pressure PRESS Pa geniessen dada 7 36 The Footswitch Pages FT SW1 FT SW2 FT SW3 eee eee E ER a E i 7 37 The Arpeggiator Switch ARP SW Page eee ene ne ne zee ze zeze denaii 7 38 The SWITCH Pages sia luana aan polari 7 39 The RIBBON Page usar ORLO i i 7 40 The Ribbon Configuration RIBCFG Page eee eee eee ee 7 41 Ribbon Confisurationi ati nl oche eat 7 41 Position Mode PosMode i i iena idad ainda ia sei alal ana 7 41 Spino st ii aaa ela 7 42 Center luana ORA
152. zone 172 ShiftPBank Each increment of 7 0 6 7 13 112 127 selects one of the 17 ShiftPatt Banks for the ARPEGGIATOR page of a controller s zone 173 VelPatt Selects one of the 128 patterns in the VelPatt Bank for the ARPEGGIATOR page of a controller s zone 174 VelPBank Each range of seven values 0 6 7 13 112 127 selects one of the 17 VelPatt Banks for the ARPEGGIATOR page of a controller s zone 175 VelFixed Set s arpeggiator velocity when velocity is set to Fixed for the ARPEGGIATOR page of a controller s zone 7 55 Setup Mode The COMMON Page The COMMON Page The COMMON page contains parameters that affect every zone in the current setup Mutes AuxFAChan EB3cEhan one Hutes 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 Arpeggiator Sync Not in Sync Sync Mode Not in Sync Tempo When Clock Source is set to Internal the Tempo parameter sets the PC3K 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 10 Clock Source With the Clock Source parameter you can set the PC3K within
153. 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 standard 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 PC3K programs or other in
154. 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 6 43 Program Mode The Envelope Control ENVCTL Page 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 rises 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 ore AMPENVIENI JENIS ENUCTL more d 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 s
155. 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 Saw 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 smoot
156. 11 00 cm Depth 13 98 35 50 cm Length 54 33 138 cm Weight 54 Ib 24 50 kg PC3K7 Height 4 33 11 00 cm Depth 13 98 35 50 cm Length 47 75 121 29 cm Weight 37 35 Ib 16 94 kg PC3K6 Height 4 84 12 30 cm Depth 13 98 35 50 cm Length 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 Appendix B PC3K Bootloader The Bootloader is the program that runs when the PC3K is first turned on Its job is to check that hardware is functional initialize the digital systems and load the main synthesizer program Under normal circumstances you might not even notice that the Bootloader is there at all since the PC3K will start up on its own without any problem However if you want to update your unit or perform maintenance on it you may need to interact with the Bootloader program itself This appendix describes what the Bootloader can do and how you can use its functions The first thing to understand is that PC3K executable programs and all object data reside on a file
157. 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 D 15 PC3K Objects V 1 31 Effect Presets with Algorithms 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 171 Degen Regen 4U 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
158. 24 Enable Sense parameter Layer 6 24 Enhancers 9 14 Env Rate 9 19 Env Time 9 16 ENV2 and ENV3 pages Program Editor 6 43 ENVCTL page Program Editor 6 44 Envelope control 6 44 Envelope control parameters 6 45 Envelope Filter 9 18 Envelopes 6 41 6 43 EQ Morpher 9 14 EQ page Program Editor 6 70 EQs 9 13 Equalizers 9 13 Erase Song Mode TRACK Page 12 24 EVENT Page Song Mode 12 31 Everything loading objects as 13 10 EXIT button 3 8 Exit values 7 31 Exp Atk 9 15 Exp Ratio 9 15 Exp Rel 9 15 Exp Threshold 9 15 Expander 9 14 Expanse 9 11 Expansion 9 15 Export MIDI file Program Info Chain Info 13 12 Extended sample loop 14 11 External sequencer 12 2 External Tempo Source 7 56 F favorite programs Category buttons 3 4 FB2 FB1 gt FB 9 13 Fdbk Dly 9 13 Fdbk Image 9 13 Fdbk Level 9 12 9 16 FdbkComprs 9 14 Files Everything 13 6 Loading 5 6 Master 13 6 Saving 5 6 Fill Mode 13 9 Fill soft button 13 10 Filter Type 9 18 Filters 9 18 Finding objects 3 12 Fine adjust 6 15 Flanger 9 17 Formatting a USB Device 13 3 13 12 Freeze Pedal parameter Layer 6 25 FreqScale 9 14 Front panel navigation 3 6 FUN page Program Editor 6 40 Function soft buttons 6 51 fuses C 1 FX bypass 5 7 FX Mode on Master Mode MAIN page 11 2 FXMod Diagnostic 9 24 G Gate Time 9 15 Gated Ducking Delay 9 13 Gates 9 14 General MIDI 11 11 Drum Remap 6 32 11 2 Globals parameter Common 6 35 6 61 Grab Song Mode TRACK Page 12 29 G
159. 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 PC3K 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 but at most tempos divisions smaller than 1 64 will sound pretty much the same To find a Beats value 7 43 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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
160. 28 only So we ve designed a system that makes program selection more flexible This is true whether you re selecting programs from the PC3K 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 PC3K if you scroll or enter a number in the K2600 you will see the same numbers in the K2600 and in the PC3K if the programs exist QAccess Other PC3Ks or K2600s K2500s or K2000s similarly set when in Quick Access mode The PC3K gives you thousands of program change numbers to work with These are organized into 16 banks of 128 each the memory banks A programs object ID is its program change number as discussed in Chapter 5 This makes it easy to keep track of your programs The PC3K can use several different formats for interpreting 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 PC3K s front panel selecting programs is as simple as entering the prog
161. 3 ae C4 _ gt C5 _ C6 _ C7 _ c8 Delete move characters left one space Insert move characters right one space 3 Da 4 a o YO go 9 0 zero Hyphen _ Underscore Equals Backspace Semicolon Apostrophe Colon 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 Use the Shift keys or Sustain pedal to enter upper case and special characters Editing Conventions Deleting Objects Deleting Objects Within most editors there are soft buttons for deleting objects When you want to delete an object press the Delete soft button and the PC3K will ask you if you want to delete the object At this point in the dialog you can select another object with any of the data entry methods Press OK if you want to delete it or press Cancel if you don t The PC3K won t let you delete ROM objects also known as factory objects 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
162. 3 KEYMAP page Program Editor 6 19 Keymap parameter Keymap 6 19 Keymap parameters 6 19 Keymaps 6 2 Keymaps stereo 6 20 KSP8 effects D 11 KVA Oscillators 6 53 L L Diff Dly 9 13 L Invert 9 24 L Out Mode 9 24 L R Delay 9 24 L R Phase 9 16 9 22 L R Pre Dly 9 11 LaserVerb 9 17 Late Lvl 9 11 LateRvbTim 9 11 Layer delay control 6 23 LAYER page Program Editor 6 22 Layer parameters 6 23 6 26 Layers Adding 6 51 Deleting 6 51 Duplicating 6 51 Importing 6 51 moving between in multi layer programs 3 11 Muting 5 7 LCD 3 6 Legacy object conversion E 1 Legato play parameter Common 6 34 Leslie effect 9 20 LFO Dpth 9 16 LFO Filter 9 19 LFO LRPhs 9 16 LFO page Program Editor 6 37 LFO parameters 6 38 LFO Phase 9 22 LFO PlsWid 9 19 9 22 LFO Rate 9 16 9 22 LFO Shape 9 19 9 22 LFO Smooth 9 19 LFOs 6 37 6 39 Line cord 2 2 Lo Beam W 9 20 Lo Fast 9 21 Lo Gain 9 20 Lo Mode 9 21 Lo Res Dly 9 21 Lo Size 9 20 Lo Slow 9 21 Lo Trem 9 20 LoAccelCrv 9 21 Loading files 5 6 Loading Individual Objects 13 8 Lock parameters 10 14 LoFst gt Slow 9 21 LoMic A 9 20 LoMic B 9 20 Loop Switch Sample Editor 14 11 Loop Type parameter AmpEnv 6 43 Looping samples 6 21 LoResonate 9 21 LoResXcurs 9 21 LoSlow gt Fst 9 21 LoSpinDir 9 21 Low Key parameter Layer 6 23 Low Velocity parameter Layer 6 23 LP Freq 9 20 Lvl 9 20 Main Page Master Mode 11 1 MakeUp Gain 9 15 MakeUpGain 9 15 Master button 5 7 Master files 13 6
163. 40 Flanged Taps alg 455 Flange lt gt LasrDly 2U 241 StFlange Delay alg 456 St Flange Delay 1U 242 StElng 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 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 D 18 PC3K Objects V 1 31 Effect Presets with Algorithms 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 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 2
164. 5 CompKik11 814 AM Big Band 849 New Gtr 31 886 VintChamber 815 Clunker20 850 Soundboard 3 887 SmallWurly2 816 PadFX3 851 OmniStage 888 Deep FuzzPnt 1 817 SynFatener amp Ech5 853 MedPlateJazFlute 889 Comp70 818 MarleyClav1 854 MistyMntn EP 2 890 FooldAgainVox 819 Flange Echo 4 855 PnoEnhanc22 891 CompKik111 820 Deep Fuzz Clav 3 856 ClavPhasel 892 Vintage Horns 3 821 GetBack1 857 MedRoom10 893 Leslie Gospl 822 Deep Fuzz Clav 5 858 EPChr11 894 EPChr60 823 ChrsDly4 859 HardRhds1 896 Deep Fuzz 51 824 Leslie Basic 860 PnoEnhancement 898 Shredlead3 825 MoogBASSComp5 862 SmallHornChamber 899 Synphasel 827 EPChr1 Dyno 864 Clunker50 900 Synphase2 828 Synphase17 865 PnoEQCmp3 901 SynthTrem2 829 Leslie Comp 1 866 Comp4 902 DWAuxRvb1 830 PhaseDly104 867 3DogEP 1 903 Small Dark Room2 831 GoodLeslie 52 868 CompDelay 904 Sax Chamber2 832 CPChrRvb1 869 PnoEnhanc22 905 Small Hall2 833 DistLeslie Basic 871 EPChr11 906 Medium Hall2 834 CompKit111 872 Old Chamber 907 Real Niceverb 835 CarlosSyn 873 ChefAid 1 908 Opera House2 836 MaroonSynbass 874 Zep Fuzz 1 909 Mosque Room2 838 FloydEP1 875 Bernie Clav 910 Bright Hall 839 PnoCmpSndBoard 1 876 ClavRotoAmp 911 Echplex 1 840 SuperTrmpPhase 877 Dark Niceverb 912 AbbeyPianoHall 841 Wurly 1 878 Basic RayEP 3 913 Recital Hall 2 842 ShortPlate4EPs 879 LatinHornCmp 914 Echplex 2 843 ShortPlate4EPs2 880 Basic RayEP 2 915 Medm Warm Plate2 844 Aux Dark Room 2 881 Raffas DX7 916 EQVelMorph D 30
165. 58 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 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 D 19 PC3K Objects V 1 31 Effect Presets with Algorithms 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 293 HeavyDistRotor s alg 294 VC Dist HiLoRot2 2U 294 Res Rotorl fas
166. 66 KEYMAP page 6 19 LAYER page 6 22 LFO page 6 37 MISC page 6 68 OUTPUT page KB3 6 70 PERC page 6 64 PERC2 page 6 65 PITCH page KB3 6 63 Soft buttons 6 11 TONEWL page 6 60 Program Info Export 13 12 Program lock 10 14 Program mode 2 7 4 2 6 1 6 9 Soft buttons 6 10 Program mode page 6 9 Programs D 1 Adding layers 6 51 Deleting 6 52 Deleting layers 6 51 Duplicating layers 6 51 Editing KB3 6 60 Editing VAST 6 11 Importing layers 6 51 KB3 2 8 6 4 Renaming 6 51 Saving 6 52 Index vi selecting 2 7 VAST 2 8 6 2 Ptch Offst 9 23 Pulse Width 9 19 9 22 Punctuation 5 3 Q Quantize Song Mode TRACK Page 12 27 Quantize Flange 9 17 Quartr Wts 9 23 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 DI 9 13 R Invert 9 24 R Out Mode 9 24 RAM objects 5 2 5 4 Rate Control parameter LFO 6 38 Rate Scale 9 22 Ratio 9 15 Real time Control of Arpeggiator Parameters 7 54 Recording songs 3 12 Region Criteria window Song mode 12 21 Rel Rate 9 18 9 19 Rel Time 9 14 Release 9 15 Release parameter ASR 6 40 Release Time and Level parameters AmpEnv 6 43 Releasing ASRs 6 39 Remap Song Mode TRACK Page 12 31 Renaming objects 5 3 with Rename utility 11 12 Renaming programs 6 51 Repeating ASRs 6 39 Reset hard 11 16 Reset MIDI channels 10 18 ResH LPhs 9 21 Resonance 9 18 Resonant Filter 9 18 Retrigger 9 16 9 19 Reverb types 9 11 Reve
167. 7 53 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 from a 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 Controller Number 147 Corresponding ARPEGGIATOR Parameter ArpOn Operation 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 one 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 c
168. 8 27 Drawbar9 28 Expression Pedal 11 Percussion On Off 73 Percussion High Low 72 Percussion Loud Soft 71 Percussion Fast Slow 70 Rotating Speaker Slow Fast 68 Vibrato Chorus On Off 95 Vibrato Chorus Selector 93 Key Click Level 89 Leakage Level 90 Table 6 3 KB3 MIDI Controller Assignments Local Keyboard Channel KB3 Program Structure The local keyboard channel enables the PC3K to receive MIDI information on a single channel then rechannelize that information so you can play and control all 16 zones of a setup even if your MIDI source transmits on only one channel When you re in Program mode the local keyboard channel remaps incoming information to the PC3K s current channel the one shown in the top line of the display The LocalKbd parameter on the RECEIVE page in MIDI mode defines the local keyboard channel When you re in Program mode and playing a KB3 program you may want to leave LocalKbd set to None which is its default value In this case the MIDI Controller messages for KB3 control listed in Table 6 3 are certain to work There are some possible disadvantages to this however First the PC3K doesn t relay incoming MIDI to its MIDI Out port Perhaps more importantly if you change the channel on your MIDI source the PC3K plays the program on the channel used by your MIDI source regardless of the PC3K s current channel For example if your MIDI source transmits on Channel 1 and you set the PC3K s current cha
169. 8 and Transpose Root Note on page 7 60 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 Deumbrki 1D 2 3 4D SD 6 r 2 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 Midilsts 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 PC3K s internal sound generator None of the track s MIDI data will be sent to the USB or MIDI Out po
170. A cububufbsaedongesasecb oapecssueszsetedstous 6 33 Pitch Bend Range Up and Dow aaa 6 34 UN A SS a O ara 6 34 Legato Play iria ail rionali anale iano a irc 6 34 Portamento iatale la ala aa aiar 6 34 Portamento Rate cui nali LELE n EEN AR abs sss 6 35 Attack Porta Met lilla silla la 6 35 Globals upneli bin Aiino lia ace alate vii 6 35 Output Gain Pan arid Pan Mode 6 35 Demo SON ironico elote dro S E ear re i paia 6 36 The LFO Page cti ita ae Ai di 6 37 Minimum Rate ico lindaa laa aid pia 6 38 Maximum Rates iia dia ii puai Rinden iberia 6 38 Rate Car O da a id 6 38 LFO A NR RN 6 38 LFO Phaseraiiunandli aliada aaa 6 38 The ASR Page EE a E III NT IL 6 39 O E OS RON 6 39 Mode iii abile ace RP PE TT PTET 6 39 A eil uao lac a nan ben canina nai 6 39 Atari taa 6 40 RSE A a A A A A BE 6 40 The Function FUN Page iii a iaa 6 40 The Amplitude Envelope AMPENV Page ie eee ene ne zena 6 41 Attack Segment Tiesto ii a sata coi 6 42 Attack Segment Levels snositi rinii rd iia EAEE A EAEE EEES 6 42 Ry trs A NON 6 43 Release SEMEN ES civic ii di 6 43 L00p Iypersgaisnetii vani iaa tii dll 6 43 NN A Lo o ia 6 43 The Envelope 2 ENV2 and Envelope 3 ENV3 PageS ie 6 43 The Envelope Control ENVCTL Page tai 6 44 AUS diiniita a N rio 6 45 TOC iv Key Tracks ota nce oa 6 45 Velocity Tracking scanio ea ARGO eo dansa 6 46 CAIO RAR REA 6 46 Mpal o ada e ani iaia 6 46 TheProgram FX PROGFX Pa
171. A layer consists of a keymap and an algorithm for processing the samples contained 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 PC3K 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 PC3K 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 PC3K 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 st
172. 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 II page must be on for Easy Audition to work the parameter is on by default Master mode is described in Chapter 11 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 rose ambP a y 1 47 layers Pinno mp Lett Piano mi Left _ 3 E ubensteinSW Com Piano Left Rbondz Thum 5 NYC Jazz Grand Oct TO t 311 Info 2 7 Startup PC3K Programs 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 PC3K 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 soft button shows you relevant details about the current item The Xpose Xpose buttons are a shortcut for quick transposition in s
173. 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 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 SyncType set to DownBeatWait if there is something playing to sync to the arpeggiator will wait for the downbeat of the next measure to start The difference from DownBeat is that if there is nothing to sync to the arpeggiator will not start This can be useful if you want to start multiple arpeggiators synced to something else For example you could have a bass arpeggiato
174. 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 change a song s 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 simult
175. DI controls switches or internally generated VAST LFOs ASRs FUNs etc which are available as modulation sources It has no effect on any signal being routed through it Up to eight modulation sources may be monitored simultaneously Meters 1 through 4 can monitor bipolar sources meaning sources that can have both positive and negative values The range of the bipolar meters is 1 to 1 Four monopolar meters 5 through 8 provide better resolution but the range is limited to 0 though 1 Use the monopolar meters for sources which you do not expect to go negative Eight parameters are provided to connect modulation sources to the meters The parameter values are fixed at NoDpth and have no function except to connect sources to meters To use the algorithm save a stereo preset containing the algorithm then a chain containing that preset Go to one of the Chain MOD pages and choose one of the meter parameters Bipole N or Monopole N You will not be able to modify the Adjust or Depth fields but you can select any source you want You can view the meters on PARAM page 2 Bipole1 through Bipole4 attach bipolar modulation sources those that can go positive or negative to the bipolar meters The parameters are not adjustable 9 24 Effects Mono Algorithms Monopole5 through Monopole8 attach monopolar modulation sources can go positive only to the monopolar meters The parameters are not adjustable Mono Algorithms
176. DlyCtl parameter when you want to vary the delay time and a switch control if you want the delay 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 6 23 Program Mode The LAYER Page Minimum Delay MinDly Maximum Delay MaxDly The length of the delay is determined by these two parameters When the control source assigned to DlyCtl is at its minimum the delay will be equal to the value of MinDly The delay will be equal to the value of MaxDly when the control source is at its maximum If DlyCtl is set to OFF you get the minimum delay If it s set to ON you get the maximum delay 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 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
177. EA E ili 11 16 TOC x A NN 11 16 VO a iia toa cis 11 16 SAMPLEMEMORYAMEMO Vir ie n ie lit 11 17 MAP RO ORO Rav 11 17 Defragment Defrag imitacion der toni 11 17 Preview Sample PRVIEW iue a ali pa NES Gnu Ge PESKE ROP SRR nega aac 11 17 Chapter 12 Song Mode and the Song Editor Getting Start d withthe Sequencer i ine NEO Ra Ga 12 1 What isa Sequencer seriean rons era ein a en EERE EEE E E E onere iia tasa 12 1 Song Mode The MAIN Pagina ii aida 12 1 Current Song Curs0ne sonnen ta ae e Lie ALE an E RSR 12 2 Tempo NN AE NEEN 12 2 Recording Track RecTrk cirie an aa E E REEE iia 12 3 Programis Fro db al rail iii anta lt 12 3 Track Number RE iona e ARA Aa al lA reti 12 3 Volumet Vol aayi aa IA a ia A E A ASI 12 4 Parita e datas a a a a a a a ei cit alice ini iii i eda 12 5 Modea baia iaia ala E E T ESET VET e aiar 12 6 Location LOCAL iii A AREA EEA An EA Aia Soe sted A A E A Ea RS 12 6 Mode Indicators Fand Ijoye cia A EA SR 12 6 Activity Indicators iniciaban abla En a E ea ar aa En Ea a peli 12 6 Track Status Indicatofs missione ica a Eain ta ci ai ne EAT i cas 12 6 Track Channels desse alan inline RR T 12 7 Soft Buttonsion the MAIN P pE imore lane aiar 12 7 The Save Changes Dialogi rac o nani na ica ana aiar 12 8 Sone Mode The BIG Page ias 12 10 TimeInzattcida lA ici ia eee A e 12 10 O ERI lalla Ln 12 10 A E EEE iii 12 11 Loops nl iena iaia ite T 12 11 PU Aaa lia Ge ie nin Aaa alii ian 12 11 MOTO ei
178. ERC1 page Range of Values Percussion Level 0 to 24 0 dB Decay Time 0 01 to 5 10 seconds in 0 02 second increments Organ Volume Level 12 0 to 12 0 dB 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 65 Program Mode The KEYCLK Page 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 KeyClick Uolume lecas WelTrk Pitch more AMP___JPERCI FERCH Random 94 RetriaiThresh 31 5096 Hote ttack Hormal Noterelesse 2 Normal KEWCLE more 4 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 Retrig Thresh 96 0 to 0 0 dB in 0 5 dB increments Note Attack Normal Hard PercHard Note Release KeyClick Normal Hard This is where you turn Key Click on or off With KeyClick set to Off you may still hear a c
179. External the riff will 7 62 Setup Mode Ly Riffs sync to external MIDI clock You can also manually choose a tempo by selecting a value from 20 to 400 for BPM Use the Alpha Wheel or buttons to choose between the options or set a tempo You can also use the alphanumeric pad followed by pressing the Enter button to enter a tempo SyncZone The SyncZone parameter determines which zone a riff will sync to 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 If the drum riff is started first the bass riff will see that as the first
180. 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 7 Master Mode MAPS In general you should select a nonstandard intonation map when you re playing simple
181. G4 Fid D 4 which is 2 ST from shift limit 11 ST B4 C4 D 4 F 4 AS 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 7 47 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 Note Shift until it reaches the shift limit again Here s a very simple example Suppose that the only note in the Arpeggiator cycle is C4 Note Shift 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 PC3K calculates the difference between that G 4 and the shift limit G4 one semitone It adds that difference to the origina
182. 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 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 D 16 PC3K Objects V 1 31 Effect Presets with Algorithms 193 Ducked 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 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 Ster
183. HP 9 20 Cabinet LP 9 20 Cabinet simulations 9 19 Cancel soft button 13 10 Carrier ring modulation 9 23 Cascade Mode 1 3 6 1 6 17 Category buttons 3 4 CenterGain 9 23 CentrAtten 9 22 Chain Info Export 13 12 Chains effect D 26 Chan Layer buttons 3 7 5 7 Change Song Mode TRACK Page 12 30 Changing intonation key 11 8 Channel Program CH PROG Page 7 6 Setup Mode 7 2 Channels on and off 10 13 Characters 5 3 Chorus 9 16 Clicking during portamento 6 34 Index i Clock 11 15 setting 2 7 Source 11 10 COMMON Page Song Mode 12 19 Common parameters 6 34 6 61 Compare 5 7 Compatibility K Series Objects E 1 Complex Echo 9 12 Compressors 9 14 Configuring control sources 6 9 Connecting MIDI 2 3 continuous pedals 1 5 Contour 9 18 Contrast 2 5 Control Setup 6 9 Setup Editor 7 2 Control sources Configuring 6 9 FUNSs 6 40 Key tracking 6 15 Source 1 and Source 2 6 16 Velocity tracking 6 16 Controllers entry values in Program Mode 6 10 Controlling LFO rate 6 38 conventions for editing objects 5 1 Copy Song Editor TRACK Page 12 24 Copying layers 6 51 Creating layers 6 51 Cross Couple parameter 9 10 Crossover 9 20 Crossover 9 15 9 24 Crossover2 9 15 Cursor buttons 3 7 Curve 9 20 D Data entry 3 9 DC Offset 9 17 Decay segment 6 43 Decay Time and Level parameters AmpEnv 6 43 DegenRegen delay 9 13 Delay 9 24 Delay parameter ASR 6 39 Delays 9 12 DelayScale 9 12 Delete on Object Utilities page 11 13 Dele
184. IDI 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 MIDI Velocity 127 O E 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 greai than with Reverse Linear curve above medium stri velocity MIDI velocity is less than with Reverse Lin curve 7 16 Setup Mode The Key Velocity KEY VEL Page Low Velocity LoVel HighVelocity HiVel LoVel and HiVel set the minimum and maximum velocity limits that the current zone transmits A keystroke in the current zone whose velocity after it has been scaled and offset is below the mi
185. IPPNU EEND Ores Ctl 6 32 Orn 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 MIDI Program MidiProg Depends on MIDI Bank Mode 1 Status Muted Active Solo Solo Muted Active 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 PC3K 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 PC3K 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 PC3K bank Base 1 programs 128 255 fall into Base2 and so on recall that the PC3K bank names ar
186. JKEYCLE more d Parameter Range of Values Percussion Off On Volume Soft Loud Decay Slow Fast 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 On keyboard models you can turn percussion on or off by pressing Assignable Controller Button 5 Mute button 5 Volume This parameter switches between loud and soft percussion settings The actual amplitude is set on the PERC2 page On keyboard models you can toggle between loud and soft by pressing Assignable Controller Button 6 Mute button 6 Decay This parameter switches between fast and slow percussion settings The actual decay rate is set on the PERC2 page On keyboard models you can toggle between slow and fast decay by pressing Assignable Controller But
187. L 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 PpPpP tft FPP PP E me mi f ff fff UelRande Lot 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 selected 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 def
188. L an AL LL AE a Aa 7 42 The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages ie 7 42 The ARPEGGIATOR Page iii ao B LOL aaa 7 43 The ARPEGGIATOR 2 Pao inca anioni orrore 7 50 Real time Control of Arpeggiator Parameters eee 7 54 The COMMON P gen e RL N rata 7 56 toai oTo EI T bile ilaele bl AlaN ale 7 56 Clock Source nia iaa dais ai 7 56 AUGFX Care es aaa SNS Fs Bae LIA ELL EDIL AL Li Rn EEE 7 56 KB3 Chanmneli iccsloa lla tl he ew ds hs dae ees ea is lai 7 57 A ET 7 57 Arpeggiator Global ArpGl al ssiri erreren artie E sadsterdicssoutete ia 7 57 Artpeggiator Syne ArpSyN ssiercare saio io uit rat 7 57 Riffs scri O atelier lana 7 58 The RIFFI P g iii annie ale rie 7 58 The RIFFI Page cui iaa 7 61 Real time Control of Riff ParametersS ron nn non nn onnn ron cnn narran nara nn ana nconnos 7 66 The FX Pages FX AUXFX1 AUXFX2 and MASTFX ie eee een zeze eee 7 67 The Programmable Switch Pages SWPRG1 to SWPRG8 ie 7 67 The Utility Soft BUONS siiis tania ibi ea en iii air 7 67 TOC vii EVITA CI IONICO 7 67 IBS ESE E E RE RS TIA a AIA ei tada 7 68 New Lome New Zire crateri lina ona RO rio in 7 68 Duplicate Zone DUpZn n in ireland cd iia aeneon 7 68 Import Zone IMmpZn initial ida ainda llista doi Ala ia 7 68 Delet Zone DelZn meva Deda enni alii ai ei ila 7 68 TRIGGER REISKE IRG konne E 7 69 Recording A Set p To Song Mod s mnie a o
189. 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 LFOs 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 38 Program Mode The ASR Page The ASR Page
190. Lead 934 Growler B 965 Ripple RevDrum 1011 Minipulse 4Pole 935 Ready 2 Rock 966 Dark RevDrum 1012 BPM Lead 936 Thimmer 967 SpacerLead 1013 GatedSqrSweepBPM 937 The Real ABC 968 Ripple Sine2 1014 BPMEchplexPad 938 Gospel Special 969 Ripple Thump2 1015 GatedNoisweepBPM 939 In The Corner 970 Blues Harmonica 1016 Cars Square Lead 940 NightBaby 986 Hi Arp Delay 1017 Data Shape Saw 941 Gimme Some 987 Perc Arp Synth 1018 Saw Mogue 4Pole 942 The Grinder 988 Candy O SyncLead 1019 VA1NakedPWMPoly 943 Mean Bean 989 WheelSyncBlips 1020 VA1NakedPWMMono 944 Dew Dropper 990 12SAWMWheelLead 1021 VA1NakedSawPoly 945 Two Out 991 HotMalletMWheel 1022 VA1NakedSqrPoly 946 Y s All Out 992 ScreaminWhlBass 1023 VA1NakedSqrMono 947 My Sunday 993 SyncWheelLead 1024 VA1NakedSawMono 948 Good Starter 994 ModwheelKotoSyn 949 Sacrificer 995 VASprSaw 950 Lee Michaels B3 996 VASprSaw Allpass 951 GM Standard Kit 997 Silent Program 952 GM Room Kit 998 Click Track 953 GM Power Kit 999 Default Program 954 GM Elec Kit 1000 Diagnostic Sine 955 GM Synth Kit 1001 Propht V Sync Ld 956 GM Jazz Kit 1002 Tempo SyncPulse 957 GM Brush Kit 1003 Slo Syn Orch 958 GM Orch Kit 1004 Anabrass 959 VAST1 3Ch Perc 1005 Fat Syn Orch D 8 PC3K Objects V 1 31 Setups Setups ID SETUP ID SETUP ID SETUP 1 TeknoRiff Sw 1 8 32 Latin Danzhall 63 GrandPad amp Magic 2 Bl
191. List 1 Linear Pressure Map Pressure Map 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 PC3K When set to Omni the PC3K responds to incoming MIDI events on all MIDI channels and plays them on the current channel This is normally used for diagnostic purposes only At a setting of Poly the PC3K responds only to events that are sent on the same channel as the PC3K 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 PC3K responds to events on all active channels This is the mode you ll use when you re driving the PC3K 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
192. 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 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 Arpeggiator 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
193. MAPS Page PC3K Song Mode PressureMap Settings on MIDI Mode Transmit Page MIDI Destinations PC3K Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3K audio outputs The receive Pressure Map affects the way the PC3K receives MIDI pressure aftertouch 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 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 PC3K 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
194. MIDI Mode Receive Page KEY VEL page for current Control Setup in Program Mode or current Zone in Setup Mode Velocity Map Settings on Master Mode MAPS Page PC3K Song Mode VelocityMap Settings on MIDI Mode Transmit Page Destinations PC3K Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3K audio outputs The receive Velocity Map affects the way the PC3K 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 PC3K 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
195. Master mode 4 3 Master Table 11 16 Index iv Master Transpose 11 2 Max Freq 9 18 9 19 Maximum delay parameter Layer 6 24 Maximum Rate parameter LFO 6 38 Memory objects 5 4 Merge soft button 13 9 Mic Angle 9 21 MID extension 13 11 Mid Freq 9 14 Mid Gain 9 14 Mid Width 9 14 MIDI All Notes Off 10 6 Basic channel 10 6 Channel enable 10 13 Pan 10 14 Parameter locks 10 14 Program change formats 10 15 Receive mode 10 6 Reset channels 10 18 Transmit parameters 10 1 Utilities 11 14 Volume 10 14 MIDI channel 10 2 MIDI channel parameters 10 13 MIDI connections 2 3 MIDI disconnected 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 18 9 19 Minimum delay parameter Layer 6 24 Minimum Rate parameter LFO 6 38 MISC page Program Editor 6 68 Miscellaneous MISC 14 9 MMC 12 7 Mod Mode 9 23 Mod Wheel 3 5 Mode buttons 3 2 Mode parameter ASR 6 39 Mode selection 3 1 4 1 Modes 4 1 Program 6 1 Modes using 4 2 Modulator ring modulation 9 23 Momentary switch type 7 31 Mono sound systems 2 2 Monophonic parameter Common 6 34 Monophonic programs 6 34 Monopole 9 25 Monster Truck radio spots 9 13 Morph A gt B 9 14 MPressure 7 21 MTC 12 2 Multiband Compression 9 15 Multitap delays 9 12 Multi
196. P 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 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 t
197. POE Musician s Guide includes PC3K6 PC3K7 and PC3K8 KURZWEIL Kurzweil is a registered trademark of Young Chang Co Ltd 2009 All rights reserved Young Chang Kurzweil V A S T PC3K PC3 KDFX Pitcher and LaserVerb KSP8 TM K2661 K2600 K2500 and K2000 are trademarks of Young Chang Co Ltd All other products and brand names are trademarks or registered trademarks of their respective companies Product features and specifications are subject to change without notice 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 910523 002 V1 December 2010 RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE THE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL The lightning flash with the arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the prod
198. Pan Mode parameter Output 6 31 Pan parameter Output 6 31 Pan Width 9 22 Panic button 2 8 6 10 10 18 Parameter locks 10 14 Parameters AmpEnv 6 42 6 43 ASR 6 39 6 40 Common 6 34 6 35 6 61 Envelope control 6 45 Keymap 6 19 Layer 6 23 6 26 LFO 6 38 Parametric equalizer 9 13 Path 13 3 PC3 Features 1 2 PC3 Overview 1 3 PC3K6 1 1 PC3K8 1 1 PCH 10 16 Pedals 2 4 pedals 1 5 PERC page Program Editor KB3 6 63 PERC page Program Editor 6 64 PERC2 page Program Editor 6 65 Phase parameter LFO 6 38 Pitch 9 23 Pitch Bend Mode parameter Layer 6 23 Pitch Bend Range parameter Common 6 34 PITCH page Program Editor KB3 6 63 Pitch Wheel 3 5 Play Pause button with Easy Audition 2 7 Playback loops 6 21 Playback Mode parameter Keymap 6 21 Plus Minus buttons 3 9 Polydistort 9 20 Polyphony 6 2 11 15 KB3 6 61 Portamento click 6 34 Portamento parameter Common 6 34 Portamento Rate parameter Common 6 35 Pos 9 20 Power cable 2 2 Pre Dly 9 11 Pre Delay 9 11 Pressure Press Page Setup Mode 7 36 Pressure Map Master 11 6 MIDI Receive 10 8 MIDI Transmit 10 4 Preview Sample PRVIEW 11 17 PrgChgMode 10 6 Program buttons 3 4 5 7 Program change formats 10 15 Program change mode 10 6 Program changes Extended 10 15 MIDI 10 5 Quick Access mode 8 1 Program Editor AMP page KB3 6 63 AMPENV page 6 41 ASR page 6 39 DRAWBR page 6 62 ENV2 and ENV3 pages 6 43 ENVCIL page 6 44 EQ page 6 70 FUN page 6 40 KEYCLK page 6
199. Par Cona Pan Modes Out Gain fdE AE A A more s 6 70 Program Mode The Program FX PROGFX Page 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 Ma Buteuts Main OutPute Hain newer ifdB Tyre sE ir off Tube g A 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 37 to find descriptions of these pages spal 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 this 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 Junk
200. 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 II page see page 11 6 Also MIDI pressure messages 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 Dest Scale Add Curw Ent Exit Presse 160x E Linear None None PRESS JFT SH1 FT SHZ more j 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 36 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 All the foot switches in the default control setup are set to a switch type that doesn t generate a note and consequently the range of values for their respective Destination parameters is the Control Destination list There are three Footswitch pages one for each Footswitch The FT SW page parameters are described in Switch Controller Parameters on page 7 31 Ontontrol Ontlalue OffControl OffUaluse MEE El Entrustate ExilState EE T Sustaln FT SH1 E fore L Hone Hone e more j
201. RetroDrum 276 VA1DistBassSolo 277 DownwardSpiralMW 310 Mono Trekkies 343 OrganMode Pn Hrp D 3 PC3K Objects V 1 31 Programs ID Program ID Program ID Program 278 VA1DstPulseWheel 311 Disco Divebomb 344 Dr John s RMI 279 NewOrderPulses 312 MutronTweetyPerc 345 Phase sw Organ 280 VA1 DetunedPulse 313 Disgusting Bass 346 Spaced Out Bach 281 VA1 Detuned Saws 314 VA1ShaperSweeper 347 Tobacco Road RMI 282 VA1 Detuned Sqrs 315 ElectroPercSynth 348 Traffic EP 283 VA1 Emerson Lead 316 MWhlMayhemBass 349 Tekno Tempo Echo 284 MwhlClubsweeper 317 ElectronicaSplit 350 Trick of th Tail 285 Innervate 318 HiPassMWhIBlips 351 RMI Clav WAH 286 ChemBrosBassLead 319 Plasma Cannon 352 Dream On Session 287 UFO Pad 320 32 Layer Bass 353 LightYearStrings 288 VA1SliderMorphSQ 321 Yesesis Tron Str 354 Funkensteinz ARP 289 Shoobie Model C 322 Moby TurntblTron 355 Murky Rez Pad 290 Stereo Pickups 323 Space Oditty 356 St PanPhase ARP 291 70sBubblegumClav 324 RocknRollSuicide 357 ARP Str Oberheim 292 TreblClavWhlmute 325 Octave Tron Str 358 FX Sweep ARP 293 Mutron Synth sw 326 Siberian Khatru 359 HotFilter ARP 294 Bi Phaz Clav 327 Modwhl Remix Str 360 St P PWM BASS 295 80s Flange Clav 328 Pdl PitchbendStr 361 SquareChirpLead 296 VAST Env SynClav 329 Silent Sorrow 362 My Old PPG 2 3 297 Charlemagne Clav 330 Bandpass Choir 363 Kashmir Str Brs 298 Switch Pickups 331 Swep
202. STBars1 3 8 amp 9 217 Buzzy Strings 250 Skullophonic 185 1 Note Powerkiff 218 VA1Saw Sqr Pulse 251 Percussionist 186 Miami Pop Horns 219 Airy Impact 252 Shiny Sparkles 187 80sPopOctaveSax 220 Spider s Web 253 HybridTuned Perc 188 BuenaVista Brass 221 ARP Big Synth 254 Dynamic Perc 189 Tenor Express 222 Class Pad 255 Cage s Ensemble 190 Sgt Pepper Brass 223 HarmonicEnvelops 256 Magic Mbira 191 Goldfinger Brass 224 Heaven amp Earth 257 CP80 Enhanced 192 Bari TenorSect 225 Bling 6 String 258 Gabriel s Melt 193 Studio A Strings 226 MediumCrunchLead 259 VideoKilledRadio 194 Studio B Octaves 227 DoubleCleanChrs 260 Brighter CP 195 NashvilleStrings 228 Comp d Phaser 261 TouchRezSynthCP 196 Processed Strgs 229 TremBucker 262 Power CP 197 Owen s Strings 230 Cascade Sitar 263 Dark Chorus CP 198 Studio C Strings 231 Heavy Buckers 264 Inside Out CP 199 Tender Strings 232 Nasty 70s Guitar 265 Pianet Classic 200 Toxic Strings 233 Finger Bass 266 She s Not There 201 Mixed Choir 234 KneeDeepMinimoog 267 Walrus Pianet 202 Concert Choir 235 AC Buzzer Bass 268 Flaming Hohner 203 Aaah Vocals 236 Motown Bass 269 PowerChordPianet 204 Jazzy Ballad Vox 237 Squire sHeavyPik 270 Sly Ballad 205 AntiqueAhhChorus 238 Lowdown Bass 271 Black Friday 206 Bright Syn Vox 239 Eberhardt Frtls 272 These Eyes 207 Vox Orgel 240 Sly Bass 273 VA1 Saw Lead 208 Vox amp Strings 241 Maroon Drums 274 VA1 Sqr Lead 209 Press Lead 242 BourneRemixDrum 275 MaroonSynBass 210 ClassSquare 243 Beastie
203. Setup mode and Song mode these pages corresponds in appearance and function to the AUXFX pages though they work on a per setup song basis Pressing the AUXFX1 soft button or the AUXFX2 soft button calls up respectively the AUXFX1 page or the AUXFX2 page As stated above in Effects mode Setup mode and Song mode the AUXFX1 and AUXFX2 pages provide overrides for Aux Chain selection and other Aux Effects parameters See Aux Override on page 9 3 for a description of the Aux overrides Each AUXFX page appears as shown below the page shown below is the AUXFX1 page Muerride Tes 30 Outrut auto Mod Override Send Levels and Pre Post Ins 17345 6 T 8 9 161112131415 16 27 F E E F F F F F FP e F F F FP F P 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 9 5 Effects The AUXFX1 and AUXFX2 Pages If Override is set to No the top line of the page displays the Aux 1 Chain that is loaded for the current program as well as the current channel In the case of the screenshot below the Aux 1 Chain of the current program is 906 Medium Hall2 and the current channel is 6 e londedieh 906 Medium Hallz n Jo u teut auto Mod Override Hone Send Levels and Pre Post Ins
204. T 3 12 Quick Song Recording and Playback nnsrrcrtiaimine mannaia nanizania fini liti 3 12 Chapter 4 The Operating Modes What the Mo deS Ae AR i ri at 4 1 S lecting Modes E EEA Ra RR 4 1 oro ELO AAA ONO 4 2 Usina theModes ri A EA ad 4 2 Prostrani Mode ER Ra E SOI E ata ad ero 4 2 Setup Modena ni iia 4 2 Quick Acess Mode RR A A a anta 4 3 Effects Mid nali SS dc aa 4 3 MIDIEM Oda aliene e aaa eo A O and 4 3 Master Modena a A i pin 4 3 SONS A E NN 4 3 Storage Mode A RN 4 3 Chapter5 Editing Conventions Introductionito Editing arie aiar ea ae ai 5 1 What sam Object aiar ad annali alal 5 1 Object Type and ID pariiiiiiaee nano i 5 2 Saving and NO ii ita 5 3 ROM ODJET sar ara lai A Sle seeded Li cos RR 5 4 Memory Objects iii hice Sab iena 5 4 TOC ii Keyboard Naminis nno i ala A AA EL AAA i 5 5 Deleting Objects ina O I E RR eueuseasteeoeisenabepe cada 5 6 Dependent Objects erica cti 5 6 Saving and Loading Files Storage Mode cococicicononininnnononancnnononnonincnnonornononinno nono rno nina no rnn eee eee ene 5 6 Special Button FUNCHONS circa ita ea LOL anda nari 5 7 Chapter6 Program Mode VAST and KB3 ProgrdMS vision iii ci 6 1 VAST Program Structure courier asili hindi nali ini 6 2 KB3 Program SHUI italia id i n 6 4 KB3 Mode tica a ad 6 4 Real time Controls in KB3 Mode ie 6 5 Playing KB3 Progfam sin aLaaa ved no A AOA E A ERES 6 5 KB3 Mode Buttons Mute Butt
205. TI ae IAA IA A cia citi 10 16 The Soft Buttons 1n MIDIMode iaa Gelli ubi ia lalui 10 18 Program Change PESCH8 i irurio lia iia 10 18 Reset Channels RsetCh asia ea LELLA ERO Riace 10 18 Palin chi alicell Lai 10 18 MAIN RR nia 11 1 Funesta AAN 11 2 ML A NN TN 11 2 FX Mode ninia idilio id iii liada 11 2 Drum Remap tutto asada aaa AT cad 11 2 MA OOOO 11 2 Setup Controllers Setupetls s ui lano alal aaa 11 2 Master Table Lock Master Lock uni ia ella iaia 11 3 Demo Button risata lilla tt 11 3 Buttons Mode Buttons inrarmre a Lai Land ELIA 11 3 MAPS ERRORE CI Eonia 11 4 Velocity Map Master alano ana no anca dada 11 4 Pressure Map Master ias ad 11 6 TREO Ab oia nta aa RAI e ia 11 7 Key Action Mapress ilaele aa alinea aaa 11 8 Intonation Key INE Key fanilalda iii A slide lie iaia anna 11 8 Default Squid ii EAER ica aa 11 9 QUIPUE atrata i E ROIO ORRORE ERO ERI RIO HAR 11 9 Output Clock rutena iL E aaa aa 11 9 Digital Output Volume Dig out volume iene ene e ne zene ze zezezez 11 9 Digital Output Digs Out iia cad paliar cias 11 9 AtQutPalr Mode sd Oi ia reti 11 9 A RN 11 10 EMP a dilo lides 11 10 General MIDI Mode GM On GM Off Jeococonoononononaronnonenosananannonananncnonenanonnonenonocn nenonanacnononenacnonononenannononenacornonenocina nos 11 11 MBE RR ORRORI Re ea N ni 11 12 OO TORNAN RNA 11 12 Delete iii incidir le Ri aa i ini 11 13 A NN 11 14 CTO Garvie A O 11 15 RdA
206. 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 12 Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings 13 The product should be serviced by qualified service personnel when A The power supply cord or the plug has been damaged B Objects have fallen or liquid has been spilled into the product C The product has been exposed to rain D 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 14 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 15 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 this instrument not expressly approved by Young Chang could void your authority to operate the instrument IMPORTANT When con
207. 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 61 Setup Mode Riffs Next move your cursor to the right to highlight the second value of the Trigger field this will be the high end of the trigger key range Use one of the methods described above to select a key value for this trigger field If you want to have only one key start a riff set the Trigger key range from A 0 to A 0 for example and your riff will be triggered to start only by pressing the A 0 key 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 on the KEYVEL page your riff will not be able to
208. 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 PC3K s rear panel We recommend using the Kurzweil pedals described on page 1 5 but you can use almost any switch or continuous pedal as long as it adheres to the following specifications as most pedals do Switch pedals 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 PC3K 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 PC3K before plugging in the pedal Similarly don t press any of your switch pedals while powering up because the PC3K 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 PC3K Switch Pedal 1 Controller 64 Sustain Switch Pedal 2 Controller 66 Sostenuto Switch Pedal 3 Controller 67 Soft Conti
209. 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 27a EE 64 d 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 eee Velocity Scale 50 al MIDI velocity never reaches maximum even on maximum strike velocity 64 127 Strike Velocity 7 12 Setup Mode The Key Velocity KEY VEL Page Velocity Offset VelOffset also changes the response but in a more direct way by adding or subtracting a constant to the key velocity For example if th
210. a program that uses amplitude envelopes with a long release time Sostenuto Pedal SosPdl 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 on the layer will ignore all Note Off messages received by the PC3K This should be used only with sounds that decay naturally otherwise the sounds will sustain forever When IgnRel is off the layer responds normally to Note Off messages This parameter can come in handy when your PC3K 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 You ll also want to use this parameter when you re playing staccato and the sound you re pl
211. 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 7 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 7 for details Recording A Setup To Song Mode The MIDI output of a setup can be recorded to a song in Song mode Each MIDI channel that is output from a setup is recorded into each track of a song if the tracks have corresponding MIDI channels Programs from each zone of your setup are automatically assigned to tracks in Song mode Follow these steps for proper recording of a new song from a setup 1 Enter Song mode by pressing the Song Mode button 2 On the 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 f
212. 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 PC3K 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 Quick Access Editor to create your own banks and store them in the PC3K 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 PC3K s effects processor The Effects mode page lets you tell the PC3K how to select effects configurations called chains Chapters 9 shows you how MIDI Mode You ll use MIDI mode to configure the PC3K s interaction with other MIDI instruments by setting parameters for transmitting and receiving MIDI You ll also use it to configure your PC3K for multi timbral sequencing On th
213. aa 6 69 BendRngUp BendRngDrii ivive ai ac 6 69 SUS isis 6 69 A O A NN 6 69 Leslie edaiiii a hal ae hha iaa 6 69 Th EQ Page unit nando poto 6 70 The OUTPUT Page ninia ta tcs 6 70 The Program FX PROGEX Papenveer oain aoaaa a codi cin EKE EERE AKEE N ERE EE iii 6 71 The LEO ASR and FUN Pages iii 6 71 Frograbmmuns ipsum ld lana iii is E Nai TESA A R ERE AE SARE RE A NA 6 71 Chapter 7 Setup Mode The Control A AO 7 2 Zone status LEDs in Setup Mode iii 7 4 SOLOING a Zone ts ranita eae ina 7 5 The Setup Edit tira daa 7 5 The Channel Program CH PROG Page inca iia 7 6 A RN nia 7 6 Destination aia ai eiii 7 7 Chameleon cti 7 7 MidiBank s s css ila A A ae 7 7 MIDI Program MIdiPrOg umm iria iodo 7 8 Stats iia a laos 7 8 putita 7 8 MIDI Bank Mode BankMode ivi iii a a lia ona 7 9 Entry Program Change Entry Prog Chg vic csccc decsisessdcccassoucssechsuesessecdevesessugscbssessecdenssesssdeshsdaucusseacsctcvessseseecveveseds 7 9 ATpegolalO tisi unilaterali li 7 9 The Key Velocity KEY VEL Page een nna diia 7 10 Low Key LoKey High Key HiKey iranica e 7 11 TVANSPOSC iia do iO Aaa 7 11 TOC vi Note Mapa A Liane Sea estas os seh Mid ii i e a li ii e Li 7 11 Velocity Scale VelScalle i una inodoros cas 7 12 Velocity Offset iran laden ariano i 7 13 Velocity Curve VelCuive i acini iaia 7 15 Low Velocity LoVel HighVelocity HiVel rien een ene rene ne
214. able 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 on page 13 11 If you select an ID that s already in use the PC3K 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 PC3K 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 PC3K 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 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 PC3K 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
215. able response to MIDI sustain MIDI 64 Sostenuto Set On or Off to enable or disable response to MIDI sostenuto MIDI 66 LesliePedal Set the pedal source to toggle between Fast and Slow for the Leslie speaker rotation speed 6 69 Program Mode The EQ Page 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 Para Mid Hi h Shelf G edb F 1 397Hz EH EFTE dE G 6 3d6 Fs Z F 415Hz Fs AS Hz Parameter Group Available for each EQ band Range of Values Gain 24 0 to 24 0 dB in 0 2 dB increments 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 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 30 The Out Gain parameter corresponds to that of the VAST Program editor COMMON page See page 6 33
216. ace 3U D 14 PC3K Objects V 1 31 Effect Presets with Algorithms 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 LaserVerb 3U 131 Pitcher Hall alg 383 Pitcher Miniverb 2U 132 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 LaserVerb alg 101 LaserVerb Lite 2U 138 Gated LaserVerb alg 104 Gated LaserVerb 3U 139 Rvrs LaserVerb alg 103 Revrse LaserVerb 4U 140 LazerfazerEchoes alg 102 Mono LaserVerb 1U 141 Simple LaserVerb alg 102 Mono LaserVerb 1U 142 Crystallizer alg 100 LaserVerb 3U 143 Spry Young Boy alg 101 LaserVerb Lite 2U 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
217. ach 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 ping pong effect At 0 fed back signals stay with the channel they came in on 9 10 Effects General Parameters A gt B cfg configuration In combination algorithms that contain two or more components and whose name uses lt gt as in 719 Reverb lt gt Compress the order in which the signal passes through the two components can be changed For example this algorithm can be configured so the signal passes through the reverb first and then the compressor or through the compressor first and then the reverb The cfg parameter determines the configuration and its value is context sensitive in this example the choices would be Rvb gt Cmp and Cmp gt Rvb A Dry gt B is also found in many combination algorithms and controls the amount of signal that will pass dry unprocessed through the first component into the second component Different combination algorithms use different variations on this parameter depending on the context The range is 0 to 100 Reverbs Room Type changes the configuratio
218. ack 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 p GHIN Events 109944 OPPED UESN Eb TemFPo 1276 Rec Trk amp al an Mode Mere Pros 897 All Out Locate 1611 Track Ra lidia e Se ee Se wore Res TPlay stop MAIN mores 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 M P 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 following 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
219. age 6 19 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 17 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 center of the top line displays the type of sample either ROM BASE for factory samples or FLASH for user loaded samples The right side of the top line displays the root 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 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 Stereo 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 gr
220. al 10 1 Control Setlip ara srin io ie Liezen RL RELA eni 10 2 Desunationi tit eil ala ila ilaele e ein i n i dia i aio un 10 2 Channel suina RR RR Lo Lia E Ah a 10 2 Transposer ae ARE a EE iaa EE DRA ELE aSa E EErEE ETE iii alia 10 2 Velocity Map Transmit ss ronisin aliene ERE R aa EEE ESETT 10 3 Pressure Map Transmit c irii iii cea iaia iii 10 4 Program Change ProgChang ir ind rancia anni zi 10 5 Charge Setups Chas iii ehe liane si 10 5 The RECEIVE Page cerie Aira ai ei re a R a a A R E I RA A a AA RETA 10 5 BaSie nt tat aE PAAIE EE E A E T T 10 6 MIDI Receive Mode MIDI Mode enraiar enn a AA E A RA 10 6 AUNG ESH fasano E TE e ii ON N des tdi 10 6 Program Change Mode PrgChgMode ie eee ee zen zeee 10 6 Velocity Map Receive asii idoneidad aaa nananana a 10 7 TOC ix Pressure Map RECEIVE is nosne aiaa Aaa ES R r EEE OE iii hi 10 8 System Exclusive ID SySEXID rsisi trina a E R ERE E aiar 10 9 Bank Sel ct ato bit ra alia E aa ire ei e rio 10 9 Local Keyboard Channel LocalKbdCh i 10 10 The Channels Pages iss sii oil ie aL RN 10 13 Enable f a sissiainizic alia li 10 13 Progra A iaia aida ei 10 13 Panic RT Lan Li LIES LESLIE La 10 14 Volumei si to TA a nane 10 14 Program Lock Pan Lock Volume Lock anice ninna 10 14 Program Change POLMAats is nerais a AAEE da bis 10 15 Exterided Program Chang s mircara iena ea 10 15 ACCESS acres i daria A
221. 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 D 22 PC3K Objects V 1 31 Effect Presets with Algorithms 395 Contact alg 387 WackedPitchLFO 3U 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 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 Reverb 2U 413 CathedralChorus alg 404 Chorus lt 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
222. alue is 127 LP n Freq are shelving frequencies for one pole lowpass filters on each of the distortion stages LPOpFreq 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 algorithm that includes 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 algorithm to give the effect a great degree of realism Because of the complexity of the algorithms 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 look
223. alues 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 PC3K 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 PC3K s overall performance and system setup You can set the system Clock so that the PC3K will time stamp your files correctly You can use the Object tool to rename or delete selections of objects 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 PC3K s memory to its original factory settings When you exit Master Mode or MIDI Mode the PC3K 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 PC3K such as which programs are assigned to each channel 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 PC3K overall FX settings drum pro
224. alues Default Minimum Rate 1 4 note 1 8 note 1 8 triplet 1 16 note 0 00 0 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 37 Program Mode The LFO Page Minimum Rate This is the slowest rate at which the LFO runs When its Rate Control is set to OFF or when the control source assigned to it is at its minimum the LFO runs at its minimum rate As previously mentioned the values 1 4 note 1 8 note 1 8 triplet and 1 16 note sync the Minimum Rate with the PC3K s system tempo Of course if you choose to tempo sync your LFO then the LFO rate is fixed and you can specify neither Maximum Rate nor Rate Control The display changes thusly Hnkate MxRate Ratlelt Shape Phase LFoi Ra None Ade LFOZ wb G 4A6H OFF Hone Ade kanore EA FUN 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 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 as the rate control for an
225. and 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 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 algorithm uses two four band bandpass filters A and B and moves between them which among other things can produce a very convincing simulation of a human vocal tract 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
226. aneously to access the TEMPO page see TEMPO on page 11 10 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 PC3K 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 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 assig
227. ange 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 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 7 70 Setup Mode Recording A Setup To Song Mode 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 Alt
228. annel which contains the program For details on controllable parameters of VAST programs see The DSP Modulation DSPMOD Page on page 6 29 The LFO Page on page 6 37 The ASR Page on page 6 39 The Function FUN Page on page 6 40 The Envelope Control ENVCTL Page on page 6 44 The MOD Pages on page 9 9 FXLFO FXASR and FXFUN pages on page 9 9 For KB3 programs see The PITCH Page on page 6 63 The AMP Page on page 6 63 The LFO ASR and FUN Pages on page 6 71 and The MOD Pages on page 9 9 FXLFO FXASR and FXFUN pages on page 9 9 Assigning A CC Control Source For each program the Program Editor can be used to assign a PC3K physical controller CC number for each controllable parameter in that parameter s source field Source fields are named depending on their page Srcl Src2 RateCt Trigger Input a Input b and Source Any program parameters that have been assigned to any of the PC3K s physical controllers sliders switches wheels etc are already set up to be controlled by CCs from an external MIDI device Each parameter s source field described above will show a name or MIDI number assignments made to sliders B through I can be controlled by the MIDI CC numbers labeled below each slider For sources that show a name a corresponding MIDI CC number can be found by finding the name in The Controller Destination List see page 7 22 Using External CCs In Program Mode Local Keyboard Channel None In Program Mode to
229. anspose parameter Keymap 6 19 Transposing setups 7 1 Treb Freq 9 13 Treb Gain 9 13 Tremolo 9 22 Trig Filt 9 18 Trig parameter Layer 6 23 Trigger 9 19 Trigger parameter ASR 6 39 Triggered Filter 9 18 Triggering notes on startup 6 23 TRIM 14 12 Tuning samples 14 4 Tuning to other instruments 11 2 U USB Device formatting 13 3 13 12 USB MIDI disconnected 13 1 USB Port 2 6 User amplitude envelope 6 41 Using the modes 4 2 V VA 1 Programs 1 3 Variable Architecture Synthesis 1 3 VAST 1 3 VAST program structure 6 2 VAST programs 2 8 6 2 Velocity Map MIDI Receive 10 7 MIDI Transmit 10 3 Velocity Range 14 4 Velocity tracking 6 16 Velocity tracking parameter EnvCtl 6 46 Velocity tracking parameter Keymap 6 20 Vib Chor 9 21 VibChInOut 9 21 Vibrato Chorus 9 21 virtual drive USB Storage Mode 2 6 Voice allocation 11 15 Voice channels 6 2 Voltage changing C 1 Voltage levels 2 2 Volume MIDI 10 14 Volume lock 10 14 W Warmth 9 19 WAV Automatic Preview in a Program 11 17 Waveform display 14 12 Wet Bal 9 12 Wet Dry 9 23 Wet Dry parameter 9 10 WHEEL Page Setup Mode 7 33 World Wide Web 2 10 X XCouple parameter 9 10 Xcrs Fin 9 17 Xcurs Crs 9 17 Xfer 9 14 XMIT page 10 1 Xover 9 20 Xpose 2 8 6 10 8 2 Z Zero crossings 14 13 Zone status LEDs 7 4 Zones Soloing 7 5 Index ix
230. ap belays scita eil aiar A ILA ia 9 13 TOC viii Gated Ducking Delay A A A A Aids 9 13 DegenRepen i italici iii laici alii ine lnobioiauialdsia 9 13 Equalizers Plinio RL 9 13 ENLACE A ase A NSE a RR 9 14 FQ Morpher oenl ar LE aa Raabe annali 9 14 Compressors Expanders and Gates na nizone ica ai ne 9 14 Expansi n ainia iia ua lalui alibi 9 15 Multibanid Compression ani iaia La nl alii cia 9 15 Gates rn ile Leal e iaia nia 9 15 Super Gata idilio buno aaiiclaloaaudalda 9 16 Chorus ua ida cds 9 16 A NN 9 17 Quantize Plane tooo ia ON ENI anali 9 17 LaserVerbD iia ado 9 17 Filters dd dd 9 18 RESONANTE A A A ia 9 18 Envelope Pulte ris ai lia aio 9 18 Triggered Filter lana ELE EU O E iaia aan 9 18 EFO Filteren nunnana a a O i rai 9 19 Distortioni talran talia lia nai el ae ea 9 19 Polydistort scrl ii LN canale lindo alal 9 20 Rotating Speakers isis si enaisi stalle aia as ib align Labini Liana 9 20 Mibrato GhorUS cdi 9 21 Tremolo and Att A A ZL SBE A BEERS 9 22 AO E ETTET ATE E A a ola asad is Ga aki 9 22 Tremolos zii Ii ani iaia Mladic 9 22 Pier iva A RI IL 9 22 Ring Modulation casale lea an Re ioni 9 23 Stereo SIMAO ii acid a eeeh id a tias 9 23 Stereo Image idolo S Ena asada loba libelo pa Saiu 9 24 Stereo Analyzer ia oasi 9 24 FXM d Diagnostics aci eni La Lia Il OLA io dia 9 24 Mono Algorithinis aiar cieli lla alora ai aos 9 25 Chapter 10 MIDI Mode The TRANSMIT Page vip lo anal ie eo al
231. arameter matches the current MIDI channel displayed on the top line of the Program mode 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 PC3K s notes as well as notes on slaves receiving from the PC3K 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 PC3K Keyboard MIDI In via MIDI In port or USB Computer port Destinations PC3K Sound Engine to MIDI Out via MIDI Out port or USB Computer port PC3K audio outputs The transmit Velocity Map affects the way the PC3K sends MIDI velocity values to its USB or MIDI Out port see the circled box above for its location in the MIDI signa
232. arameter to 1 and expect the riff to play on zone 1 if it is 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 60 Setup Mode The RIFF2 Page The second Riff page appears as shown below and has the following parameters MRC Zone SuncTupe Relsunzgn FPelSyn Tye Horn Riffs atte Avail ae 100 el 166 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 Release LoKey C 1 to G9 G9 CondRel Off On Off Local Off On Off Loop Once Forever Forever BPM Sequence Setup External 20 to 400 Sequence Sync Zone First Avail Riff 1 16 Main Seq Arp 1 16 FirstRiff Av First 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 Trigger
233. arts Each riff could be used as a different song section of a backing track To use a riff first go to Song mode and note the IDf 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 62 The RIFF1 Page The first Riff page appears as shown below and has the following parameters ce Son Start 1 J Stop TransPose 10 ALL Uff H SrcTrack El Re Channel 1 1 ff A GGI RIFFZ more 4 Parameter Range of Values Default TRE ohne 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
234. 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 Srcl parameter hold the Enter button and move the Mod Wheel to quickly select 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 u
235. as 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 is an effect which gives the illusion of multiple voices playing in unison The effect is achieved by detuning copies of the original signal 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 fro
236. at PC3K 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 PC3K 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 PC3K 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 MasterlodeUBIELTS E E S OS Please choose an option below Rename The Rename utility allows you to rename an object without entering the object s editor The Rename page shows a list of all user created objects grouped by object type see below Use the alpha wheel or plus minus buttons to select an object from the list Press Rename to bring up the object Rename screen and enter a new name by following the standard renaming procedure For more inform
237. at 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 into 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
238. at 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 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 62 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 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
239. at have a range of values the two wheels the optional ribbon controller the nine sliders the two Continuous Control pedals the optional breath controller the jack of which is connected to CC pedal 2 and mono pressure aftertouch As the table on page 7 21 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 22 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 12 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 controlle
240. atcher 380 Soul Leslie122 7 268 ShortPnoRvb II 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 FlangeVoiceHall 272 St CHDly II 333 CrunchLeslie122 389 BrightFlangeHall 273 OmniStage 334 Hot Leslie 122b 391 FIngRecitalHall 274 OmniStage 335 BostonLeslie1 392 Med Drum Room D 27 PC3K Objects V 1 31 Effect Chains Chain Chain Chain 395 Cathedral Vx 450 SynthLead 489 HeavyBuckers 396 BurningTubes5 451 SynthBassAmp 491 ProBassComp 397 PunchBassAmp 452 MosqueySwirl 492 NYCTripStrings 399 RevverLeslie 454 PadFX2 493 ProBassComp2 400 Bradley s Barn 1 455 PadFX1 496 DirtLordAmp 401 Bradley s Barn 2 456 Chr amp Echo 500 Setup Aux Verb 403 LA2A for Strings 457 Vocals w FX 501 Setup Aux DDL 411 ChrsDly 458 DrySynthCDR 517 Early Reflection 412 RealDrmComp 459 WetSynthCDR 518 Pad Depth Pt1 414 RealDrmComp2 461 VibesRoom 519 Gunshot Verb 415 TiteDrmComp 462 PercussionRoom 520 AlphaCentauri 1 416 Marimba Hall 463 CagesRoom 521 BasicCDR 420 AGT Reverb 464 CmpRecitalHall 522 Synthorc BPM 422 WarmCruncher 465 StrRecitalHall1 523 BPM Flange Dly 424 Fierce Lead 466 StrRecitalHall2 524 DbISloFlangeCmp 425 CompTrem 467 RecitalHall 644 StevieTrem EP 1 426 12StWarmCrunch 468 MyJaco 645 Beater EP1 427 Phaser EGT 469 UprightBassRoom 646 Jame
241. ate 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 p0 is a constant acceleration Positive values 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 algorithm and also the KB3 Effects algorithm 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 21 Effects Tremolo and AutoPan 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 in Tremolo BPM algorithm 0 to 12
242. atically If the sample is assigned to one note the PC3K sets Coarse Tune so that the note plays the sample without transposition If the sample is assigned to a range of notes the PC3K sets Coarse Tune so that the middle note of the range plays the sample without transposition 14 6 Keymap and Sample Editing Building a Keymap Building a Keymap Read below for detailed directions on manually creating and editing a keymap See the preview function on page 11 17 for a way to automatically create a program and keymap To build a keymap first go to the Program mode main page this can be done by repeatedly pressing the Exit button From the Program mode main page use the alphanumeric pad to select program 999 Default Program Next press the Edit button to enter the Program Editor 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
243. ation see Saving and Naming on page 5 3 11 12 Master Mode OBJECT Program PES Default pei Program Program 1031 Ho ri quit Gr ad Program Program 1625 SundrckhaleCall Rename Cancel As in all naming dialogs on the PC3K 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 PC3K 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 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 range
244. 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 FirstRiff 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 SyncType parameter allows you to choose how your riff will sync to other riffs ar
245. aves the current configuration of the Master Pages both 1 and 2 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 PC3K 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 PC3K 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 an external device see the Storage Mode chapter 11 16 Master Mode SAMPLE MEMORY MEMORY SAMPLE MEMORY MEMORY MAP Press the MEMORY soft button to go to the SAMPLE MEMORY page The SAMPLE MEMORY page shows information about the PC3Ks flash memory which is used to store user loaded samples The Total Memory field shows the total user sample memory installed in the PC3K 128 megabytes The Used field shows how much of the available sample memory is currently being used by user
246. aving 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 PC3K 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 PC3K will automatically reassign the object IDs See Chapter 13 for more information on loading and saving files 5 6 Editing Conventions Special Button Functions Special Button Functions The Mode buttons and the Chan Layer buttons have additional functions depending on the mode or editor you re in The table below describes some of these special button functions Button Program Mute 1 Special Function Mutes Layer 1 of current program in Program Editor Setup Mute 3 Mutes Layer 3 of current program in Program Editor Q Access Solo Solos current layer in Program Editor 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
247. ayer 1 is 0 3 Layer 2 is 4 7 and so on It won t be easy to play precisely enough to trigger the layer you want On the other hand if you re using Song mode or an external sequencer you can edit attack velocity levels and get exactly the results you want 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
248. aying has a long amplitude envelope This parameter should be used only with notes that eventually decay to silence Sustaining sounds will sustain forever Do not use Ignore Release with Monophonic programs page 6 34 6 25 Program Mode The PITCH Page Hold Through Attack ThrAtt When on this parameter causes all notes in the layer to sustain through the entire first attack segment of their amplitude envelopes even if the notes have been released If you have a sound with a slow attack or an attack that s delayed with the delay control setting this parameter to On will make sure your notes reach full amplitude even if you re playing fast 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 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
249. 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 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 22 or whatever The Envelope 2 ENV2 and Envelope 3 ENV3 Pages The PC3K 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
250. bars that are so essential to the tone wheel sound while the buttons above them they re called the Mute buttons because they normally mute and solo zones in Setup mode can control the KB3 effects Leslie vibrato chorus and percussion When you re in Program mode the Mute buttons always control KB3 effects In a setup containing a KB3 program if you want the Mute buttons to control KB3 effects you ll have to edit the setup because in Setup mode the Mute buttons mute and unmute zones by default 1 Go to Setup mode and select the setup you want to edit Press Edit 2 Press either more soft button until you see the COMMON soft button Press it and your display should show the following screen Teme EA Aux FR channel 1 Clock source Interna Mutes Zone MHutes ArPGlobal Off KEBS channel 1 Aresunc Not in snc more ARPZON COMMON RIFF RIFF more d 3 Select the Mutes parameter and change its value to KB3 Control 4 Don t forget to save Playing KB3 Programs 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 out to increase amplitude in to decrease it The PC3K 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 har
251. 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 key that is pressed and held within this range will
252. beier nio a a ieat a ari 6 47 TAS OD S APA TEE EEIE E E E EEE E E E E E E A A EET 6 47 AULT Attias tandil 6 47 Quiputitza ii Riace La Aaa 6 47 Adixiliary Send Par iii a nolo A taa 6 48 Aux Mod Aux2Mod i ipa iaia iaia ua aa 6 48 The Layer FX LYR FX Pagina i E A i 6 49 The Controllers CTES Page ia rara bian iii 6 50 Funct Ori Soft Buttons A di 6 51 Set Controllers SICH icon aisi cla cado linia jo ili ii Ea ie 6 51 NewLayer NewEyT acabas add rali 6 51 Duplicate Layer Duplyt acciai ia pred pudo LIRE o Lilia 6 51 Import Layer Impacto illo lalla 6 51 Delete Layer Dell y Dinos adas rca dotar 6 51 ER 6 51 Vi A O Rara A a ea i 6 52 Delete A o ia 6 52 INFO cana aaa 6 52 Editing VAST Programs With KVA Oscillators eee eee eee 6 53 Basic Use of KVA Osallators r scel bili Lacan is cee EE vo aa id 6 53 Setting KVA Oscillator Types reno Lal alano a tia 6 54 Advanced Use Of KVA OSCIllators iu ii iaia LI Rai I i n iraniani 6 55 Editing KB3 Programis iii iras 6 60 The Totie Wheels TONEWL Page enren ranra rer ira eio ia KEKEE EER o iii 6 60 Upper Tone Wheel Key mia piisisiiestivteea iO O E A S EA diia 6 60 Upper Volume Adjust sieros nnns a en R RRE E E ea ia prin 6 61 Numberof Tone Wheels pila aaa aa 6 61 Organ Mapeo unii eos ea e Sete E Sean se AAE ea AE EE C A Ra ciaoo 6 61 Wheel Volume Maps A A A T A EAE A A ae E E diagnose 6 61 Ee 071 AEE A E E EETA idad EEEE EAEE EEEE 6 61 Lower Transpose U
253. can choose to delve into the extensive libraries of existing K Series samples or decide to fill the PC3K s flash memory with your own custom samples In either case you have the most powerful version of Kurzweil s V A S T technology ever developed at your fingertips to help sculpt your sounds Sample files can be loaded via USB from a thumb drive or directly from a computer The PC3K offers 128 megabytes of user sample memory and samples remain loaded even while power is off Once samples are loaded into the PC3K s flash memory there is zero load time for those samples when powering on the instrument 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 samples 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 PC3K 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 Keeping Current Check for new documentation and operating system upgrades before you start using your instrument When new software is available for the PC3K it will be posted at www kurzweil com You ll use
254. cessor that employs the same effects used in Kurzweil s KSP8 The sound engine responds to the MIDI events generated by the MIDI controller and turns them into sounds that are processed within the variable architecture of the algorithms or by oscillators for KB3 programs The resulting sound can then be routed through the PC3K s effects and to the audio outputs VAST Synthesis The PC3K s Variable Architecture Synthesis Technology V A S T lets you build sounds from realistic instrumental samples and sampled synth waveforms then modify the nature of those sounds through a wide variety of digital signal processing DSP functions The PC3K 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 PC3K 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 FUNSs as well as any MIDI control message The many different DSP functions and the wealth of independent contro
255. ch sample in the group oom Gain Gain more j The four parameters on this page are Start 5 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 parameter 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 KEYMA
256. ch 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 this 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 v
257. 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 then 1 playing C4 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
258. ciding how it will respond to the Arpeggiator The LoKey and HiKey parameters on the ARPEGGIATOR 2 page see page 7 50 determine whether the notes you play get arpeggiated Setup Mode The Key Velocity KEY VEL Page The Key Velocity KEY VEL Page The Key Velocity page allows you to set key range velocity range transposition and Note Maps for each zone L Note MIDI velocity of notes played on the PC3K keyboard are first affected by any Velocity Scale Offset LI 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 II page see page 11 4 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 Ores 5 HotemaP Linear WelScale 1600 Welotfset 16 UelCurve Linear FAHWOL IBEND more Tran Posel AST 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 1to 127 1 High Velocity 1 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 15 7 10 Setup Mode The Key Velocity KEY VEL Page Low Key LoKey High Key HiKey The LoKey and HiKey parameters defi
259. ck 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 in a key range see Key Range below Key Range A keyrange 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 sample 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
260. control an assigned program parameter with Local Keyboard Channel set to None send the correct CC number to the channel which contains the program Using External CCs In Program Mode Local Keyboard Channel On In Program Mode to control an assigned program parameter with a Local Keyboard Channel set select the program in Program Mode and send the correct CC number to the channel set for Local Keyboard Channel 10 10 MIDI Mode The RECEIVE Page Using External CCs In Setup Mode Local Keyboard Channel Off 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 A CC Control Source section above To control an assigned parameter send the correct CC number to the channel for the Setup zone which contains the program Using External CCs In Setup Mode Local Keyboard Channel On 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 A CC Control Source section above To control an assigned parameter with a Local Keyboard Channel set send the correct CC number to the channel set for Local Keyboard Channel If the CC is listed in the External MIDI CC Remapping table below the CC will be remapped to the destination set for that physical controller in the Setup E
261. control parameters for effects and soft buttons for switching to other Song editor pages Editora COMMIS eT TB TemPo REE G TimeS19 i q Track DrumTrks 1 2 3 de G 6 T S Midillst L L L L L L L L i TRACK 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 DrumTrk 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 Editor Song Editor The COMMON Page FX Track The PC3K uses the channel of the track specified for FX Track as the Aux FX channel DrumTrack Any of the song s tracks can be defined as Drum Tracks so that their Note events do not get transposed when a transposition is applied when using the track as a riff in a setup see Riffs on page 7 5
262. controller You can configure the PC3K 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 PC3K s rear panel Introduction Options Startup Make Connections Chapter 2 Startup If hooking up new gear is familiar to you and you just want to get going here s a quick description of what you need to get started with your PC3K If you need more information thorough descriptions of each step follow Make Connections 1 Set the keyboard on a hard flat level surface Make sure to leave plenty of room for ventilation 2 Four adhesive backed rubber feet are provided with your PC3K If you want to attach them to the bottom of the PC3K 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 PC3K 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 PC3K Use the Main Left out for mono Balanced TRS or Stereo cables a
263. ct Presets with Algorithms 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 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 alg 362 LFO Sweep Filter 2U 366 Resonant Filter alg 363 Resonant Filter 1U 367 Dual Res Filter alg 364 Dual Res Filter 1U 368 2 Band Enhancer alg 370 2 Band Enhancer 1U 369 3 Band Enhancer alg 371 3 Band Enhancer 2U 370 Extreem Enhancer alg 371 3 Band Enhancer 2U 371 HF Stimulator alg 372 HF Stimulate 1 1U 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 Flng 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
264. ctions set to 0 seconds A way around this is to change any AMPENV sections set to 0 to 0 02 seconds Parameter Group Available Range of Values for each of Att Dec Rel Imp 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 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 q
265. cts 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 P3K 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 PC3K 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 usually grouped by type program setup etc The list can be scrolled using the Alpha wheel or the Up or Down cursors Each line in the scrollable list represents one object and displays the object s type ID and name The ID numbers are the same numbers that were used to reference the objects when the file was last saved by the PC3K These numbers will usually be different after the objects are loaded depending upon the bank for example 128 255 and mode that is specified for loading As with the file list 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 soft buttons on this page are used for multiple selection of the objects
266. 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 21 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 operates in two different ways depending on the nature of the sample If it s a ROM sample or a Kurzweil format RAM sample DecayRate takes effect in the loop portion of the sample after all the attack stages of the amplitude envelope are complete For non Kurzweil RAM samples DecayRate takes effect as soon as the sample starts regardless of the length of the attack stages 14 10 Keymap and Sample Editing Editing Samples Release Rate The release rate determines how long the sample will take to decay to zero amplitude when the note trigger is released The higher the value the faster the release rate This release affects each sample individually and is in effect only when the amplitude envelope for the program the Mode parameter on the AMPENV page in the Program Editor is set to Natural In this case the release begins as
267. d if so by what value The setting for the parameter Pre Post Insert determines if the current program s Aux routing 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 For both Send Level and Pre Post Insert a value of p means no override i e use the values specified in the program 9 6 Effects The MASTER Page The MASTER Page Mode Order NOTE In Setup mode and Song mode this page corresponds in appearance and function to the MASTEX page though the MASTFX page works on a per setup song basis Pressing the MASTER soft button calls up the MASTER page The MASTER page contains the settings for the master EQ and Compressor The page appears as shown below Order COMPressor gt Ell Master Fa Master Fx Enabled CHANE AUSF 1 AUP 2 MASTER Parameter Range of Values Default Mode Master Setup Master Order Compressor gt EQ Compressor gt EQ EQ gt Compressor Master FX Master FX Enabled Master FX Enabled Master FX Bypassed The two boxes in the chain on the MASTER 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
268. d 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 6 15 Program Mode Algorithm Basics 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 control 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 Srcl is at its maximum the pitch will be altered to the fu
269. d 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 PC3K ignores the programs assigned to the setup that you choose as the Control Setup e Almost all of the VAST programs in the PC3K are designed to respond to the controller assignments in the default Control Setup 126 Internal Voices Therefore you ll want to use 126 Internal Voices as the Control Setup in most cases However if you want to change the controller assignments for any program or set of programs either VAST or KB3 use a Control Setup that has the controller assignments you want 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 PC3K as much as three octaves up or down The top line of the display shows the current amount of transposition Xpose Pressing both Xpose
270. d on a 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 7 2 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 j 2 blueslamin Upright Growler 3 Techno Substance HYC Jazz Grand g Acoustic Split Studio C Strings E sal HYC Kits pli aaas 6 Black Cow Split Octay Octaw cco 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 zone for the program NYC Kits has a riff If there are more than four zones in th
271. d program will be on a Zone 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 trigger the program that was last used by that channel in Program or Setup Mode When the Program of a Setup Zone is triggered this way Setup MIDI parameters most noticeably key range and transposition will not be applied See Input Channel on page 7 8 for more external MIDI device options in Setup mode The Local Keyboard Channel parameter also affects how external MIDI devices interact with 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 When the LocalKbdCh parameter is set to Off 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 Continuous Controller Messages From External MIDI Devices When using an external MIDI device with the PC3K you can control many of the PC3K s program parameters by sending MIDI Continuous Controller messages CC s from the external MIDI device Each parameter that you wish to control must have a CC number assigned To control a parameter you must send the correct CC number to the ch
272. d region 12 25 Song Mode and the Song Editor Song Editor Track Functions 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 MAPS ANA 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 The Delete function is used to remove a region of time from the current song This function 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 Es MANERA Function 1 8 12 26 Song Mode and the Song Editor Song Editor Track Functions Quantize
273. d 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 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 Sonar Save Hew Sons as MIA Replace Hew Sons 3 RenamelSave Cancel Use the Alpha Wheel buttons or Alphanumeric Pad to choose a free ID location to save the song or choose a used IDf location to overwrite a previously saved song with your new version
274. de Program Change Formats 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 PC3K 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 PC3K s USB and MIDI Out port The PC3K sends either an MC 0 or 32 message followed by a PCH The following tables give specific examples Current Entry From Commands Sent QA Bank Alphanumeric Pad MC 0 or 32 PCH 1 0 0 10 1 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 S
275. 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 2 Block SINE This oscillator has an effect on an input signal that is similar to ring modulation Its distinctive parameters are Sint Pch and Sine Am This oscillator must come after the sound source in an algorithm either keymap or oscillator in order to hear the intended effect of Sin Pch and Sine Am which can radically change whatever the oscillator receives as an input The Sin Pch and Sine Am parameters affect the pitch and amplitude of the sine waveform without affecting the pitch of the input source though these parameters will have a big effect on how the input signal is processed 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 no
276. ditor In this case you must use the Setup Editor to assign that physical controller s destination to the original CC number that you sent For destinations that show a name a corresponding MIDI CC number can be found by finding the name in The Controller Destination List see page 7 22 Within the Setup Editor you can also set a PC3K physical controller to send a CC number to a program on a zone If this is done with a Local Keyboard Channel set you will also be able to control a parameter by sending the default CC number for that physical controller to the channel set for Local Keyboard Channel The table below lists the default CC number used to control the assignments of PC3K physical controllers while in Setup Mode Also for each physical controller if a CC is listed in the Additional MIDI CC Which Always Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode column then that physical controller s assignment can always be controlled by the CC listed in that column For physical controllers where this is the case the physical controller s assignment will respond to the CCf listed in the Additional MIDI CC Which Always Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode column as well as the physical controller s default CC number Using External CCs In Setup Mode Local Keyboard Channel None Input Channel On To control a program parameter via external MIDI CC in
277. e 7 38 Setup Mode The SWITCH Page The SWITCH Page The right Panel switch is the SW button located above the Modwheel By default this switch is assigned to MIDI29 but you can assign this switch to any MIDI Controller The SWITCH page parameters are described in Switch Controller Parameters on page 7 31 Tupe IES er 5 a Le None OnControl ExilState None Ornvalue i127 OffControlt MIDIZI Ualue SWITCH JFIBBON JRIECFG more 3 E 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 39 Setup Mode The RIBBON Page The RIBBON Page The RIBBON page lets you define the controller assignment for the PC3K s ribbon controller The optional 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 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 s
278. e Take a minute to scroll through some of the factory setups As you change setups you ll notice that the LEDs in the eight buttons above the programmable sliders go on and off and change color These LEDs indicate the status of each of the zones in the setup You may also see the Solo button go on This means that the setup is configured to have only one zone playing when you select it 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 gene
279. e 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 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 writte
280. e 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 Chapter 11 contains the parameters that control the entire PC3K 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 PC3K s digital output Song Mode Song mode enables you to play sequences songs stored in the PC3K 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 to modify existing sequences stored in memory See Chapter 12 Storage Mode Storage mode lets you load and save programs and other objects using an USB device See Chapter 13 4 3 The Operating Modes Using the Modes Editing Conventions Introduction to Editing Chapter 5 Editing Conventions Introduction to Editing Programming editing the PC3K always involves three basic operations mode selection navigation and data entry First select the mode that relates to the object you want to edit a program a setup etc Then select the object you want to edit and press the Edit button to enter the editor within that mode For
281. e 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 11 15 Master Mode Reset Reset Loader About Save Press the Reset soft button if you want to return your PC3K s memory to the state it was in when you bought it CAUTION Resetting the PC3K system causes ALL parameters to be restored to default values and ALL user objects to be erased The PC3K will ask you if you want to delete everything meaning all RAM objects and a pair of Yes No soft buttons will appear Press No if you want to keep any objects you have saved Press Yes and everything stored in RAM will be erased After a few seconds the PC3K will return to the Program mode page Pressing the Loader soft button calls up the Boot Loader See Appendix B Pressing the About soft button calls up the general info page for the PC3K 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 PC3K 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 s
282. e Web To stay in touch check out our Web site www kurzweil com When you ve acquired an upgrade you can install it yourself in a matter of minutes Use the Boot Loader as described in Appendix B 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 PC3K Your interactions can be divided into three primary operations mode selection navigation and data entry There is also an assignable control section soz KURZWEIL oll oo PC3K8 GO Mode Selection The PC3K is always in one of eight primary operating modes Select a mode by pressing one of the mode buttons they re to the left of the display 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 Effects 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
283. e a KUF file Run Diags Press this soft button to enter the PC3K 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 PC3K to its default Factory state B 1 System Utilities This offers a menu of file system functions that can be useful in maintaining your system or diagnosing software problems You can also enter the Bootloader menu from the Master Mode menu during normal operation System Update PC3K Software Objects Etc The most common use of the Bootloader menu is to update your PC3K using new versions of software and objects supplied by Kurzweil Updates for the PC3K come in KUF files Kurzweil update files which can include updates to the PC3K 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 PC3K s USB Computer port To use a USB device you ll need a valid USB device and a comput
284. e amplitude for the current layer is the default natural ROM amplitude envelope that s applied to each sample and waveform during its original development process You ll leave the amplitude envelope in Natural mode when you don t want to change the way the current layer s loudness develops Mode i more JAMPENUTENUZ TENUS JENUCTL 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 Many programs feature User envelopes with appropriate envelope settings This is usually the case for programs that use samples of acoustic instruments since it provides a convenient starting point for you to adjust the envelopes amore JAMPENUJENUZ TENUS AENUCTLA 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 small horizontal arrow represents the end of the decay section
285. e 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 The Control Setup Press the Info soft button to see a list of all of the controller assignments for all zones of the current setup On the Info page use the Alpha Wheel cursor buttons or buttons to scroll through the list When you select a setup in Setup mode the PC3K sends a number of MIDI messages on each of the MIDI channels used by the setup 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 depend on the parameters you define in the Setup Editor The Co
286. e displayed in left to right order above their corresponding mute buttons in Program mode For example program 128 Drums n Bells is MIDI Bank 1 Program 0 and is in PC3K bank Base 1 and program 127 Magic Celeste is MIDI Bank 0 Program 127 but is also in PC3K bank Base 1 7 6 Setup Mode The Channel Program CH PROG Page Destination This parameter determines whether the currently selected zone transmits only to the PC3K Local transmits only to the MIDI port MIDI transmits only to the USB port USB_MIDI transmits to a pair of destinations MIDI Local USB_MIDI Local or USB_MIDI MIDI or transmits to all destinations USB_MIDI MIDI Local Channel The Channel parameter defines the MIDI transmit channel for the currently selected zone 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 PC3K 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 occasi
287. e 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 To 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 Ee D000000 oF Exit Programming the PC3K 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 La
288. e 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 envelope 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 9 18 Effects Distortion Trigger is the input signal threshold at which the envelope detector triggers Range is 79 to 0 dB 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 w
289. e 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 PC3K also has the ability to apply natural amplitude envelopes to oscillators With an amplitude envelope set to natural mode each oscillator note takes on 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 key
290. e of downward bend In most factory setups AuxBend 1 is set as the destination for the optional Ribbon controller see The RIBBON Page on page 7 40 Aux Bend 2 Range Le The PC3K 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 15 MIDI 15 For AuxBend 2 you can set only one range for both upward and downward pitch bending 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 30 for more on setting continuous controller parameters Controllers Controller editing is one of the strongest aspects of the PC3K s usefulness as
291. e 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 setting 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 31 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 a Pan 1 AFadeSense h Pan Mode MIDI Out Pan 8 Out Gain Bde Out Pan Mode MIDI Pan Table 6 None Drum kemat Off OUTPUT more a 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 Crossfade and Crossfade Sense XFadeSense The Crossfade
292. e 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 UTPU ac Did Out Volume Dig Out Aux Out Pair Mode Normal Clock Source Internal GGI MAPS OUTPUT TEMPO J more 4 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 PC3K 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 PC3K s digital output sample rate Internally clocked 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 wit
293. e the Bend Range value because they use FUNSs 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 BendRangeUp in both semitones and cents affects all controllers that are set to PitchUp in the default control setup the PWUp parameter on the WHEEL page is assigned to PitchUp BendRangeDown in both semitones and cents affects all controllers that are set to PitchDwn in the default control setup the PWDn parameter on the WHEEL page is assigned to PitchDwn Any physical controller that uses the Control Destination list can be assigned to PitchUp or PitchDwn To keep things simple though you will normally want to use PitchUp 7 19 Setup Mode Controllers and PitchDwn contr
294. e 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 full description of the PITCH page parameters see Common DSP Control Parameters on page 6 14 The DSP Control DSPCTL Page on page 6 28 and The DSP Modulation DSPMOD Page on page 6 29 Darse Fine ie Po DeFt h Sec DPT Ct1 Mintle Act OFF OFF Act AEREA 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 14 The DSP Control DSPCTL Page on page 6 28 and The DSP Modulation DSPMOD Page on page 6 29 E Sue na Po Depth Ade Sec OFF DPTCt1 OFF Mindet dB Priore JANE PERCI PERC MEEVCLE more FITCH more 3 6 63 Program Mode The PERC1 Page 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 Harmonic Percussion ITA LowHarm DrawBar4 Uolume So HiShHarm DIrawBarS Decay Fi StealBar DrawBar9 PERCI PERC
295. e user samples when turning on the PC3K 13 7 Storage Mode The LOAD Page To load a user audio file or files select one or more WAV or AIF files from the LOAD page file list and press the OK soft button You will be prompted to choose a bank group of 128 ID numbers to load the sample in to Use the Alpha Wheel or buttons choose from the list of banks It is recommended to load into the first user bank 1025 1152 this makes it easier to find your sample later on in the Sample list Next choose one of the loading method soft buttons see Loading Methods on page 13 9 for details Generally you will want to use the Fill soft button to load the sample into the selected bank This uses the Fill loading method which loads the sample into the lowest available ID starting in the chosen bank Any existing samples will not be overwritten Press the desired soft button to begin loading Samples load slowly please be patient You can cancel loading a sample by pressing the Cancel soft button On the EditKeymap page see The Keymap Editor on page 14 1 loaded audio samples can be selected in the Sample field On the EditKeymap page you can find an audio file with the highest ID by selecting the Sample field entering 0 on the alphanumeric keypad and pressing Enter then press the minus button once below the Alpha Wheel Loading Individual Objects From a P3K Or Compatible File Type Since a P3K file can contain over 3000 obje
296. ear 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 in a track is to press 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 th
297. ease 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 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 41 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
298. ect 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 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 13 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
299. ections 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 below The RIBBON page parameters are described in Continuous Controller Parameters on page 7 30 Lik e Dest Scale Add Curw Ent Exit sect 1E JEFE e El Linear None None Sects 14 El Linear None Hone Sect 0FF 166 E Linear None Hone p ore JAR SWITCH JRIBBON JFIBCFG 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 7 40 Setup Mode The Ribbon Configuration RIBCFG Page 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 finger position and pressure Poshode spina Center Ribbon Relative On E E SWITCH RIBBON JRIBCFG
300. ee The Amplitude Envelope AMPENV Page on page 6 41 Press the ENVCTL soft button to reach the ENVCTL page Adjust Keutrk WelTrk Source Depth Attack REEERE ODO 1 200 MIDITS 1200x 1 EE MIDITZ 1 6611 Releas 166Hx 1 000x MIDITI 1 d0Gx ImPact G 9dB BHAJEE Bede MIDIfO Bede EGG EE CsA E more The displays top line reminds you of the current layer The column on the left lists the three section types of the amplitude envelope 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 Decay 6 44 Program Mode The Envelope Control ENVCTL Page 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 milli
301. effect See Equalizers EQ on page 9 13 and Compressors Expanders and Gates on page 9 14 for description on the EQ and Compressor parameters The setting for the Master Effects can be set directly on this page or optionally in the control setup To set up the Master Effects from the MASTER page 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 different configurations 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 See Master Effects on page 9 4 for a description of the Master Effects 9 7 Effects The Chain Editor The Chain Editor Pressing the edit button while a Chain other than 0 None is highlighted on any of the various effects pages will call up the Chain editor From the Program editor the program s Insert and Aux Chains can be edited from the PROGFX and LYRFX pages
302. emitone half step increments You can use them to transpose the entire PC3K 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 PC3K 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 ro dPramiogde 1 4 7 uns Pinno mp Lett Piano mi Left Piano Lett mo oo 3 F Ubensteins Com mo E HL Jazz Eli KB3 Programs KB3 organ programs differ from VAST programs in that they don t have layers Instead they rely on oscillators that mimic the tone wheels used in many popular organs Consequently the info box shows only the waveform used in the program Because of their architecture KB3 programs require different processin
303. ence will play with the program on the current zone 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 6 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 p
304. ents 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 with a attack velocities lower than the LoVel will not be affected by the edit The available values are 1 127 the default is 1 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
305. eo 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 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 PC3K Objects V 1 31 Effect Presets with Algorithms 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 PseudoAnaGtrFlng alg 225 Flanger 1 1U 230 Flanger Double alg 225 Flanger 1 1U 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 2
306. equencer If you are also triggering PC3K 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 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 will be the currently selected program 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 an
307. er 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 Rvrs 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 pr
308. er 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 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 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
309. er 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 PC3K files right onto the USB device directory After the files are copied remove the device from the computer and place it in the USB storage port on the rear panel of the PC3K 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 PC3K 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 PC3K 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 KurzweilPC3K Files can be dragged and dropped directly to this device icon and will be immediately available on the PC3K Once you have selected the desired USB type use the PC3K 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 PC3K soft button to run the PC3K with the updated software Run Diags PC3K Diagnostics Utility The PC3K Diagnostics Utility can run specific hardware checks on PC3K systems Most of the time
310. eral 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 5 Master Mode MAPS Pressure Map Master Change the Master Press Map setting if you find that the PC3K is not producing the desired MIDI pressure aftertouch values too high or too low based on your playing style how soft or hard that you press the keys The default map provides the widest range of pressure expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3K Keyboard MIDI In via MIDI In port or USB Computer port Fre Ma eg on Maer Me MAPS Pa POON PC3K Song Mode MIDI Destinations PC3K Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3K audio outputs The Master Press Map is an overall control for MIDI pressure aftertouch values used in the PC3K 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 PC3K 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 aftertouch values for the same physical key press value Each map applies a different curve to
311. eral 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 algorithms and we ll deal with those first Wet Dry balances the levels of the processed and unprocessed signals passing through the preset The range is 0 wet the signal is unprocessed through 100 wet no dry signal is present A setting of 50 wet means the dry and processed signals are roughly equal in level In some algorithms separate Wet Dry parameters are provided for the Left and Right input channels In some cases this parameters can have negative values which indicate that the Wet signal is polarity inverted Out Gain sets the gain at the output of a preset 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 is the cutoff 3 dB frequency of a 6dB octave lowpass filter that s inserted before the processor In the case of processors where multiple iterations of the signal are heard such as in a delay e
312. ernatively 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 71 Setup Mode Recording A Setup To Song Mode 7 72 Quick Access Mode Chapter 8 Quick Access Mode In Quick Access mode you can select programs or setups with a single press of an alphanumeric button or with other data entry methods The PC3K offers a number of ways to quickly make selections while performing but only Quick Access mode lets you store programs and setups together for instant access On the PC3K we included several factory preset QA banks that are organized into useful groupings of sounds that we think you ll find convenient Below is the QA page 1Clubsyweep nes Lead Say Lead WAL Emerson Le MaroonSunBass Hw WALDistlesd CC S4uareChirele D HewOrderPulse Filtyu Fitty Le M Mono Trekkies Lt gt 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 Zone 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 nu
313. es cale 1 A ae E Linear None Hone 160x E Linear None None SlidH MIDIZT 14h E Linear None None SlidI MIDIZS 160x WU Linear None None e more WHHEEL ESA EA STA more 3 Parameter Range of Values Default Destination Slider A Control Destination List Data 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 34 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 30 Dest Scale Add C
314. es Time 0 to 60 seconds Attack Segment 1 2 3 Level 0 to 100 Time 0 to 60 seconds Decay Segment 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 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 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 6 42 Program Mode The Envelope 2 ENV2 and Envelope 3 ENV3 Pages 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 sec
315. es 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 PC3K 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 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 ss 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 t
316. eters This is a good parameter to control with a footswitch Wet Bal Wet Balance Some reverb algorithms 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 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 algorithms 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
317. etting 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 PC3K you can expand polyphony by assigning each zone to a different alternating note map For example if you have two PC3Ks you can assign two zones to each play the same program on a different PC3K 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 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 7 11 Setup Mode The Key Velocity KEY VEL Page Velocity Scale
318. etup 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 Like all other representations of signal paths in the PC3K display the program signal moves from left to right through the Chain 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 Pressing the Remove soft button takes the currently selected effect out of 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 Effect Mode button will mute or unmute the selected effects box The Effect Mode button s LED will light when a muted effects box is selected and unlight when an unmuted effects box is selected 9 8 Effects The MOD Pages Editing Effect blocks 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 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 pre
319. ever 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 this will not use additional sample memory 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 12 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 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
320. f 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 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 138 ProgGoto Go to Program selects program Table 7 5 Controller Destination List Continued 7 24 Setup Mode Corresponding Controllers Cont eller Destination Description Number Name 139 Setupinc Setup Increment increments current setup number 140 SetupDec Setup Decrement increments current setup number 141 SetpGoto Go to Setup selects setup 142 Start Sequencer function 143 Stop Sequencer function 144 Continue Sequencer function 145 TransUp Transpose Up ST 146 TransDown Transpose Down ST 147 ArpOn Any value turns Arpeggiator On See The ARPEGGIATOR Page on page 7 43 148 Arpoff Any Value turns Arpeggiator Off See The ARPEGGIATOR Page on page 7 43 149 MuteZn Mute Zone values above
321. fects 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 The ASR Page and The Function FUN Page in Program Mode Effects INFOEDIT page INFO INFOEDIT page INFO Press the INFO soft button to go to the INFOEDIT page where you can edit the controller assignment info for the current Chain On the INFOEDIT 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 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 MIDI controller 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 button See Export on page 13 12 for details on exporting Chain info Effects Parameters This section contains descriptions of the PC3K s many effects parameters and instructions on how to use them Read through this chapter to get a good gen
322. ffect of each channel s program is active For the DSP units the currently selected program will have priority followed by lowest to highest MIDI channel You can have up to 11 active Insert Effects Effects Basic Overview The CHANFX page in Effects mode or the FX page in either Setup or Song mode provides per channel control over effects allocation The channel with a box around its channel number is the current channel in Program mode or the specified Aux Effect channel in Setup and Song mode Each channel can be set to Y to allocate effects for that channel or to N to not allocate effects for that channel Some channels set to Y may be displayed as Y This means that effects resources are not available for that channel and that channel s effects are not loaded Setting a channel to N does not disable that channel s effects settings rather it only specifies that no effects are allocated for that channel As the cursor is moved from left to right the Insert and if its the current channel or specified Aux Effects channel Aux Effects for that channel are displayed below the allocation line of the page The number of DSP units required to load effects for the cursor highlighted channel is shown at the top of the page MASTER A Note on Modes Be sure to read the section on using effects in Program mode The Program FX PROGFX Page on page 6 47 The configurations in Effect mode apply in every mode except for Setup
323. ffects 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 PC3K 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 PC3K 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 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 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
324. fferent tempo Notes About Recording A Setup To Song Mode Tempo The tempo of a setup is set on the SetupMode COMMON page see The COMMON Page on page 7 56 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 load 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 61 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 Mono Pressure When recording a setu
325. 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 DSPMOD page are reflected in the corresponding function parameters on the DSPCTL page The 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 6 29 Program Mode The OUTPUT Page Each function parameter s subpage contains the programmable parameters of the highlighted function parameter By assigning control sources to modulate a function parameter you can enable real time control of your program s sound and behavior You can assign Srcl 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 a Note The PC3K features an easy shortcut for quickly assigning any of the PC3K s realtime controllers LI sliders wheels buttons etc to a currently selected parameter s
326. 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 PC3K 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 PC3K 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 36 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 On pressing any buttons on the PC3K will generate System Exclusive SysEx messages that are sent to the MIDI Out port This enables you to do two things control a remote PC3K and or record sequences of programming button presses to a sequencer or SysEx software package If you have the MIDI In port of another PC3K connected to
327. ft 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 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 6 12 Program Mode Algorithm Basics Algorithm Basics Press the ALG soft button in the Program Editor to take you to the Algorithm ALG page The basic definition an algorithm is the wiring signal path of a sample to the audio outputs
328. ftPatt 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 7 48 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 calculated 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
329. functions alone not to mention the numerous controls that can be used to modify the DSP functions 2 Note Changing a layer s algorithm can affect the layer s sound drastically It s a good idea to bring down LI the volume of your PC3K or your sound system before changing algorithms See Algorithm Basics on page 6 13 for information on editing algorithms 6 27 Program Mode The DSP Control DSPCTL Page The DSP Control DSPCTL Page Before reading further be sure to read Algorithm Basics on page 6 13 and Common DSP Control Parameters on page 6 14 Press the DSPCTL soft button to call up the DSP Control DSPCTL page which is displayed below A_GGH z Hotkey Act Function Parameter Range of Values Default Pitch 128 to 127 semitones 0 Fine Adjust 100 cents 0 Pitch 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 96 to 24 decibels 6 Level 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 algori
330. g 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 rest of the key range assigned to Silence Make sure that you limit the note range of each 14 1 Keymap and Sample Editing The Keymap Editor layer using the LoKey and HiKey parameters on the LAYER page in the Program Editor If each layer covers the entire range then each note you played would trigger 20 voices one for each layer You would only hear one drum per note because all the other layers are triggering Silence Because of the voice stealing algorithms in the PC3K the voices would almost immediately become available again since they have no amplitude 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 velociti
331. g 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 on a track to another controller type The effect the real time changes of the Old controller had will be replaced by the effect the New controller has by using the exact same controller values Tone 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
332. g the MIDI Pan message setting Mode to MIDI allows you to control the program s panning from the Setup Editor 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 PC3K program that uses the PANNER algorithm will respond to real time pan adjustments as well 7 18 Setup Mode The BEND Page The BEND Page LG The parameters on the BEND page define the bend ranges for each of the three types of pitch bend messages the PC3K can respond to Ores BendRangelPcstTs AuxBendiUP 125T BendRansellPicti s Hc FuxBendi Dwrn 125T FiuxBend2Rn9 2ST EsndRansellouniSsT 2 2ST EendRansellounict Act more CH PRG IKEYWEL PANNOL IBEND more 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 BendRangeUp ST and BendRangeDown ST sends a bend range message to an internal program or a MIDI device telling it how to define subsequent pitch bend messages Some programs may behave strangely when you chang
333. g 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 6 68 Program Mode 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 and TypeZ 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 On keyboard models you can toggle between fast and slow speed using Assignable Controller Button 1 Mute button 1 When you select a KB3 program the PC3K sends several MIDI Controller messages both locally and to the MIDI Out port One of those messages is Controller
334. g within the PC3K KB3 programs play only ona 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 2 8 Startup Setups 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 its own 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 page 7 1 for a more detailed description 125 Detau 129 GetBerni er E I 1TeknoFRiff Sw 1 6 e TINTE Marson Drums nFF bourne RemixIicur howb aw Tass LFF nes Lam in SIE MEF 5 Techno Substance IETA IELE APOSE Many setups include arpeggiation and note triggered songs to create some pretty amazing grooves that you can use as is or
335. ges FT SW1 FT SW2 FT SW3 on page 7 37 68 Legato Forces mono playback 69 Freeze Envelopes freeze at current state 70 83 MIDI 70 83 MIDI Controllers 70 83 Table 7 5 Controller Destination List Continued 7 23 Setup Mode Controllers Corresponding ee Destination Description Name 84 Portamen Portamento control best with mono voices value is relative to key range makes pitch momentarily slide to a note 85 90 MIDI 85 90 MIDI Controllers 85 90 91 GM Reverb With PC3K in General MIDI mode controls Reverb send level 92 MIDI 92 93 GM Chorus With PC3K in General MIDI mode controls Chorus send level 94 95 MIDI 94 95 MIDI Controllers 94 95 96 Data Inc Equivalent to pressing the plus 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 Of
336. gh Velocity MiVel nsise nerina add iii 6 23 Pitch Bend Mode Bend usciriotonicicntolarntraondolenonio alan ala aio iano 6 23 TE Cen TIE A iii iena ale 6 23 Delay Control DIyCt s a ili AR O Rai 6 23 Minimum Delay MinDly Maximum Delay MaxDIY Lire eee enne ze ne eee 6 24 Enable itunes i labiale 6 24 Enrable Sense iii CI SCI IR R RIST CO O CIICI SIERO c 6 24 Opagu i satana ei ia i a at 6 25 Sustin Predal Sas PAJ iaia Aa aa IA Hee IL 6 25 TOC ili Sostenuto Pedal SosRdl rsicolra iii ili balena lai 6 25 Freeze P dal REZ snn a A EE IA Re 6 25 Ignore Release IenRel asd rain 6 25 Hold Through Attack THEA esserne iios Ra e AE E A 6 26 Hold Until Decay TilDEC rener iie i a aor E E dada ae A 6 26 Th PITCH P gens nenii ann tia aria aa ria iii 6 26 The AMP Page ni si pe IAA A FERRARA EE EE EEE ORREN IEEE AEE FOTI RADIALI LIL 6 26 The Algorithm ALG Page A i oa E eco RERA 6 27 The DSP Control DSP GUE Page aia aaa aAa A AA E SE 6 28 The DSP Modulation DSPMOD Page ee eee ene eee eeee ze 6 29 The QUT PUT Pages cn das 6 30 Panariello iii rin Ia a E RA A II e o eee 6 31 Pari MOG mne iii ata 6 31 Output Pan Gain and Mode aan cao nananana ie ia 6 32 Pan Tablero ao 6 32 Crossfade and Crossfade Sense XFadeSense non nonon an nnn rn on anno rnanenan canon 6 32 NAAA NN ANN 6 32 Exclusive Zone Map iure labbra ia nia aa 6 33 The COMMON Page sO
337. gram remapping clock source options ID entry options demo song options as well as options for saving master mode settings and remote triggering of PC3K functions MasterLockst 0 5 DemoButton On Performance Buttons Uff Hone Global MAPS OUTPUTSIEMPO nore s Temor 351150 TransPosze Fe Mode UrumRemaF Id Entry 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 Master Mode MAIN Tune Adjusting the value of this parameter tunes every program in the PC3K by the amount you specify Tuning can be adjusted up or down 100 cents one semitone in one cent increments This parameter is useful for getting in tune with recordings and acoustic instruments Adjusting the tuning in Master mode does not change the settings on the PITCH page of individual programs but will be added to any adjustments you make there Master mode tuning adjustments affect only the audio output of PC3K program notes and not notes sent via MIDI Transpose Like the Tune parameter above Transpose affects every PC3K program but not those notes sent to the MIDI Out port You can adjust the MIDI transposition sent to the MIDI Out por
338. h Rate 9 18 SmoothTime 9 15 Smth Rate 9 19 Soft buttons 3 7 Keymap Editor 14 5 MIDI mode 10 18 in Program Editor 6 11 in Program Mode 6 10 Sample Editor 14 11 Setup Editor 7 67 Special functions 6 51 Software Upgrades 2 10 Soloing a zone 7 5 Song Export 13 12 Song button 5 7 Song Editor 12 19 TRACK Page 12 21 Song Mode 12 1 Song mode 4 3 Songs Recording 3 12 Sostenuto Pedal parameter Layer 6 25 sound ROM 1 5 Source 1 6 16 Source and Depth parameters EnvCtl 6 46 Spacing 9 18 Special button functions 5 7 Special function soft buttons 6 51 Specifications A 2 Spectral Multitap Delays 9 13 Speed 9 21 Start Point Sample Editor 14 12 Startup 2 1 StatDlyLvl 9 17 Stereo Analyze 9 24 Stereo parameter Keymap 6 20 Stereo simulation 9 23 Sustain not working 10 6 Sustain Pedal parameter Layer 6 25 Sustaining ASRs 6 39 SW button 3 5 Sweep 9 18 switch pedals 1 5 Sync In 2 3 System Exclusive ID 10 9 T Tap Dly 9 16 Tap Lvl 9 16 Tap Pan 9 16 Tap Pitch 9 13 Tap PtAmt 9 13 Tap Shapr 9 13 Tap Tempo 11 10 Tap types in Multitap delays 9 12 Tapn Bal 9 12 Index viii Tapn Level 9 12 Tempo Master 11 10 Song mode Tempo Track 12 33 Tap Tempo 11 10 Threshold 9 15 Thru Out switch 2 3 Timbre Shift parameter Keymap 6 21 Time Stamp 11 15 Toggle switch type 7 31 TONEWL page Program Editor 6 60 Top line of display 3 6 TRACK Page Song Editor 12 21 Transpose Master 11 2 MIDI 10 2 Song Mode TRACK Page 12 28 Tr
339. he 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 PC3K 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 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 Data Entry Double Button Pres
340. he 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 transposition 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 Vo
341. he 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 Classic 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 TO 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 24 Real Big Room alg 5 Classic Verb 2U PC3K Objects V 1 31 Effect Presets with Algorithms
342. he instrument s clock to your current local time Do this from the Master Page The clock will time stamp your files that have been stored via USB PC3K Programs The PC3K 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 four basic ways to select a PC3K 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 e Type the program s ID number on the alphanumeric buttonpad then press Enter If you make a mistake press Clear then start over e Scroll through the list using the Alpha Wheel e Scroll through the list using the Plus or Minus button under the Alpha Wheel or the cursor buttons the arrow buttons to the right of the display The PC3K has various settings for responding to MIDI Program Change commands from external sources These are explained in Chapter 10 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
343. he maximum number of notes events in memory e Used the total number of notes events being used e 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 The Song Editor The Song Editor In general you ll get to the Song editor pages by pressing the Edit button any time you re in Song mode There s one exception if the Program parameter is currently highlighted on the display you ll enter the Program editor when you press Edit There are a few conventions shared by all of the Song editor pages Displayed at the top of each Song editor page is the name of the page and the currently selected track 1 16 or all tracks 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 PC3K 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
344. he 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 There are three buttons labeled Record Play Pause and Stop below the mode selection buttons 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 Master Mode is described in Chapter 11 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 Song 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
345. he 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 Press one of the Category buttons to see a list of programs in that category or press the All Category button to see a list of all programs Quick Access Mode The QA Editor Selecting A Setup For A Quick Access Entry If you want to store a setup in the current entry instead of a program press the Type soft button when you do this notice that the Type field change from Program to Setup also notice that the channel indicator disappears since setups can transmit over several channels The list of objects changes from the program list to the setup list Just as with programs the cursor highlights the setup s ID and name 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 proced
346. he 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 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 affect 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 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 t
347. he 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 6 35 Program Mode The COMMON Page 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 Big Old Jupiter played with the KB3 program 53 Testify Note You can also trigger and stop demo song
348. he 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 volumes 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 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 on a real B3 as shown in Table 6 1 on page 6 5 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 6 62 Program Mode The PITCH Page The PITCH Page The PITCH page parameters for KB3 programs is much lik
349. he 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 select 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 SolotMuted 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 4 for more information about muting and soloing zones Input Channel 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 When the Program of a Setup Zone is
350. he 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 Editing Samples the zero point of the display the horizontal line in the middle of the waveform display Though adjusting these points visually is helpful always listen to the sample and make the final settings based on what sounds best You ll notice an audible click in your sample loop if the ends of the waveform do not meet where the loop occurs The closer you can get the two ends of the waveform the better the sound quality of your loop will be 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 Trimmed 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 which
351. her 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 PC3Ks 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 frequencies between intervals The original tuning of Classical European music 3 Just
352. hest 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 Pitcher Depth controls the amount of attenuation applied when the LFO is at its deepest excursion point Range is 0 to 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 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 9 22 Effects Ring Modulation 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
353. hin 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 9 Master Mode TEMPO Clock Source TEMPO With the Clock Source parameter you can set the PC3K to generate its own tempo by setting Clock Source to Internal or you can set the PC3K to sync up with the tempo from another device assuming the device is sending MIDI clock data to the PC3K via MIDI or USB by setting Clock Source to External See Important Note About External Sequencers on page 12 8 for related information 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 10 the Tempo parameter on the TEMPO page sets the PC3K 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 Mas tao EA 5ce gt 5 lt pA DNDAN E Tempo IMILOO TemPorara TAP controller Off Tak You can also call up the TEMPO page from any other
354. ht 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 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 22 is the same as for the continuous controllers and can be accessed the same Way 7 31 Setup Mode Controllers 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 22 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 OnVal
355. i Mala Sa he LL IENA aaa 12 11 Song Mode The FX Pages 12 11 Song Mode The MIXER Page suministra Ri ass 12 12 The Rec Play and Stop Soft Buttons lai iii arene 12 12 THEKEEP Soft Button iii Lal alleno iaia 12 12 The PDon SoftButton iaia ina nd iaa 12 12 Song Mode The METRO Page ire tizi 12 13 Metronome eiii alan il RA ARA EIA RI RR ei 12 13 EUA A A E A ein 12 13 POS aM ss nta atinada salado li ahs 12 13 Channel iii lalla lalla ala 12 13 Strong Note nil iui LIL ai ai 12 14 Strong A ilo ee NO NN 12 14 Soft Notes ias aaa ii inn iii 12 14 SOP eliana id 12 14 The Rec Play and Stop Soft Buttons urina 12 14 The Done Soft Button ii litiasis 12 14 TOC xi NOTES RO 12 15 A NN 12 15 Pl EA E AE E iS E eee Aol anal nanna EA Tea BBE CE aa Bee baie ta dia 12 15 LG VE init A A aaa 12 16 A RIE RIE SG a be Theos bee AE ATE Reh ents ei EA Neale 12 16 Eontrollers ui isaac aL bale ilari saga dalia 12 16 Controllet cene ALII IA Galizia ice AGE LL 12 16 DVM RL LR ail Lala 12 16 Hita iaa alienta 12 16 PitehBendaiiii ac 12 16 A O NN 12 16 AAA NON NN 12 16 Poly Press cuina nal la dando paola da 12 16 Th Rec Play and Stop Soft Buttons ci iti irpini ai 12 16 The Done Sore Button sess ara iL Lr a A A a ii 12 16 Song Mode The MISC Page lilla ooo 12 17 Control Chase diia ninia alii alal iaia A ila polizia iii 12 17 QUE init 12 17 A SS NT 12 17 A NANO NN 12 18 EAE t EE E sa ds 12 18 Key Walt iipratilada ana
356. i i a NN 2 7 PESK Prog raistas sioi enon psi dillo alia 2 7 Selectine PrOSTAIis riia inonda riale ri 2 7 Easy Audition a since lai a e al ani 2 7 Program Mode Display resnost irector nelle aliena 2 7 VAST Program Sosi siset a ar r AE E n thats Saabs a EEE EERE E A EN E lait 2 8 KBF Propra S ipod darian 2 8 UPS ES EE AA A A A ADS 2 9 Quick ACCESS ona sn oes hae Ha See SEL OS eh Ra a i es Ase 2 9 The Othet Modesti iunariiiina baia iaia 2 10 Software Upgrades ivi ji aa tai died 2 10 TOC i Chapter 3 User Interface Basics INV Coys Cathe x 6 9 i RR Pe A PE SP 3 1 Mode BUON ci ranieri O a ts lo eat 3 2 BABOSO ES 3 2 SMS AA RA AAA TT TENE E 3 3 Program and Category ds AAA ro Riti 3 4 Picking favorites A SN 3 4 Pitch Wheel a Mo Io 3 5 Navigate visit naa a O O A A E A 3 6 MADE NA A NAO 3 6 A TR TN 3 6 THe TOP EINEN ae ini irene 3 6 Fhe Bottom Lin a ansia rai an A ada aan da 3 6 The Soft Buttons iti A bela e rn eto 3 7 Fhe Cursor Buttons A A ani 3 7 Th Chan Layer Buttons alan area 3 7 Fhe Edit Buttons ariana SR a Sit 3 8 Thebxgt Button ore A O roi 3 8 Data Enttv cre iii arrival dini ara alati 3 9 The Alpha no E eni 3 9 Fhe Rlus Minus Buttons s3te asian An RON ENER IE a RNA 3 9 CAN o AAA iano lola iaia 3 9 Double BUHOR Presses ses A nai n RR Ra 3 10 IntuitiveData Entiyi Gcans A ie a ao nt 3 11 Changing the Current Layer in Multi Layer Programs ie eee eee 3 11 O ta a MUA Basle ea OI PAIS A a A A
357. ice 13 1 Storage Mode Storage Mode Page LOAD Load selected file s or object s from the current device into PC3K memory UTILS Check the free space find files and view directory organization and sizes 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 You can plug a USB mass storage device such as a thumb drive into the PC3K for backing up archiving sharing your work and updating your software Any size USB mass storage device will work though thumb drives are recommended for their portability durability and low price There is a USB Storage port on the back panel of the PC3K but it is easily accessible from the front of the instrument see below lt gt USB Q Computer Storage 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 PC3K or USB device If you are having trouble inserting your USB connector into the port try flipping the connector over You can also transfer files directly to a computer that is equipped with a USB port by using the USB Computer port on the back panel of the PC3K see above Connect a USB cable from the PC3K s USB Computer port to a USB port on your computer
358. iff stop point Like the Start parameter the time format for Stop is Bar Beat Tick Bar can be set to any bar in the sequence and Beat can be set to any beat in that bar beat range is dependent on time signature Tick can be set from 0 to 959 Refer to Table 7 6 for Tick values The PC3K 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 sequ
359. ile 3 On the 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 to 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 7 69 Setup Mode Recording A Setup To Song Mode 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 di
360. ill 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 frequency expressed in BPM and beats can be fixed or set to follow System tempo See Chapter 4 for information about tempo control of PC3K parameters 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 algorithms on the PC3K may also include a parametric equalizer or a cabinet simulator Dist Drive applies a boost to the input signal to overdrive the distortion algorithm into soft clippi
361. in the list as well as for moving around the list when there are many items selected or listed This same dialog is also used for many other functions in the PC3K namely for saving selected objects and for several object utility functions that are described later Here is a brief description of each button s function Select Select or deselect an object Next Jump to the next selected object Type Jump to the next object of a different type OK Tell PC3K to proceed to load the selected objects Cancel Exit back to the File List Dialog Press the Select button to choose the highlighted object for loading An asterisk is placed to the left of the object index for any items that are selected Deselect a selected object by pressing Select again The asterisk will disappear The easiest way to choose objects for loading is to scroll the list and individually press Select on each object you want to load 13 8 Storage Mode The LOAD Page 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 you have more than one object selected then if you repeatedly press Next you can easily cycle through all selected items 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 i
362. inds Horn amp Str 419 String Continuo 452 Lead Trumpet 387 More Brass amp Str 420 VivaldiOrchestra 453 Soft Trumpet 388 LH Timp Roll Orch 421 Trumpet Voluntary 454 Slow Soft Trp 389 Gothic Climax 422 Fifes amp Drums 455 Two Lead Trumpets 390 Denouement 423 Solo Flute 456 Lead MuteTrumpet 391 Poltergeist Trem 424 Tremolo Flute 457 Solo Tenor Sax 392 Many Characters 425 Fast Orch Flute 458 Sax Horns MuteTrp 393 Pizz w PercUpTop 426 Piccolo 459 Solo Trombone 394 Fast Str amp Perc 427 Solo Oboe 460 Ens Trombone 395 Fast Winds amp Pizz 428 Slow Oboe 461 Trombone Section 396 Imperial Army 429 Fast Orch Oboe 462 Dyn Orch Bones 397 BattleSceneOrch 430 Lead Oboe 463 Bari Horn Section 398 Final Victory 431 Solo Eng Hrn prs 464 Dyn Bari Horns 399 SloLineInterlude 432 Fast Orch EngHrn 465 Solo Tuba 400 Winds amp EspressStr 433 Slow EngHorn prs 466 Dyn Orch Tuba 401 Fast Winds amp Str 434 Lead English Horn 467 Low Orch Brass 402 SugarPlumFairies 435 Solo Clarinet 468 Low Brass Chorale 403 AdagioPizz Split 436 Slo OrchClarinet 469 Fast Orch Brass 404 Pastoral Orch 437 Fast Orch Clar 470 Brass Fanfare 405 Pastoral Clr Flt 438 Lead Clarinet 471 Dyn Orch Trumpets 406 Pastoral DbIRds 439 Solo Bassoon 472 Solo Violin fast 407 Pastoral w Pizz 440 Solo Bassoon vib 473 Folk Violin slow 408 Strings amp Silver 441 Solo Dbl Reeds 474 Solo Viola fast 475 Solo Viola slow 508 Chimes Glock 541 PizzBass ArcoLead D 5 PC3K Objects V
363. ine 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 PC3K 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 a new keyrange that s completely within an existing key range the existing key range will be split into two keyranges with the new keyrange between the two At this point you must change at least one parameter of the new keyrange before editing a different keyrange otherwise the new keyrange will be merged with the adjacent keyranges 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
364. ined objects of the selected type the symbol u will appear to the right of the Range Bank entry in which they fall These are the ranges whose objects you can store You can store an entire bank of objects or by pressing the Advnce soft button select individual objects to be saved see The Store Advanced Page If you choose to store using the bank method all RAM objects within that bank will be saved You cannot store ROM objects If you wish to store a ROM object such as a program you must first save it internally as a RAM program If any objects within the selected bank have dependent RAM objects that exist in a different bank you will be asked if you want to save dependent objects 13 5 Storage Mode The STORE Page Use one of the data entry methods to select a bank to be store If you press the Cancel soft button you ll return to the Storage mode page After you ve selected the bank press Store and the File Name dialogue will appear Name the file and press OK When the file is saved the PC3K adds an extension P3K to the filename This enables the PC3K to recognize it as a Kurzweil file when it examines the directory Note that although P3K files are collections of objects you can load individual objects if you want to See Loading Individual Objects From a P3K Or Compatible File Type on page 13 8 Saving Master Files Among your choices in the Bank dialog are Master files Master files consist primarily of
365. ing 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 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 9 20 Effects Rotating Speakers 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 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 va
366. ire your own algorithms You can combine different DSP functions in any order you like including parallel and serial configurations 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 KB3 programs use a much different architecture There are no layers or algorithms just a set of oscillators designed to emulate the tonewheels ina Hammond Organ that start running as soon as you select a KB3 program The next two sections give more detailed descriptions of the differences in structure between VAST programs and KB3 programs There are several performance features and a few issues unique to KB3 programs these are discussed on page 6 4 After that there are descriptions of the Program mode features that are common to both types of programs 6 1 Program Mode VAST Program Structure VAST Program Structure You might want to take a look at Figure 6 1 on page 6 3 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
367. is 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 lists the ranges of the editable event values 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 Table 12 1 MIDI event Value Ranges 12 32 Song Mode and the Song Editor Song Editor The EVENT Page Note events have four editable values Note Name Attack Velocity indicated by a v Release Velocity indicated by a 4 and Note Duration MIDI Note Events gt Note Number Cc 1toG 9 Attack Velocity v1 to v127 Release Velocity 1 to 1127 Note Duration Bar Beats Ticks Controller events have two editable values Controller Type and Controller Value Defined controllers are referred to by MIDI Controller Events CTRL 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 Continued Soft Buttons on the EVENT Page Cut Removes the currently selected event from the Event list and temporarily stores it ina memory buffer so that you can immediately paste it into a new location Copy
368. is 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 Velocity Offset 64 low velocity keystrikes result in MIDI velocity of 1 maximum MIDI velocity reduced MIDI Velocity o E 127 64 Strike Velocity 7 13 Setup Mode The Key Velocity KEY VEL Page Offset and Scale work together If scaling takes the velocity out of the ballpark for example you want to set it to 300 but that puts all of your notes at maximum velocity using a negative offset say
369. is 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 67 Program Mode The MISC Page The MISC Page The MISC page contains an assortment of control parameters including Leslie speed control and vibrato chorus selection WOLAGIUS Berndkerngule Bendrengirn Sustain sostenuto SPeedCt WibChorctl Parameter Range of Values Preamp Expression Response 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 Speed Control Slow Fast Vibrato Chorus Control Off On Vibrato Chorus Type Selection Vib1 Vib2 Vib3 Chor1 Chor2 Chor3 Volume Adjust 96 to 96 dB 7200 cents 7200 cents Bend Range Up Bend Range Down 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 varyin
370. is red Backgrounded No No Yes Yes Orange Muted No No Yes Yes Off Empty No No No No Table 7 2 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 8 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 or Solo Muted The Chan Layer buttons in addition to scrolling through the zones of the current setup now select the soloed zone If you scroll through the zones you will see the red solo LED moving across the mute buttons After one zone is soloed you can choose a different zone to be soloed by pressing on its zone status button this action unsolos the previously soloed zone Additionally you can configure a setup such that you can solo zones in real time by assigning any of the controller destinations to SoloZn See Controllers on page 7 20 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
371. ith your MIDI controller s sustain pedal down or the minimum 100 cents with the sustain pedal up 6 16 Program Mode Algorithm Basics Alt Input for Algorithms Cascade Mode Cascade mode is a particularly powerful feature of the PC3K that allows you to create unique algorithms of previously unattainable levels of complexity The following three figures show the signal path of a program configured using the PC3K s new Cascade mode 2 PARAM SHAPER DIST SH SHP DSPCTL JISPHOD OUTPUT more LOW SHELF ALPASS HRAP DSPCTL JDSPHOD OUTPUT more 4POLE LOPASS H SEP more JALG JUSPCTLIUSPMODOUTPUT more 3 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 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 Program Mode Algorithm Basics The Cascade mode algorithms very much like triple mode on a K2600 start at ID 101 Note in the abo
372. 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 Editing Samples Editing Samples To enter the Sample Editor first select the program you wish to edit in Program mode With the program selected press the Edit button to enter the Program Editor In the program editor the KEYMAP page will be selected if not press the KEYMAP soft button With the KeyMap parameter selected on the KEYMAP page press the Edit button again to enter the Keymap Editor On the EditKeymap page select the KeyRange parameter 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 p
373. ks by using the Offset parameter A positive value will delay the start time while a negative value will speed up the start time 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 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
374. l A li 12 18 Sorig Mode The STATS Page imiran aa aae cases bes REL 12 18 The SONG ECMO e urli aa no A E aia 12 19 Song Editor The COMMON P gens rnan nin acne 12 19 OTP Oasis scabs ta fune NN 12 19 ATC OU E ioeo aE AE E SaS EENAA PE nA III IERI AO SICARIO 12 19 EX Track ainnean A di a ET 12 20 DrumTrack sitial as ni ada 12 20 MIdIDst rustica a ass 12 20 Soft Buttons on the COMMON Page iii 12 21 Song Editor The TRACK Page cri ii 12 21 Common Parameters for Edit Song Track Functions anar on nnon cono an on oran ccoo na nnrncnananos 12 22 Region Criteria Box Parameters s cicciscscssstesseunetiesesvocstsnetd vorsiosseavosesossedsobsposbderropessdbrotonvendeatierdaadgedpondesterdsedsonet 12 22 Soft Buttons onthe TRACK Page client 12 23 Song Editor Track Functions n neno e eroe lalla edi 12 24 FASO nia lati alia a baia i io ila echo Minigonne Meade ae 12 24 COpyriiasin adatta ea dai 12 24 Bounce ili ALGA v aaa a LA LA 12 25 A Lia 12 26 Delete ava liada lalala ili 12 26 Ob IAA VASIASR TRIP GIOCA STEP CORI PETE TOO ISTE TRO aida 12 27 Ma cance bot E hewn eae duwtsnn A aan i E i Erri 12 28 A A iatale nin 12 28 Grab pollice ica aaa 12 29 Changes da 12 30 AAA SP casas ila ie TAN 12 31 Song Editor Ihe EVENT Page leale aaa olearia 12 31 Initial Program Volume Pani aaa 12 32 TO 12 32 TOC xii Bat Beat and Tick ii A cia 12 32 Event Type and Value innata EI I laine 12 32 Soft Buttons
375. l 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 transmitting them to the USB or MIDI Out port this parameter has no effect on MIDI data sent from Song mode or to the PC3K 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
376. l path at the output of a program as described in the Program mode chapter these Insert Effects can apply to either the whole program or only to selected layers within the program Each program also has two stereo Aux Sends that go to the Aux 1 and Aux 2 Effects both of which can be set to be applied either pre or post Insert Effect The master EQ compressor are applied globally to the signal at the main outputs The object used for Insert and Aux Effects is referred to as a Chain A Chain is in turn a sequence of effect boxes cascaded in series or is a single effect box Each program can have one main Insert Chain and up to two Aux Chains Also individual layers within a program can have their own Insert Chain that will be used instead of the program s main Insert Chain You can select from the same set of Chains to use for both Aux and Insert Effects The following figure shows the signal path for a program that does not use layer specific effects AUX 2 Chain 9 1 Effects Basic Overview ZONE TRACK 1 4 O Send Levels O Li Pre r ZONE TRACK 2 Note that when an Aux Effect is applied post Insert the wet Aux signal has a series of effects applied to it i e cascaded effects 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 For multitimbral use i e multiprogram use
377. l source can send the minimum value is 0 6 48 Program Mode The Layer FX LYR_FX Page 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 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 PROGFX page This mode is shown in the following display ayer ode Insert 6 Hone Aux Send off Pre Post ina Post Tube dE Aux Sends off Pre Post ins Post Tube dE Auxi Mod ON Aus Hod more PROGFs LYR F EA 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 PROGFX 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
378. l sources give you an extremely flexible truly vast collection of tools for sound creation and modification The PC3K 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 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 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 PC3K 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 PC3K 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 PC3K offer realistic emulations of classic analog synthesizers built from Kurzweil s unique anti a
379. l 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 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 a sequenced pattern thus Shift Pattern There are 69 pre programed shift patterns including many useful chords intervals and rhythms 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 para
380. lay input of the same channel while feedback line 2 feeds the signal back to the opposite channel 9 12 Effects Equalizers EQ 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 mix 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 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 when y
381. layers of sound with programmable DSP functions applied to the keymaps within each layer Algorithms Factory preset or user programmed V A S T DSP Functions stored in ROM or flash memory An Algorithm contains the DSP configuration and settings that are used in a program 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 PC3K s onboard digital audio effects processor Quick Access banks Factory preset or user programmed banks of ten entries each that store yP prog T on 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 mode intonation maps are used to change the PC3K s intonation in all modes 5 1 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 Maste
382. ld use the RECFLT page to configure recording event filtering and the PLYFLT page to configure playback event filtering Below is the RECFLT page SOF ce cordlni q F oles okei L Lollel Controllers Controller Lollal 6 PitchBend MonoPre ss A DE Ma PolyPress Parameter Range of Values Default Notes On Off On Low Key C 1toG 9 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 rie Controller ALL MIDI Control Source List ALL Low Value 0 to 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 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
383. lease 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 This means the compression can kick in before an attack transient arrives In the SoftKneeCompress and HardKneeCompress algorithms 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 Algorithms 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 d
384. lections 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 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 9 11 Effects Delays Delays InfinDecay when turned On causes the reverb tail to decay indefinitely When it s Off the decay time is determined by the Rvrb Time or LateRvbTim param
385. leste 160 Tight Bright FM 95 Tronesque 128 Drums n Bells 161 PolyTechnobreath 96 So Lush Pad 129 Piano Stack 162 PianoSynth Stack 97 Boutique Six Str 130 Dark Grand 163 Elec Grand Stack 98 Boutique 12 Str 131 Grand Piano 440 164 BigSyn HornStack 99 Emo Verser 132 Piano Recital 165 70s Arena Synth 100 Voxxed Elec 12 133 Ole Upright 1 166 80s Arena Synth 101 Real Nylon 134 WestCoastPno amp Pad 167 90s Funk Stack 102 Dual Strat 135 Perfect PnoPad 168 Nexx Prog Stack 103 BurningTubes MW 136 Dreamy Piano 169 Crisp Clav 104 Rockin Lead MW 137 Piano w DvStrgs 170 Stevie Fuzz 105 P Bass 138 PnoAgtStrngs 171 HeartbreakerWAH 106 E Bass 139 The Ancient 172 ChoclateSaltyClv 107 Beasties Bass 140 DancePnoEchplex 173 SailinShoes Clav 108 Flea Bootsy 141 Ivory Harp 174 StopMakingSense 109 Big Dummy 142 Piano Lushness 175 Harpsi Rotovibe 110 Jaco Fretless 143 Piano amp Wash 176 PhsyclGrafitiClv 111 Upright Growler 144 Piano amp Vox Pad 177 ParisCmboAccordn 178 Whiter Shade B3 211 ARP2500 Brass 244 DryPumpin Drums PC3K Objects V 1 31 Programs ID Program ID Program ID Program 179 Doors Vox 212 SynBell Morph 245 60s Rock amp Soul 180 Indagardenoveden 213 Perc gt Morph gt Bass 246 Headhunters Kit 181 Animals Vox 214 EvilOctaveWheel 247 FranticHouseDrms 182 Magic Wolf 215 TranceRiff 248 Dance Marilyn 183 Farfisa 1 216 SickoSynco 249 Mellow Marimba 184 VA
386. lg 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 Flange 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 Fl 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 D 24 PC3K Objects V 1 31 Effect Presets with Algorithms 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 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
387. liased DSP generated oscillators The PC3K s power shaped oscillators let you transition smoothly from one waveform into another in real time without using cross fades Introduction How to Use This Manual VA 1 programs are scattered throughout the PC3K Look for them in the Synth Category and the Classic Keys Bank You ll see KVA Oscillator appear in the Keymap screen on the left hand side of the display How to Use This Manual This manual describes how to connect and power up your PC3K getting around the front panel and a brief description of the operating modes For information on editing and advanced programming features refer to additional material provided on the Kurzweil website http www kurzweil com The best way to read this manual is with your PC3K in front of you By trying the examples we give to illustrate various functions you can get a quick understanding of the basics then move on to the more advanced features Do Have Everything Your PC3K shipping carton should include the following in addition to your instrument e Power cable e Sustain pedal e USB cable e Getting Started manual this book e Warranty card 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 When you need to update the PC3K s software or run diagnostic tests you ll u
388. lick 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 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 66 Program Mode The KEYCLK Page Pitch Sets the basic pitch of the key click noise relative to the highest tonewheel s pitch The pitch is controlled by a steep lowpass filter applied to white noise The filter s cut off frequency is controlled relative to key number higher keys move the cutoff frequency up lower keys move the cutoff frequency down Random Controls the degree to which a random amount of amplitude variation is added to the key click 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 th
389. 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 saving 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 A 0 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 autom
390. ll depth you set For example if you set Src1 to MWheel and set Depth to 1200 ct the pitch will rise as you push the Mod Wheel up on your PC3K or MIDI controller reaching a maximum of 1200 ct 12 semitones or one octave 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 waveform for LFO1 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 w
391. lled 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 The EQ Page on page 6 70 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 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 61 Program Mode The Drawbars DRAWBR Page 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 t
392. lt the controller values 0 to 2 will trigger notes starting in the lowest possible octave and controller 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 29 Setup Mode Controllers Continuous Controller Parameters The continuous physical controllers are those th
393. ltaneously to begin recording The PC3K 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 process 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
394. lue 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 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 acceler
395. lume 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 ranges 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 VE
396. m There are two oscillators per voice for a total of 256 You can use up to 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 PC3K 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 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 If you want to create your own KB3 program start by editing an existing KB3 program You can play KB3 programs only on a single channel at a time Program Mode KB3 Program Structure Real time Controls in KB3 Mode You have real time control over many components of KB3 programs directly from the front panel The sliders emulate the draw
397. m 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 16 Effects Flanger Flanger Flanging is the process of adding or subtracting a signal with a time displaced replica of itself which results in a series of notches in the frequency spectrum generally referred to as a comb filter In the PC3K the flanger is a multi tap delay line all but one of whose taps can have their lengths modulated up and down by a low frequency oscillator LFO The rate of the LFO is expressed in Tempo see Chapter 4 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
398. m 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 11 14 Master Mode CLOCK CLOCK Pressing the Voices soft button calls up the Voice Status page which shows the PC3K 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 Bea 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 differently for KB3 programs The PC3K 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 bl
399. map 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 59 Program Mode Editing KB3 Programs Editing KB3 Programs You can edit a wide assortment of any KB3 program s parameters You can also create your own KB3 programs though you must start with an existing KB3 program to do this A regular PC3K program cannot be turned into a KB3 program If you re not sure whether the current program is a KB3 program check the KB3 button located above the right most slider If the blue LED is on then the current program is a KB3 program 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 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
400. may require the use of a different power supply cord or attachment plug or both To reduce the risk of fire or electric shock refer servicing to qualified maintenance personnel 4 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 5 This product should only be used with a stand or cart that is recommended by the manufacturer 6 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 at a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist 7 The product should be located so that its location or position does not interfere with its proper ventilation 8 The product should be located away from heat sources such as radiators heat registers or other products that produce heat 9 The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product 10 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 11
401. mber 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 are 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 PC3K 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 MIDI Receive page in Master mode If PrgChgMode is set to Extended or K2600 the PC3K responds to Program Change commands as it would in Program or Setup mode If PrgChgMode is set to QAccess the PC3K responds to Program Change commands by calling up the corresponding entry in the current QA bank not the actual program number of the entry 8 1 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
402. meter described below is set to On 10 13 MIDI Mode The Channels Page 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 controller messages In that case you could change the Program Pan and Volume settings from the front panel but not via MIDI 10 14 MIDI Mode Program Change Formats Program Change Formats The PC3K 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 1
403. meter 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 key 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 EditShi
404. mode and Song mode In both Setup and Song mode the configurations for each mode s own four Effects pages prevail over the configurations in Effects mode Aux Override In Effects mode Setup mode and Song mode the AUXFX1 and AUXFX2 pages provide overrides for Aux Chain selection and other Aux Effects parameters Normally the Aux Effects Chains are specified by the program on the current channel or in Setup mode and Song mode by the program on the specified Aux Effects channel The Chain specified for the Aux override as well as the send levels and other parameters is applied to the program instead of the program s Aux Effect Also send levels and other parameters normally specified within individual programs can be set to fixed values on the Aux Override pages This is particularly useful in Setup mode and Song mode which are multitimbral modes If you wanted to apply an effect to all zones or tracks in the current setup or song changing each program s effects would not only be a long process but use up a lot of DSP units By setting the Aux override Effect to your desired Chain you can apply the same effect to up to 16 zones or tracks without having to use up any more DSP units Notice that in Program mode if an Aux effect is overriden in Effect mode the top line of the PROGFX or LYR_FX page indicates that corresponding Chain does not use up any DSP units Since the Chain is not applied the PC3K does not allocate resources f
405. modulated by a control source 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 26 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 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 PC3K will play a normal C 4 Triggering e 4 will play a note 5 cents higher than ci 4 Triggering D 4 will play a note 10 cents higher than D 4 and so on Notes below Middle C will be tune
406. mon 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 ctekey UelTek Get DSPCTL JISPHOD 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 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 function parameter is labeled Pitch whereas the two block Lopass function s function parameters are labeled LP Frq and LP Res 6 14 Program Mode Algorithm Basics 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
407. monics Subharmonics Fundamental Harmonics 16 5 1 3 8 4 223 2 135 113 1 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 KB3 Mode Buttons Mute Buttons When the Mute buttons are enabled for KB3 control their LEDs indicate the status of the various effects for the current KB3 program This status is saved as part of each program You can change the effects in real time by pressing the buttons or by sending the appropriate MIDI Controller values from your MIDI controller 6 5 Program Mode KB3 Program Structure In normal operational modes using the Mute buttons to change a program s KB3 effects doesn t affect the program the effects return to their programmed settings the next time you select the program If however you re in an editor when you change the effects you re actually editing the program 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 The Mute buttons also send MIDI Controller information to the PC3K s MIDI Out port See Column 2 of Table 6 3 to check which Controller numbers the buttons send Of course you can change the programmed settings for the KB3 mode buttons For each of the buttons there s a corresponding parameter in the Program
408. mp121 981 Mutron Clav 201 949 WhitrShadeLesli3 982 SynChorusDly202 D 31 PC3K Objects V 1 31 Effect Chains D 32 PC3K Legacy File Conversion Object Types and Conversion Details Appendix E PC3K Legacy File Conversion The PC3K can load objects from older Kurzweil K series products as well as objects from the PC3 Loaded objects are converted to object types native to the PC3K see below for object types that can be converted Some object parameters cannot be converted and must be adjusted by the user after conversion see object types below for details Objects that use the K series ROM soundset can be converted after installation of the optional K2661 ROM compatibility file available as a free download from www kurzweil com Only legacy objects ending with the file extension K26 K25 KRZ or PC3 can be loaded and converted Object Types and Conversion Details Soundblock Sample Objects All K series sample objects can be loaded The PC3K is unable to convert the sample skipping parameter SmpSkp so samples converted for use in the PC3K can only be transposed upward by one octave Keymap Objects All K series Keymap objects can be loaded all parameters will be used or converted to PC3K specific parameters 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
409. 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 Important Safety Instructions 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with dry cloth 7 Do not block any of the ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 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 convenience 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
410. n 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 11 10 Master Mode General MIDI Mode GM On GM Off 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 General MIDI Mode GM On GM Off This soft button enables or disables General MIDI GM mode When GM mode is off the default the buttons is labeled GM On Press the GM On soft button to enter GM mode The PC3K will prompt you to confirm or cancel When GM mode is on the buttons is labeled GM Off Press the GM Off soft button to exit GM mode The PC3K will prompt you to confirm or cancel You can not access Setup Mode or Quick Access Mode while in GM mode Aside from what is noted in this section all other PC3K functions operate normally while in GM mode In GM mode the PC3K complies specifically with the General MIDI GM1 specification An Overview of General MIDI General MIDI is a specification created by the MIDI Manufacturers Association which defines
411. n 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 12 5 Song Mode and the Song Editor Song Mode The MAIN Page Mode Pan settings without playing another song first the Pan of the MIDI channel for each track is set depending on which mode you enter Song mode from If you enter Song mode from MIDI mode Program mode or Quick Access mode the Pan of each MIDI channel is set in MIDI mode on the Channels page 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 i
412. n of the algorithm 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 algorithm 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 different algorithms with similar names do not necessarily sound the same Rvrb Time is the RTgo 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 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 EarRef Lvl adjusts the mix level of the early reflection portion of algorithms which offer early reflections Late Lvl adjusts the mix level of the late reverb portion of algorithms which offer early reflections Diff Scale scales the diffusion of the early ref
413. n 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 replaced 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
414. nd CC Pedal 2 The optional Ribbon Controller which you can define as a one or three section controller The Pitch Wheel The Modulation Wheel Mod Wheel Keyboard aftertouch or Mono Pressure MPress The optional Breath Controller which is connected to Continuous Controller Pedal 2 The two Panel Switches above the Pitch and Mod Wheels and Program Buttons 1 8 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 30 for information on each parameter Physical Controller Setup Editor Parameter Values Table 7 3 Page Destination Control Destination List Scale 300 to 300 Sliders A B C D E F G H SLID SLID2 i Curve Linear 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 Continuous Controllers 7 21 Setup Mode Controllers Switch Controllers See Switch Controller Parameters on page 7 31 for information on each parameter Physical Controller Setup Editor Parameter Values Page SwType Toggle Momentary Note Toggle Note Momentary FT SW1 Destination Control Destination List Foo
415. nd 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 press the PrInfo 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 controller assignment info for all Chains press 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 USB devices come formatted and ready to use with the PC3K If you ever need to format a device however you can use any computer with USB device formatting capability or format it using the PC3K To format a USB device with the PC3K plug the USB device into the PC3K s USB Storage port then press the Storage button to enter Storage mode Press the soft button labeled Format The PC3K 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 12 Keymap and Sample Editing
416. ne 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 El 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 numbers will transmit but notes will not Note Map Note Map lets you change the way notes are sent from the PC3K 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 S
417. necting 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 and 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 e 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
418. ned 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 has 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
419. ng 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 Range is 16 to 25088 Hz Highpass allows you to reduce the bass content of the distortion content in the smaller distortion algorithms 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 9 19 Effects Rotating Speakers Cab Bypass switches on and off the cabinet simulation part of the algorithm When this is set to In the cabinet simulation is active when it is 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 Polydistort This is amore complex distortion algorithm 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 v
420. nge than other controllers Also if you set it in Absolute mode you can jump from one note to any 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 41 for details on Ribbon options and Scale and Add on page 7 30 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
421. ngine 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 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 The RECEIVE Page Program Change ProgChang When ProgChang is set to On the PC3K sends program change commands to its USB or MIDI Out port when you select programs or setups from the front panel or from your MIDI controller Select a value of Off when you want to change programs on the PC3K but don t want to send program change commands to the USB or MIDI Out port This parameter doesn t affect the type of program change command that s sent it just determines whether any command is sent at all The type of program change command is determined by the settings on the CH PROG page in the Setup Editor of your control setup See The Control Setup on page 7 2 for more details 2 Note The ProgChang parameter applies to all
422. nimum 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 gt A 5B Fo ee Velocity Min 1 Max 64 Oo No MIDI Note Ons are transmitted when you strike 2 keys with medium velocity or greater 64 Z Q Y if gt Y 0 64 127 Strike Velocity 127 7 Y 7 7 7 Velocity Min 64 Max 127 7 No MIDI Note Ons are transmitted unless you strike 7 keys with velocity of medium or greater MIDI Velocity O Es 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 Entralolume ExitUolume EntruPan one ExitPan Hone Hone more CH PRG IKEYWEL PANVOL IBEND more Parameter Range of Values Default Entry Volume None 0 127 None Exit Volume None 0 127 None Entry Pan None 0 127 None Exit Pan None 0 127 None Entry Volume Exit Volume En
423. nk 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 PC3K 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 PC3K 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 The following example shows how each different loading methods affect how four programs load
424. nly 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 Entry Program Change EntryProgChg This parameter enables or disables bank and program change commands sent to internal programs or to the MIDI Out jack when you select setups If it s set to On the program numbers for the programs in the 16 zones will be sent via MIDI when a setup is selected By setting this parameter to Off you can select a setup on the PC3K without changing the internal programs or those on MIDI devices receiving from the PC3K This is useful if you want to send only controller data to the PC3K or to MIDI devices without changing program assignments Arpeggiator The Arpeggiator parameter determines whether the Arpeggiator will affect notes played in the current zone The Arpeggiator affects only those zones that have this parameter set to a value of On For any given zone the Arpeggiator plays notes only within that zone s Key Range If the Arpeggiator for example tries to play a C 4ina zone but that zone s Key Range ends at C4 the note will not sound However another zone whose Key Range ends at C5 will be able to play the C 4 from the Arpeggiator Therefore setting a zone s Key Range can be important in de
425. nnel to 2 you ll still play the program assigned to Channel 1 If that s the way you like it there s no problem 6 7 Program Mode KB3 Program Structure You may find it more convenient to use the local keyboard channel In this case the PC3K remaps incoming MIDI to the PC3K s current channel so in Program mode you ll always play the program on the PC3K s current channel Incoming MIDI also gets sent to the PC3K s MIDI Out port On the other hand in this case your MIDI source s transmitting channel must match the PC3K s local keyboard channel for anything to work Furthermore for KB3 programs some of the MIDI Controller numbers listed in Table 6 3 won t necessarily work Things are a bit different for playing setups In this case you must use the local keyboard channel to be able to play and control all of the setup s zones Set LocalKbd to match the channel your external MIDI source is using so if for example your MIDI source transmits on Channel 1 set LocalKbd to 1 All MIDI information that the PC3K receives on the local keyboard channel gets remapped to the channels and control destinations used by the zones in the setup The PC3K also remaps certain MIDI Controller messages that it receives on the local keyboard channel so that they correspond in most cases to the default assignments for the PC3K s physical controllers Mod Wheel sliders ribbons etc While this ensures that the physical controllers
426. noise generator Alternative Controller AltControl See Alternative Switch AltControl and AltMethod below Alternative Switch AltControl and AltMethod Many but not all PC3K sample roots have been pre assigned a carefully chosen fixed alternate sample start or end point that can be selected using the Alternate Switch feature AltControl and AltMethod parameters This feature allows you to control the sample playback start end time triggered by any control source 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 PC3K 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
427. nora lita 7 69 Chapter 8 Quick Access Mode Soft Buttons In Quick Access Mode a iii 8 2 The QA Edit es 8 2 Chapter 9 Effects BasiCOVerviewi insalate ORSI I E irritante 9 1 Effects Stages sand Routing aan liana anali 9 1 Processor Power ALO CAOS ino non ia E rane 9 2 ANot amp eon Modesti citi lane ian iena een oi 9 3 AWcGOverride ss again ian Ro ha A 9 3 MasterEffectsi alal Rini Las RO REA IRR An ol ba 9 4 Effects Mod s i puri a RR aaa rat 9 5 The CHAIN EX Rae ir e Bishi fons A RR II OT pr ie 9 5 The AUXEFXI atid AUXEX2 Pages AA ian iaia 9 5 Overtide isa stili A ALLO A A LG 9 6 CAMARA AA TE ROL n rta 9 6 CU IP Ut tlie einer n e aa icone de dio i ee ila i eri a nl a lil a 9 6 Mod Ov rrid e Sciara A A Rial anne 9 6 Send ls Ml Pre Post Ins ilaele Lula 9 6 The MASTER Paura tr rr aa o E A aaa 9 7 Mode taa dela e i A ca an Seales OS e nie 9 7 Ordenar A ita iero 9 7 Master PA a ai dai 9 7 The Chamn Editot sz c vo a SC E 9 8 Ie MAIN Pa id lati 9 8 Biting A ERRO 9 9 TheMODPages i ai ic i a 9 9 BOX ie ae Gites aE oan RIA O AI T A A ORA ate 9 9 Para AS A A Pe ALIA A I RR 9 9 NN 9 9 AU A a Ido II cisco 9 9 A en Na RIS RO EE E TE 9 9 EXLFO FXASR and FXFUN pages iii eil it 9 9 INFOEDIT page INFOJ AAA iaia rire 9 10 Effects Parameters ii enel ese ella 9 10 General Pata alleata E A E RARE anda ir 9 10 NAAA O I RO NT III ROIO AE AIRONE RAI AIA III 9 12 Complex Echo iaia nitrati 9 12 Spectral Multit
428. ns on The PC3K gives you two ways to get portamento See the Attack Portamento parameter below When you re applying large amounts of portamento to multi sampled sounds Acoustic Guitar for example the PC3K will play more than one sample root as the pitch glides from the starting pitch to the ending pitch This may cause a small click at each sample root transition You can reduce the number of clicks you ll hear by entering the Program Editor and adjusting the KeyTrk parameter on both the KEYMAP and PITCH pages The quickest way is to set the KeyTrk value on the KEYMAP page to 0 and to 100 on the PITCH page This will stretch the sample root that plays at C 4 across the entire keyboard Now any amount of portamento will play only one sample root and the clicks will disappear 6 34 Program Mode The COMMON Page There s a tradeoff here since many sounds will change in timbre as these single sample roots are pitch shifted during the portamento This will be most noticeable for acoustic instrument sounds and may not be noticeable at all for single cycle waveforms like sawtooth waves Furthermore some samples will not glide all the way up to the highest notes there s a limit to the amount of upward pitch shifting that can be applied to samples If this doesn t work for you you can compromise between the number of clicks and the amount of timbre change by further adjusting the KeyTrk parameters on the KEYMAP and PITCH pages A
429. nterchangeable 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 1000 ms Stereo Image This algorithm 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 Stereo Analyze In this algorithm you can look at the two channels of a stereo signal and also their inversions sums and differences You can adjust their gains and apply small delays to either or both channels L Invert and R Invert inverts the phase of the channels L Out Mode and R Out Mode determines which signal is going to be metered and sent to the output of each of the channels The choices for each are L left R right L R 2 normalized sum L R 2 normalized difference and polarity inverted versions of these L R Delay time balances the two signals At negative values the right channel is delayed while at positive values the left channel is delayed The range is 500 to 500 samples RMS Settle controls how fast the RMS average reading meters can rise or fall with changing signal levels Range is 0 to 300 dB second FXMod Diagnostic This algorithm allows you to view the current levels of any data sliders MI
430. ntrol Setup In addition to zone splitting and layering Setup mode is a powerful way to take advantage of the PC3K s programmable sliders ribbon controllers and assignable buttons In order to provide some of the same flexibility for Program mode we created the control setup which defines the controller assignments for programs in Program mode The default control setup is 126 Internal Voices but you can choose any control setup you want To do this go to the MIDI mode TRANSMIT page and use any normal data entry method to change the ControlSetup parameter When you reenter Program mode all programs will now respond to many of the controller assignments defined in Zone 1 of the control setup Zones 2 16 are not relevant in Program mode because a program can occupy only one MIDI channel Once you save changes to the control setup those changes will affect all programs when you are in Program mode You may want to program several different control setups and switch among them for different applications Setup Mode Control Setup Setup Editor Page Zone 1 CH PROG Parameters Affecting Program Mode Arpeggiator Destination BankMode The Control Setup Parameters Not Affecting Program Mode LocalPrg Channel MIDIBank MIDIProg Status EntryProgChg Table 7 1 KEY VEL All PAN VOL ExitVolume ExitPan EntryVolume EntryPan BEND AuxBend1Up BendRangeUp ST AuxBend1Dwn BendRangeUp c
431. ntrollers Controller Destination Description Number Name 6 Data Almost all PC3K programs have this Controller assigned to filter frequency or brightness Volume MIDI Volume Balance MIDI Balance MIDI 09 10 Pan MIDI Pan programs which use the PANNER algorithm will respond to real time pan adjustments all other programs will respond on the next note start 11 Express MIDI Expression Default assignment for CC Pedal 1 An attenuator for fading in and out 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 19 16 Ctl A 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 19 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 25 67 Soft Default destination for Footswitch 3 lowers the volume by a preset amount and may soften the timbre as well see The Footswitch Pa
432. nts 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 on a 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 Function DstTrack Mode DstTrack 1 to 16 To i l Events All 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 destination 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 copie
433. number 68 with a value corresponding to the value of SpeedCtl Slow 0 Fast 127 VibChorCtl Choose On or Off to turn on or off either vibrato or chorus as selected with the VibChorSel parameter On keyboard models you can toggle between on and off using Assignable Controller Button 2 Mute button 2 When you select a KB3 program the PC3K sends several MIDI Controller messages both locally and to the MIDI Out port One of those messages is Controller number 95 with a value corresponding to the value of VibChorCtl Off 0 On 127 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 On keyboard models you can select the vibrato or chorus you want using Assignable Controller Buttons 3 and 4 Mute buttons 3 and 4 When you select a KB3 program the PC3K sends several MIDI Controller messages both locally and to the MIDI Out port One of those messages is Controller number 93 with a value corresponding to the value of VibChorSel Vib1 0 Vib2 36 Vib3 58 Chor1 79 Chor2 100 and Chor3 122 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 dis
434. nuous Control Pedal 1 Controller 11 Expression Volume Continuous Control Pedal 2 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 PC3K 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 PC3K via MIDI You can also program the PC3K so that the breath controller sends a different MIDI message This would enable you to use a breath controller to affect the PC3K but then other instruments receiving MIDI from the PC3K would no longer respond to the PC3K s breath controller unless you also programmed them to receive the same MIDI Controller that the PC3K s breath controller is sending BREATH RIBBON L Startup Startup the Details Ribbon Plug the optional Kurzweil Ribbon Controller into the modular Ribbon jack on the rear panel The ribbon controller itself should rest on a flat surface it fits nicely between the keys and the buttons and sliders on the front panel The ribbon is a continuous controller You can program the ribbon controller to send MIDI Controller messages 1 127 as well as several specialized messages It generates values of 0 127 for whatever MIDI Controllers you assign it to send Just press it and slide your finger along the ribbon to change the value of
435. nv 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 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 29 as well as The DSP Control DSPCTL Page on page 6 28 and Common DSP Control Parameters in Algorithm Basics on page 6 13 for details on set
436. ny controller whose Destination parameter is set to PitchUp Again None means no command is sent Switch Controller Parameters Switch physical controllers have only two states on and off The PC3K 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 PC3K s switches First the buttons above the sliders are dedicated to zone status and muting as well as sequencer muting and are not assignable controllers Second in Program mode the Program Select buttons function as program select buttons if none of them are assigned in the control setup 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 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 lig
437. o 100 There are four types of Resonant Filter algorithms in the PC3K 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 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 Rang
438. o 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 Editor and two keymaps must be selected see The KEYMAP Page on page 6 19 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 blo
439. o 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 Tone 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 original 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 Function Semitone E Semitone 128 to 127 semitones E 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
440. o 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 PC3K as drum programs and will not be affected when remapping to the GM drum map 6 32 Program Mode The COMMON 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 PC3K 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 I screen 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
441. o 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 Loop Wait 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 62 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 you are syncing to The difference from Stop is that if there is nothing playing to sync to the riff will no
442. obal The number of the ArpGlobal setting indicates which zone s Arpeggiator is being globalized Thus in this same seven zone setup with ArpGlobal set to Arp 4 all seven zones will behave as specified by the ARPEGGIATOR page parameters for zone 4 Arpeggiator Sync ArpSync Setting ArpSync to Sync Mode allows you to arpeggiate across zones boundaries There are two important points to keep in mind when using Sync Mode e Make sure that the arpeggiator keyranges of each zone that you want to sync cover the entire keyboard rather than covering the range of the current zone If the arpeggiator keyranges do not coincide then playing keys in separate zones will sound no different from having ArpSync set to Not in Sync For regular arpeggios make sure the Beats parameter settings on the ARPEGGIATOR page of each zone that you want to sync are the same Different Beats values result in irregular but potentially very interesting arpeggios 7 57 Setup Mode Riffs Riffs e Riffs are full songs or individual tracks of a song created in the PC3K s Song mode that you can trigger in setup mode Standard MIDI files may also be imported to Song mode and then used as riffs in setups Every zone in a setup can have 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 p
443. ocity 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 higher MIDI velocities compared to the Linear map GM Receive effects notes from the PC3K s keyboard as well as the MIDI in port This map is automatically used when the PC3K is in GM mode see Gen
444. ock 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 if you 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 Pressing the CLOCK soft button allows you to view the PC3K s System Clock see below When objects are saved they are time stamped with the date and time of this clock This time stamp can be seen in the file properties when viewing the files with a computer 17 42 05 Jan 22 2009 hhmmss ron thd sas Chrono Set Lancel The Format soft button changes the view format of the date on this page The Set soft button brings you to the Set clock page where you can set the system clock and date 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 PC3K 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 Th
445. ode 0 63 off 64 127 on See The ARPEGGIATOR Page on page 7 43 158 Latch2 For Arpeggiator Latch Pedals mode 0 63 off 64 127 on See The ARPEGGIATOR Page on page 7 43 Table 7 5 Controller Destination List Continued 7 25 Setup Mode Controllers Corresponding Cont eller Destination Description Number Name 159 ArpGliss Arpeggiator Gliss 0 63 off 64 127 on See The ARPEGGIATOR Page on page 7 43 160 SusLatch For Arpeggiator Latch Pedals mode 0 63 off 64 127 on See The ARPEGGIATOR Page on page 7 43 161 Panic Panic 162 SoloZn Solo Zone 163 RiffOn Riff On See Riffs on page 7 58 164 RiffOff Riff Off See Riffs on page 7 58 165 RiffDur Riff Duration See Riffs on page 7 58 166 RiffVel Riff Velocity See Riffs on page 7 58 167 RiffDly Riff Delay See Riffs on page 7 58 168 TapTempo Tap Tempo See TEMPO on page 11 10 169 KB3Mutes KB3 Mutes in Setup Mode values of 63 and below disable the mute buttons for 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 43 171 ShiftPatt Selects one of the 128 patterns in the current ARPEGGIATOR ShiftPatt Bank See The ARPEGGIATOR Page on page 7 43 172 ShiftPBank Each increment of 7 0 6 7 13 112 127 selects one of the 17 ARPEGGIATOR ShiftPatt Banks
446. oft Buttons in MIDI Mode The first three soft buttons select the three MIDI mode pages The PrgChg soft button lets you send a program change command on any MIDI channel The RsetCh soft button lets you return all channel parameters to their default values The Panic soft button sends an All Notes Off and an All Controllers Off messages to the PC3K and on all 16 MIDI channels 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 also can use the alphanumeric pad to select a program number directly Reset Channels RsetCh Panic When you press this soft button the PC3K asks if you want to reset all channels If you press Yes all settings on the CHANNELS page will return to their default v
447. ogram 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 19 Program Mode The KEYMAP Page Velocity Tracking VelTrk This is another common DSP control parameter As with the other parameters on the KEYMAP page this shifts the position of the keymap Different attack velocities will play different pitch shifts of the sample root assigned to that note range If the shift is great enough the next higher or lower sample root will be played which in some cases many drum programs for example will play an entirely different sound 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 Stereo See Alternative Switch AltControl and AltMethod below You ll use this parameter when you re working with stereo samples When you set this parameter to On the KEYMAP page changes slightly BRR tid Stopes Strings ren n Pose i Indie Shirt HS EeuTrk 1 166ct ekey PlasBackMode Normal UelTrk oct AltContral OFF PITCH ANP more A 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
448. oller destinations 130 and 131 as a Pitch Wheel destinations see PWUp and PWDn on The WHEEL Page on page 7 33 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 PC3K 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 This means that you can set different values for upward and downward pitch shifting For example you could get the Pitch Wheel to give you both vibrato and whammy bar effects for the guitar program in a setup In the zone that contains the guitar program set AuxBend1Up to 2ST and AuxBend1Dwn to 12ST then assign the PWUp and PWDn parameters on the WHEEL page to a value of MIDI21 Now moving the Pitch Wheel up gives you a whole tone of upward bend while moving it down gives you a full octav
449. olumes 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 12 4 Song Mode and the Song Editor AN Pan Song Mode The MAIN Page ExitVolume of the highest numbered zone that uses that channel will set the volume for tracks that use that channel If ExitVolume is set to NONE the value for 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
450. on 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 configuration for that selected signal path 6 18 Program Mode The KEYMAP Page The KEYMAP Page Press the KEYMAP soft button to call up the KEYMAP page The parameters on this page affect sample root selection i e which samples are played on which keys tere TimbreShift 160ct ke4 PlasBackMode Normal Get AltConterol UFF PITCH AMP more 4 Paramet
451. on the EVENT Page iii iii niet 12 33 Tempo Track toria DG Re RR EL Enrica 12 33 Chapter 13 Storage Mode Storage Mode Page EnA EE T O iaia aan 13 1 Usme USB Devices innata naci ados 13 2 A AN 13 3 NN ANT 13 3 Disk Drive Informaticas 13 3 Common DialO Sues visi iaia ia 13 4 The Sel ct Directory Dialogue ci ELL LE no dai 13 4 The File Name New Directory Rename Dialogue iii 13 4 ThE STORE Page siinse mena acortar nniacaa 13 5 The Store Advanced Pagani E dci 13 6 The LOAD Page nia ile aL ARR O ian 13 7 Loading WAV and AIF Audio Files perreini T ai R EEA nali anne ri 13 7 Loading Individual Objects From a P3K Or Compatible File Type iii 13 8 Loading MethOdS 5 05 c0isis anca ea lana patas 13 9 Fhe Utilities UTILS Page run aaa E EA E R nina 13 11 Soft Buttons onthe Utilities Page 13 11 EXportisicaulii lella ail iii iii A ieri 13 12 Fobia ia tras 13 12 Chapter 14 Keymap and Sample Editing Phe Key map EMO tt lancia 14 1 Keymap Editor Paramete s vivir cortos aaa ana rire 14 3 The Soft Buttons in the Keymap Editor eee ee eee ene 14 5 Special Double Button Presses in the Keymap Editor iii 14 6 Building A TN 14 7 AR NN 14 9 The Miscellaneous MISC Page ie eee ene ne ze zezezez 14 9 PVG RIM Passenger lai aa OR 14 12 Appendix A Specifications MIDI Implementation Chatt onreine eii a aio role aaa A 1 Specifications iure
452. ong Mode The METRO Page Song Mode The METRO Page All of the parameters affecting the sequencer metronome are on the METRO page Like the other pages in the Song Editor you can save changes made in this page oro Hetronome Program rack hannel 16 Strona Hote 162 Soft Note 1271 Soft Wel Strona Wel 5 Count ff 104 106 Parameter Range of Values Default Metronome Off Rec Always Rec Count Off Off 1 2 3 4 StartOnly 1 StartOnly Always 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 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 CountOff This parameter determines the number of measures the PC3K will count off before recording With StartOnly selected the PC3K will only count off at the beginning of a sequence With Always selected the PC3K 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
453. ons i 6 5 MIDI Control of KB3 Programs aaron nata ie 6 6 The Program Mode AAA ai 6 9 A lion ubi LU Ri RG RL iaia 6 9 The Soft Buttons in Program Mode iii aid iria 6 10 Controller Entry Values in Program Mode eee eee 6 10 Editing VAST Programs ii taa 6 11 The Soft Buttons in the Program Editor ie eee ee zzz 6 11 The MODE Buttons in the Program Editor iene eee 6 12 Algoritmi Basics tinte dapliga lia iii i iii adesioni deis 6 13 Common DSP Control Parameter ie 6 14 Alt Input for Algorithms Cascade Mode ie eee 6 17 Dynamic VASTI initial iaia 6 18 The KEYMAP Page cizalu ian ilaele cadono iaia aac 6 19 Key Maita do ea 6 19 TranspOse Xpose aii e lied na aaa 6 19 Key Track Rey ItK r aeee Lo allo ROL a ani 6 19 Velocity Tracking Vel Tr viciosas rancia nana apodos cas 6 20 Method AlMEtnod v tira rt rtorras iaa citados caera Ei 6 20 MO ii A EE E E Re iii 6 20 Timbre it A A id ER Ta 6 21 Playback Mode cionado aa 6 21 Alternative Controller AltControl iii 6 21 Alternative Switch AltControl and AltMethod iii 6 21 The LAYER Page r a EAS ae ai 6 22 Low Key LOKEV niisiis ila iii n E a R ili dica lia 6 23 High Key HIRey c sssstavessstiistesgsctessecessetendaetocuestanets RENEE EEEE EEE A RITETE lea 6 23 Low Velocity LoVel rcniro ene iaia e aio 6 23 Hi
454. ons 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 function 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 11 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 so
455. ons when stacking zones on the same MIDI channel might come in handy Suppose you want a physical controller on the PC3K to send data for two different numbered MIDI Controllers on the same channel In this case you must create 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 6 The PC3K s programs are divided into 17 MIDI Banks numbered 0 16 Program 46 in MIDI Bank 3 which is PC3K 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
456. ontroller 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 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 values for Shift to negative 0 63 off 64 127 on 7 54 Setup Mode Controller Corresponding The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages ARPEGGIATOR Operation Number Parameter 171 ShiftPatt Selects one of the 128 patterns in the ShiftPatt Bank for the ARPEGGIATOR page of a controller s
457. or it 9 3 Effects Basic Overview Master Effects There are two Master Effects that are applied at the final stage of the signal path an EQ and a Compressor These are global effects and apply to all signals routed to the PC3K s primary outputs Neither the EQ nor the Compressor use up any DSP units so you needn t account for them when allocating effects processing power See Equalizers EQ on page 9 13 and Compressors Expanders and Gates on page 9 14 for explanations of the parameters for the Master EQ and Compressor The Master Effects can be accessed in the MASTER page in Effects mode or the MASTFX in Setup mode and Song mode Effects Effects Mode Effects Mode Press the Effect mode select button to enter Effects mode As stated previously the configurations in Effect mode apply in every mode except for Setup mode and Song mode these modes have their own Effects page almost identical to those in Effects mode whose configurations take precedence over those of Effect mode The CHANFX 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 Pressing the CHANEX soft button calls up the CHANFX page This page is where you ll allocate effects processing power See Processor Power Allocation on page 9 2 for a description of reading and configuring the CHANFX page The AUXFX1 and AUXFX2 Pages NOTE In
458. ore 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 in Intuitive Data Entry above 3 11 User Interface Basics Search Search There s a convenient way to find any string of characters within the currently selected list or range of values Hold the Enter button and press any of the numeric buttons A dialog appears Type in the string of characters you want to find For example if you re looking at the program list and you want to find all programs containing the word Horn you would type h o r n 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 PC3K 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 t
459. ortant thing to know here is that this is a virtual drive You can save to this drive from the PC3K but you must immediately transfer that file to your desktop or other folder You must copy data from the PC3K virtual drive to your computer s drive or else the data will be lost Note When transferring files to and from the PC3K via the USB Computer Port the maximum size of files that can be transferred is approximately 1 6MB This is suitable for most objects For transferring audio sample files use the USB Storage Port with a USB mass storage device such as a thumb drive 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 PC3K s available object and sample memory When you leave Storage Mode there will be a prompt telling you that the PC3K is turning back into a USB MIDI device which you have to acknowledge If you haven t copied the file s to your desktop or other place on the computer it won t be on the virtual disk when you leave storage mode Depending on your computer s operating system you may sometimes see a scary device removal warning on your desktop for example when the PC3K leaves the Boot Loader You may disregard such a message without worries of damage to your PC3K or computer 2 6 Startup PC3K Programs Setting the Clock The first time you start up your PC3K is probably a good time to set t
460. ou aren t playing Gated Ducking Delay is great for that announcer sound sound sound so popular in Monster Truck radio spots DegenRegen This one s a big looping delay with lots of gain distortion and filtering and with a compressor to keep it all under control Very cool Equalizers EQ The PC3K has both Graphic and Parametric EQ algorithms Parametric EQ sections are also found on a number of combination algorithms 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 9 13 Effects Compressors Expanders and Gates Midn Gain sets the cut or boost for the parametric b
461. oup 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 Plauback Sense AltUolAddust ISnore Rel TecsyRate dB Sam lek ate oo Tk ed ee just 14 9 Keymap and Sample Editing Editing Samples Parameter Root Key Number Range of Values 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 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
462. out 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 gt lt gt A through Z _ 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 the edited object If you change your mind about the name press the Rename soft button for another try 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 PC3K will automatically suggest the next avail
463. p Echo 687 ReverseVerb1 730 BasicChorusDly 2 784 Mutron Clav 2 690 Acidflute 732 Wallflower Ch 785 Siberia II 691 Blueman1 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 PnoRvb 14 744 Blackestfriday 799 Synth Shimmer 705 Small Hall11 745 Flange 4 801 PhaseDly1 706 PnoRvb21 750 Good Lesliel 802 Shredlead1 707 Empty Stage 11 754 Good Leslie4 803 ThinphaseSweep 708 Mutron 2 756 GoodLeslie 6 804 EnvComp41 711 PlainComp12 757 WhitrShadeLeslie 805 MoogBASSComp11 713 CDR Synth 758 Inagadadavita 806 SynFatener amp Ech4 714 SynthFlangenDely 759 GoodLordLeslie 807 Shredlead15 715 QuantzEnhanceSyn 760 Small HallComp1 808 PlainComp21 716 BladerunnrRvb 762 GoodLeslie 5 809 Garth D 29 PC3K Objects V 1 31 Effect Chains Chain Chain Chain 810 BassFleaCompMu 845 Elton1 882 EPChr6 811 Chr amp Echo 2 846 Aux Chamber 883 PnoEnhanc3 812 BasicCDR2 847 BowiePnol 884 SynEnhancement 813 ShaperFuzzLead 2 848 BluesPnoCmpRvb 1 88
464. p determines the default way the PC3K 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 PC3K 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 PC3K Different maps result in different responses from the PC3K 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 PC3K 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 parameter is set to Equal changing Int Key has no effect 11 8 Master Mode OUTPUT Default Sequence The Default Sequenc
465. p to Song mode with Mult selected for RecTrk in Song mode you may notice that every track has recorded Mono Pressure messages even if there is nothing else recorded on a track If this bothers you you can set the MonoPress parameter to Off on the Song Event Filter Recording page see Song Mode The Filter Pages RECFLT and PLYFLT on page 12 15 This will prevent Mono Pressure messages from being recorded to any track 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 ch
466. pad 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 PC3K s physical controllers relate to Entry Values in Setup Mode see Entry Ent and Exit Values on page 7 31 With the Setup Controllers parameter set to Instant moving a physical controller assigned within a Setup will instantly send a new MIDI value to that assignment With the Setup Controllers parameter set to PassEntry moving a physical controller assigned within a Setup will not send a new 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 values when first moving a physical controller 11 2 Master Mode MAIN Master Table Lock Master Lock With Master Lock set to Off the PC3K will save the current Master mode configuration when you exit Master mode or MIDI mode This information is stored in a Master Table object see Save on page 11 16 below
467. 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 Category 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 PC3K 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 the next time the PC3K is turned on You can also assign a controller to controller destinatio
468. pan at the top of its event list You can also access the tempo track instructions below Event Type and Value Location Bar Beat Tick abito EUENTI EAN Ch Volume START Prat tie casa Hol 22 Fan MIN Pan BOSE pupi E se o o e 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 duration 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 h
469. 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 to 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 PC3K 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 PC3K 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 t
470. 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 Algorithm Reference Guide Ring Modulation Ring modulation multiplies two signals the carrier and the modulator together to produce unusual often non harmonic overtones The Ring Modulator algorithm in the PC3K 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 algorithm itself Four of these oscillators are sine waves while one Oscillator 1 offers a selection of waveforms Wet Dry When the algorithm 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
471. peggiators 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 already running DownBeatWait behaves just like DownBeat 7 63 Setup Mode
472. 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 10 A value of Setup is also useful for syncing riffs to a zone s arpeggiator With Tempo BPM set to
473. played this way 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 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 form an external device instead of all Zones To play more than one Zone from an external 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 PC3K s physical controllers sliders switches mod wheel etc from an external MIDI device see Continuous Controller Messages From External MIDI Devices on page 10 10 7 8 Setup Mode The Channel Program CH PROG Page 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 affects how many MIDI banks and programs you can choose
474. pper Iranspose erresa nennen osre eearri E agio lena nani alii 6 61 The Drawbars DRAWBR Page eli 6 62 Mode init Rae Oil ebrea 6 62 DLE PSs siria A lia alias ia el E 6 62 Volume falla atlantica iaia 6 62 TUNe ernia acini EL Gli n nds LEG Lina 6 62 The Set Drawbars SetDBR Soft Button iii 6 62 THE PITCH Page ici aaa podas 6 63 The AMP Dani aii 6 63 AS ini rain 6 64 Percussion nana ida nia 6 64 Volume ili aa in ii i ie i aaa 6 64 Dectay cutter ada tali 6 64 Harmonit i i lio LG Lal cali Licei anna 6 65 Vel Track co iaia ie lalla 6 65 owen E CREO IORIORE CORIO e leida 6 65 E RA ARR RR RR RA 6 65 Seal BT A ni ID LAGO Lala eee 6 65 The PERC2 Page iii ariana 6 65 PercLevel Decay Time Org bevel i e snap capro Lenin tenet nites ili pr 6 65 The KEYCLK Pape iani ran Ea i RR iii 6 66 Key Clickair E O ILE anale aaa 6 66 Vollmer ALL Ei alia iaia e ile ea 6 66 De a E nilo lalla nin igor 6 66 NVellrk occu iL Li LIL o A Lalli ai Ia 6 66 Pi ia 6 67 Random iaa liada lili tdi 6 67 Re Trig Threat e tc 6 67 Note Attack iia tina a ini IE E EE Haws encode Pa E Ear ata ariano 6 67 Note Release iii A ata 6 67 The MISC Page cti td taa 6 68 Er ampResp pala al baila tas lil i 6 68 A ALE LILLE Ra eci 6 68 Le kModesi lle ii ivan ela 6 69 SpeedCili cicpcia E lO e IR aa 6 69 VibGhoreEtli visioni ire iaia o arcas 6 69 VibChorsSel s a istoni a asl nana ari da sda RI AR Aia 6 69 MOLA US vocaciones E ni La Rai Rana a
475. ps and release FX control 1 FX distortion drive FX distortion warmth Reverb delay control 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 directly select PC3K programs Each of the 16 categories contains 8 programs PROGRAM CATEGORY Piano1 Piano2 EPiano1 EPiano2 Pop Keys Clavier Organ Brass a p J a Strings Voices Synths Pads La d a a Bass Drums Percussion Ri a a a 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 Program 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 PC3K s Master Table to remember your selections across power cycles See Chapter 11 for information about the Master Table e Your selections are bank dependent In other words you can save eight in the Base 1 bank eight in the Exp 1
476. r 7 52 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 sync to something else or the first available If another arpeggiator is already running AnyBeatWait behaves just like AnyBeat With SyncType set to Loop if there 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 62 for looping riffs and Loop on page 12 11 for looping songs This way you can trigger the arpeggiator
477. r s movement 25 127 Y 1 5 will send value of 0 and the maximum value of the controller will be 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 12 7 30 Setup Mode Controllers Entry
478. r 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 Srcl parameter Hold the Enter button and move the Pitch Wheel PWheel will be selected as the value for Srcl 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 To 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 PC3K will change the current layer to that key s layer If the key is part of m
479. r 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 PC3K If you have only one input available use the PC3K 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 PC3K connect a 75 Ohm coaxial cable from the PC3K s RCA Digital Out jack to the AES or S PDIF input of the receiving device You may need an RCA to XLR adapter to connect with the receiving device If the receiving device receives only optical signals you ll need a converter as well The PC3K s Master Page press the Master mode button lets you select a range of useful sample rates for the digital output The RCA jack labeled Sync In allows you to synchronize the PC3K s S PDIF Digital Audio output sample 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 more please see Master Mode Page 1 Digital Output on page 11 9 NOTE Sync In is NOT a Word Clock input Only a valid S PDIF signal is recognized SYNC IN DISPLAY ini apr CC PEDALS ry CONTRAST oustain oline wah Mi OUT AO O O O O Connecting MIDI
480. r tables The values that are set for the global control parameters on the Master mode page 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 Name tables Contains a list of dependent objects needed by the other objects in a file at the time the file was saved Object Type and ID The PC3K 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 a number 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 factory preset objects have ID numbers in a number of banks When you save objects that you ve edited the PC3K will ask you to assign an ID If the original object was a ROM object the PC3K 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
481. ram 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 Extended Program Changes If you re controlling your PC3K from a MIDI device that can handle the MIDI Controller 0 or 32 program change format you ll have the greatest flexibility if you set the ProgChgType parameter to a value of Extended 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 PC3K 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 Standard PCH 0 to 127 Selects correspondingly numbered program in current memory bank 10 15 MIDI Mode Program Change Formats If your PC3K is already in the memory bank you want to use you can send it single PCHs from 0 to 127 to select programs within that memory bank The PC3K 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 PC3K must receive either an MC 0 or 32 message with value 0 127 The next
482. rameter 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 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 Left Right cursor buttons Moves cursor to the end of the name 3 10 User Interface Basics Intuitive Data Entry Intuitive Data Entry La 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 Ente
483. raphic equalizer 9 13 Grounding 2 2 H Half Wts 9 23 Hard reset 11 16 Headroom 9 17 HF Damping parameter 9 10 Hi Beam W 9 20 Hi Fast 9 21 Hi Gain 9 20 Hi Res Delay 9 21 Hi Size 9 20 Hi Slow 9 21 Hi Trem 9 20 HiAccelCrv 9 21 HiFst gt Slow 9 21 High Key parameter Layer 6 23 High Velocity parameter Layer 6 23 Highpass 9 19 HiMic A 9 20 HiMic B 9 20 HiResonate 9 21 HiResXcurs 9 21 HiSlow gt Fst 9 21 HiSpinDir 9 21 Hold 9 12 Hold Through Attack parameter Layer 6 26 Hold Until Decay parameter Layer 6 26 ID Entry Master mode MAIN page 11 2 Ignore release 6 25 ImageWidth 9 22 Impact parameter EnvCtl 6 46 Index iii Import Layer soft button 6 51 Importing layers 6 51 In Select 9 23 In Out parameter 9 10 InfinDecay 9 12 Info Export 13 12 INFO Editor 6 52 INFO soft button Program Editor 6 52 Info soft button 2 8 6 10 8 2 Insert Song Mode TRACK Page 12 26 Intonation key 11 8 Intonation tables 11 7 Introduction to editing 5 1 Intuitive data entry 3 11 K K series object conversion E 1 K2600 bank mode 7 9 KB3 1 3 2 8 6 1 6 4 6 60 Polyphony 6 61 KB3 channel 6 4 KB3 programs 2 8 6 4 Key range 14 3 Key tracking 6 15 Key tracking parameter EnvCtl 6 45 Key Tracking parameter Keymap 6 19 Key Velocity KEY VEL Page 7 10 Keyboard naming 5 5 KEYCLK page Program Editor 6 66 Keymap 14 7 Keymap Editor 14 1 Assign sample 14 6 New range 14 5 Keymap Editor Parameters 14
484. rates controller information Other zones 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 zone status 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 zone status buttons and they ll become active conversely if you press the zone status 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 2 gives you a quick visual reminder of how zones behave depending on their status Data Generated by Zone Zone LED Color Stat Program Entry and atus Notes Controllers 9 2 ry Number Exit Values Solo Red ZITTO Yes Yes Yes Yes Green no others are red Active Yes Yes Yes Yes Green another
485. re recommended SYNC IN BALANCED MIDI DISPLAY SWITCH PEDALS CC PEDALS ANALOG OUTPUTS THRU our BRIGHT CONTRAST iat 2 3 1 2 BREATH RIBBON AUX MAIN HEADPHONES volume wah Left Right Left Right A o _ i Oo og We 0 Oe O 1000020 DIGITAL OUT Make Music 1 Power up your PC3K raise the level of the MASTER VOLUME slider and check out some of the programs and setups The PC3K starts up in Program mode by default Press one of the mode buttons to the left of the display to switch modes 2 If you hear distortion reduce the gain on your mixing board or use the pad if it has one 3 Scroll through the program list with the Alpha Wheel or the dedicated Category and Program buttons and try the PC3K s many sounds 2 1 Startup Startup the Details Startup the Details This section walks you through the hookup of your PC3K We ll take a look at the rear panel then describe the power audio and other cable connections Before You Start Don t connect anything until you make sure your PC3K is properly and safely situated Also if your PC3K has been out in the cold give it time to warm up to room temperature before starting it since condensation may have formed inside the PC3K It is normal for the rear panel near the MIDI jacks to become warm after a while Connecting the Power Cable Line Cord
486. red 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 PC3K Keyboard Sources MIDI In via MIDI In port or USB Computer port VelocityMap Settings on MIDI Mode Receive Page KEY VEL page for current Control Setup in Program Mode or current Zone in Setup Mode vetocity Map Settings on Master Mode MAPS Page _ _ _14xk12kk___r0 IuI PC3K Song Mode VelocityMap Settings on MIDI Mode Transmit Page Destinations PC3K Sound Engine MIDI Out via MIDI Out port or USB Computer port to PC3K audio outputs The Master Velocity Map is an overall control for MIDI velocities used in the PC3K 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 PC3K 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 11 4 Master Mode MAPS velocity Each map applies a different curve to received MIDI attack velocities and remaps them to new velocities before letting them pass The default map provides the widest range of vel
487. 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 the Intonation parameter on the Master mode page for example 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 the 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
488. rmines if the PC3K s sound engine will receive MIDI data Select the desired destination or 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 PC3K 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 PC3K s sound engine A value of MIDI Local would send MIDI data only to the MIDI out port and the PC3K 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 and a 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 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 PC3K 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 p
489. rom 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 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 on a 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 Done Scale 0 to 20000 The selected velocity or controller events values can be changed to a percentage of the original
490. rops 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 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 Gates The Multiband Compression algorithm 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 Crossoverl 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 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 the venerable Keyfex effect Gate Time is the time that the gate will stay open after the sidechain signal reaches the Threshold Its range is 0 to 3000ms 9 15
491. rsing samples 6 21 Ribbon 2 5 Playing note patterns 7 27 ribbon 1 5 Ribbon Configuration RIBCFG Page Setup Mode 7 41 RIBBON Page Setup Mode 7 41 Ribbons Center 7 42 Large Ribbon Configuration 7 41 Position Mode PosMode 7 41 Ribbon Configuration RIBCFG Page 7 41 Spring 7 42 Riffs 7 58 Ring Modulation 9 23 RMS Settle 9 24 ROM objects 5 4 ROM objects saving 5 2 Room Type 9 11 Root Key Sample Editor 14 10 Rotating Speakers 9 20 Roto InOut 9 20 Rvrb Time 9 11 S Sample Automatic Preview in a Program 11 17 Sample Editor 14 7 14 9 Samples Adjusting volume 14 4 Assigning to keymaps 14 3 Playback mode 6 21 Tuning 14 4 Save dialog 5 3 Save soft button 6 52 Saving and namingObjects Saving 5 3 Saving files 5 6 Saving Master and Everything Files 13 6 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 15 Search function 3 12 Select soft button 13 11 Selecting modes 3 1 4 1 Selecting parameters 3 6 Selecting programs and setups 2 7 Sequencer tutorial 12 1 Set drawbars 6 62 Setup Compare Editor 7 5 Setup button 5 7 Setup Editor 7 5 Control Setup 7 2 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 Local Program LocalPrg 7 6 Name Soft Button 7 67 New Zone NewZn Soft Button 7 68 Soft buttons 7 67 Setup Mode Channel Program CH PROG Page 7 2 Index
492. rson1 428 SnareComp1 470 Levin Chorus 648 SlyBASSComp1 430 KickComp1 472 Bright Room 651 Trampler 1 431 60 s BigDrumRoom 473 Med Dark Room 652 HipHop Drms1 434 AGT EnhCD 474 BasicReverb 654 HipHop Drms2 435 CDRecitalHall 477 Medium Hall 4U 655 TOP Drum Reverb1 436 Nylon EnhCD 478 KickComp2 656 HOP Drum Reverb1 439 ChrsDblRoom 479 ColdPliano 2 657 HopKickcmp1 440 EnhcBassAmp 480 FDR PercRoom 658 NoQuarter 441 FlangVoiceHall2 482 NylonAgtVerb 659 TechnoHHDly 1 8 442 Vocals w FXnMic 483 3BandDrumComp 660 HOP Drum Reverb3 445 Harpolicious 484 KikComp 4 1 661 HopKickcmp7 446 ChrsDly 485 ToxicStrings 662 Roomverb1 447 EGT Hall 486 3BandDrumComp2 663 Kickcmp6 448 Burning Tubes 487 Scoopd Dist EGT2 664 Snarcmp11 449 Chorus AGT 488 NotScoopd Dist 665 Reverb3 D 28 PC3K Objects V 1 31 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 am
493. rt 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 functions 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
494. ructure is the same as described above See Editing VAST Programs With KVA Oscillators 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 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 progra
495. ry this button has no effect When you have chosen your directory press the OK soft button to call up the File Name dialogue see the following section and completes the storing process The File Name New Directory Rename Dialogue When you create a new file in Storage mode create a new directory or rename a file or directory the PC3K prompts you to enter the object s name This File Name dialogue appears as shown below although both the New Directory and Rename appear and function similarly to the File Name dialogue Pathe File Name ZILENAME Delete Insert ese eee TOK Cancel New file names will default to either FILENAME after a powerup or the name will be that of the most recent file saved or loaded New directory names will default to either DIRNAME after a powerup or the name will be that of the most recent file saved or loaded Once you choose a name to start with or the default you can edit the name using the Left and Right cursor buttons the Delete and Insert soft buttons and the lt lt and gt gt soft buttons Pressed OK soft button saves the object in the current directory The display shows that the PC3K has created or renamed the object then the Storage mode page reappears 13 4 Storage Mode The STORE Page The STORE Page Pressing the STORE soft button calls up the Store page where you can select objects from RAM to store in the current storage device The page appears as shown
496. s 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 13 The DSP Control DSPCTL Page on page 6 28 and The DSP Modulation DSPMOD Page on page 6 29 Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator s intended function Aside from these methods 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 VAINakedPWMPoly 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 6 55 Program Mode Editing VAST Programs With KVA Oscillators cut some of the high frequencies from any signal that passes through it in this case the PWM signal is passing through With the LOPASS function still selected press the Edit button This brings you to the main parameter for the LOPASS obj
497. s 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 find 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 PC3K 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
498. s Rhds 44 Black Cow Clav 70 London Spiccato 19 Gilpin sSuitcase 45 Hiya Ground sw 71 Pizzicato 20 Duke s Dyno Rhds 46 TrampledUnder D6 72 Tremolando 21 MotorBootyMutron 47 Harpsichord 73 Choir Complete 22 Sweet Loretta EP 48 BriteHarpsichord 74 Haah Singers 23 Rhds WahSW 49 Grege s B 75 Manhattan Voices 24 Hotrod Dyno Rhds 50 Real All Out B 76 Aaahlicious 25 WoodstockClunker 51 Clean Perc 77 NYC in LA 26 Stage Mix Wurly 52 The Ninth Bar 78 Crystal Voices 79 Airy Pad 112 Levin GabrlFrtls 145 XfadBelltoneRhds D 1 PC3K Objects V 1 31 Programs ID Program ID Program ID Program 80 Cathedral Vox 113 NYC Kits 146 Extreme Hardstrk 81 Classic Comp 114 LA Kits 147 Fagen Phaser 82 Fitty Fitty Lead 115 Rock Kits 148 RoyalScam Rhds 83 Big Old Jupiter 116 Roots Indie Kit 149 AustnCtyLmtsWrly 84 9Yards Bass 117 Kikz Snarz MW 150 BrightDynamicWly 85 BowhSaw Bass 118 EarthKikz n Snrz 151 70sWahLeslieEP 86 ARPesque Bass 119 Anazlog Machine 152 3 Dog Pianet 87 DaywalkerBassMW 120 Produced Kit 08 153 Classic DX Rhds 88 Harpolicious 121 Natural Perc 154 Rich EP Pad 89 Slo QuadraPad 122 Rhythm 4 Reel 155 90 s FM Shimmer 90 Phase Shimmer 123 New Marimba 156 Bright HardstrEP 91 Le Pesque 124 2 HandSteelDrums 157 Crisp and Soft 92 Wispy One 125 Real Vibes 158 Soft Warm Ballad 93 Bladerunner ARP 126 SteamPunkMallets 159 TX Stack 1 94 Fairlight Pad 127 Magic Ce
499. s a convenient way to find a particular type of object in the list When you are all done selecting objects to load press OK As stated above if only one object is to be loaded it is implicitly selected if it is the currently highlighted object and there are no other selected objects in the list Cancel returns to the file list dialog highlighting the file you just opened You can load the entire file after pressing Cancel by pressing OK when you return to the file list Select All Deselect All Selecting or deselecting all of the objects at once can be done with the same double presses as described for the file list dialog namely e Left Right cursor double press Select All Objects Up Down cursor double press Clear All Selections 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 decide on what bank to use you will see this dialog lanl 8 CUI Load this file asi 513 648 On brte AerendaTFill Cancel The soft buttons control the mode for loading and renumbering of objects from the file Here s how they work OvFill First deletes all RAM objects in the selected bank and then loads objects using consecutive numbering Overwrt First dele
500. s 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 range 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 t
501. s long as the combined values of the KeyTrk parameters on both pages add up to 100 you ll have normal semitone intervals between keys If you set both parameters to values of 50 for example the sound will still play normally and you ll have several sample roots about half the number of the original sound stretched evenly across the keyboard instead of just one This will give you fewer clicks than in the original sound but not as much change in timbre as setting the KEYMAP KeyTrk value all the way to 0 Set the KEYMAP KeyTrk parameter higher to reduce the change in timbre or set the PITCH KeyTrk value higher to reduce the number of clicks Just make sure the combined values add up to 100 to preserve the normal intervals between notes 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 PC3K 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 t
502. s 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 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 Masterlode MS EE MEN MS O Object Type kanje Bank a 1 128 rogram 1 06 Ala LI fan 3 Cancel 11 13 Master Mode Utils Utils To delete single or multiple objects go to the Delete advanced page by pressing the Advnce soft button on the main Delete page see below The right column shows you a list of all user created objects The left column tells you what type each object is and objects are grouped by type Use the alpha wheel or plus minus buttons to select one or more objects from the list Use the Select soft button to make your selection s which will be marked with a star 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 lowe
503. s with a simultaneous double button press of the up and down cursor buttons 6 36 Program Mode The LFO Page The LFO Page LFOs are low frequency i e subsonic frequency oscillators 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 and shape which define how frequently the LFO repeats and the waveform of the modulation signal it generates With the PC3K 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 LFO1 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 controls uniformly affect every note in each layer Mnkate MxRate Ralelt Shape Phase LEOI aan OFF None Aided LFOZ wb HHHH OFF None Ade Ear EA EA UTA E parameter Grou Albi Range of V
504. 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 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 PC3K with external MIDI gear which is producing MIDI pressure aftertouch values that are too high or too low based on your playing style how soft or hard that you press the keys The default map provides the widest range of pressure aftertouch expression but you may want to choose a different map if the default does not suit your playing style MIDI Sources PC3K Keyboard MIDI In via MIDI In port or USB Computer port PressureMap Settings on MIDI Mode Receive Page PRESS page for current Control Setup in Program Mode or current Zone in Setup Mode Pressure Map Settings on Master Mode
505. samples The Free field shows how much sample memory is available for use The Fragmentation field shows the percent of the total memory available that can be reclaimed for use by running the Defrag function Press the MAP soft button to view the SAMPLE MEM MAP page The SAMPLE MEM MAP page shows a map representing the total available sample memory its usage This is a visual representation of the information on the SAMPLE MEMORY page White spaces represent used memory while blue spaces represent available memory Blue spaces within white spaces represent fragmented blocks of memory Defragment Defrag Press the Defrag soft button to defragment the PC3K s sample memory Because this may take a long time the PC3K will ask you to confirm or cancel defragmentation Defragmentation can increase the available sample memory by reclaiming and grouping blocks of sample memory that have become fragmented and too small for use otherwise Preview Sample PRVIEW Press the PRVIEW button to go to the PREVIEW page The PREVIEW page can be used to automatically make a new 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 The preview function works with both u
506. se 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 PC3K Refer to Appendix B for details on the Boot Loader The PC3K uses a CR2032 battery to power its clock The battery should last five years and a message will tell you when the battery needs replacing The access panel on the bottom of the PC3K 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 Options Ask your Kurzweil dealer about the following PC3K options Sound ROM Expansion Card The PC3K has a socket for a 64 MB expansion card to add additional Kurzweil ROM sounds This is user installable the expansion kit comes with complete instructions Pedals The PC3K has jacks for three switch pedals for functions like sustain or program setup changes and two continuous pedals for functions like volume control and wah 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 PC3K for connecting this 600 mm 24 inch ribbon
507. seconds 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 The 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 Note Since 0 multiplied by any number equals 0 the envelope parameters on this page will have no effect on any AMPENV se
508. seful 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 see The Control Setup on page 7 2 6 56 Program Mode Editing VAST Programs With KVA Oscillators Oscillator Specific Control And Modulation Parameters Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator s intended function Below is a list of these oscillators and their distinctive parameters grouped by block size 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 A simple 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
509. sequences in MIDI Type 0 and Type 1 format Storage Mode Page To enter Storage mode press the Storage button and the Storage mode page will appear USE device ready USE PC connection not connected ESS Di Le EA In the center of the page you can select one of two storage destinations USB device or USB PC connection These refer to a USB device which you can plug into the appropriate type of USB port on the rear of the PC3K Using USB Devices below for details When you select USB PC connection any USB MIDI connection will be temporarily disconnected and will not be restored until you select USB device or exit Storage mode Use the cursor to select the destination that you wish to store your files to or load your files from The status of the selected destination 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 destination If you are having trouble selecting a device that you have plugged in try exiting Storage mode and then entering Storage mode again The currently selected device will be read from or written to when you load save rename or delete files Use the soft buttons to start any of these operations Use the more soft buttons to access additional pages of soft buttons Here is a brief description of each of Storage mode s soft buttons STORE Save objects or banks of objects as a PC3K file on the current dev
510. ser and factory ROM samples 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 easiest 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 17 Master Mode Preview Sample PRVIEW 11 18 Song Mode and the Song Editor Getting Started with the Sequencer Chapter 12 Song Mode and the Song Editor Getting Started with the Sequencer The PC3K s sequencer is a
511. ses In this mode or editor 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 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 TEMPO 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 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 TEMPO page Left Right cursor buttons Select all items in a list Move cursor to end of name in naming Storage mode 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 pa
512. 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 PC3K 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 transposition to zero The Xpose buttons transpose the PC3K as well as any MIDI devices connected to the PC3K s MIDI Out port Changing the transposition with the soft buttons also changes the Transpose setting on the Master mode MIDI Transmit page The QA Editor Use the QA Editor to customize existing QA banks Enter the QA editor from QA mode by pressing the Edit button i Ruben stein Home Tube Program 2 Orang Chan 1 J MST jee Gand Mame Save Delete Ture 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 Zone 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 t
513. sizer sounds combined with sample loading and advanced programming features that will let you create almost any sound you can imagine This manual covers the PC3K in its 88 76 and 61 note configurations PC3K8 PC3K7 and PC3K6 For the most part anywhere we talk about the PC3K in this manual we mean any of these instruments The PC3K comes loaded with 64 MB of ROM sounds powered by Kurzweil s newest custom chip set In addition to the great sounds and programming features the PC3K 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 PC3K s 24 dedicated sound select buttons along with its Quick Access banks will let you instantly choose and change sounds whenever you like In addition to the many impressive features and sounds of the PC3 the PC3K allows users to tap into the massive wealth of samples and programs developed for our legendary K Series over the past 18 years The PC3K is capable of loading most K series object files with extensions KRZ K25 or K26 including samples keymaps programs and setups see Appendix E for details once again underscoring our commitment to the concept of non obsolescence by design Additionally the PC3K can load PC3 files that were created with the PC3 The PC3K can also load WAVE and AIFF files see page 13 7 for details You
514. 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 way to activate the alternative start of a sample 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 a
515. ss the Exit button The MOD Pages There are three pages for configuring effects mods MOD1 MOD2 and MOD3 All three pages are essentially identical in appearance and function The MOD pages appear as shown below the below MOD page screen shots is for the Chain 269 PnoEnhancRvb3 H H DEE OFF more MAIN insert Reman HODI A more 4 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 FXFUNs 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 FXLFO FXASR and FXFUN pages The FXLFO FXASR and FXFUN pages are the pages from which you edit the Effects only Control sources These are Control sources that can be used by the ef
516. ssigned 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 Editing Samples The TRIM Page The TRIM page lets you set the Start Alternative Start Loop and End points of the current sample The top line indicates the Zoom and Gain settings This Gain setting doesn t affect the amplitude of the sample just the view in the display The right side of the top line displays the root number of the sample If the sample is part of a group of sample roots you can use the Chan Layer buttons to scroll through ea
517. ssignment 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 MIDI controller 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 12 for details on exporting program info 6 52 Program Mode Editing VAST Programs With KVA Oscillators Editing VAST Programs With KVA Oscillators The PC3K uses KVA oscillators as another way to generate sounds in VAST programs Unlike keymaps which play samples stored in ROM KVA oscillators create DSP generated waveforms every time they are triggered 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 PC3K s internal processing power and complex signal routing capabilities Though the PC3K 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 incr
518. st 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 1929 Default Program Program E a LA trigg Program 16 orowitz Grand Program E333 Program SundrcihaleCall 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 Pressing the Utils soft button calls up the Utility page which gives you access to two analytic and diagnostic tool Additionally pressing the two right most soft buttons will call up the Utility page from any mode or editor The Utilities page appears as shown below Select what to disela4 MIDI ES Pressing the MIDI soft button launches MIDIScope a useful subprogram that lets you monitor the MIDI messages from the PC3K and those received via MIDI This is a good way to make sure you re receiving MIDI fro
519. 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 causes 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 end of the list the pa
520. struments The PC3K makes this easy if your samples have the correct RootKey settings as the PC3K 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 play 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 a new 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 ha
521. t AuxBend2Rng BendRangeDown ST BendRangeDown ct COMMON Tempo ArpSync Clock source ArpGlobal Aux FX channel Mutes KB3 channel ARPEGGIATOR All RIBCFG All Continuous Controller Dest Scale Add Curv Ent Exit assignment pages SLIDER SLID 2 CPEDAL RIBBON WHEEL PRESS Switch Controller Type OnControl OnValue ExitState assignment pages FT OffControl OffValue SW1 FT SW2 FT SW3 EntryState ARP SW SWITCH SWPRG1 SWPRG2 SWPRG3 SWPRG4 SWPRG5 SWPRG6 SWPRG7 SWPRG8 RIFF1 RIFF2 All FX AUXFX1 AUXFX2 All MASTFX Control Setup Parameters Affecting Program Mode 7 3 Setup Mode The Control Setup In summary physical controller destinations their curves and states and the Arpeggiator parameters all define controller assignments for programs in Program mode The other parameters have no effect this keeps Program mode relatively simple Program mode lets you change values for transposition MIDI channels and programs independently of the control setup Once you save changes to the control setup those changes will affect all programs when you are in Program mode For example programming the Large Ribbon in the control setup to have three sections will mean that in every program in Program mode you will have a three section Large Ribbon You may want to program several different control setups and switch among them for different applications Zone status LEDs in Setup Mod
522. t Octave Shifting Total of Shift Pattern Steps Starting Octave 1 12 CO0 C1 13 24 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 PCSK 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 in a shift pattern with 3 steps by defau
523. t Tron Voice 364 Genesis Broadway 299 EvilWomanDeepFuz 332 Mellotron Flutes 365 GarthsLastWaltz 300 Headhunters WAH 333 SldrEQ Mltrn Vox 366 Synbrass Pillow 301 MorleyWAH Clav 334 StrawberryFlutes 367 Warszawa Layers 302 Dbl WAH Insanity 335 White Satin Splt 368 ELOStringSection 303 Psychedeliclav 336 3Way Split Mltrn 369 Outkast Drums 304 Preston SpaceWah 337 RMI Harpsi 370 PopRock 08 Kit 305 Analog DigHybrid 338 Lamb Lies Down 371 Hello Brooklyn 306 Jump Obx 339 RMI Piano amp Harpsi 372 Snoop Kit 307 80s End Credits 340 BrightRMI Pn Hrp 373 EpicRemixDrums 308 VA1Distlead CC 341 Dual Mode Harpsi 374 Zoo YorkRemixDrms 309 Divider 342 RoyalKingWakeman 375 Roc A Fella Kit 376 Breakestra Kit 409 Reeds amp Bells 442 Woodwind Section PC3K Objects V 1 31 Programs ID Program ID Program ID Program 377 Cosmic Sus Pedal 410 Perc Atk Strings 443 Ensemble WWinds 378 DigitalMoonscape 411 William Tell A 444 BassClar Clar Fl 379 Falgor sLament 412 William Tell B 445 Solo Fr Horn 380 BPM BionicStrngs 413 Orch w Bells On 446 Ensemble Fr Horn 381 Swell amp Hold 414 Winds amp Esp Str 447 Lead French Horn 382 Bowie Heroes Pad 415 Horns Winds amp Str 448 Dyn Orch Fr Horns 383 MeanStereoSweep 416 TripleStrikeOrch 449 HornSect Layer 384 PulseVowel 417 Tutti Orchestra 450 Solo BrtTrumpet 385 Winds amp Strings 418 StBaroque Harpsi 451 Hard Trumpet 386 W
524. t 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 MegaVCRotors8 f alg 298 Big KB3 Effect 8U 299 MegaVCRotors8 s alg 298 Big KB3 Effect 8U 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 Synth 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 StereoDistorttEQ 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 Tube Amp lt gt MD gt Chor 3U 314 Krazy Gtr Comper alg 317 Tube Amp lt gt MD gt Chor 3U 315 MildGtrOD Dly Fl alg 320 PolyAmp lt 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 D 20 PC3K Objects V 1 31 Effect Presets with Algorithms
525. t 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 StopWait a riff can sync its release 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 7 65 Setup Mode Riffs Duration Dur Duration changes the duration of each MIDI note The original durations of the notes in the sequence are multiplied by the selected percentage 100 will cause no change values smaller than 100 will result in shorter durations values larger than 100 will result in longer durations Velocity Velocity changes the velocity of each MIDI note The original velocities of the notes in the sequence are multiplied by the selected percentage 100 will cause no change values smaller than 100 will result in lower velocities values larger than 100 will result in higher velocities Offset You can fine tune the start time of your riff in tic
526. t 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 PC3K 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 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 strin
527. t on the TRANSMIT page in MIDI mode FX Mode With FX Mode set to Performance the PC3K 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 PC3K 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 PC3K 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 PC3K is designed 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 PC3K remaps Drum programs to the GM drum map ID Entry Global means that any entry you make from the alphanumeric key
528. t 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 PC3K updates the From value If you press FromTo again without stopping playback while the Locate value is later than the current From value the PC3K 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 Delete function ET ea ze From 2 iq To 1 iil 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 Funetion En Function DstTrack Location 1 11 16 Hode Merde Times If you do not wan
529. t 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 7 64 Setup Mode Riffs arpeggiator s downbeat will occur With RelSynTyp set to AnyBeat if there is already a something playing to sync to the riff will wait only until the next be
530. t 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 a To 11 11 80 Events Al From 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 data 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 a new 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 eve
531. tart 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 Triple 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 6 58 Program Mode Editing VAST Programs With KVA Oscillators 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 th
532. te Layer soft button 6 51 Delete soft button 6 52 Deleting layers 6 51 Deleting objects 5 6 Deleting programs 6 52 Density 9 11 Depth 9 22 Destination MIDI Transmit Page 10 2 Dialogs Save 5 3 diamond icon 5 4 Diff Amt 9 13 Diff Gain 9 23 Diff Scale 9 11 DiffBassF 9 23 DiffBassG 9 23 Digital audio output 2 3 Digital Output Mode 11 9 Digital Output Volume 11 9 Directories 13 3 Disk Drive Information 13 3 Disk format requirements 13 1 Disk Mode 5 6 13 1 Disk mode 4 3 Display 3 6 Dist Drive 9 19 Distortion 9 19 Dly Coarse 9 17 Dly Fine 9 17 DlyCrs 9 17 DlyFi 9 17 Double button presses 3 10 DRAWER page Program Editor 6 62 Drive 9 14 Drum Remap 6 32 11 2 Drum Tracks Song mode 12 20 Dry Bal 9 12 Ducking 9 16 Duplicate Layer soft button 6 51 Duplicating layers 6 51 Dynamic VAST 1 3 6 1 6 18 DynamRange 9 17 E EarRef Lvl 9 11 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 18 editing conventions 5 1 Editing KB3 programs 6 60 Editing Samples 14 9 Editing VAST programs 6 11 EditProg Exit page 5 3 EditProg Save page 5 3 Effect Algorithms D 11 Effect Chains D 26 Effect Presets D 11 Effect box Parameters 9 10 Effects Parameters 9 10 Index ii Effects button 5 7 Effects bypass 5 7 Effects mode 4 3 Effects Parameters 9 10 Electrical grounding 2 2 Enable MIDI channels 10 13 Enable parameter Layer 6
533. te 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 6 57 Program Mode Editing VAST Programs With KVA Oscillators PWM Pulse Width Modulation Aliased not recommended This 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 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 res
534. tell the Arpeggiator to transpose all of the currently latched notes each time it plays through them Shift determines how much transposition will occur for each cycle of notes For example if you have latched C4 and F4 and you assign a Note Shift of 2 the Arpeggiator will play C4 F4 D4 G4 E4 A4 and so on until it reaches the Limit value The Shift 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 Note Shift and Shift Limit If the limit allows the notes to go out of MIDI range for 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 Unipolar means that after playing up to the shift limit the Arpeggiator begins shifting notes
535. tes all RAM objects in the selected bank and then loads objects using the object ID numbers stored in the file Merge Preserve the object ID numbers stored in the file for the objects to be loaded overwrite objects already in memory if necessary For files that don t have ID numbers MID WAV and AIF files 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 13 9 Storage Mode The LOAD Page files that don t have ID numbers MID WAV and AIF files 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 mode selection and go back to choosing a bank Scrolling to a different bank value will have the same effect as Cancel 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 before loading Overwrt and OvFill operate in different ways after a selected ba
536. that physical controller s assignment can always be controlled by the CC listed in that column For physical controllers where this is the case the physical controller s assignment will respond to the CC listed in the Additional MIDI CC Which Always Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode column as well as the physical controller s default CC number 10 11 MIDI Mode The RECEIVE Page External MIDI CC Remapping PC3K Physical Controller Default MIDI CC Which Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode Additional MIDI CC Which Always Controls The Parameter Assigned To Each PC3K Physical Controller In Setup Mode Pitch Wheel NA responds to MIDI pitch None bend messages Mod Wheel 1 None Arp Button No Default 69 SW Button 29 70 Continuous Pedal 1 11 None Continuous Pedal 2 4 None Breath 2 None Pressure key pressure No Default None Foot Switch 1 64 None Foot Switch 2 66 None Foot Switch 3 67 None Ribbon Section 1 21 18 Ribbon Section 2 No Default 19 Ribbon Section 3 No Default 20 Slider A Data 6 None Slider B 13 None Sliders C I 22 28 None Programable Switches 1 8 No Default None 10 12 MIDI Mode The Channels Page The Channels Page Enable CORRE Programe a ones Lead Pr3Lock Pan PanLock Wolume 127 UolLack HIT CHANLSTPraChaTrR tCha
537. that would create the correct harmony Another way to choose a key is to set Shift Key to Last Note 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 28 Setup Mode Controllers A Note About Octave Range When using Shift Key Number shift patterns with more than 12 steps begin triggering notes in higher octaves This is done because longer shift patterns use up more of a controller s range and limit the number of octaves that a single controller can trigger Since the lowest octave of a program is often too low to be musically useful the PC3K will automatically start triggering notes from longer shift patterns in higher octaves 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 Defaul
538. the MIDI mode Transmit page See Control Setup and Chapter 7 Setup Mode and Setup Editor for more information on the Control Setup 6 50 Program Mode Function Soft Buttons Function Soft Buttons The remainder of this chapter 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 Set Controllers SetCtl As explained in The Controllers CTLS Page the SetCtl soft button captures the values of the nine sliders modwheel breath controller and switch New Layer NewLyr Create a new layer numbered one above the highest existing layer The new layer s parameters are those of the single layer in Program 999 called Default Program When you press this button the PC3K 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 PC3K 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
539. the current setup to generate its own tempo by setting Clock Source to Internal or you can set the PC3K to sync up with the tempo from another device assuming the device is sending MIDI clock data to the PC3K via MIDI or USB by setting Clock Source to External When Clock Source is set to External 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 56 Setup Mode The COMMON Page KB3 Channel With this parameter you can specify the KB3 channel in the current setup Note that if you assign a KB3 program to a zone not assigned to the KB3 channel the PC3K will notify you on the CH PRG page For setups with KB3 and VAST programs you can program a switch to toggle back and forth between having the sliders and mute buttons function as they would with KB3 programs and having the sliders and mute buttons function as they would with VAST programs In the Setup editor go to the COMMON page and set the Mutes parameter to KB3 Control Now pick a switch say SW which is right next to the Arp button Go to the SWITCH
540. the different pitch parameters each used either only for keymaps or only for KVA oscillators The Pitch parameter on the top left of the DSPCTL and DSPMOD pages always appears in VAST programs but only affects the pitch of keymaps If a KVA oscillator is being used this Pitch parameter will have no affect on the layer s pitch in which case the oscillator Pch parameter described above must be used to control the pitch of the oscillator Setting KVA Oscillator Type The PC3K comes with 19 Different KVA oscillators There are 11 high quality anti aliased oscillators free of digital artifacts and 8 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 27 and Algorithm Basics on page 6 13 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
541. 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 PC3K 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 11 3 Master Mode MAPS MAPS On the MAPS page you ll find parameters for setting keyboard behavior for velocity pressure intonation and key action maps You can also set the default sequence for Song mode Pressure Map Intonation Mar L 1 Equal Int Rev C A Internal TP 4 L 358 1 Hew Song key Action Mar Default Sons IEC MAPS OUTPUT TEMPO E Velocity Map Master Change the Master Velocity Map setting if you find that the PC3K is not producing the desi
542. thm 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 DSPMOD 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 28 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 Ame 2POLE LOWPASS SHAFER HONE e more A MECA EA more d The DSP Modulation DSPMOD Page Before reading further be sure to read Algorithm Basics on page 6 13 and Common DSP Control Parameters on page 6 14 Press the DSPMOD soft button to call up the DSP Modulation DSPMOD page which is displayed below j aE DISPCTL IDSPHO i oe p 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
543. ting 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 Criteria 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 in a range of time selected for editing Events Any and all types of MIDI ev
544. ting up modulation and other ways to control parameters and see The Envelope 2 ENV2 and Envelope 3 ENV3 Pages on page 6 43 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 the 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 program
545. tion 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 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 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
546. ton 7 Mute button 7 6 64 Program Mode 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 On keyboard models you can toggle between low and high harmonics by pressing Assignable Controller Button 8 Mute button 8 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 The PERC2 Page ecaY Time Orglewel Loud F ast 4 Loud Slow 4 Soft Fast G f6dE Parameter Group Available for each combination of the Volume and Decay parameters on the P
547. tput Pan 64 0 Output Gain 96 to 48 decibels 0 Output Pan Mode Fixed MIDI MIDI Pan Table Pan Table List 0 None Crossfade Control Control Source List Off Crossfade Sense Normal Reversed Norm Drum Remap Off Kurz1 Kurz2 Off Exclusive Zone Map Zone Map List 0 None Use this parameter to position the current layer 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 33 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 qe Sr ade Senco Norm nz Pan Mode MIDI Pan Table 6 None Drum kemat 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 th
548. tries each of which can be a program or a setup Each of the PC3K 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 different set of 200 programs and setups at your disposal When you re using this format the PC3K will respond to MC 0 or 32 messages for selecting QA banks and to PCHs for selecting entries within the current bank PCHs select entries according to their chronological listing within the QA bank not according to their IDs Command Type Value Range Result MIDI controller 0 or 32 MC 0 or MC 32 0 to 127 Selects QA bank On 1n 2n 3n 4n 5n 6n 7n in current memory bank 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 1l send the PC3K either a PCH value 0 to 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 10 16 MIDI Mo
549. 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 62 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 LoopWait behaves just like Loop With RelSynTyp set to StopWait if there is already something playing to sync to the current riff will wai
550. try 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 PC3K 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 PC3K 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 responding you should check the Mode parameter on the OUTPUT page in the Program Editor If it is set to Fixed then the PC3K is ignorin
551. tswitches 1 2 and 3 FT SW2 On Value None 0 to 127 FT SW3 Off Value None 0 to 127 Entry Value None Off On Exit Value None Off On 7 ARP SW same as Footswitches Arp and SW switches SWITCH SWPRG1 same as Footswitches SWPRG2 SWPRG3 i SWPRG4 Programmable switches 1 to 8 SWPRGS SWPRG6 SWPRG7 SWPRG8 Table 7 4 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 PC3K 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 PC3K specific protocol and are thus not sent as MIDI data and not sent through MIDI Out Corresponding ontreller 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 5 PortTim Monophonic PC3K programs respond to this Controller if portamento is turned on Table 7 5 Controller Destination List 7 22 Setup Mode Corresponding Co
552. ttern 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 PAIRIPRIAS ARI E j 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 randomization range Each note of the arpeggiator will randomly choose a velocity within the given range See the table below for velocity ranges 7 45 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages The Chimp1 through Chimp4 settings function in a similar fashion to the Human settings see above Like the Human settings the
553. ttom 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 Chapter 8 to learn about the Quick Access Editor Startup The Other Modes 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 PC3K 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 a and save programs setups sequences and other objects via USB evice Upgrades It s easy to upgrade the PC3K s operating system and objects programs setup etc using the boot loader 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 PC3K s two USB ports As upgraded software becomes available you can either get files from your Young Chang dealer or download the new stuff from th
554. u 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 127 ee os ____ Velocity Curve Linear 7 as you hit the keys harder increase the ta 3 velocity MIDI velocity increases proportionally P d x Velocity Curve Compress MIDI velocity is greater at medium strike velocity than with Linear curve 64 E Erano Velocity Curve Expand Dai MIDI velocity is less at rad medium strike velocity than with Linear curve MIDI Velocity 127 64 Strike Velocity 7 15 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 127 64 Strike Velocity Velocity Curve Linear as you hit the keys harder increase the velocity MIDI velocity increases proportionally Velocity Curve Bump 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 veloci M
555. uch 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 following algorithm a er ane 2POLE LOWPASS SHAFER HONE AAA E AAA Ea 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 de dE Sdesenee Pan 8 Pan Mode MIDI Pan Table 6 None Drum Remar Off OUTPUT more 6 30 Program Mode Pan The OUTPUT Page Parameter Range of Values Default Pan or Pan 1 64 0 Pan 2 64 63 Pan Mode Fixed MIDI Auto Reverse MIDI Ou
556. uct 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 of 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 WARNING This product is equipped with an AC input voltage selector The voltage selector has been factory set for the mains supply voltage in the country where this unit was sold Changing the voltage selector
557. ue None Off On None The Utility Soft Buttons Name Save 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 any 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 7 67 Setup Mode The Utility Soft Buttons Delete This erases a setup from memory freeing up space to store setups in other locations You can check the free memory in the PC3K at any time on the top line of the Master mode page Press Delete and use a data entry method to choose which setup you want deleted Press Delete again and an Are You Sure message will appear unless you have set a value of No for the Confirm parameter on the Master mode page Press Yes to delete the setup or No to cancel As with programs setups can be saved to and deleted from memory only The names of all setups in RAM have an asterisk next to them If you try delete a setup from ROM the PC3K will ignore the delete command and the setup will remain in memory New Zone NewZn Press NewZn to create a new
558. ue 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 Controller 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 32 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
559. uesJam in G 33 Metal 64 TinklySweepySpcy 3 Techno Substance 34 Growth Pad 65 Pulsing Anthem 4 Acoustic Split 35 Morricone s Fall 66 PedHold PnoSolo 5 Slap EP Split 36 Strings Old amp New 67 Rhythm Pad SW 6 Black Cow Split 37 MonoBass amp ArpSt 68 The Wonders 7 Some Loving Splt 38 Jazz Bass Piano 69 Drops of Jupiter 8 Piano amp Pad 39 Bass KB3 Split 70 No Complaints 9 PedalsModeW Beat 40 Zep KB3 Pianet 71 Brighton Lush 10 AnaBanana 41 ElectricBass EP 72 Nylon and Ivory 11 Sanctuary 42 ARP amp Bass 73 Drawbr Slidr SW 12 World Beneath 43 Fretless Split 74 Mini E3 Clav 13 DeepBurn 44 Big Lead 75 LA Split 14 Sync Scene 45 SynBass Lead 76 Bluman Live 15 MeanClav Rhds 46 Play 77 Shwales 16 Bigband P Bttn1 47 MovieBuildup 78 Edenj s Sky 17 MeanPianet Piano 48 GuitarEnsemble 79 Marimbatronic 18 Oldtimey Blues 49 Big n Warm Pn Gt 80 Tronotronic 19 OldR amp B 50 Joni Split 81 Orch Fantasy 20 Old School Jam 51 StrangeLands 82 Stringotronic 21 Brooklyn Smoov 52 Perc Attack Orch 83 Harp Ensemble 22 Country 53 Disco Fanfare 84 MarimbasGoneWild 23 Rockroll in A 54 Pad w Benefits 85 Ivory Ensemble 24 Hip Hop 55 AnaSoup 86 Spaces 25 Jazz 56 Blue Lights On 87 Bubble Pad 26 Reggae 57 Plucked Hammers 88 Fat Ana 27 World 58 Forbidden Planet 89 Frets o Lush 28 Dance 59 Childhood Magic 90 Dual Manual B3 29 Slow Rock 60 Autobeller 91 Dual Manual B3 2 30 Oldies 61 Square Arp er 92 Dual Manual B3 3 31 Funk 62 PizzicatoBenefit 93 Dual Manual B3 4
560. uicker at the high end set the key tracking to a positive value 6 45 Program Mode The Envelope Control ENVCTL Page 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 Depth 4 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 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
561. ure Or press the Exit button to exit the QA editor and the Save Changes dialog comes up 8 3 Quick Access Mode The QA Editor Effects Basic Overview Chapter 9 Effects The PC3K boasts a powerful effects processor that puts the power of an entire studio at your fingertips This chapter contains everything you ll need to know to use the PC3K s effects and Chain Editor to their fullest potentials This chapter begins with a few preliminary descriptions of basic routing concepts and effects terminology The section that follows contains a more in depth description of the workings of the PC3K effects processor and instructions on how to configure the Effects mode pages After that is a brief overview of using effects in Program mode The penultimate and last sections contain instructions on how edit and create your own Chains and a comprehensive glossary of the effects parameters you ll encounter in the Chain Editor Basic Overview This section gives a general big picture overview of the effects routing in the PC3K as well as descriptions of the fundamental concepts of effects stages and routing effects allocation Aux overriding and master effects Effects Stages and Routing There are three types of effects that are applied during different stages in a program s signal path Insert Effects Auxiliary Aux Effects and the global master EQ compressor Insert Effects are placed directly in the signa
562. uru Ent Exit CPedi AE a El Linear HoneHNone CPed2 Foo 16004 E Linear NoneMone BreathBreath 100 E Linear Hone Hone a more WHEEL JSLIDER CPEDAL more d Parameter Range of Values Default Destination CPed1 Control Destination List Express Destination CPed2 Control Destination 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 35 Setup Mode The Pressure PRESS Page The Pressure PRESS Page The PC3K features mono pressure commonly called aftertouch on other keyboards A word about pressure Key Range in a zone does not define which notes will generate pressure in that zone If pressure is enabled in a zone playing with aftertouch anywhere on the keyboard will produce data For example if Zone 1 s Key Range is C3 C5 and you play C2 and push down on the note pressure messages will be sent from Zone 1 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 30 Note MIDI pressure generated on the PC3K keyboard is first affected by any
563. 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 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 Chas
564. ut Sond Ends 1 CE TRIG Load Save e pactado STOPPED 71 8 Loop 21145 Punch zi I Hetrons 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 1t04 Tick 0 to 959 0 Bar Song End Beat 1t04 Tick 0 to 959 0 Loop Loop Punch Punch Metronome Rec Always Off 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 FX Pages Song End The Song End parameter determines the end point for the song Note that when Time Out and Song End are set to the same location changes made to Song End are reflected in Time Out When recording beyond your initially specified Song End point you ll notice that the Song End location automatically moves and rounds to the next bar so as to always be ahead of the playhead 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 Loop With the Loop parameter set to Loop the sequencer will loop the segment of the song between Time In and
565. ve a clean empty file system ready for use It is possible though not likely that the PC3K 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 PC3K system correctly 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 PC3K 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 PC3K Restore Older If you have updated the PC3K 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 B 4 Appendix C Changing PC3K Voltage In most cases you will not need to change the voltage on your PC3K However since different countries use different standard voltage settings there may be times when you need to make the change The PC3K s fuse holder where the power
566. ve 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 Building a Keymap Here s a fairly important point that may or may not affect your keymap construction Suppose you want to build a keymap that uses the same sample in several adjacent key ranges and you plan to add a bit of detuning to the samples in each range You might think that you could build the keymap first then go into the Sample Editor and tweak the sample settings of each keyrange when the keymap is finished 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 A 3 to B 4 This is because the PC3K 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
567. ve 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 PC3K 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 select 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 nFUTS um Blocks OutPuts OutPuthode HONE HONE PHONE Parameter Range of Values Default Inputs 1 2 1 Outputs 1 2 1 Number of Blocks 1 to4 2 Output Mode Normal Sep L R Normal In addition to having a selectable function each functi
568. velocity keymaps 14 4 Mute Effects Box 5 7 9 8 MuteZn 7 25 Muting layers 5 7 Muting Setup zones 5 7 N Name soft button 6 51 Naming objects using the keyboard 5 5 Natural amplitude envelope 6 41 Navigation 3 6 New Layer soft button 6 51 Noise generator 6 21 Non harmonic overtones creating with ring modulator 9 23 Note triggering 6 23 Number of loops parameter AmpEnv 6 43 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 8 Master Mode Delete 11 13 Master Mode Rename 11 12 Naming 5 3 RAM 5 2 5 4 Renaming 5 3 ROM 5 2 5 4 Octav 6 10 8 2 Odd Wts 9 23 OK soft button 13 12 Opaque parameter Layer 6 25 Origin 9 22 OS Version 11 16 Osc1 Freq 9 23 Osc1 Lvl 9 23 Osc1 Shape 9 23 Osc1PlsWid 9 23 Osc1Smooth 9 23 Oscillators 6 53 Out Gain parameter 9 10 OUTPUT page Program Editor KB3 6 70 Overview 1 3 Overwrt soft button 13 9 OvFill soft button 13 9 Pages 3 6 AMP KB3 6 63 Index v AMPENV Amplitude envelope 6 41 ASR Attack Sustain Release 6 39 DRAWER 6 62 ENV2 and ENV3 Envelopes 6 43 ENVCTL Envelope control 6 44 EQ 6 70 FUN Attack Sustain Release 6 40 KEYCLK 6 66 KEYMAP 6 19 LAYER 6 22 LFO 6 37 MIDI CHANLS 10 13 MIDI RECV 10 5 MIDI XMIT 10 1 MISC 6 68 OUTPUT KB3 6 70 PERC 6 64 PERC2 6 65 PITCH KB3 6 63 TONEWL 6 60 Pair Wts 9 23 Pan 9 20 9 24 MIDI 10 14 Pan lock 10 14
569. ver 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 7 42 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages The ARPEGGIATOR Page Note In Program Mode pressing the Arp button will bring you to a similar Arpeggiator screen for the current program e Heats 1716 dc Lie N shiftFatterni None ShiftLimit 24 LimitOPt UniPolar ShiftAmount BST PlavOrder Pla ved Welt Plaved Duration 106 ES AA A AA 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 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
570. vii Pressure Press Page 7 36 Ribbon Configuration RIBCFG Page 7 41 RIBBON Page 7 41 WHEEL Page 7 33 Setup mode 4 2 7 1 Setups 2 9 D 9 Aux Bend 1 7 20 Aux Bend 2 7 20 BEND Page 7 19 Bend Range 7 19 COMMON Page 7 56 Continuous Control Pedal CPEDAL Page 7 35 Continuous Controller Parameters 7 30 Controllers 7 20 Curve Curv 7 30 Destination 7 7 Destination Dest 7 30 Entry Ent and Exit States 7 32 Entry Pan Exit Pan 7 18 Entry values 7 31 Entry Volume Exit Volume 7 18 Footswitch FOOTSW Page 7 37 Low and high key 7 11 Low Velocity LoVel HighVelocity HiVel 7 17 MIDI Bank 7 6 7 7 MIDI Bank Mode 7 9 MIDI channel 7 7 MIDI Controller Destination List 7 22 Muting zones 5 7 Note Maps 7 11 Off Value 7 32 Offset Add 7 30 On Value 7 32 Pan Volume PAN VOL Page 7 18 physical controllers 7 21 RIBBON Page 7 40 Save Soft Button 7 67 Scale 7 30 selecting 2 7 SLIDER and SLID 2 Pages 7 34 Status 7 8 Switch controllers 7 31 SWITCH Page 7 38 7 39 Switch Type SwType 7 31 Transpose 7 11 Transposing 7 1 Velocity Curve 7 15 Velocity Offset 7 13 Velocity Scale VelScale 7 12 Zone Arpeggiation ZoneArpeg 7 9 Shape parameter parameter LFO 6 38 Shift Song Mode TRACK Page 12 28 Shift Key Number Shift Key ShKeyNum ShiftKey 7 27 Shift Pattern ShiftPatt 7 48 Shifting notes in the Arpeggiator 7 47 Signal Delay 9 15 Signal Dly 9 15 Signal to noise ratio 2 5 Size Scale 9 11 Sliders 3 3 7 21 Smooth 9 15 Smoot
571. w other directories the Path field updates the current directory value to track your movements 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 PC3K is 64 characters including the backslash characters Disk Drive Information For USB devices the manufacturer and device size are displayed 13 3 Storage Mode Common Dialogues Common Dialogues These are dialogues that the PC3K calls up when about to perform certain storage functions The Select Directory Dialogue When storing an object or group of objects the PC3K 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 directo
572. 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 PC3K Bank switching via MIDI makes it easy for the PC3K user to select 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 PC3K 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 7 Setup Mode The Channel Program CH PROG Page MIDI Program MidiProg Status 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 t
573. 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 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
574. 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 Page on page 12 17 If you plan to try out different volume settings it 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 ea
575. work in a consistent and relatively standard fashion for most setups and VAST programs it necessitates a few adjustments to make incoming MIDI Controller messages control the KB3 features listed in Table 6 3 Without these adjustments some of the KB3 features won t respond to MIDI Controller messages this is true when you re playing programs as well as when you re playing setups To make everything work properly you need to make sure that all the appropriate physical controllers are assigned for KB3 control Physical controller assignments are handled by setups and are defined by parameters on several pages in the Setup Editor Each zone of a setup has its own controller assignments Programs don t have controller assignments so they borrow them from a special setup that s reserved for that purpose This setup is called the Control Setup it s determined by the value of the ControlSetup parameter on the TRANSMIT page in MIDI mode You can read about Control Setups in detail on page 6 9 When you re playing a setup on the local keyboard channel each zone that uses a KB3 program must have the appropriate physical controller assignments When you re playing a KB3 program Zone 1 of the Control Setup must have the appropriate physical controller assignments One final word for now about using the local keyboard channel all the MIDI information received on the local keyboard channel also gets sent after being remapped to the PC3K
576. www youngchang com www kurzweil com TECHNICAL SUPPORT Email support Kurzweil com Table Of Contents Kurzweil International Contacts isis Luce iaia aida iv Chapter 1 Introduction Keeping Gurrent ie rioni iii elia iaia aaa ni 1 2 Overview of hE P OIK alza ile liana ala 1 2 How the PG3KWorks stione dia iaa ada 1 3 WAST Synthesis agire RR SAE EEE da 1 3 KB3 Tone Wheel Emulator aiii aia a aaa Fokus adictas 1 3 A PrO RN 1 3 How to UseThis Manual nil ui illa i de ei iene ii 1 4 Dol Have Everythings ssssssi a sstisiies iii dis 1 4 0 0 9 BO Co EI ca Rae Sip ENE E Ze 1 4 A for s6oit5 NN NN ON 1 4 Op Suicidal anidan tilacia 1 5 Sound ROM Expansion Card da ea iii 1 5 Pedals rulisllini violati ella lai ail aa nti nea alianti 1 5 Ribbon Controller isernia dd na ani 1 5 Breath Controller tii 1 5 Chapter 2 Startup Make Con A a esi esas 2 1 Make Musica 2 1 A NN 2 2 Before OU A inn 2 2 Connecting the Power Cable Line Cord cocccncicncncncnnnnininnncnnnnnnnnanononnnnnoncn corno nono no roo nonininno conce eee eee eee 2 2 Connecting Audio Cables uil A LI OOO LO 2 2 Connecting MIDI erica liilibobiebi elica lie 2 3 PedalS iiiia elena aaa abla 2 4 Breathza tania init RUI RS cha saan aa RL RO aa ariani 2 4 Ribbon nda iaia naacal aaa 2 5 Switching On the POWER coccion nica 2 5 WSB Storage Porti visioni iis lia iaia 2 6 WSB Computet Port tassi lele pole baw ia leali Lasa 2 6 Setting the Clock si triti ii L
577. y 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 switching between up to eight layers If you need even more you can do it using the Enable and Enable Sense S parameters page 6 24 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 Trigger Trig Set Trig to Rvrs to have notes 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
578. y 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 Program Mode Programming Tips 6 72 Setup Mode Chapter 7 Setup Mode In Setup mode the PC3K can take on the identity of 16 distinct instruments and 16 distinct MIDI transmitters each of which can use the setup s physical controller assignments or any subset of those controller assignments For example you can create a setup that is split into 16 different keyboard regions called zones Each zone can play its own program while also transmitting on its own MIDI channel Each zone can also have an independent arpeggiator and one riff 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 important differences between a program and a setup A program plays on a single keyboard zone an
579. y 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 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 simu
580. y 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 7 44 Setup Mode The ARPEGGIATOR amp ARPEGGIATOR 2 ARP1 ARP2 Pages 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 using 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
581. yed 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 controls the duration or decay time 0 5 sec is a good starting point Range is 0 to 1 3 seconds in the 2 U version of the algorithm and 0 to 2 seconds in the 3 U version Dly Fine adjusts the delay with a resolution down to 0 2 ms Range is 20 0 to 20 0 ms Effects Filters Filters 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 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 algorithm acts like a simple delay Range is 0 t
582. yer 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 PC3K uses internally as well as the channel you re using to send information to other synths connected to the PC3K 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 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 We ll let you know when applicable what the Chan Layer buttons do 3 7 User Interface Basics Navigation The Edit Button The Edit button activates each of the PC3K s editors and acts as a shortcut to many pages within the Program Editor Pressing the Edit button tells the PC3K that you want to change some aspect of the object marked by the cursor For example when a program is selected and you pres
583. 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 selected directory or view objects within a P3K file or other compatible Kurzweil file type for loading individual objects See below for instructions on opening P3K and other Kurzweil file types to view and load individual objects Entering a new directory will deselect all files Viewing objects within a P3K file or other Kurzweil file will deselect any other files that had been selected Load the selected P3K file or other compatible Kurzweil file type or the selected WAV or AIF file or files See below for instructions on using the Load dialogue when loading a P3K file or other compatible Kurzweil file type See below for details on loading WAV and AIF files Exits the Load page and returns you to the Storage mode page Loading WAV and AIF Audio Files From the LOAD page WAV and AIF audio files can be loaded and used with user created keymaps see Building a Keymap on page 14 7 and Editing Samples on page 14 9 Mono and stereo files can be loaded 8 or 16 bit with sample rates up to a maximum of 96000 Hz Once samples are loaded to the PC3K s user sample flash memory samples remain in the PC3K even when the power is off until they are manually deleted Also once samples are loaded to the PC3K s user sample flash memory there is no load time for thos
584. zone with default parameters The PC3K 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 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 TRIGGER KEYS KEYTRG TRIGGER KEYS KEYTRG The TRIGGER KEYS page see below allows you to set a controller destination to be triggered by playing a specific key In addition to generating a standard MIDI note on message each key of the PC3K can be set to trigger a controller destination TRIGGER KEYS can be set independently per Zone By using Zones with overlapping key ranges

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