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Operation Manual

1. se 71 B Effect TYPES un anna Ee e na AT A een 72 FXB Parameters Feedback LFO Rate Delay Time ccceeessssssneeeeeeeeeeeee 72 FXB Send AMOUNTS iii 72 Table of Contents MIDI EE 73 MIDI llegro Ehe eh el nr e a a Ta 73 MIDIS ER 73 MIDI Enables se festin same devotes tete tests tel hen 74 MIDI Program Change gt Preset 74 Receive Program Change ss 75 Real time Controller Assignment nn 75 MIDI FOOtSWitCh Assign Heer 76 Tempo Controllers tec ec nn nn ete E onde 77 Knob Preset Quick Edit ccccccccsscccccccceeeseeeccceceeseeesaeseeeccceeeeeaaasaaaessees 77 Knobs Deep Edit ee een 78 Knobs Riff MIDIOUE cerie ie eenen ernannten 78 Preset Edit All Layers Enable AAA 78 Front Panel Knob Calibration ss 79 MIDI SYSExX Packet Del y resin iiien 22222 22a ans 80 Send MIDI System Exclusive Data nn 80 User Key Tuning RM nn nr ete nent ee te nass 82 Sereen Viewing ANGlE ersuchen te 82 Programming Basics uch 83 Modulation ana see ae 84 Modulation Sourges u ei 85 Random Sources ueessssssennnnnnnsssensnnnnnnnssssnnnnnnnnnnnnssnsnsnnnnnnnsssssssssnnnnsssnssennn 86 Modtilation Le EE 86 Envelope e E 87 Tempo based Envelopes 88 Envelope Repeat int RR tatin 88 Low Frequency Oscillators LFOS nenn 89 Clock MOGUIATION s ke 90 Mo
2. Select an Effect Use the Data Entry Control to select the FXB parameter screen FXB FEEDBK LFORATE DELAY 127 127 ms Set the other effect parameters to your preference Refer to the infor mation in the last section for detailed descriptions of these parameters Press the Edit menu button The LED illuminates and the Edit menu displays the last screen used Use the Data Entry Control to access the FXA Algorithm page and select Master Effect A FXA ALGORITHM Master Effect A Repeat step 11 for the FXB Algorithm Save the preset The Master effects routing will be saved along with the preset Mo Phatt Operation Manual 175 Effects Mode Flexible Effects Control Q You can create special Effects Presets which are assigned to the FX Multi mode Control channel then use standard MIDI Program Change commands to switch effects during sequence playback 176 EMU Systems Effects Master Effects This control provides a true bypass of the effects engine Bypass is a useful feature if you are using external effects at the mixing console and want to turn the effects off for all presets D To Bypass the Effects 1 Press the Master menu button The LED lights and the last Master parameter screen used is displayed 2 Use the Data Entry Control to select the Effects Mode screen FX MODE enabled 3 Use the cursor button to advance the cursor to the bottom line in the screen 4
3. This function allows you to turn the Edit All Layers feature on or off Edit All Layers is an Edit menu feature which allows you to select all layers A in order to edit all four layers simultaneously Because this feature can be confusing to the beginning programmer it can be disabled here in the Master menu Check this feature out when you re ready It s great PRESET EDIT ALL LAYERS enabled Master Menu MIDI Parameters Front Panel Knob This function calibrates the minimum and maximum values for the five Calibration front panel knobs The controls should be calibrated periodically in order to compensate for normal wear and tear on the controls themselves or if the controls behave strangely Before calibration it s usually a good idea to let the unit warm up for about half an hour to ensure you have the maximum range on all the front panel controls gt To Calibrate the Front Panel Control Knobs 1 Press the Master menu button and advance to the Calibrate Knobs page CALIBRATE KNOBS Start 2 Press the Enter button to begin the calibration process The following screen appears Turn all knobs to MIN Press Enter when ready 3 Turn all knobs to their minimum value which is pegged in the counter clockwise direction then press the Enter button The screen briefly flashes Reading Values then displays Turn all knobs to MAX Press Enter when ready 4 Turn all knobs to their maximu
4. modulation polarity 143 modulation polarity 143 Numerics 19 tone tuning 153 1 bar trigger 43 2 pole filters 104 4 pole filters 104 6 pole filters 104 A A effect types 171 172 absolute value processor 93 aftertouch mono 85 algorithm FXA 173 174 FXB 173 175 master FXA 70 master FXB 71 all layers 113 115 alternate tuning 153 amount patchcord 108 142 amplifier 126 amplitude 132 160 amplitude envelope 127 amplitude modulation 84 arp beats mode 35 arpeggiate multiple channels 63 arpeggiator 32 channel 32 controls 50 copying settings 188 delay 55 56 duration 61 extension 50 extension count 54 extension interval 54 factory patterns 52 gate 50 gate time 53 interval 50 key offset 60 key range 58 Index keyboard thru 57 latch mode 57 master parameters 50 MIDI out 48 MIDI song start 48 58 mode 51 note value 52 56 pattern 49 52 pattern naming 62 pattern speed 52 resolution 50 status 51 syne 55 user patterns 59 velocity 50 53 arpeggiator modes 49 assign group 131 attack envelope 128 137 144 164 audition beats 38 audition button 26 audition preset 17 audition riff 156 auxiliary envelope 87 137 B effect types 171 172 balance 107 band pass filter 103 133 bandwidth 105 bank 19 bank number 19 30 bank organization 20 bank select display 26 banks selecting 31 base tempo 36 basic channel 39 basic setup 14 basics programming 83 beats
5. MASTER TRANSPOSE 00 semitones The Bend Range parameter sets the range of the pitch wheel This affects only presets that have their individual Pitch Bend range defined in the Edit menu set to Master The maximum pitch bend range is 12 semitones or one octave in each direction MASTER BEND RANGE 7 semitones Velocity Curve Mix Output Master Menu Defining Master Parameters You can modify incoming velocity data by a velocity curve in order to provide different types of dynamics in response to your playing or to better adapt to a MIDI controller The Master Velocity Curve lets you select one of thirteen master velocity curves or to leave the data unaltered linear MASTER VELOCITY CURVE 13 N N 100 Linear Curve 2 80 60 40 gt 20 Result Velocity Result Velocity 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity N N 100 100 Curve 9 80 80 60 69 Curve 13 40 40 Result Velocity l Result Velocity 20 20 a EE on dec 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity For a complete list of all available velocity curves see Velocity Curves on page 220 of the Appendix The Mix Output parameter allows you to override the routing assignments made
6. key down All Delay values equal to or greater than zero specify absolute time rates from 0 to 127 Values less than zero specify Tempo based mode Refer to the previous table for times and tempo based rates Edit Menu Low Frequency Oscillators LFOs Variation LFO Variation sets the amount of random variation of the LFO each time you press a key on the controller This creates a chorus or ensemble effect since each note played has a slightly different modulation rate The higher the value entered the greater the note to note variation in the LFO The Variation value range is from O through 100 Variation is disabled when a Tempo Based LFO is selected LFO variation changes the rate of each note to create an ensemble effect Mo Phatt Operation Manual 141 PatchCords 142 EMU Systems Edit Menu PatchCords PatchCords tie everything together by connecting modulation sources to destinations Each PatchCord has its own Amount control which can be positive or negative negative amounts invert the signal In addition the PatchCord amounts themselves can be controlled by any modulation source Mo Phatt provides 24 patches for each layer There are three permanently connected control routings volume envelope to amplifier pitch wheel to pitch and key to pitch All other connections must be made using the PatchCords Modulation Amount Source Destination Amp Volume Modulation Source Destination LF
7. Arpeggiator Beats Menu SuperBEATS This screen turns BEATS mode on and has several other features which allow flexible control over BEATS mode There are several status modes that determine when BEATS will be turned on and which Riff will be used BEATS and BEAT Triggers can be set to different MIDI channels This allows you to perform on two MIDI channels at once with a keyboard that only transmits on a single MIDI channel BEATS MODE Status P BtsCh Basic TrigCh Basic Status eOff BEATS mode off SEI ices BEATS mode on The Riff assigned in the preset is used Pia BEATS mode is turned on ONLY if the Riff assigned in the preset is a BTS riff The Riff assigned in the preset is used Default setting eM BEATS mode on The Master Riff is used Arp Beats menu BEATS MODE Status P BtsCh Basic TrigCh Basic Beats Channel BtsCh e 01 16 Selects the MIDI channel on which BEATS play e Basic BEATS play on the MIDI channel displayed in the Main Screen Trigger Channel TrigCh e 01 16 Selects the MIDI channel on which Trigger Keys will be active eBasic Sets the Trigger Keys to the MIDI channel displayed on the Main Screen Mo Phatt Operation Manual 39 Arpeggiator Beats Menu SuperBEATS 40 E MU Systems D To Play BEATS Quick Start 1 2 3 Select any preset with the bts prefix Play the keyboard keys from C1 to B2 Refer to the Default Assignment
8. for MIDI channels 1 and 2 We re only using two for now to keep it simple Select a different preset for each MIDI channel while you re at it COl Vie7 POI R on PHATT 0262 arp Hollographik Start playing You should be hearing two arpeggiators playing at once Change presets on one or both of the MIDI channels you are using 1 amp 2 Since each factory preset has differently programmed arpeg giator settings changing the preset not only changes the sound but the arpeggiator as well Press the Control Select button on the front panel so that the Arp Beats LED is illuminated Adjust the front panel control knobs Remember that the knobs are controlling the arpeggiator on the channel displayed in the main screen Try changing one of the channel s arpeggiator setting to M instead of on Now press the Arpeggiator menu button on the front panel and adjust the arpeggiator parameters in real time From the Master Arpeggiator menu set the Mode to Pattern then explore the different patterns There are 200 patterns available MASTER ARPEGGIATOR Pattern 99 Pattern Name Now you re starting to get the picture of how versatile and easy to use Mo Phatt really is Control Volume Button Control Basic Operations Front Panel Basic Operations Master Edit Cursor Power Menu Menu Controls Switch e scco oh a A I 9 SS 4 d
9. programmed as part of the preset will play The Riff is latched on and plays continuously until the button is pressed again Presets can be changed while Audition is latched on The top line of the display changes to show the MIDI Bank Select controller values needed to select the preset being auditioned This is an extremely handy feature when sequencing Mo Phatt Operation Manual 17 Setup Instant Gratification Bank MSB 007 LSB 2 PHATT 125 key SynhissOrgan To Audition a Preset 1 Select a preset by turning the data entry control while the cursor is anywhere on the lower line The preset number field shown above is the normal position of the cursor and pressing the Enter button will return the cursor to this position 2 Press the Audition button on the front panel The Audition LED will illuminate and a short riff will play the selected preset 3 Continue to select and audition presets 4 Press the Audition button again to turn Audition mode off The LED will extinguish Selec ting and Quick The first thing you ll do with the Mo Phatt is select and play the factory Editing Presets provided presets Mo Phatt comes standard with 8 banks containing 128 presets each See Main Screen on page 30 Initial Initial Channel Volume Pan Arpeggiator Preset Number Setting Setting Setting Location 1 N I I l COl Vi27 POl R off USER 125 x key SynhissOrgan x x N ZN N l N s Blinking P
10. 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 KEY Vinyl 73 KEY WahChunk LED 70s Lead LED Deep Thought LED Fantasy LED Fantasy LED ProphetLine LED Raveline LED Raveline2 LED SineWorm LED SineWorm2 PAD Addtive Org PAD Cherubs PAD Cherubs 2 PAD DanceLitez PAD DeadMetal1 PAD Drone 1 PAD Drone 1 2 PAD Drone 2 PAD DroneSwirl PAD OBLayer1 PAD PluckedGold PAD StringLayer PAD StringLayr2 PAD TheMadSweep SFX Solar Babies SFX WooleyBob SFX YaYAYA STR BalladHarp STR BalladHarp2 STR Harpo STR HybridSynth STR PizzStrings STR Oops STR OrchHarp STR Sa Spen Ful STR SectionPizz STR Suspense STR SynthString STR Virgoe SYN 2 Step SYN AgonyOrgon SYN BrassProphet SYN Classic 1 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 SYN LadyOrg1 SYN LadyOrg2 SYN PLUCKY SYN Prosync SYN Silkwerm SYN Syco Girl SYN Wan X SYN Weeperr SYN Winny VOX Agony Agony VOX DaddysGal VOX Voicyst VOX Voxcade WAV Sinusoid WAV Square PRC Kicks 1 PRC Kix 1 PRC Kix 2 PRC Misc PRC Per Oct PRC Scratches KIT AllmyMoMeeS KIT BettaBeata KIT Construction KIT CornaSto KIT CornaSto2 KIT Crunch KIT DarkFlower KIT DarkFlower2 KIT DePhlanga KIT FriscoLayer KIT Funk 4 Life KIT GM
11. 285 286 287 288 BTS Lily 4 BTS Lily 5 BTS Luv Joens BTS MaleBasher BTS MoHappyFeet BTS MooshooClan BTS MounTenbery BTS My Girl BTS NWO BTS Oh BaebeeZ BTS Play Cousin BTS Q BORO 289 290 291 292 293 294 295 296 297 298 299 Appendix Riff Listing BTS ShakitZ BTS SistaHoney BTS SmoothOneZ BTS SpaceBoyZ BTS The Ultimate BTS U4 Got ME BTS VideoGamez BTS While U Werk BTS Wide Hive BTS YeaYeaZ BTS ZMan Example Percussion Maps Hot n Steamy Factory Preset 009 Appendix Example Percussion Maps The following percussion maps will give you a general idea of how most of the percussion instruments are laid out Certain drum kits as in instruments 761 799 have empty keys so that you can insert drums of your own choosing To insert a new sound onto an empty key simply layer another drum kit and limit its range to just that key Use the Transpose function to select which instrument is placed on the empty key The preset below shows how percussion instruments and melodic instru ments can be combined in one preset using layers MIDI Key 061 Sul daag Bulg xJs Kick Low Echo Snare Slap Snare Bell Kick Bell Kick Dome Kick Dome Kick Hard Bink Kick Hard Bink Kick Orch Crash Ride Cymbal Splash Cymbal Hi Crash Cym Ride Cymbal 2 Hi Bongo Hi Bongo Mute Lo Conga LLZ sul 91071 AVd HA 80r ISU I SUIS XOA Tight Jazz Hat Jazz Open Hat
12. 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 gtr Wah Scale 2 gtr Wah Scale 3 gtr Wah Scale 4 gtr Wah Scale 5 gtr Wah Scale 6 gtr Wah Scale 7 gtr Wah Scaler gtr Wah Scaler 2 gtr WahSurprised gtr Wah Upper gtr Walk On Waka gtr Walker Wah gtr Wuckit gtr Funky Likka gtr Squawk Hit gtr Vinyl Mood gtr 1 Note Mute gtr RapNylonWave gtr R amp B NylonWav gtr EffectsDO BO gtr Happy Strum gtr Sexy Slide 1 gtr Sexy Slide 2 gtr 2StrokeStrum gtr Fast Slider gtr Fine Slider gtr NIn Strum Dn gtr Gritty Slide gtr Knock 1 gtr Knock 2 gtr Squeak 1 gtr Squeak 2 gtr General Elec gtr Strat 1 Shot gtr NotherElWave gtr Dis One Notr gtr Funk Pop gtr Pop 2 gtr Chord Bed gtr Krackly Kord gtr Amp Noise gtr Amp Ped Mo Phatt Operation Manual 201 Instrument Listing 202 E MU Systems 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 gtr All Burners gtr Hardcore gtr Psycho Noise gtr Fuzz Tone gtr Slicer gtr Dissed Hit gtr Doooom pad Drone 1 pad Drone 2 pad Drone 3 pad Sirens hit Guit n Hat hit Wah Kicker hit Satisfying hit SP12OrgChord hit Weird Gtr led DeepThoughts led Fantastic70s led Guitlet Wave syn Synt
13. Mo Phatt contains an internal Master Clock The Master Clock controls SuperBEATS arpeggiators synchronizes the LFOs when in tempo based mode controls the times of tempo based envelopes and can be used as a modulation source in the PatchCords section There are two tempo values shown in the display Base Tempo This is the base tempo setting before being modified by the Tempo Controller if engaged See Tempo Controller on page 77 e Current Tempo This is the actual tempo The current tempo is equal to the base tempo modulated by the MIDI controller specified in the Tempo Controller screen If no MIDI Tempo controller message has been received since the last Base Tempo change the Current Tempo will be equal to the Base Tempo The LED to the right of the button blinks at the current tempo rate gt To Change the Base Tempo 1 Move the cursor to the lower line of the display 2 Adjust the Base Tempo using the Data Entry Control BASE TEMPO TAP gt enter 120 bpm current 182 3 To Tap Tempo Tap the Enter button at least three times when the cursor is on the top line of the display Keep tapping to continuously update the tempo on each tap The tap tempo range is 25 300 bpm The Base Tempo values range from 1 through 300 beats per minute BPM or you can select use MIDI to use an external MIDI clock source SuperBEATS is a 16 track play only sequencer that is optimized for live performance and groov
14. Select the desired Riff using the Data Entry Control BEATS Riffs are identified by the BTS prefix If there is more than one ROM in Mo Phatt you can select Riffs from either ROM set Move the cursor under the ROM ID and select using the Data Entry Control Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Arpeggiator Beats Menu SuperBEATS Riff Tempo This setting determines whether Riff Tempo the tempo stored with each Riff or the Current Tempo the Base Tempo from the Master Clock will be used for BEATS To control the Riff Tempo from MIDI clock set Riff Tempo to use current tempo and Base Tempo to use MIDI RIFF TEMPO use riff tempo gt To Set the Riff Tempo Mode 1 Use the cursor buttons to move the cursor to the lower line of the display 2 Select use riff tempo or use current tempo using the Data Entry Control 3 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Riff Controllers Riffs contain real time control information This function allows you to turn these controllers On or Off for the Riffs This control affects Audition Riffs as well as BEATS Riffs RIFF CONTROLLERS use riff controllers To Turn Riff Controllers On or Off 1 Use the cursor buttons to move the cursor to the lower line of the display 2 Select use riff controllers or ignore riff controllers
15. diagram on page 37 and try out each of the keys Try out the Wild 1 4 knobs and other bts presets Now check out the other cool BEATS controls explained in this chapter e If BEATS are not playing Locate the screen at the top of this page in the Arp Beats menu and set the parameters exactly as shown D To Play BEATS on a different MIDI channel This is just an example of how you might use this feature NOOB amp ND Set your MIDI keyboard to transmit on channel 2 Set the Status to P Set the Beats Channel to 01 Set the Trigger Channel to Basic Select any bts preset on channel 1 main screen From the main screen change to channel 2 and select another preset The Trigger Keys now play BEATS and the other keys play the preset on channel 2 BEATS Controllers Arpeggiator Beats Menu SuperBEATS BEATS can be controlled using the front panel real time controllers or external MIDI continuous controllers Controllers are patched to BEATS via the Preset PatchCords located in the Edit menu The following Preset PatchCord destinations control BEATS Beat Velocity Group 1 4 BtsVelG1 gt BtsVelG4 Parts assigned to one of the four BEATS groups can have their velocity scaled by the controller input Since most bts presets have velocity controlling volume this control can be used to mix the relative levels of the Groups Beats velocity works as a percent addition An input value of
16. fingered glide solo mode 131 first key 96 flange effects 171 flanger effect processor 181 flashing LEDs 26 37 flip flop processor 94 footswitch 14 76 85 free running LFO 139 frequency center 105 cutoff 103 filter 135 144 frequency modulation 84 front panel knobs 195 FX cords 151 FX mode 69 176 FXA algorithm 173 174 FXA parameters 149 FxB gt FxA 173 174 178 FXB algorithm 149 173 175 FXB master algorithm 71 FXB parameters 150 FXB submix routing 72 G gain processor 94 gamelan tuning 153 gate 85 gate time 53 generator envelope 85 filter envelope 135 165 noise and random 85 volume envelope 127 glide 132 curve 132 key 85 rate 85 132 global effects 174 177 grooves beat 37 group assigning channels toa 131 groups beats 37 headphones 14 high frequency damping 71 172 180 high pass filter 102 161 home position 19 home enter button 26 35 65 ID number sysex 73 implementation chart MIDI 222 initial pan position 126 initial volume 126 instrument 107 157 category 33 listing 201 selecting 116 instrument listing 201 inverting LFO waves 90 just C tuning 153 description 154 just intonation 153 K key glide 85 offset arpeggiator 60 range arpeggiator 58 syne 55 transpose 125 trigger 43 tuning 82 velocity 85 key range 118 preset link 155 keyboard character assignments 114 key 85 layering and splitting 167 pressure 85 range 117 118 splitting 167 thru arpeggiator 57
17. for example near a bathtub washbowl kitchen sink in a wet basement on a wet bar or near or ina This symbol is intended to swimming pool Do not expose the unit to drips or splashes alert you to the presence of 4 The Mo Phatt should be situated so that its location or position does important operating and not interfere with its proper ventilation maintenance servicing 5 The Mo Phatt should be located away from heat sources such as instructions in the literature e radiators heat registers fireplaces stoves or ovens accompanying the unit 6 The Mo Phatt should be connected only to a power supply of the type described in the operating instructions and marked on the product 7 Care should be taken so that objects do not fall and liquids are not spilled into the enclosure of Mo Phatt through openings 8 This Mo Phatt may be equipped with a polarized line plug one blade wider that the other This is a safety feature If you are unable to insert this plug into the outlet do not defeat the safety purpose of the plug Contact an electrician to replace your obsolete outlet 9 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the unit m 10 Unplug the Mo Phatt from the power outlet during lightning storms or This symbol is intended to when left unused for a long period of time alert you to the presence of uninsula
18. mation in the last section for detailed descriptions of these parameters 10 Save the preset The programmed effects setting will be saved along with the preset Master Effects You might want the effects to be programmed on a global basis when in Omni or Poly modes You could choose your favorite reverb for example and have it applied to any preset you select When playing single presets the effects are normally programmed as part of the preset In Multimode the Master effects are used since there are only two effect processors to serve 16 MIDI channels D To Program the Master Effects 1 Press the Master menu button The LED illuminates and the Master screen appears 2 Use the Data Entry Control to select the FXA Algorithm screen FXA ALGORITHM Lg Concert Pan 3 Select an Effect 4 Use the Data Entry Control to select the FXA parameter screen FXA DECAY HFDAMP FxB gt FxA 90 127 127 The FxB gt FxA parameter lets you route the B effect through the A effect See Effect B Into Effect A on page 178 174 EMU Systems G The MIDI mode Master Menu must be set to Omni or Poly mode in order to select the effects in the preset Effects Master Effects Set the other effect parameters to your preference Refer to the infor mation in the last section for detailed descriptions of these parameters Use the Data Entry Control to select the FXB Algorithm screen FXB ALGORITHM Distorted Flange
19. using the Data Entry Control 3 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Mo Phatt Operation Manual 47 Arpeggiator Beats Menu SuperBEATS MIDI Song Start Arp Riff MIDI Out 48 EMU Systems This function enables or disables MIDI Song Start for the Arpeggiator and Riffs The MIDI Song Start option restarts the arpeggiator and or Riff BEAT to the beginning when a MIDI Song Start command is received This is useful for synchronizing arpeggios and BEATS when recording into or playing along with a sequencer You can choose to resync Arp Riff both Arp and Riff or disable MIDI Song Start MIDI SONG START resyncs arps amp riffs This parameter selects whether or not the Arpeggiator and or Riff BEATS note data is sent to the MIDI out port This feature lets you use Mo Phatt as an arpeggiator or sequencer for your other MIDI instruments It also lets you record the arpeggios and Riffs into a MIDI sequencer You can choose to transmit Arpeggiator data Riff data both Arp and Riff data or nothing ARP RIFF MIDI OUT don t transmit Arpeggiators G SAVE your Arp setups and name them using the Save Setup function located in the Save Copy menu See Saving Multisetups on page 190 Arpeggiator Beats Menu Arpeggiators An arpeggiator moves a pattern of notes sequentially over a range of the keyboard Mo Phatt has the unique ability to p
20. 000 0 32 Quarter Note 24 Dotted Eighth Note 18 Quarter Note Triplet eeeseeeeeeessee 16 8th Nofe u 8cen aes 12 Dotted 16th Note 9 8th Note Triplet 8 T th N te ar 6 Dotted 32nd Note nenne 4 5 16th Note Trtplet AE 4 S2NG D 3 Ar peggia tor Pattern The Arpeggiator Pattern Speed parameter lets you change the playback rate Speed of Patterns by 1 4x 1 2x 1x normal 2x or 4x normal speed Pattern This field lets you choose the pattern used when the arpeggiator Mode is set to Pattern There are 200 factory programmed patterns and you can create an additional 100 user definable patterns see Editing a User Arpeg giator Pattern on page 59 MASTER ARPEGGIATOR Pattern 99 Pattern Name 52 EMU Systems Velocity Gate Time SS The note on time is used for the start of time when calculating note durations See Duration on page 56 Arpeggiator Beats Menu Master Arpeggiator Parameters The Velocity parameter determines the velocity at which each note arpeg giates Velocity can be defined by the velocity value specified from 1 through 127 or by the actual velocity of the played note played Bear in mind that velocity values do not have an effect on the sound unless the preset is programmed to respond to velocity MASTER ARPEGGIATOR Velocity The Gate Time parameter works together with the Note Value parameter Just as Note Value defi
21. 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 Appendix Instrument Listing kit Lily GMS kit Funky GM One kit Funky GM 2 kit Funky GM 3 kit Funky 4 kit Funky 5 kit Funky 6 pre Kick 1 prc Kick 2 pre Kick 3 prc Kick 4 pre Kick 5 prc Kick 6 prc Kick 7 prc Kick 8 prc Kick 9 prc Kick 10 pre Kick 11 prc Kick 12 pre Kick 13 prc Kick 14 prc Kick 15 prc Kick 16 prc Kick 17 prc Kick 18 prc Kick 19 prc Kick 20 prc Kick 21 prc Kick 22 prc Kick 23 prc Kick 24 prc Kick 25 prc Kick 26 prc Kick 27 prc Kick 28 prc Kick 29 prc Kick 30 pre Kick 31 prc Kick 32 prc Kick 33 prc Kick 34 prc Kick 35 prc Kick 36 prc Kick 37 prc Kick 38 Appendix Instrument Listing Instrument Listing 532 prc Kick 39 576 key Tine Hit 2 620 prc Snare 39 533 prc Kick 40 577 key Tine Hit 3 621 prc Snare 40 534 prc Kick 41 578 key Tine Hit 4 622 prc Snare 41 535 prc Kick 42 579 key Tine Hit 5 623 prc Snare 42 536 prc Kick 43 580 key Tine Hit 6 624 prc Snare 43 537 prc Kick 44 581 key Tine Hit 7 625 prc Snare 44 538 prc Kick 45 582 prc Snare 1 626 prc Snare 45 539 prc Kick 46 583 prc Snare 2 627 prc Snare 46 540 prc Kick 47 584 prc Snare 3 628 prc Snare 47 541 prc Kick 48 585 prc Snare 4 629 prc Snare 48 542 prc Kick 49 586 prc Snare 5 630 prc Snare 49 543 prc Kick 50 587 prc Snare 6 631 prc Snare 50 544 prc Kick 51 588 prc Snare 7 632 prc Snare 51 545 prc Kick 52 589 p
22. E EE Selects which keyboard key triggers the Part eLatch The first key press turns the Part on the next turns it off eUnlatch The Part plays only while the key is held 1 bar The Part plays for one bar then stops BEATS TRIGGER LAYOUT Part 1 Key Cl unlatch 1 Bar Trigger Option The 1 bar option requires a bit of explanation When a trigger key is pressed before the last beat of the measure the part will continue playing until the end of the measure If the Trigger Key is pressed after the last beat of the measure the part waits until the next measure before playing Then it plays for the entire measure and stops The time signature and the measure bounds are determined by the particular BEATS Riff you are playing Part continues pressed before to end of measure the last beat then stops Trig Key 1 2 3 4 1 2 3 4 Measure 1 Measure 2 Trig Key Part begins at pressed next measure and here plays entire measure 1 Measure 1 i Mo Phatt Operation Manual 43 Arpeggiator Beats Menu SuperBEATS Beats Trigger Offset Beats Part Velocity 44 EMU Systems This function slides the Beats Trigger keys assigned in the previous screen up and down the keyboard This makes it easy to change the keyboard location of the trigger keys without having to re assign each key A positive offset moves the group of triggers up the keyboard by the designated number of keys Negative offsets mov
23. Poly 2 A D Four bins of 2 channels each Notes are played polyphonically with dynamic channel assignment using no more than 2 channels each Mono A I Nine monophonic channels Any layers assigned to the same letter interrupt each other without affecting other layers Mo Phatt Operation Manual 131 Glide Z Plane Filters 132 EMU Systems Edit Menu Glide Glide creates a smooth transition from one note to the next instead of the normal instantaneous change in pitch when a new key is pressed This effect is commonly heard on slide guitars synthesizers and violins U GLIDE RATE CURVE 0 000 sec oct linear The Glide Rate parameter defines the time it takes to glide to the new pitch the larger the value the slower the glide rate The glide rate value range is from 0 through 32 738 seconds zero means off The Glide Curve describes how the glide accelerates as it slides between notes Because of the ear s non linear response to pitch a linear glide sounds slow at the beginning and speeds up toward the end Exponential curves actually sound smoother and more linear Eight exponential curves are provided Choose one that suits your style Linear Exp1 Exp8 3 N 3 v v v amp Es amp Di Di Di S 8 Oo Oo Oo Last New Last New Last New Note Note Note Note Note Note Glide can be either polyphonic or monophonic depending of the state of Solo Mode A filter is a device which changes the output of a signal sound by r
24. Poly or Multi mode MIDI MODE CHANGE omni ignored The MIDI Mode Change parameter specifies whether mode changes made through an external MIDI controller are accepted or ignored The MIDI modes are as follows Omni Responds to note information on all MIDI channels and plays the preset currently displayed in the main screen Poly Responds only to note information received on the currently selected MIDI channel on the preset selection screen and plays that channel s associated preset Multi Responds to data on any combination of MIDI channels and plays the specific preset associated with each of the MIDI channels You must select multi mode for multitimbral operation MIDI SysEx ID This page defines the MIDI system exclusive SysEx device ID number The SysEx ID lets an external programming unit to distinguish between multiple Mo Phatt units connected to the same preset editor In this case each unit must have a unique SysEx ID number G WARNING When transferring SysEx data from one Mo Phatt to another the ID numbers of both units must be MIDI SYSEX ID the same 000 Mo Phatt Operation Manual 73 MIDI Enable MIDI Program Change gt Preset Q The Program gt Preset Change only works for program changes received in Bank 0 74 EMU Systems Master Menu MIDI Parameters MIDI Enable lets you turn each MIDI channel on and off independently when in Multi mode This feature is helpful when yo
25. Slider 3 Slider 4 MIDI Controller Routing Standard Function 21 22 23 24 Master Menu Controller A Controller Controller C Controller Control Knobs A E 1 B F J csek D H L Dom gt Amount Controls Filter Frequency Controls Filter Resonance Controls Envelope Attack Controls Envelope Release Patchcord Destinations I Key Sustain i Fine Pitch 1 Pitch i Glide I Chorus Amount 1 Sample Start i Sample Loop 1 Sample Retrigger i Filter Frequency 1 Filter Q Amplifier Volume I Amplifier Pan Amplifier Crossfade i Volume Envelope Rates 1 Volume Envelope Attack Volume Envelope Decay 1 Volume Envelope Release i Filter Envelope Rates 1 Filter Envelope Attack i Filter Envelope Decay I Filter Envelope Release l Aux Envelope Rates i Aux Envelope Attack 1 Aux Envelope Decay i Aux Envelope Release 1 LFO 1 amp 2 Rates LFO 1 amp 2 Trigger 1 Lag Processor i Summing Amp 1 Switch 1 Absolute Value Diode 1 Quantizer 4x Gain 1 Cord 1 24 Amount i l 1 1 I I 1 1 I Cord FXA Send 1 4 Fret I FXB Send 1 4 Cords Preset Lag In 1 Preset Lag Amount MIDI A L are internal connections which simultaneously carry front panel controller knob data and MIDI continuous controller data The four controller knobs on the Mo Phatt front panel work just like MIDI real time controllers The four controller knobs are permanently assigned to
26. Use the Data Entry Control to change the value 5 Press the Enter key to save the settings The Effects Mode values are enabled and bypassed Enabling the Effects Mode turns on effects Selecting bypassed turns off the effects The effects processor controls are very flexible The effects can be controlled in three different ways to suit your personal preference and to adapt to different situations When in Omni or Poly mode effects are normally programmed as part of the preset In Multi mode the two effects processors can be controlled using the Master settings or by using the effects settings of a preset on a specific MIDI channel Effects can be programmed in the following ways 1 Programmed as part of the preset when playing single presets Omni or Poly Modes 2 Programmed from the Master Effects Section when playing either single presets preset Effect Type set to Master or when in Multi Mode 3 Programmed from the designated control preset when in Multi Mode Effects Master Effects Refer to the following diagram for a look at how effects are programmed Effects are part of the Preset Master Effects One Channel s Preset determines the Effect Settings Multi mod Multimode Preset Ch 16 Selected FX Control Channel gt gt To Program the Effects Globally for all Presets in Multi Mode 1 Press the Master menu button The LED illuminates and the
27. We re talking LARGE sounds here Of course Links can also be used when you just want to stack up two sounds As an example let s stack two presets to create a big sound Start with a preset you like then go into the Links screen and start scrolling through the preset list while you play to hear both presets together When you find a winner simply Save the preset and you re finished e You can Split the keyboard up to 12 ways by using combinations of the Layers and Links e By adjusting the Velocity for the link you can bring in the link by playing hard e Transposing the Link can radically change the sound e The delay parameter lets you create surprise effects echoes or cascades of sound as you continue to hold the keys Mo Phatt Operation Manual 155 Preset Tempo Offset Q For more information see Base Tempo Master Clock on page 36 Audition Riff Selection Rx Listening to the Riffs is a quick way to learn the sounds in Mo Phatt If a preset has hidden tricks or controllers these will be shown off in the Riff Play Solo Layers 156 EMU Systems Edit Menu Preset Tempo Offset This function allows you to double or halve the Base Tempo as it applies to this preset When playing or sequencing several presets in Multimode the Base Tempo may be too fast or slow for one preset Using this feature you can adjust the tempo for the misbehaving preset The Tempo Offset can use the current tempo or be se
28. drum machine or sequencer See Base Tempo Master Clock on page 36 Clocks are routed exactly like the other modulations sources using the PatchCords The PatchCord Amount MUST be positive for the clock to pass By modulating the PatchCord Amount you can route the divided clocks using real time controllers or other modulation sources When an LFO is triggered by a clock the LFO wave resets to zero every time the clock wave goes low If the LFO rate is close to the clock rate the LFO virtually synchronizes with the clock If the two rates are far apart the waveform of the LFO will be mildly or radically altered Triggered LFO i LFO Wave Clock LFO Trigger causes the LFO to reset each time the clock waveform goes low Programming Basics Clock Modulation LFOs can also be perfectly synchronized with the clock at any of 25 note divisions This allows you to create very cool synchro sonic effects that work perfectly at any tempo Choosing one of the note divisors in the LFO rate screen selects the synced LFO function There are many possibilities for clock modulation and retrigger For example you can create a repeating six segment curve of any shape by f triggering the Filter or Auxiliary Envelope generators with the clock A few other possibilities are listed below LFO Synced to 1 4 Note Clock Turn different voice layers on and off using different clock divisors e Switch between Auxilia
29. extension programmed in the Arpeggiator Extension Interval screen See Extension Interval on page 54 The Master Arpeggiator is defined in the Arp Beats menu The Arpeggiator mode selected on the Main Screen determines whether the Master arpeg giator or the Preset menu arpeggiator settings are used gt To Access the Master Arpeggiator Parameters 1 Press the Arpeggiator menu button lighting the LED The Arpeggiator menu screen displays the menu page most recently selected since powering up Mo Phatt The cursor appears below the first character of the screen heading on line one 2 Use the right cursor button to advance the cursor to the first field in the bottom line of the screen 3 Now use the Data Entry Control to access the various Master Arpeggiator parameters 4 Save your Arpeggiator settings using the Save Setup function on the Save Copy menu Arpeggiator Beats Menu Master Arpeggiator Parameters Status The Status parameter turns the Master Arpeggiator on and off The Channel Arpeggiator setting in the main screen overrides this setting For example if you set the Arpeggiator in the main screen to off and turn it on here it still will not play MASTER ARPEGGIATOR Status Mode The Mode parameter determines the direction or pattern mode of the arpeggiated notes MASTER ARPEGGIATOR Mode The eight arpeggiator modes are e Up Held notes arpeggiate continuously from lowest to
30. more than 64 modulation destinations and 24 patchcords to connect everything together In addition the four layers can be crossfaded or switched by key position velocity or any real time modulation source Instrument Z Plane Filter R Layer 1 gt Fe gt gt Pan L Instrument Z Plane Filter R Layer 2 gt 3 D Instrument Z Plane Filter R Layer 3 Wem pi haa gt Pan L Instrument Z Plane Filter R Layer 4 gt Fe gt Pan L In most of the Edit screens the selected layer is shown in the upper left corner of the display Layers 1 4 or All can be selected by positioning the cursor on this field and using the Data Entry Control to change the layer In the screen shown below Layer 1 is selected LI INSTRUMENT ROM PHATT 0305 bas Moog Sub When All Layers A is selected the existing parameter value for any field will be displayed if all layers are equal If the layer parameter values are NOT equal the value of Layer 1 will be displayed with flashing characters If you move the Data Entry Control all values will be equal to this new value and the parameter value will no longer flash Mo Phatt Operation Manual 115 Defining Layer Parameters Selecting an Instrument 116 EMU Systems Edit Menu Defining Layer Parameters The Edit menu parameters define the four layers and inclu
31. on page 30 Rx Save the Multisetup 4 Mo Phatt now responds multitimbrally on each of the MIDI channels using the instructions provided you have specified The volume and pan position parameters can be in Chapter 9 Save Copy adjusted over MIDI for each MIDI channel or using the Cursor and Data Entry Control in the Preset Select screen Volume Channel 01 PRESET Volume Channel 02 PRESET Volume Channel 03 PRESET J Channel 16 PRESET Each of the 16 MIDI channels can be assigned to play a specific Mo Phatt preset 34 E MU Systems Q Arp Beats and Master parameters are automatically saved to the current multisetup when you exit the menu but you may wish to save to another location Arpeggiator Beats Menu Arpeggiator Beats Menu Mo Phatt s SuperBEATS mode allows you to trigger latch and unlatch synced loops and grooves from separate keys on your keyboard Select a SuperBEATS Riff and then choose any one of Mo Phatt s presets Now by playing 24 assignable keyboard keys you can bring specific Parts in and out It s time to Groove Mo Phatt can also run up to 16 simultaneously synced arpeggiators each with a different preset sound The arpeggiators can either play one of 7 arpeggios or can be set to play a pattern which is a stored sequence of notes Combined with SuperBEATS the number of musical permutations is staggering gt To enable the Arpeggiator Beats menu Press th
32. prc Hat 72 prc Hat 73 pre Hat 74 pre Hat 75 prc Hat 76 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 Appendix Instrument Listing prc Hat 77 pre Cymbal 1 prc Cymbal 2 prc Cymbal 3 pre Cymbal 4 pre Cymbal 5 prc Cymbal 6 pre Cymbal 7 prc Cymbal 8 prc Cymbal 9 pre Cymbal 10 prc Cymbal 11 prc Cymbal 12 prc Cymbal 13 prc Cymbal 14 prc Cymbal 15 prc Cymbal 16 prc Cymbal 17 prc Cymbal 18 pre Cymbal 19 pre Cymbal 20 prc Bongo 1 prc Bongo 2 prc Bongo 3 prc Bongo 4 prc Bongo 5 prc Bongo 6 prc Bongo 7 prc Bongo 8 prc Bongo 9 prc Bongo 10 prc Bongo 11 prc Bongo 12 prc Bongo 13 prc Bongo 14 prc Bongo 15 prc Bongo 16 prc Bongo 17 prc Claps amp Snp 1 prc Claps amp Snp 2 prc Claps amp Snp 3 prc Claps amp Snp 4 prc Claps amp Snp 5 prc Claps amp Snp 6 Mo Phatt Operation Manual 207 Instrument Listing 208 E MU Systems 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 prc Claps amp Snp 7 prc Claps amp Snp 8 prc Claps amp Snp 9 prc Claps amp Snp 10 prc Claps amp Snp 11 prc Claps amp Snp 12 prc Cl
33. 147 772 kit 6NoHats 685 prc Snare 104 729 prc Snare 148 773 kit 6NoKickSnare 686 prc Snare 105 730 prc Snare 149 774 kit 7NoHats 687 prc Snare 106 731 prc Snare 150 775 kit 7NoKickSnare 688 prc Snare 107 732 prc Snare 151 776 kit 8NoHats 689 prc Snare 108 733 prc Snare 152 777 kit 8NoKickSnare 690 prc Snare 109 734 prc Snare 153 778 kit 9NoHats 691 prc Snare 110 735 prc Snare 154 779 kit 9NoKickSnare 692 prc Snare 111 736 prc Snare 155 780 kit 1ONoHats 693 prc Snare 112 737 prc Snare 156 781 kit 10NoKikSnare 694 prc Snare 113 738 prc Snare 157 782 kit 11NoHats 695 prc Snare 114 739 prc Snare 158 783 kit 11NoKikSnare 696 prc Snare 115 740 prc Snare 159 784 kit 12NoHats 697 prc Snare 116 741 prc Snare 160 785 kit 12NoKikSnare 698 prc Snare 117 742 prc Snare 161 786 kit 13NoHats 699 prc Snare 118 743 prc Snare 162 787 kit 13NoKikSnare 700 prc Snare 119 744 prc Snare 163 788 kit 14NoHats 701 prc Snare 120 745 prc Snare 164 789 kit 14NoKikSnare 702 prc Snare 121 746 prc Snare 165 790 kit 15NoHats 703 prc Snare 122 747 prc Snare 166 791 kit 1SNoKikSnare 704 prc Snare 123 748 prc Snare 167 792 kit 16NoHats 705 prc Snare 124 749 prc Snare 168 793 kit 16NoKikSnare 706 prc Snare 125 750 kit Nu Soul 794 kit 17NoHats 707 prc Snare 126 751 kit 80s Drm amp Bass 795 kit 17NoKikSnare Instrument Listing 796 797 798 799 800 801 802 803 804 805 806 807 808 8
34. 18 30 send preset effect 145 send amount FXA 71 149 150 send amounts 169 sends effect 68 sequence using multisetups in a 188 setup basic 14 studio 15 signal path 107 169 slapback 181 Mo Phatt Operation Manual 235 Index 236 EMU Systems slapback effect 181 solo layer 156 solo mode 130 song start MIDI 48 58 sound navigator 33 selecting instruments 116 sound start 129 sources modulation 144 specifications technical 225 split keyboard 155 splitting the keyboard 167 using links 167 stack layers 119 presets 155 standard MIDI switch numbers 77 standardized MIDI controller numbers 76 start stop groove 37 status arpeggiator 51 step by step instructions 157 stereo delay effect 182 stolen voices 131 studio setup 15 submix routing FXB 72 summing amp processor 93 summing nodes 84 superbeats 35 36 definition 36 swept EQ filter 105 switch mod processor 93 switch processor 93 97 sync arpeggiator 55 key 55 LFO 137 139 MIDI song start 48 synth solo mode high 131 last 130 low 131 sysex packet delay 80 system exclusive device ID 73 ID 73 send data 81 T tap tempo 36 technical specifications 225 tempo offset 156 tempo based 127 160 tempo based envelope 88 136 time arpeggiator gate 53 master FXB delay 72 time based envelope 87 time based 127 160 163 time based envelope 136 transmission errors 80 transmit MIDI knob 78 transpose 66 125 126 arpeggiator 54 preset link
35. 3 Now use the Data Entry Control to select a Multisetup The Enter LED will be flashing 4 Press the Enter button to load the selected Multisetup Mul tisetup Multisetups can be named to make it easier to remember their purpose Name 1 Scroll to the Setup Name screen shown below using the Data Entry Control MULTISETUP NAME 020 User Setup 23 2 Press either cursor button to move the cursor to the bottom line of the screen 3 Change the characters using the data entry control Change the cursor position using the cursor buttons 4 Press Enter or move the cursor to the top line when you re finished naming the multisetup Mo Phatt Operation Manual 189 Saving Multisetups Create Random Preset Q Examine interesting presets to learn how they work using the Edit menu 190 EMU Systems Save Copy Menu Multisetups D To Save a Multisetup 1 Set the Preset Volume Pan Arp and Beats settings the way you want them for all channels Set the Master menu parameters the way you want them Press the Save Copy button then scroll to the Save Setup screen shown below using the Data Entry Control SAVE SETUP TO 020 Destination Multisetup Press either cursor button to move the cursor to the bottom line of the screen Now use the Data Entry Control to select the destination location The Enter LED will be flashing Press the Enter button to save the Multisetup This
36. 50 3 10 U 0 Master FXB This parameter selects the type of effect used for the B effect The A Igo rithm following effect types are available MASTER FXB ALGORITHM Chorus 1 Mo Phatt Operation Manual 71 Master Menu Master Effects B Effect Types Chorus 1 Ensemble Chorus 2 Delay Chorus 3 Delay Stereo Chorus 4 Delay Stereo 2 Chorus 5 Panning Delay ch Doubling Delay Chorus Slapback Pan Delay Chorus 1 Flange 1 Pan Delay Chorus 2 Flange 2 Dual Tap 1 3 Flange 3 Dual Tap 1 4 Flange 4 Vibrato Flange 5 Distortion 1 2 3 4 5 6 7 8 9 Flange 6 Distortion 2 Flange 7 Distorted Flange Big Chorus Distorted Chorus Symphonic Distorted Double FXB Parameters The FXB parameters setup the characteristics of the effect Use this page to define the feedback amount the LFO rate and delay amount for the Feedback LFO Rate selected type B effect See Effect Parameters on page 171 for details Delay Time FXB FEEDBK LFORATE DELAY 000 003 0 FXB Send Amounts These parameters set the effects amounts for each of the four stereo effects busses See the Effects chapter for detailed information FXB SEND AMOUNTS 1 100 2 50 3 10 U 0 72 E MU Systems Master Menu MIDI Parameters M l DI MIDI parameters control how the Mo Phatt sends and receives MIDI data Parameters MIDI Mode MIDI Mode selects one of the three MIDI modes Omni
37. 512 user locations USER Banks 0 3 available to store your own creations or edited factory presets It s easy and fun to edit or create your own unique presets Mo Phatt Operation Manual 83 Modulation 84 EMU Systems Programming Basics Modulation To modulate means to dynamically change a parameter whether it be the volume amplitude modulation the pitch frequency modulation and so on Turning the volume control on your home stereo rapidly back and forth is an example of amplitude modulation To modulate something we need a modulation source and a modulation destination In this case the source is your hand turning the knob and the destination is the volume control If we had a device that could turn the volume control automati cally we would call that device a modulation source Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation Mo Phatt is designed so that each of the variable parameters such as the volume has an initial setting which is changed by a modulation source Therefore in the case of volume we have an initial volume that we can change or modulate with a modulation source Two main kinds of modulation sources on Mo Phatt are Envelope Generators and Low Frequency Oscillators In the example above an envelope generator could be routed to automatically turn the volume control as programmed by the envelope Or a low frequency oscillator could be routed t
38. 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 SST RE S z Sa _ sch wh ZS FP PS GO Ga OO Ga G Go Ga MM MM MM MM MM BF sch sch sch eck ek D 1 8 6 N 9 8 D 2 NS N S N S NS np amp ND vox Dronodians C bts ItsUAgAIn kit UainT amp bts AllmyMoMeeS bts Glo BabieeS bts Sistahoney bts IT SLIKE Dat str StackedLegs bts Q BORO vox SingingTB bts My Girl YO kit RiDe E Z bts DirTay drTee bts MounTenbery kit SalsA Crunk vox FemmeDoTell kit Lesster key NoMoreKlav bts LAST CHANCE kit A YO IIGHT kit GOOD MU Sic syn Sin Symph 2 bts MALE BASHER bts DoitZ kit GuesWho sBak bts U4 Got ME vox Pretteeee II bts Dr Banner rom Like U bts SmoothoneZ kit TIME SquaRe bts Oh BaebeeZ bts GrungeZ bts ClapYoHandZ bts LaLaZ bts DialToneZ str Sa Spen Ful key Perc Klav key SiMPeL sfx theHitcher key Pretteeee gtr DaBradies amb CosmicKlasik syn WAWIFLHEAD vox Voxcade key MO 88 key SOOTCaSE 300 arp Plop key Doodee gtr Gen X key KeyStonE str VIRGOE vox Pretteeeelll arp AgonyOrgon vox SycoBoy key MO E DAN key StoneGroove key WaThunk vox Vespers gtr SprinkleltOn kit EasyRider syn WeirdVox2 kit Stoopit syn SilkWerm syn LadyOrgan2 amb RaveSlave amb MiseryMod kit Young Luv pad TheMadSweep kit Woo Kid pad JoVox bas Razza led RaveLine led SineWorm led ProphetLine bts MO HAPP
39. B effect sent through effect A This allows you to place the two effects in series and create setups such as distortion through reverb among others Please refer to the Effects chapter for more information about the effects FXA DECAY HFDAMP FxB gt FxA 048 064 000 These parameters set the effects amounts for each of the four stereo effects busses FXA SEND AMOUNTS 1 100 2 50 3 10 U 0 This screen selects the effect type for Effect Processor A Move the cursor to the lower line of the display and select the effect you want FXB ALGORITHM Panning Delay B Effect Types 1 Chorus 1 12 Flange 5 23 PanDelay Chorus 1 2 Chorus 2 13 Flange 6 24 PanDelay Chorus 2 3 Chorus 3 14 Flange 7 25 Dual Tap 1 3 4 Chorus 4 15 Big Chorus 26 Dual Tap 1 4 5 Chorus 5 16 Symphonic 27 Vibrato 6 Doubling 17 Ensemble 28 Distortion 1 7 Slapback 18 Delay 29 Distortion 2 8 Flange 1 19 Delay Stereo 30 Distorted Flange 9 Flange 2 20 Delay Stereo 2 31 Distorted Chorus 10 Flange 3 21 Panning Delay 32 Distorted Double 11 Flange 4 22 Delay Chorus Mo Phatt Operation Manual 149 FXB Parameters FXB Send Amounts 150 EMU Systems Edit Menu FXB Parameters The FXB parameters are Feedback LFO Rate and Delay Feedback sends the output of the effect back into the input This creates multiple echoes on a delay effect and intensifies a chorus or flange effect LFO Rate allows you to change the
40. BIG project Continuous Controller CC 0 is the MSB most significant byte and CC 32 is the LSB least significant byte Normally you send both the MSB and LSB controllers to implement a bank change Mo Phatt remembers the MSB and the LSB that were last sent or last changed from the front panel For example if you have already set the Bank MSB to 04 you need only send the LSB to change banks within the Mo Phatt sound set See the MIDI Bank Select chart below The selected bank remains selected until you change it either via MIDI or by changing the bank from the front panel Standard MIDI Program Change commands select from 128 presets within the selected bank MIDI BANK SELECT MSB LSB cc00 cc32 USER 00 00 Bank O USER 00 01 Bank 1 USER 00 02 Bank 2 USER 00 03 Bank 3 PHATT 13 00 Bank O PHATT 13 01 Bank 1 PHATT 13 02 Bank 2 PHATT 13 03 Bank 3 Stereo Mix Outputs Programming Basics Stereo Mix Outputs This feature is useful for adding signal processing EQ reverb etc of individual sounds prior to final mixdown The routing can be performed according to MIDI channel from the Mix Output screen in the Master menu Simply assign each channel to the desired output Master MIX OUTPUT Menu channel 01 Send d To route a particular preset to a Send first go to the Mix Output screen in the Master menu and set the MIDI channel to Preset Master MIX OUTPUT Menu channel Ol Preset Next set the Mi
41. Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded Do not modify the plug provided with this product If it will not fit the outlet have a proper outlet installed by a qualified technician If your Mo Phatt Model Number 9111 is rack mounted you must use a standard 19 inch open frame rack Screw on rack mount ears are provided for this purpose Mo Phatt Operation Manual 3 Important Safety Instructions User Maintenance Instructions User 1 The Mo Phatt should be kept clean and dust free Periodically wipe the H unit with a clean lint free cloth Do not use solvents or cleaners Maintenance SC A 2 There are no user lubrication or adjustment requirements Instructions Caution These servicing instructions are for use by qualified personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in these operating instructions unless you are qualified to do so Refer all servicing to qualified service personnel INSTRUCTIONS PERTAINING TO A RISK OF FIRE ELECTRIC SHOCK OR INJURY TO PERSONS READ THESE INSTRUCTIONS When using electric products basic precau tions should always be adhered to including the following 1 Read all instructions before using Mo Phatt 2 To reduce the risk of injury close supervision is necessary when using Mo Phatt near children 3 Do not use Mo Phatt near water
42. Chords Hits key KoolOrgKord1 key Kool Kord 2 key Rhodes FX 1 key WindownLetGo key Loop da Loop key Growl Drop key Org Roll 1 key Harpsinote hit DanceKeyl hit DanceKey2 hit DanceKey3 hit DanceKey4 hit DanceKeyS hit Organ hit Maj Org hit DirtyTine hit Piano Lick hit In Concert key Kool Kord key Nother No key Perc Organ 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 str Interrupted str Section Pizz str Orch Harp str Hybrid Synth str Sctn Legato str Synthetic str MoodChrdStab str Mood Stab 2 str Harp Gliss str Screenplay str Sp Loooopy hit Brass Balls str Hip Hop Pizz str Big PluckHit str Rap OrchRiff str Heartbreaker vox TB Ooh 1 vox TB Ooh 2 vox Talk Box Ooh vox Talk Box Aha vox Freak vox TBLet sDance vox Booms vox Doit vox Oh Yeahs vox Dan Cher 1 vox Dan Cher 2 vox Funky 1 vox Funky 2 vox All Vowels vox AlINTPVowels vox VowelEachOct vox Vowel Train vox Vowel Train2 vox Vocoder vox All Men vox All Femmes VoX OWWWWWWWW vox Screamer vox YahWailer vox Wassup vox Techno Yeah vox Scratch Talk hit Scratch Box vox Podge 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 37
43. Chorus Distorted Double A Effect types contain Reverb and Delay effects B Effect types contain Chorus Flange and Distortion effects There are 44 A effects and 32 B effects In addition to the effect type there are user adjustable parameters for each effect The A effects have programmable Decay and High Frequency Damping The B effects have user programmable Feedback LFO Rate and Delay Time Mo Phatt Operation Manual 171 172 EMU Systems Effects Effect Types Decay The Decay parameter is used when setting A type effects Decay sets the length of time it takes an effect to fade out When setting up reverb effects Decay controls the room size and the reflectivity of the room For larger room sizes and greater reflectivity set the Decay value higher When setting up delay effects the Decay parameter controls how many echoes are produced or how long the echoes last The greater the value the more echoes and longer lengths of time The Decay value range is from 0 through 90 High Frequency Damping The HF Damping parameter is used when setting A type effects High Frequency energy tends to fade away first as a sound is dissipated in a room the HF Damping parameter adjusts the amount of damping applied to the signal s high frequency elements which in turn changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency d
44. D Dmi and Bb sound in tune but the G chord will sound wrong Each of the 4 tables allows you to play a different group of common chords in just intonation Sadly there is no single 12 note tuning that will allow all of the common chords to be in tune and of course that s why they invented the equal temperament tuning system that we use today Just C Play these chords C E F G A Cm C m Em F m Gm Am Just C2 Play these chords C E F G A B C m D m Em G m Am Bm Just C2 minor Play these chords C DP D EP G AP Cm Em Fm Gm Just C3 Play these chords C D F BP C m Dm Em F m G m Am Preset Links Edit Menu Preset Links You can link presets to other presets to create layering or keyboard splits The current preset can be linked with up to two other presets Links 1 amp 2 Each linked preset can be assigned to a specific range in order to create keyboard splits or can be assigned a velocity range to switch links according to key velocity In addition you can specify Volume Pan Transpose and Delay settings for each Link The modulation parameters specified in each preset remain in effect for each preset in the link LINK 1 Preset 000 Preset Name LINK 1 KEY VEL RANGE C 2 68 000 127 LINK 1 VOLUME 0dB LINK 1 TRANSPOSE DELAY 00 0 Links provide an easy way to create new sounds by combining the existing presets Or you can create your own custom stacked presets with up to 12 layers
45. Filter Envelope times vary based on the Base Tempo Master Clock on page 36 setting and are displayed in values such as 1 2 3 etc Note values are displayed instead of a number when the time corresponds to an exact note value Tempo based envelopes are useful when using arpeggiators and sequencers because the envelope rates compress and expand accord ing to the Master Clock keeping the envelopes in sync with the music See the illustration on page 88 Ll FILT ENV RATE LEVEL Attack 1 1 4 100 Envelope Repeat The Envelope Generators can also be made to repeat When the envelope repeat function is On the Attack 1 amp 2 and Decay 1 amp 2 stages will continue to repeat as long as the key is held As soon as the key is released the envelope continues through its normal Release stages 1 amp 2 For more information see Envelope Repeat on page 88 gt To Turn on Envelope Repeat 1 Move the cursor until it is underneath the Mode field as shown below LI FILTER ENVELOPE Mode time based 2 Turn the data entry control clockwise The lower line changes to Ll FILTER ENVELOPE Repeat off 3 Move the cursor underneath the on off field then turn the data entry control clockwise so that Repeat is On 136 EMU Systems Q See the Programming Basics section of this manual for detailed information about how the Envelopes work Q The default PatchCord settings connect the Filter Envelope to Filter
46. GTR DissedHit GTR Fine Slide GTR Flange Pick GTR Gen X GTR Gen X 2 GTR GenerEl GTR Grit Slide GTR Grunge GTR HrndrixWah GTR Lik Choppy GTR LikeThisLik GTR Mood Riff GTR Nylon GTR Nylon 1 2 GTR Nylon 2 GTR Nylon 2 2 GTR NylonArp GTR NylonArp2 GTR NylonFantasy GTR One Shot GTR PhiltaSweep GTR Pinky Fingaz GTR Pop 2 GTR RBNylonWav GTR SlideHit GTR Slo Strum 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 Appendix Riff Listing GTR Sprinkle GTR Strata GTR Strata 2 GTR StrumGlass GTR Wacka 113 GTR Wacka 96 GTR Wackaloo GTR Wah Not GTR WahScale4 GTR WeezlFuzz HIT DroppinOff HIT GuitHat HIT InConcert HIT KnockUOut HIT Nice Under HIT OrgCreept HIT Satisfying HIT Serious HIT Serious2 HIT Splash HIT StrikezAgain HIT Sweeit KEY 010FuzzTine KEY 1NoteMello KEY ChordsHits KEY ChordsHits2 KEY CityGiggin KEY DX Organ KEY Far fg nOrgn KEY GrowlDrop KEY HarpsiFlange KEY Horror Glide KEY HybridSweep KEY Keystone KEY Klavin It KEY KoolKord KEY Mo 88 KEY Mo E Dan KEY Org Roll KEY OrgLite KEY OrgRoll2 KEY OrgStoneGruv KEY Perc Org KEY Sitar 88 Riff Listing 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158
47. Knobs Master Menu Key Sustain Fine Pitch Pitch Glide Chorus Amount Sample Start Sample Loop Sample Retrigger Filter Frequency Filter Q Amplifier Volume Amplifier Pan Amplifier Crossfade Volume Envelope Rates Volume Envelope Attack Volume Envelope Decay Volume Envelope Release Filter Envelope Rates Filter Envelope Attack Filter Envelope Decay Filter Envelope Release Aux Envelope Rates Aux Envelope Attack Aux Envelope Decay Aux Envelope Release LFO 1 amp 2 Rates LFO 1 amp 2 Trigger Lag Processor Summing Amp Switch Absolute Value Diode Controller A 1 1 1 1 1 1 1 i 1 1 Aal 1 1 1 1 1 1 1 1 1 B F J Controller B C G K Controller Cord D H L Quantizer 4x Gain Cord 1 24 Amount Controller External MIDI controller numbers are assigned to the Letters A L in the Master menu The Initial Controller Amount value is sent to the PatchCord destination when the Preset is first selected If you move the Control Knob then that value replaces the initial value If MIDI controller data is received it will similarly replace the knob or initial setting INITIAL CONTROLLER AMT A 017 B 112 C 127 D off The Initial controller amounts can be set from 000 127 or they can be turned Off If set to Off the current controller value is used when the preset is first selected Setting the Initial Amount to off uses the values from the previously selected
48. MIDI Expression Controller 11 KeyGlide VolEnv lt Volume Envelope FilEnv lt Filter Envelope AuxEnv lt Auxiliary Envelope LFO 1 amp 2 White White Noise Pink Pink Noise XfdRand Crossfade Random KeyRand 1 amp 2 Key Random Lag 0 sum summing amp out Lag 1 sum summing amp out Lag 0 amp 1 Lag Processor Clk Divisors Octal Quad Double Whole Whole Half Qtr 8th 16th DC DC Offset Summing Amp Sum Switch Absolute Value Diode Flip Flop Quantizer 4x Gain Modulation Destinations Off KeySust Key Sustain FinePtch Fine Pitch Pitch Glide ChrsAmt Chorus Amount SStart Sample Start note on SLoop Sample Loop SRetrig Sample Retrigger FiltFreq Filter Frequency FiltRes Filter Resonance note on AmpVol Amplifier Volume AmpPan Amplifier Pan RTXfade Real time Crossfade VEnvRts Volume Envelope Rates all VEnvAtk Volume Envelope Attack VEnvDcy Volume Envelope Decay VEnvRls Volume Envelope Release FEnvRts Filter Envelope Rates all FEnvAtk Filter Envelope Attack FEnvDcy Filter Envelope Decay FEnvRls Filter Envelope Release FEnvTrig Filter Envelope Trigger AEnvRts Auxiliary Envelope Rates all AEnvAtk Auxiliary Envelope Attack AEnvDcy Auxiliary Envelope Decay AEnvRls Auxiliary Envelope Release AEnvTrig Auxiliary Envelope Trigger LFO 1 amp 2 Rate LFO 1 amp 2 Trigger Lag Processor In 0 amp 1 Sum Su
49. Master button lighting the LED The Master Menu screen displays the menu page most recently selected since powering up Mo Phatt The cursor appears below the first character of the screen heading on line one gt To select a new screen Press the Home Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading Rotate the Data Entry Control to select another screen gt To modify a parameter Press either Cursor button repeatedly or hold down the right cursor button while turning the Data Entry Control until the cursor is below the desired parameter value Rotate the Data Entry Control to change the value gt To return to the main screen Press the Master button turning off the LED Mo Phatt Operation Manual 65 Defining Master Parameters Transpose Tune Bend Range 66 EMU Systems Master Menu Defining Master Parameters Master setup parameters affect overall performance range and global effects This section describes the Master parameters and how to define them The Transpose parameter transposes the key of all presets in semitone intervals The transpose range is 24 semitones Master Tune adjusts the fine tuning of all presets so that you can tune Mo Phatt to other instruments The master tuning range is 1 semitone in 1 64th semitone increments 1 56 cents A master tune setting of 00 indicates that Mo Phatt is perfectly tuned to concert pitch A 440 Hz
50. O or no Cord means change the velocity by 0 A full scale modulation setting of 100 in the PatchCord adds 100 to the velocity value 100 100 200 A PatchCord setting of 100 subtracts 100 from the velocity making it 0 Beat velocity scalings are reset with a preset change Beat Xpose Group 1 4 BtsXpsG1 gt BtsXpsG4 Parts assigned to one of the four BEATS groups are transposed by the controller input Transpose works by shifting the keyboard position and not by changing the tuning of individual notes Therefore on a BEATS presets bts where different instruments are assigned to each key Transpose has the effect of changing the instrument used by a particular part This control ADDS to the Part Transpose set in the Beats Transpose screen page 45 Beat transpose offsets are reset with a preset change TN Original Transposed Parts 12 d lt elt III IT TI TA Prdrdttwt btide Fy w UW w P ebe e e OU Oo doo oox VC Kick 5 SI U 58553 555333335290 523333353 Crowd gt EUTESEHFSTFFTEESEEREEFOSS 2 55002320 s row u o we BE SE ze DOLLS 5 Sc CAES be HOPOOC ELI EL DTL w a SE RSO 55H PAY GY Dez Oe XV E Fo 6 Dn c g SENF R 220528 ce S Ki suas oa Si ZZS I gt E Essen 9 S a2 Ei ES n Beat Busy BtsBusy This destination determines which parts are enabled Beat Busy will accept either positive or negative values e Positive value
51. Turbo 0x0A Mo Phatt Turbo OxOB Planet Earth 0xC Planet Earth Turbo There is only one edit buffer which is used by the current preset the preset shown in the display You can edit only one preset at a time via SysEx commands although these presets can be edited independently of the current preset edited using the Front Panel Remote Preset selection is independent of the edit buffer Changing the current preset erases the edit buffer Mo Phatt Operation Manual 223 Received Channel Commands SysEx Specification 224 EMU Systems Appendix MIDI Channels number n 0 15 Message bytes are represented in hex All other numbers are decimal Running Status is supported Command Note Off Note On Key Aftertouch Program Change Channel Aftertouch Pitch Bend Real time Controller Footswitch Volume Pan Expression All Sound Off Reset All Controllers All Notes Off Omni Mode Off Omni Mode On Mono Mode On Poly Off Poly Mode On Mono Off Bank Select MSB Bank Select LSB Special Notes es From Omni Mode From Poly Mode e From Mono Mode From Multi Mode Message 8n kk vv 9n kk vv An kk vv Cn vv Dn vv En ll mm Bn cc vv Bn cc vv Bn 07 vv Bn OA vv Bn OB vv Bn 78 00 Bn 79 00 Bn 7B 00 Bn 7C 00 Bn 7D 00 Bn 7E 00 Bn 7F 00 Bn 00 bb Bn 20 bb Comments velocity 0 note off kk 0 127 vv 0 127 0 127 0 127 l lsb m msb cc
52. Volume Envelope 128 Chorusing the Layer ss 129 Sound Start Offset and Delay 129 Non Transpose Mode 130 Solo Mode gies 130 Assign Gr UP EE 131 Glide EE 132 Z Plane Filters i s sscessissscisivecscctecsesecdecseseccbessandetuentedavsantessesbesasssenssasouentoosss 132 Mo Phatt Filter Types Se esisi a aTe Tass 133 RICK 133 Filter Parameters eg ett Edge SERA 135 Filter Envelope sense 135 Defining the Filter Envelope 20 0 0 eee eeeesceecesssececeeseeecessseeecenseeeseesaes 137 Auxiliary Envelope ss 137 Low Frequency Oscillators LFOS 137 Shape u a eisen inhalt 138 NIE EeEeE 139 EE 139 RE 140 VaAMlatlON sy s sicisisesiseseseridcodacoesuedeccdccodcescatnadedeceteteas AEN SNE 141 PatchE0rds 2 Ee nn RAR RAR Ben 142 Modulator Polarity ss 143 Pitch Bend Rande 2 0u 0n 0 20er 145 Mix Output ss sense kann 145 LoMmon PresetParamieters unseren 146 Preset Effects eerste anni Han 146 FXAAlgorith ER 148 A Effect KEE 148 EXA Parameters savvciccccscsecuctescsssysesesesettasetenns une sessen cans aan EENS 149 FXA Send AMOUNTS raser nn EEN 149 FXB Algorithm 2 4 322er 149 B Effect TYPES ache erer ERAN ASA 149 vi E MU Systems Table of Contents FXB Parameters 222
53. Welcome bas Belly Button bas KeyONate bas TheOtherMarc bas Closer To It bas Fish Fry bas Prophet bas In Theory bas Persistence bas Funk Pop 1 bas Funk Pop2 bas Funk Slap bas SlapPopSwtch bas Funk Finger bas Funk Hollow bas Funk Pick bas Funk Wave 1 bas Funk Wave 2 bas Accidental bas Finger Bass bas Bagg bas Destroyer bas Blipp bas Echo Hitter bas DubbyDoRite bas Dub 2 bas GrittyStanda bas Gritty Pulla bas Krafty 1 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 bas Krafty 2 bas Swing Hitter bas Technoid bas Bender Hit bas Synth Boom bas PluckySynth bas HarpOneShot1 bas HarpOneShot2 bas HarpOneShot3 bas Upright One bas SP Stand Up bas Bass Slide bas FX F 0 BO gtr All Wahs gtr Crybaby Wah1 gtr Crybaby Wah2 gtr Sstrkchuck83 gtr Wow Wacka 83 gtr WackaGruv283 gtr Wah Jan 83 gtr Wacka 96bpm gtr Wah 96 2 gtr Wah 96 3 gtr CoolWaRif113 gtr WACKA Do 113 gtr 113 Wackaloo gtr Wah Coming gtr Chickenpickr gtr Chickjacked gtr Chucka Run gtr ExcitableWah gtr Hendrix Wah gtr LikethisLik gtr Lil Chopper gtr Lil Chukka gtr Lil Wah Run gtr Oddlilhitter gtr Oh YEah Wah gtr Versa Wa gtr Wah LikDis gtr Wah Not gtr Wah Scale 1 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98
54. a different MIDI channel You can have your cake and eat it too S S D BEATS MODE Status P BtsCh 01 TrigCh Basic Press the Arp Beats button and locate the screen shown above the 2nd screen from the beginning Set your MIDI keyboard to transmit on channel 2 Select any bts preset on channel 1 main screen From the main screen change to channel 2 and select another preset The Trigger Keys now play BEATS and the other keys play the preset on channel 2 Want more 5 6 7 On channel 2 select a preset with the arp prefix Set the arpeggiator to P A P on the main screen channel 2 Now you can play BEATS and arpeggiate Yeow Mo Phatt Operation Manual 21 Setup Instant Gratification Explor ing the Master Mo Phatt s multi channel Pattern Generator Arpeggiator is one of the A rp eggiato r greatest features ever put in a synth Let s explore the Master Arpeggiator gt To Arpeggiate a Single Preset 1 X Try using the control 5 knobs to change the arpeggiator parameters 6 22 E MU Systems Select a preset Note that the factory presets all have prefixes which describe the type of sound For this investigation it might be best to choose a preset with the prefix arp for arpeggiator These presets are optimized for use with the arpeggiator Set the Arp parameter in the main screen to M for Master Arpeggiator COl Vi27 POR HM PHATT 1233 arp OrbisTabu
55. a preset either using the Edit menu or by changing the Controller Knobs in Quick Edit mode you must save the preset in order for the change to become permanent When you save a preset it erases any existing preset information in that location Make sure that the destination location does not contain preset information you want to keep SAVE PRESET to User 020 Destination Preset D To Save a Preset 1 Press the Save Copy menu button Scroll to the Save Preset screen using the data entry control Move the cursor to the bottom line on the display Select the new preset location using the Data Entry Control Press the Enter Home button Ob Ov HR Mo Phatt Operation Manual 183 Copying Information Copy Preset Q All the Sound Navigator features work when using the Copy functions 184 EMU Systems Save Copy Menu Copying Information The Copy operations let you copy information from any preset or layer to any other preset or layer To use the copy command first select the preset or layer to which you want to copy the destination location Then from the copy screen select the preset or layer you want to copy to the currently selected location the source location Using the copy commands you can copy preset layer PatchCord and arpeggiator information The Copy Preset command lets you copy all of the preset information from one location into the preset of the current location The preset information in the source loc
56. bas Eat Me syn WapperFuzz syn Slippery gtr DirtyNoter kit HappY Z str Uni Strings Preset Listing User Bank 2 PHATT Bank 2 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 SS NGS a Sg Reie ch sch sch O A A A CG Go GO GO Ga DO Go Ga GO MM MM MM MM ON ON sch sch sch sch sch sch sch NS 1 8 6 N 9 85 amp D 2 NS N S N S NS np amp D gtr Wah Walker syn Sin Symph 1 gtr Mood gtr Nylon gtr Nylon 2 gtr Slide Hit gtr Fine Slide gtr Grit Slide gtr Strata gtr Strum Glass gtr Flange Pick gtr Grunge gtr One Shot gtr Slo Strum gtr Kraked Tube gtr Burnt gtr Weezl Fuzz gtr Slicer gtr Dissed Hit gtr Doom 1 pad Drone 1 pad Drone 2 pad Drone Swirl pad Siren Spin pad Leon s hit Guit n Hat hit Satisfying hit Org Creept led Deep Thought led 70 s Lead led Guitlet syn Synthomatic pad Transform amb Droning MW amb Rubble MW bas DropOffSine1 bas DropOffSine2 key So Kazual hit Wheely Gal bas DropOffSine3 bas DropOffSine4 key Org Basic key Klav Mav syn ReturnToZoo str Disco Diva pad DanceLitez gtr Weeoww led RaveEEEE led RaveAAHH pad AditivOrgan pad Trans pad Narwhal amb Trippin MW kit WideOne kit ThugltUp kit OnDaStreet kit The Wiz pad KnobbyTwirly kit PhilterFreak kit N
57. busy 41 channel 39 markers 26 37 mode 35 39 part transpose 45 part velocity 44 parts group 46 riffs 36 trigger layouts 43 216 trigger offset 44 variation 42 velocity group 1 4 41 xpose group 1 4 41 bend range 66 breath controller 76 bts preset 20 40 bts busy 41 Mo Phatt Operation Manual 229 Index 230 E MU Systems button control 25 cursor 26 edit menu 25 home enter 26 35 65 master menu 25 save copy 26 bypass effects 176 c calibration 79 category instrument 33 preset 33 center frequency 105 change MIDI preset 75 preset 19 changing filter type 164 the voice 157 channel arpeggiator 32 MIDI enable 74 MIDI select 30 pan 32 selection MIDI 30 volume 31 chorus 171 181 width 159 chorus effect 181 chorusing 129 159 clear part 37 clock divisor 85 MIDI 36 clock modulation 91 coarse tuning 126 158 comb filter 134 172 181 connection instructions 14 continuous controllers 108 contour envelope 85 128 control button 25 data entry 27 effects multi mode 69 mode 25 rows 25 volume 25 control keys 37 controller assigning real time 75 footswitch 76 knobs 29 75 109 MIDI 75 108 MIDI 10 32 MIDI 7 31 108 MIDI real time 108 modes 27 quick edit and real time mode 28 real time 25 27 only mode 27 standardized MIDI numbers 76 copy preset patchcords 186 copying layers 185 patchcords 186 preset banks 188 presets 184 create random preset 190 credits
58. change the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping General Descriptions of the Reverb Types Room Programs simulate small rooms with high frequency absorption caused by drapes and furniture Plates Simulates plate type reverbs with their tight dense early reflections and sharp reverb buildup Hall Presets recreate the open spacious ambience of large concert halls Gated Reverbs Add ambience only while the original signal is still sounding As soon as the signal falls below a threshold reverb is cut off Delay Programs can be used to create echo and doubling effects Multi Tap Programs consist of the reflection cluster only without the reverb decay Chorus Doubling Slapback Stereo Flanger Effects General Effect Descriptions The function of a chorus device is to thicken the sound or to make one voice sound like many This effect is usually created by mixing one or more delayed versions of the signal with the original The delay times used are too short to be perceived as an echo but long enough so that comb filtering does not occur In addition the delay time is varied via a low frequency oscillator to simulate the random differences which occur when multiple instruments are playing together A slight amount of feedback improves
59. create complex filter response curves If four parametric filter sections were cascaded it would be possible to create the following complex filter response 4 Parametric Equalizers dB Magnitude 500 10 000 15 000 20 000 Linear Frequency Hertz Many natural instruments have complex resonances which are based on their soundboard or tube size The resonance shown above would be impos sible to create using a normal synthesizer filter Mo Phatt Operation Manual 105 The Z Plane Filter 106 E MU Systems Programming Basics Dynamic Filters A Z plane filter is a filter which can change its function over time In a Z plane filter we start with two complex filter types and interpolate between them using a single parameter See the following diagram Morph 1 i s B Filter Amplitude Morph Frequency gt The Z plane filter has the unique ability to change its function over time Filters A and B represent two different complex filters or frames Changing a single parameter the Morph changes many complex filter parameters simultaneously Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters This is the essence of the Z plane filter Through the use of interpolation many complex parameters are condensed into one manageable entity Consider as an example the human vocal tract which is a type of complex filter or resonator There are dozens o
60. ene of BEATS mn DE O w ab E 20 OG um mN NF Spo Cu Sov uw oc Terese mo Oe 5 co OO me Z Amn Lan EE Guns I I Itt I l E LI Main Groove Alt Groove Clear Parts TrigHold l N st Li ee w oO OU OU um Je v v D A Inst 1 Wild 1 3 Now try out the Wild 1 4 knobs and other bts presets e If BEATS are not playing Go into the Arp Beats menu locate the screen shown below and set the parameters exactly as shown BEATS MODE Status P BtsCh Basic TrigCh Basic 20 E MU Systems Setup Instant Gratification D To Latch BEATS Triggers The Trigger Keys can be Latched so that pressing once turns a key on and pressing the key again turns it off 1 gt e ip o Press the Arp Beats button and turn the Data Entry control until the following screen appears this is the 3rd screen from the beginning BEATS TRIGGER LAYOUT Part 1 Key Cl unlatch Press either cursor button repeatedly until it is underneath the Part field Rotate the Data Entry Control to select the desired part Press either cursor button repeatedly until it is underneath the unlatch latch field Rotate the Data Entry Control to change the status to Latch Repeat steps 2 5 until Parts 1 16 are latched Now play the Trigger Keys and hear the results Press the Clear Trigger Key to kill all latched Parts Start up a few more triggers and play with the Mute key D To play BEATS on
61. from the beginning Higher values move the Sample Start Point further into the sample toward the end There is also a PatchCord source which can be used to change the Sound Start point at note on time U SOUND START DELAY 127 127 Sample Start Controlling the Sound Start using Key Velocity lt Amt brings in the attack of the wave only when you play hard This is especially effective with percussion instruments Delay defines the time between when you hit a key note on and the onset of the current layer s note and the start of the envelopes if applicable Delay values below zero are Tempo based values meaning the time is based on the Base Tempo Master Clock setting Note values are displayed by adjusting the Delay Time value below zero The sound will be delayed by the selected note value based on the master clock Mo Phatt Operation Manual 129 Non Transpose Mode Solo Mode X In order to define a monophonic glide see the Portamento parameter you must be in Solo mode 130 E MU Systems Edit Menu Defining Layer Parameters This function turns keyboard transposition On or Off for the current layer With Nontranspose on the keyboard will not control the pitch of the instrument This is a useful function for drones attack chiffs or other sound effects which you may not want to track the keyboard LI NONTRANSPOSE off Provides the playing action of a monophonic instrume
62. gt ze fee ne fe Cord a Switch On when Switch value Velocity gt 0 is Scaled by T Cord Amount The patch illustrated above is programmed by setting the PatchCord screens as shown below LI BATCHCORD Vel gt Switch LI PATCHCORD Switch gt Pitch This particular modulation shifts the overall pitch up a fifth when the key velocity exceeds 64 Velocities below 64 play at normal pitch Notes with velocities of 64 and above are raised a perfect fifth The Velocity source scales the played velocity around zero In other words low velocities below 64 will have negative values and high velocities 64 and above will be positive A velocity of 64 would be zero The Switch module only outputs a 1 if the input value is greater than zero This digital 1 value can be scaled through the attenuator on the PatchCord to raise or lower the pitch by any amount In this case a scaling value of 22 raises the pitch by a perfect fifth The amount of the PatchCord on the input to the switch is unimportant because ANY velocity value equal or greater than 64 will flip the switch If the input PatchCord amount were a negative value however the action of the velocity would be reversed and velocities less than 64 would raise the pitch and velocities equal or greater than 64 would play the original pitch Mo Phatt Operation Manual 97 98 EMU Systems Programming Basics Preset Modulation Processors But what if you want the
63. in Mo Phatt marked 0 and 1 are located behind the controller knobs on the circuit board The destination Flash SIMM must be placed in SIMM socket 1 COPY USER BANK TO FLASH From User To Flash gt To Copy a User Bank to Flash 1 Make sure a Flash SIMM is inserted into the extra Mo Phatt SIMM socket 2 Press the Save Copy menu button 3 Rotate the Data Entry Control to select the Copy User Bank function shown above 4 Move the cursor to the From field and select the User bank that you want to copy to the Flash SIMM 5 Move the cursor to the To field and select the Flash bank that you want to contain the User bank 6 Press Enter The Enter LED will flash and the screen below appears Press ENTER to Overwrite Flash SIMM Presets 7 Press Enter again to confirm The following screen appears COPYING USER BANK TO FLASH Done Please Reboot Now 8 The Flash presets cannot be used until Mo Phatt is rebooted power off then on Reboot the Mo Phatt and verify that the new Flash bank has been properly copied Mo Phatt Operation Manual 191 Rename Flash SIMM SS The Flash ID is the MSB of the MIDI Bank Select command used to select the Sound Bank G If there is no Flash SIMM in the unit the error message Requires Flash SIMM will be displayed 192 EMU Systems Save Copy Menu Multisetups This utility allows you to rename the Flash SIMM and change its ID
64. is a great feature which creates a new preset using portions of the ROM presets as source material By merging random presets really great sounding presets can be generated with ease Use this feature to generate wild new sounds get new programming ideas or just for fun RANDOMIZE PRESET 0002 Any User Preset To Create a Random Preset 1 Press the Save Copy menu button 2 Move the cursor to the bottom line on the display and press Enter 3 4 Don t like the sound Press Enter again and a new random sound will A new random preset will be created be generated Copy User Bank to Flash G If there is no Flash SIMM in the unit the error message Requires Flash SIMM will be displayed Save Copy Menu Multisetups This is a special purpose function to be used with the Flash sound authoring feature Flash Sound SIMMs created on an EOS Ultra sampler can be used as a custom Mo Phatt bank Presets are then created in a User bank When the bank of presets is finished it can be copied using this function to the Flash SIMM Flash SIMMs contain two separate memory locations One of these memories contains the sound samples and the other memory can hold four banks of 128 presets WARNING dangerous voltages are exposed inside Mo Phatt Make sure power is completely disconnected from Mo Phatt before removing the top panel Replace the top panel before restoring power to the unit The two sound SIMM sockets
65. keys en O fei N gt UN Wei D Y Mute Trigger Layout 4 Multisetup 62 Group 4 Clear Parts Trigger Hold 218 E MU Systems Velocity Curves Appendix Velocity Curves This section provides diagrams and descriptions of the Mo Phatt velocity curves 120 120 gt EI gt 4 5 100 5 100 Linear Curve 1 so 2 so v E a gt 60 gt 60 4 J a 3 D 40 a o J 20 20 0 ale RES E O a 0 sae a a 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Linear no change to velocity Compresses velocity range 120 120 gt I gt 4 5 100 100 Curve 2 2 so so v J E i z 60 gt 60 J Curve 3 z 4 D 40 a 5 o J DE 20 X 20 0 REITER 0 Pipa heen iene 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Expands dynamics in low range Expands velocity range emphasizing medium velocity values Soft gt Loud and compressing high velocity values 120 120 24 2 100 100 il 8 Curve 5 80 2 on v Ji v J gt 60 60 Curve 4 2 40 2 4 A J 20 20 0 Fr ae cal a 9 PS ean en ee pel ean 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Expands velocity range Shifts velocity values upward Outputs high values
66. lags behind the input at a pre programmed rate There are two lag processors Lag 0 and Lag 1 Lag 1 has a longer lag time than Lag 0 He INN r ocessor Absolute Value This function inverts negative input values and outputs only positive values This device is also called a full wave rectifier N FeV Mo Phatt Operation Manual 93 Q The value of a digital 1 is equal to the PatchCord amount X Summing Amps can be useful in complicated patches where you want to control a combination of modulation signals with a single patchcord 94 E MU Systems Programming Basics Modulation Processors Diode The diode blocks negative input values passing only positive values Diode EN gt Flip Flop The output of this processor alternates between a digital 1 and digital 0 each time the input goes positive from zero or a negative value With an LFO input the output will be a square wave of half the input frequency roro gt d Quantizer With the input PatchCord set to 100 the output value is limited to 16 discrete values The value of the input PatchCord controls the number of steps The value of the output PatchCord controls the size of the steps of Size of Steps Steps gt Quantizer Esc 4x Gain This processor amplifies the modulation source by a factor of 4 The Lag processors can be used as 2 additional summing amps LagOsum and Laglsum are modulation sources which e
67. layers of preset parameters that you can modify and then save as preset information in one of the user preset locations There are four instrument layers in the Edit menu See the illustration on page 115 for a description of the Preset Layer model D To Access the Edit Menu Press the Edit button lighting the LED The Edit Menu screen displays the menu page most recently selected since powering up Mo Phatt The cursor appears below the first character of the screen heading on line one D To Scroll through Layers Place the cursor below the layer field Rotate the Data Entry Control to select a layer 1 4 You can also select All Layers by choosing A in the layer field When All Layers is selected the existing parameter value for any field will be displayed if the values of all four layers are equal If the values of all four layers are NOT equal the value of layer 1 will be displayed with flashing characters If you change the parameter value all layers will assume the new value and the display will stop flashing To Scroll through Pages Place the cursor below the page title field This will automatically be done when you press the Home Enter button Rotate the Data Entry Control to scroll through the pages D To Change a Parameter Place the cursor below the parameter field Rotate the Data Entry Control to change the parameter value Mo Phatt Operation Manual 113 Preset Name 114 EMU Systems Edit Menu The
68. notch filter 103 note value arpeggiator 52 56 note on modulation 92 o offset arpeggiator key 60 omni mode 73 176 224 output headphones 14 jack 14 15 mix 145 170 mono 14 15 routing 145 overall tuning adjusting 66 P packet delay MIDI sysex 80 pan 107 channel 32 initial 126 preset link 155 pan control 32 panning delay effect 182 panning L R 32 parameters effects 171 parametric filters 105 part beat 37 patchcord 86 142 amount 108 142 copying a 186 example 97 routing 92 pattern arpeggiator 49 52 59 duration 61 naming 62 repeat 61 speed 52 velocity 61 pedal 85 percussion maps 213 performance controllers 85 pink noise example 99 pitch wheel 85 165 master bend range 66 pitch shifting 158 pitchbend range 145 play solo layers 156 polarity modulation amp LFO 143 polarity ramp rate 96 pole filters 104 poly all assign group 131 poly mode 73 176 224 portamento 132 power 16 power consumption 225 preset architecture 115 audition 17 26 category 19 33 196 changing 19 copying 184 editing 157 effects 146 173 lag 95 links 155 156 167 listing 197 201 MIDI changes 75 naming 114 quick edit 77 random 190 saving a 183 selecting 18 30 user 81 preset ramp 95 processor 4x gain 94 absolute value 93 diode 94 effect 169 flip flop 94 modulation 97 quantizer 94 summing amp 93 switch 93 product description 1 product ID 223 program change receive 75 program preset map send r
69. number Flash SIMMs can have any five letter name you choose Each Flash SIMM in a Mo Phatt unit must have a unique ID number 106 119 The field in the upper right corner selects between multiple Flash SIMMs If only one Flash SIMM is installed the field cannot be modified RENAME FLASH SIMM Flash New Name Drums ID 110 1 Make sure a Flash SIMM is inserted in a Mo Phatt SIMM socket 2 Press the Save Copy menu button 3 Rotate the Data Entry Control to select the Rename Flash SIMM function shown above 4 Move the cursor to the New Name field and rename the SIMM using the Data Entry Control to select the letter and the cursor keys to select the position 5 Set the Sound ID number for the SIMM It doesn t matter which number you choose as long as the same number isn t used in another SIMM 6 Press Enter The following screen appears and the Enter LED will be flashing Press ENTER to Update Flash SIMM data 7 Press Enter again to confirm or any other button to abort The following screen appears CHANGING SIMM NAME amp ID takes about 2 minutes 8 The Flash presets cannot be used until Mo Phatt is rebooted power off then on Reboot the Mo Phatt and verify that the new Flash bank has been properly renamed Duplicate Flash G If there are no Flash SIMMs in the unit or if the SIMMs are in the wrong slots an error message will be displayed Save Copy Menu Multise
70. or softer in various ways during the course of the sound The volume envelope of a sound is one of the clues our brain uses to determine what type of sound is being produced An envelope shapes the sound or volume of the sound over time The envelope generators in Mo Phatt all have six stages to the contour Attack 1 Attack 2 Decay 1 Decay 2 Release 1 and Release 2 When you press a key on the keyboard the envelope goes through each of the first four stages advancing to the next stage when the defined Level for each is reached As long as you continue to hold the key down the envelope continues through the first four stages holding at the end of the Decay 2 level until the key is released When you release the key the envelope jumps to the Release stages no matter where the envelope is when you release the key ending at the Release 2 level Mo Phatt Operation Manual 159 7 Piano Organ gt Strings 4 Percussion 160 E MU Systems Programming Tutorial Editing Presets level Sustain time gt Key Down Key Released Every instrument in Mo Phatt has it s own predetermined volume envelope which is used when the Volume Envelope parameter is set to factory By setting the Volume Envelope to time based or tempo based we can reshape the instrument s natural volume envelope any way we want By reshaping the volume envelope of a instrument you can dramatically change the wa
71. play any instrument takes a little patience and practice Referring to the diagram below which shows the Mo Phatt signal flow notice that the DCA comes after the Filter The DCA controls the final volume of the sound so if the filter s release is longer than the release for the DCA you won t hear it because the DCA has already shut off the sound Z Plane Filter You re getting the general idea by now Remember not to select a new preset before saving the current one or all your changes will be lost the preset reverts to the last saved version If you want to save your creation select the Save Copy menu and select a destination preset location for your masterpiece then press Enter Because you can save your work it s worth spending time to get the sound just right When designing sounds you become an instrument builder as well as a musician With Mo Phatt you can design the custom radical instruments you ve always wanted Programming Tutorial Linking Presets Li n ki ng Using the Link pages in the Edit menu is a quick and easy way to create new Pr esets sounds Use the Links to layer presets and to split a keyboard into sections containing different sounds D To Layer Two Presets 1 2 Rx See Preset Links on page 155 for more information Select the first preset you want to layer Press the Edit button Use the Data Entry Control to move through the screens until you find either the LIN
72. preset Edit Menu Keyboard Tuning Keyboar d Tuning In addition to the standard equally divided octave tuning Mo Phatt contains twelve factory programmed tunings and 12 user definable tunings The Keyboard Tuning parameter selects which tuning is used by the current preset The User Tuning tables are defined in the Master menu The factory Keyboard Tuning tables are described in the following table Tuning Tables Description Equal Temperament Standard Western tuning 12 equally spaced notes per octave Just C Just intonation Based on small interval ratios Sweet and pure non beating intervals Vallotti Valotti amp Young non equal temperament Similar to 12 tone equal temperament Each key has a different character for a given scale 19 Tone 19 tone equal temperament 19 notes per octave Difficult to play but works well with a sequencer Gamelan 5 tone Slendro and 7 tone Pelog Javanese Pelog are white keys Slendro are black keys Exotic tunings of Gamelan flavor Just C2 Allows you to play the following chords in the key of C C E F G A B C m D m Em F m G m Am Bm Just C minor Allows you to play the following chords in the key of C C E F G A B Em Am Bm C m D m G m Just C3 Allows you to play the following chords in the key of C C D F Bb C m Dm Em F m G m Am Werkmeister III A well temperament developed in the 17th century Although you can play in all keys each key sound
73. range is from 0 to 127 0 Realtime Control Value 127 Layer 1 Layer 2 Layer 3 Layer 4 Fade Fade Switch After the Ranges and Fades have been adjusted for each layer in the Real time Crossfade screen you must assign a real time controller to RTXfade Real time Crossfade on each Layer in the PatchCord screen Set the PatchCord Amounts to 100 gt To Set Up a Real time Crossfade Between Two Layers As the real time control knob pedal LFO etc is increased Layer 1 fades out as Layer 2 fades in This example only uses two of the possible four layers Refer to the screen diagrams below FADE HIGH 000 127 1 Select a preset 2 Press the Edit button to access the Edit menu 3 Go to the Instrument page and select instruments for Layers 1 and 2 Edit Menu Defining Layer Parameters Press Enter then use the Data Entry Control to advance to the Real time Crossfade page Define the High and Low range of each Layer In this example the entire range of 0 127 is used Define the Fades for each Layer This is just an initial setting The Range and Fade parameters may have to be adjusted later to get a smooth crossfade Press Home Enter and use the Data Entry Control to advance to the PatchCord page Select Layer 1 Select the modulation source for the crossfade knob pedal LFO Envelope and set the destination to RTXfade Set the Cord Amount to 100 Select Layer 2 Select the same source and destinati
74. repeating envelope cycles through these four stages as long as the key is held e Try modulating the pitch with the Filter Envelope generator e Use Velocity to modulate the Filter Envelope PatchCord or the Filter Frequency This brightens the sound as you play harder e Program the LFO to modulate Filter Frequency and Volume Patch Cord screen e Modulate the LFO with the other LFO with Velocity and with the Modulation Wheel e Examine the Factory presets to learn how they re constructed There are lots of cool synthesis tricks you can use in your own presets e Think of ten of your own modulation routings then try them out The key to learning Mo Phatt is to experiment Mo Phatt Operation Manual 165 Troubleshooting 166 E MU Systems Programming Tutorial Editing Presets A common source of confusion when working with the filter envelope is that the Attack or Release parameters might not seem to be working correctly If you are not getting the expected result try to analyze the situation There will be many times when you will have to stop for a minute and think What am I trying to do and why isn t it working When this happens and it will don t panic Troubleshooting is a normal part of the synthesis process Simply examine the various parameters and try to be as analytical as possible as you solve the problem The solution is usually simple the filter is already wide open and can t open any more Learning to
75. so these are Global controller assignments For example assigning a MIDI controller to A in this screen would let you control filter Fc for all the factory presets See Front Panel Knob Functions on page 195 MIDI Footswitch Assign 76 E MU Systems Master Menu MIDI Parameters The Real time Controller assignment also specifies which controller numbers are transmitted when the Knobs MIDI Out is enabled see Knobs Riff MIDI Out on page 78 REALTIME CONTROLLER A 21 B ee C 23 D di REALTIME CONTROLLER E 25 F 26 G 27 H dp REALTIME CONTROLLER 80 J 81 K 91 OL 93 Note Controllers 7 and 10 are already assigned to Volume and Pan for each MIDI channel Controllers 91 amp 93 are the standard controller numbers for reverb and chorus send amounts Following are a few of the standardized MIDI Controller numbers as defined by the MIDI manufacturers association The controllers shown in Bold are automatically routed to the destination volume amp pan or have their own PatchCord source Others such as Portamento Time can be routed using a PatchCord to have the desired effect 1 Modulation Wheel 7 Volume 2 Breath Controller 8 Balance 3 Old DX7 Aftertouch 9 Undefined 4 Foot Pedal 10 Pan 5 Portamento Time 11 Expression 6 Data Entry Like the MIDI Controllers you can assign three MIDI footswitches to MIDI footswitch numbers Footswitches numbers ar
76. transpose 125 transpose on off 130 tuning 153 Kirnberger tuning 153 knob calibration 79 typical functions 195 knob preset quick edit 77 knobs controller 29 109 real time control 27 transmit MIDI 27 knobs MIDI out 78 L lag processor 93 lag amount 95 latch beats part 43 latch beats 21 latch keys 37 latch mode arpeggiator 57 layer copying a 185 definition 115 instrument 83 selecting 115 layering presets 167 legato 130 LFO 137 effect B 72 flanger 182 key sync 139 master FXB rate 72 rate 172 rate effect 72 tricks amp tips 138 trigger 90 variation 141 waveforms 89 waveshape 138 linking presets 155 156 167 looping envelopes 88 low frequency oscillator 85 89 137 delay 140 free running 139 sync 137 139 variation 141 low pass filter 102 low pass filter example 104 main screen 30 35 65 master arpeggiator 22 arpeggiator parameters 50 bend range 66 clock current tempo 36 modulation 90 effects 169 174 177 FXA algorithm 70 FXB algorithm 71 menu 65 menu button 25 riff 39 46 tuning 66 melody solo mode high 130 last 130 low 130 menu master 65 Index save copy 183 MIDI 77 A H messages 27 bank select display 17 26 channel selection 30 clock 36 continuous controllers 75 85 108 controller 7 31 device ID 73 enable 74 external clock 90 footswitches 76 implementation chart 222 in 14 inputs A amp B 15 knobs transmit 27 78 mode 34 73 169 multi mode 73 omni mode 73 out 15
77. up or down Transpose works by shifting the keyboard position and not by changing the tuning of individual notes Therefore on a BEATS preset bts where different instruments are assigned to each key Transpose has the effect of changing the instrument used by a particular part On a preset where a single sound covers the entire keyboard Transpose will actually transpose the sound Select Part BEATS PART TRANSPOSE 00 semitones gt To set the Transposition for each Part 1 Press the left cursor button to move the cursor under the Part field 2 Select the Part number using the Data Entry Control Parts 1 16 can be selected All parts shown as an A can be edited at once if Edit All Layers is enabled in the Master menu 3 Move the cursor to the bottom line using the cursor keys and adjust the Transposition in semitones using the Data Entry Control 4 Repeat steps 1 through 3 for all the Parts you wish to adjust 5 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading TN Original Transposed Part 12 a Cabasa Guiro Guiro Guiro ll III rire rrr xxyy VU oO e ee ee d m OO oc s yeeeesSSeSESSSESS SPORE 885 Crowd re KE cc CE 0 22 Q gt CLEES ESkbtEEEE EG OO GE mmo S ag ADTD LADAM o 0042 ei oc SSSES g LVUUUU eg EI 3320 a aS NON SO vc aoc O io 6 o 20 fe GE A cc E e e
78. use the Data Entry Control to define the highest key to be arpeggiated Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System Exclusive data to another Mo Phatt or to a computer sequencer for backup Using the cursor key and the Data Entry Control select the MIDI data you want to transmit See Send MIDI System Exclusive Data in the Master chapter for additional details about recording SysEx User Patterns Transmits all the User patterns 00 to 99 Transmits only the individual pattern you have selected SEND MIDI SYSEX DATA All User Arp Patterns Editing a User Arpeggiator Pattern Bank 0 User Patterns Bank 1 Factory Patterns Bank 2 Factory Patterns X Before editing a Pattern select Master Arpeggiator M in the main screen and set the Arpeggiator to the Pattern you are editing This lets you hear the Pattern as you edit it Pattern Step Number Key Arpeggiator Beats Menu Send MIDI System Exclusive Data Mo Phatt lets you create and edit your own arpeggiator patterns Using the Edit User Pattern menu you can create up to 100 user patterns and each pattern can be up to 32 steps in length When you edit a pattern you are writing directly into memory no Save command is required This is different from the Edit menu where you must Save a preset before it will be overwritten If you want to modify an existing pattern and keep the original you must first COPY the pattern you want to
79. velocity switch point to be something other than 64 Thanks to modulation processors it can be done Here s how Velocity Cord Switch 21 i Switch On when Switch value Velocity gt 0 is Scaled by Cord Amount Cord Connect the DC level to the input of the switch along with the velocity value Note that more than one modulation source can be applied to the input of a processor DC offset adds a fixed value based on the PatchCord Amount setting If applied to the switch along with the velocity it changes the velocity value required to trip the switch By setting the DC amount to a negative amount higher velocity values are required to trip the switch Setting the DC value to a positive value would bring the velocity switch point down The PatchCord screens for this patch are shown below LI PATCHCORD Vel gt Switch LI PATCHCORD DC gt Switch LI PATCHCORD Switch gt Pitch More Examples Programming Basics Preset Modulation Processors To derive a smooth random function you could route the Pink Noise generator through one of the Lag Processors A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to filter cutoff Normal pink noise is low pass filtered audio frequency noise with a 3 dB octave slope to give equal energy per octave Mo Phatt pink noise is actually more like very low frequency filtered noise but it is perfect for use as a random con
80. when using an external clock TEMPO CONTROLLER Up O3 Down 09 Quick Edit changes the initial controller setting in the preset whenever you move a Control Knob This parameter selects whether or not the front panel Controller Knobs are used to Quick Edit the currently selected preset See Real time Control on page 27 in the Operations chapter for more details KNOBS PRESET QUICK EDIT disabled Mo Phatt Operation Manual 77 Knobs Deep Edit Knobs Riff MIDI Out Preset Edit All Layers Enable 78 EMU Systems Master Menu MIDI Parameters This parameter specifies whether or not the front panel controller knobs can be used to edit parameter values in the Master or Edit menus This is called Deep Editing With Knob Deep Edit disabled the front panel controller knobs retain their function as real time controllers even when in the Master or Edit modes KNOBS DEEP EDIT disabled This function allows you to select whether or not MIDI controller data is transmitted when you turn the front panel Controller knobs The knobs transmit on the controller numbers defined by the Real time Controller Assign parameter see page 75 This function also enables or disables trans mission of Riff note data over MIDI when the Audition button is pressed If Deep Edit is enabled Knobs MIDI Out does not work while in any of the editing menus Master Edit Save Copy KNOBS RIFF MIDI OUT don t transmit
81. you may find other uses Mod u lation When setting up modulation with the Mo Phatt you define a modulation source and a modulation destination Then you connect the source to the PatchCords destination using PatchCords Mo Phatt s PatchCords are connected in the software Mo Phatt has 24 general purpose PatchCords for each layer Q The controller Knobs You can connect the modulation sources in almost any possible way to the assignments printed on the front modulation destinations You can even modulate other modulators Each panel are the system defaults PatchCord also has an amount parameter which determines how much You can change any of these modulation is applied to the destination The modulation amount can be assignments using the Real time positive or negative Negative values invert the modulation source Controller Assignment page in the Master menu see page 75 Modulation Amount for details Source Destination Amp Volume Modulation Source Destination LFO 1 Amp Vol LFO 2 Pitch Amp Env Pan Filt Env LFO Rate Aux Env Aux Env Wheel Env Atk Pressure Glide etc etc 86 E MU Systems Envelope Generators If two adjacent segments have the same level in a time based envelope the segment will be skipped Adjacent segments must have different levels for the rate control to work X By routing the Auxiliary or Filter Envelopes to control the pitch PatchCords you can
82. 00 31 64 95 cc 64 79 vv 64 on 0 127 O left 127 right 64 center reset by multimap selection or Reset All Controllers turns all sound off ignored in omni mode ignored in omni mode forces all notes amp controls off forces all notes amp controls off forces all notes amp controls off forces all notes amp controls off bb bank MSB see page 110 bb bank LSB see page 110 Omni Off turns Poly On Omni On turns Omni On Mono On turns Mono On Mono Off turns Poly On Omni On turns Omni On Omni On turns Omni On Omni Off or Mono Off turns Poly On Mono On turns Mono On All other changes have no effect Mo Phatt contains an extensive set of MIDI SysEx commands Virtually every parameter is controllable via SysEx Because of the size and technical nature of the System Exclusive specification it is beyond the scope of this manual The complete SysEx specification for Mo Phatt is available on the official E mu Systems Inc web site www emu com Technical Specifications Audio Channels MIDI MIDI Channels Presets Filters Audio Outputs Max Output Level Output Impedance Sound Memory Data Encoding Effects Engine Sample Playback Rate Signal to Noise Dynamic Range Frequency Response THD Noise IMD Stereo Phase Power Consumption Voltage Input Dimensions Weight Appendix Technical Specifications 64 MIDI In MIDI Out MIDI Thru 16 512
83. 09 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 kit 18NoHats kit 18NoKikSnare kit 19NoHats kit 19NoKikSnare gtr Scrape 1 gtr Strum Up gtr Strum Down gtr Bonk gtr Chop gtr Pick Noise vox All Talkbox str StackedLegs pre Hat 1 prc Hat 2 prc Hat 3 prc Hat 4 prc Hat 5 prc Hat 6 prc Hat 7 prc Hat 8 prc Hat 9 prc Hat 10 prc Hat 11 prc Hat 12 prc Hat 13 prc Hat 14 prc Hat 15 prc Hat 16 prc Hat 17 prc Hat 18 prc Hat 19 prc Hat 20 prc Hat 21 prc Hat 22 prc Hat 23 prc Hat 24 prc Hat 25 prc Hat 26 prc Hat 27 prc Hat 28 prc Hat 29 prc Hat 30 pre Hat 31 pre Hat 32 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 prc Hat 33 prc Hat 34 prc Hat 35 prc Hat 36 prc Hat 37 prc Hat 38 prc Hat 39 prc Hat 40 prc Hat 41 prc Hat 42 prc Hat 43 prc Hat 44 pre Hat 45 prc Hat 46 prc Hat 47 prc Hat 48 prc Hat 49 prc Hat 50 pre Hat 51 prc Hat 52 prc Hat 53 prc Hat 54 pre Hat 55 prc Hat 56 pre Hat 57 pre Hat 58 prc Hat 59 prc Hat 60 prc Hat 61 prc Hat 62 prc Hat 63 prc Hat 64 prc Hat 65 prc Hat 66 prc Hat 67 prc Hat 68 prc Hat 69 prc Hat 70 pre Hat 71
84. 0e 54 Ke 55 NR 55 Duration EE 56 RE 56 Recycle ss 2 nn nn Sa a A 57 Keyboard Thr 02nennn age 57 LATE oan 2 Aa EES lee ee 57 Key KANGE 2 ii AIRES HAHN 58 Send MIDI System Exclusive Data aaa ea 58 User Patterns eege EEN 58 Editing a User Arpeggiator Pattern nn 59 P ttern Step N mber u0 02u2 22022 22222222020 ea 59 KOY ass SEP direridenitididreste dede a tete ete ete ete ete tetes tete tetes tete te 59 Key Offset Een EE 60 RE 60 Rest eier 60 KEE 60 End Ae 60 Velocity asihin deeg geg td oxides tyes hdekteleagadetedudadededadadaresbadvt vtubebobotules Ate 61 Duration MEN RE Ren Reese 61 REDO AL dede esinditissste de dess te dede selon ete en tete en tete tement amenant nn nes 61 User Pattern Name 2 arg An Aen 62 Multi Channel e er EE 63 Using a MIDI Interface to Channelize Data 64 Master Menu dreet deieren 65 Defining Master Parameters eee 66 TRANS POSE TUNE uns ete Annee 66 Bend Range u 66 Velocity CUVE ssh san Era Eege 67 MIX Outp t 2 een np nnd En 67 Master Ets 69 Effects Mode sister aan 69 Effects Multi Mode Control A 69 Master ESA Algorithm 70 A Effect TYPES ut savin insel GEESS bated 70 FXA Parameters Decay HF Damping FxB gt FXA eeenesssnnnnesssnnnenensnnnennnn 71 FXA Send Amounts esecccccceesssssssceceseesssnaeeeceeeeeessssaeeeeeeeeeeseaeeeeeeeeeeeea 71 Master FXB Algorithm
85. 155 transpose part 45 trigger channel 39 trigger key 37 trigger keys 21 trigger layouts 216 trighold 38 troubleshooting filter 166 tune 66 tuning 126 158 19 tone 153 coarse 158 equal temperment 153 fine 158 gamelan 153 just C 153 key 82 keyboard 153 vallotti 153 tuning tables send receive 80 tutorial filter 101 tutorial programming 157 U unlatch beats part 43 user presets 81 user key tuning 82 user pattern arpeggiator 59 naming 62 repeat 61 velocity 61 v Vallotti tuning 153 variation LFO 141 velocity arpeggiator 53 crossfade 120 curve 67 219 key 85 preset link 155 release 85 user pattern 61 vibrato effect processor 182 viewing angle screen 82 voices changing 157 voices stolen 131 voltage setting 16 volume control 25 control 7 31 curve 159 envelope 107 127 128 159 160 preset link 155 volume envelope 87 volume channel 31 volume initial 126 Ww waveforms inverting 90 LFO 89 weight 225 Werkmeister tuning 153 wheel modulation 76 85 pitch 85 165 width chorus 159 X X factor transpose 45 Z Z plane filter 106 107 132 Index Mo Phatt Operation Manual 237 Notes Notes 238 E MU Systems
86. 2 Mod Snow Peas 3 Move the cursor to the bottom line and edit the Pattern name using the Data Entry Control and Cursor keys 4 Move the cursor to the Home position shown above by pressing the Home Enter button then turn the Data Entry Control counter clockwise one click to return to the Pattern Edit screen 5 Turn the Data Entry Control counterclockwise multiple clicks to jump back to the main Arpeggiator menu screen 62 EMU Systems Arpeggiator Beats Menu Multi Channel Arpeggiating M u Iti Chan nel One of the coolest features in Mo Phatt is its ability to run multiple arpeg giators at the same time The interactions of multiple note sequences can be Arpegg lati ng complex and fascinating Mo Phatt lets you run up to sixteen arpeggiator patterns at once Even two or three patterns at once can create very complex sequences and dynamic landscapes of sound A N z F dy 7 J Arp on Arp on Arp on Chan 1 Chan 2 Chan 3 e Qe ZS SS ZS COI Viel POO AP PHATT o_o Ys OOOK 052 sex Geanuics KK 2A a MIDI In MIDI Out ITS Ooo GERS een CD KE Gagaga 000000 5500666000 EC Master Keyboard transmitting on MIDI channels 1 2 3 Here s one way to use this ultra powerful feature There is one arpeggiator for each MIDI channel In order to arpeggiate on multiple channels you need a controller
87. 22 2ccccececosesesesevessscusevesteteteestetetventee E E 150 FXB Send Amounts sise 150 Preset Patchc rds sms nn nine nee 151 Initial Controller Amount ss 152 Keyboard Tuning ss 153 Preset Links EENS RS RER RS 155 Preset Tempo Offset i 156 Audition Riff Selection ss 156 Play Solo Layers 1 156 Programming Tutorial ss 157 Editing RE 157 Changing the Instrument ss 157 Changing the Tuning of an Instrument uuuussssnessssnnneeessnnnenessnnnnensnnnn 158 Gi nto CN 159 Volume Envelope eu ENEE 159 dei Stee EC 161 Adding the Filter Envelope AA 162 Changing Filter Types eege us until 164 Envel pe Repe t 222222 Ee 165 Practice Modulating 820 80er Rasen 165 Troubleshooting WE 166 Biet ale 167 EES eeh 169 ue e 169 The Effects Sends u ege EEN a IRRE nes 169 Effect IV Dessen rent ua rare 171 Effect Parametern are eu 171 Delay nn ee 172 High Frequency Damping eeessececeessceececeecessseeeceessaeeeeeneeeseeses 172 Feedback sets nn nintendo 172 LEO RAC TR TT ce cutee eege eege 172 Delay eet Ae de ee Re 172 Effects Programmed in Ra EE 173 Master Etgen E a E A 174 Effects Mode 4 geed 176 Using the Effects Channel Settings in Multi Mode AN 178 Effect B INto Effect A il oeeie n EEEE EEEE ds 178 General Effect Descriptions tement 180 Reverb nennen anne Ehe SES 180 E US 181 D ubling E 181 Slapback innen een 181 Ste
88. 22 prc Shaker 21 1023 prc Shaker 22 1024 prc Shaker 23 1025 prc Shaker 24 1026 prc Shaker 25 1027 prc Shaker 26 1028 prc Shaker 27 1029 prc Shaker 28 1030 prc Shaker 29 1031 prc Misc 1 1032 prc Misc 2 1033 prc Misc 3 1034 prc Misc 4 1035 prc Misc 5 1036 prc Misc 6 1037 prc Misc 7 1038 prc Misc 8 1039 prc Misc 9 1040 prc Misc 10 1041 prc Misc 11 1042 prc Misc 12 1043 prc Misc 13 1044 prc Misc 14 1045 prc Misc 15 1046 prc Misc 16 1047 prc Misc 17 1048 prc Misc 18 1049 prc Misc 19 1050 prc Misc 20 1051 prc Misc 21 1052 prc Misc 22 1053 prc Misc 23 1054 prc Misc 24 1055 prc Misc 25 1056 prc Misc 26 1057 prc Misc 27 1058 prc Misc 28 1059 prc Misc 29 Instrument Listing 1060 prc Misc 30 1061 prc Misc 31 1062 prc Misc 32 1063 prc Misc 33 1064 prc Misc 34 1065 prc Misc 35 1066 prc Misc 36 1067 prc Misc 37 1068 prc Misc 38 1069 prc Misc 39 1070 prc Misc 40 1071 prc Misc 41 1072 prc Misc 42 1073 prc Misc 43 1074 prc Misc 44 1075 prc Misc 45 1076 prc Misc 46 1077 prc Misc 47 1078 prc Misc 48 1079 prc Misc 49 1080 prc Misc 50 1081 prc Misc 51 1082 prc Misc 52 1083 prc Misc 53 1084 prc Misc 54 1085 prc Misc 55 1086 prc Misc 56 1087 prc Misc 57 Appendix Instrument Listing 1088 prc Misc 58 1089 prc Misc 59 1090 prc Misc 60 1091 prc Misc 61 1092 prc Misc 62 1093 prc Misc 63 1094 prc Misc 64 1095 prc Misc 65 1096 prc Misc 66 10
89. 226 crossfade random 86 crossfade ranges 122 current tempo 36 offset 156 cursor buttons 26 curve velocity 67 volume 159 curve glide 132 cutoff frequency 103 161 damping high frequency 172 180 data entry control 27 DC offset example 100 DCA 107 166 decay effect A 71 172 effects 172 envelope 159 deep edit mode 28 78 default assignment beats 37 delay 129 arpeggiator 55 56 effect B 72 effect processor 182 effects 171 172 LFO 140 master FXB 72 preset link 155 demo sequences 17 descending arpeggiator 49 destinations modulation 92 144 device external MIDI 90 device ID 73 dimensions 225 diode processor 94 display viewing angle 82 distortion effects 171 distortion effect processor 182 double amp detune 129 159 doubling 181 downbeat marker 26 37 drum mappings 213 dual channel beats 21 39 dual tap delay 182 duration pattern 61 dynamic filters 101 dynamic range 225 edit menu button 25 editing presets 157 user patterns 59 effect diagram 146 147 149 effects A type 171 B into effect A 178 B submix routing 72 Btype 171 busses 169 by channel number 178 channel number setup 178 chorus 181 decay 172 delay 172 182 description 180 distortion 182 doubling 181 dual tap delay 182 feedback 172 182 flanger 181 FXA decay 71 FXA HF Damping 71 FXB feedback 72 FxB gt FxA 71 173 global 177 HF damping 172 LFO rate 72 172 master 169 174 177 A algorithm 70 B algorithm 71 FxB g
90. 3 gtr Wacka 3 83 key Crunch Klav brs Hitz bas Sonic Sine vox TB Eweew gtr Cyclone sfx DownTheDrain arp PhiltaSweepa kit 09HiHatMode bas SubSonicTri brs Brass Tine sfx YaYaYa bas Deeper bas Acid bas BelowaWoofer bas GutPunched kit WhatYouWant bas It Too brs Lotsa bas Fishy bas SubOne bts Wide Hive bas FuzzSubby bas SubTwo bas SubThree bas SubFour bas SubFive bas SubSix bas Election bas Acid 2 bas Crandle bas Frogged bas Babybass bas Soulfuzz bas Speakeasy bas BellyButton bas KeyOnate bas Prophet bas Persistent bas Squared bas TheoryBass bas MarkOther bas Funk Pop 1 bas Funk Pop 2 bas Velo SlapPop bas Funky Finger bas Funky Pik bas Funk Wave bas Accidental 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Appendix Preset Listing bas Fingered bas Bagg bas Distroy bas Blip bas Hecho Itter bas Dubby bas Dubby 2 bas Grit bas Kraft bas Kraft 2 bas Technoid key PianoJam2 bas Plucky bas Harpbass bas Upright gtr Crybabe 1 gtr Wacka gtr Wacka Talkin gtr Wacka Do gtr Chickn 1 gtr Chickn Dist gtr Chickn Slide gtr Exciteable gtr Hen Drix gtr Lik Delay gtr Lik Choppy gtr Wackaloo gtr Willpy gtr Odlil gtr YeWah gtr Wah DisLik gtr Wah Not gtr Wah Scale 4 gtr Wah Scale 7 gtr Wah Upper gtr SpRinkel
91. 43 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 Appendix Instrument Listing brs Stabber sfx JungleWiggly sfx Wet Tripper hit Dum Dum 1 hit Dum Dum 2 hit Jungle hit Bongo Fury hit Drop Off syn 2 Step hit the Snap sfx HookReverse brs Tasty Lick brs Next Tasty 1 brs NotherTasty brs Next Tasty 2 syn Flutey hit Brass Attack gtr Single Next brs Falling brs Sfz syn Grinder hit HardSynStab1 hit HardSynStab2 brs Quirky Hit hit StressRelief hit Korn syn Wheeeeper hit It s A hit It s A nothr hit Rap Zapper hit Uplifter hit Good Nuff hit Laser Strike hit Wild Horns hit Cluster hit To the Point hit Tentative hit Mood Swing syn Sea Story str Fade Hit hit Sentimental hit DeD RINGER hit Chord Ends hit Monster hit SP Super Instrument Listing 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 hit With 2 Tts hit Splashy str SP Suspense hit Weird Nylon hit Sp Reversal gtr Mood Riff syn BrassProphet pad Plucked Gold syn Winny syn PS5 Sync wav Sinusoid wav Sine 2 wav Sinelnvrt 2 wav Sine 3 wav Sinelnvrt 3 wav Sawtooth wav Square wav Triangle key 010 EI Tine key 1 Note Mello key Nother1Noter key 010 FuzzTine key Res 1 Shot key
92. 8 N 9 8 D 2 NS N S N S NS amp PB amp ND 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 gtr Linky Fingaz str Ooops pad Nitrogen str Pizz Strings bts YeaYeaZ arp SupermanSaw key Orgg Doggie syn TinkerToyz pad JP Layer gtr BedofFire key Phat Klav bts Beat Prophet kit Betta Beata led AllJackedUp sfx SolarBaBies syn DeGlown bts KattznJammah kit MuSic2DrIvBy gtr SyCoCry vox All Talk bas Digger Bass gtr Heavy kit Oh Yeah kit Jelly Belly syn BoogieBAbY kit Cool Guy kit FriscoLayer bts CreatrLayer bts I Miss You 2 bts VideoGamez syn WePhattField syn Ohoooo sfx MarsattakslI key Sitar 88 vox Agony Agony vox Voicyst syn WhY Me vox DadeezGAL amb Underground bas Rez Ripper pad DeadMetal 1 key Org De Borg key Piano Jam 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Appendix Preset Listing key Tiny Wonders kit Obsession kit Regal Gate bas Fretless sfx Sick Girl sfx KindaMuddy syn SPICEBOY syn SuKaButt str Fade It hit StrikezAgain syn WeirdVox bas Box O Bass bas Poppy pad OuterLimits str Fakinglt str Section str Pizz am
93. 9 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 Appendix Instrument Listing syn Vox Pad vox TB Pad 1 vox TB Pad 2 vox Talk Brush gtr DistantCry gtr Heavy syn Vox Roller vox TB Boom 1 vox TB Boom 2 vox TB Boom 3 vox TB Boom 4 vox TB Boom 5 vox TB Boom 6 vox TB Do It 1 vox TB Do It 2 vox TB Do It 3 vox TB Do It 4 vox TB Do It 5 vox TB Oh Yeah 1 vox TB Oh Yeah 2 vox TB Oh Yeah 3 vox TB Oh Yeah 4 vox TB Oh Yeah 5 vox TB Oh Yeah 6 vox TB Oh Yeah 7 vox TB Vowel A vox TB Vowel E vox TB Vowel I vox TB Vowel O vox TB Vowel U vox TB Vowel Ah vox TB Vowel Eh vox TB Vowel Uh vox TB Vowel Oo vox Gina Ew 1 vox Gina Ew 2 vox Earth Lisa vox Male 1 vox Male 2 vox Male 3 vox Male 4 vox Male 5 vox Male 6 vox Male 7 vox Male 8 Mo Phatt Operation Manual 203 Instrument Listing 204 E MU Systems 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 vox Male 9 vox Male 10 vox Femme 1 vox Femme 2 vox Femme 3 vox Femme 4 vox Femme 5 vox Femme 6 vox Femme 7 vox Femme 8 vox Femme 9 vox Femme 10 vox Femme 11 vox Femme 12 vox Femme 13 key Farfisa Low key Farfisa key Vox Organ key Organ 1 key Organ 2 key Org Day key Org Nod key Org Lite key Disco Or
94. 949EMU2KCR103 Under 73 23 EEC as amended by 93 68 EEC In accordance with EN 60950 with amendments Al A2 A3 A4 All This Declaration is made November 15 1999 12 EMU Systems Setup This section thoroughly describes how to set up your new Mo Phatt for use Setup includes unpacking instructions and how to connect the cables U n packi ng Carefully remove Mo Phatt from the packaging material Take care to save the packing materials in case you need to transport the unit Check to make sure all components are included and in good condition If there are missing or damaged components contact E MU Systems immediately for replacement or repair The Mo Phatt box should include the following components e Mo Phatt rack unit e Power cable e Rack mounting ears e This operation manual e Manuals CD ROM Mo Phatt Operation Manual 13 Connection Instructions Basic Setup Q If Mo Phatt does not seem to be responding correctly make sure that both Mo Phatt and your MIDI controller are set to the same MIDI channel Q The Right Main output jack carries a mono mix of the left and right channels when the Left Main plug is not plugged in The Left Main output jack is a stereo jack carrying both channels when the right output jack is empty 14 EMU Systems Setup Connection Instructions The Headphone Output is located on the Front Panel E og mue vs mme SF zeen CAUTION AVI
95. 97 prc Misc 67 1098 prc Misc 68 1099 prc Misc 69 1100 prc Misc 70 Mo Phatt Operation Manual 209 Riff Listing 210 E MU Systems D N 9 om P D SS bb BR E oa oo o oo o o oo o D D ND ND D ND ND ND ND RA a Bee o mb a nin BP D Je o D GG JA eo E ND L Je o bk W ND AUD C Triad AUD C1 4 bars AUD C3 1 bar AUD C3 2 Bars AUD C3 4 Bars AUD C4 AUD Cm7 AUD Cm9 AUD Cmaj7 AUD Cs Up AUD Cs Up Down AMB Underground AMB Vocoder BAS Acid1 BAS Bagg BAS BellyButton BAS Decision99 BAS EatMe BAS Funk PM BAS Funk Pop BAS Funk Slap BAS GutPunched BAS HarpOS1 BAS HarpOS2 BAS HarpOS3 BAS HellaBoom BAS Hummertime BAS InTheory BAS It Too BAS KeyONate BAS Persistence BAS PluckySynth BAS RezRipper BAS SP Stand Up BAS SlapPop BAS SonicSine BAS Soulified BAS Speakeasy BAS Standin BAS SubsonicTRi BAS Talk2Me BAS Technoid BAS TheDeepest BAS TheDeepest2 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 BAS TheOtherMarc BAS Upright One BAS WarmWelcome BAS WoofaWrekka BRS Bigg BRS BrassTine BRS Hitz BRS Caliente BRS Crunchy BRS Lotsa BRS Lotsa2 BRS Philta BRS SlapDatBrass BRS SlapDat 2 GTR AllWahs GTR Burnt GTR Chord Bed GTR Cyclone
96. Categories are displayed in alphabetical order D To Select a Preset within a Category 1 After selecting a category move the cursor to the Preset Name field 2 Rotate the Data Entry Control to scroll through the presets in the selected category Note that the preset numbers will no longer change sequentially When the cursor is on the Instrument Category field Edit menu turning the Data Entry Control selects different instrument categories The Name Field changes to show the first instrument in each category Move the cursor back to the instrument name to choose other instruments in the selected category LI INSTRUMENT ROM PHATT 06u bas Basingie Mo Phatt Operation Manual 33 Basic Operations Multitimbral Operation M u titi m bral Multitimbral operation means that Mo Phatt can play more than one O er ati on sound at the same time Follow these instructions to access multiple presets P on different MIDI channels simultaneously gt To Set Up Mo Phatt for Multitimbral Operation 1 Set the MIDI mode to multi mode using the MIDI mode function in the Master menu 2 Decide which MIDI channels you want the Mo Phatt to receive 16 channels can be used simultaneously You can turn any unused channels OFF using the MIDI Enable function in the Master menu 3 Select the desired preset for each of the MIDI channels you want the Mo Phatt to receive using the Main preset selection screen See Main Screen
97. Control of the preset containing the information you want to copy into the current preset Move the cursor to the top line in the display Select the layer of the source preset in the first field on the right Select the destination layer in the second field Press the Enter Home button Mo Phatt Operation Manual 185 Copy PatchCords Copy Preset PatchCords 186 E MU Systems Save Copy Menu Copying Information The Copy PatchCord command lets you copy the patchcord settings from one layer of the preset location into the current layer of the current preset location The preset information in the source location the preset location from which you want to copy is not deleted from the original location just copied to the destination location COPY CORDS User LI gt D 020 Source Preset D To Copy a PatchCord 1 Select the Preset and Layer you want to copy information into Press the Save Copy menu button Scroll to the Copy Cords screen using the data entry control Move the cursor to the bottom line on the display Select the preset location using the Data Entry Control of the preset containing the information you want to copy into the current preset Move the cursor to the top line in the display Select the layer of the source preset in the first field on the right Select the destination layer in the second field 4 Press the Enter Home button The Copy Preset PatchCord command lets
98. Frequency but the envelope can be routed to any real time control destination using a PatchCord Auxiliary Envelope Low Frequency Oscillators LFOs Edit Menu Auxiliary Envelope Defining the Filter Envelope The Filter Envelope controls the filter frequency of the layer over time The Envelope has six stages to the contour Attack 1 Attack 2 Decay 1 Decay 2 Release 1 and Release 2 When a key is pressed the Envelope goes through the first four stages If the key continues to be held the envelope holds at the Decay 2 level When the key is released the envelope immediately jumps to the Release 1 stage then the Release 2 stage finally ending at the Release 2 level Sustain 9 NS ZE Key Down Key Released The Auxiliary Envelope is a supplementary general purpose envelope that can be routed to any real time control destination in the PatchCords It is identical to the filter envelope generator See Filter Envelope on page 135 for full details A Low Frequency Oscillator or LFO is simply a wave that repeats at a slow speed Mo Phatt has two LFOs per layer identified on the display as LFO1 and LFO2 An LFO can be routed to any real time control destination using a PatchCord LFOs have a myriad of uses some of which probably haven t been thought of yet The following examples show a few common uses e Control the pitch of the sound LFO gt Pitch This effect is called vibrato and is an
99. G8 M A To define the range set the low key value and the high key value You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field in the display Fade In Fade Out LI KEY LO FADE HIGH C 2 000 C2 Layers can be crossfaded according to key position by adjusting the Low and High Fade parameters The first Fade field determines how many semitones it takes the layer to Fade In from the low key The second Fade field determines how many semitones it takes the layer to Fade Out to the high key The screen shot above and the diagram below show Layer 1 being faded out over a one octave range C 2 C 1 co c1 C2 C3 C4 c5 C6 C7 C8 G8 l l l l l HIT Layer 1 Layer 3 Switch Layer 4 With a High Fade value of zero as in layer 3 of the diagram the layer simply switches off at the high key Mo Phatt Operation Manual 117 Edit Menu Defining Layer Parameters D To Switch Layers According to Key Position The Key Range parameter allows you to create a split keyboard with up to four sounds adjacent to each other on the keyboard This is shown in the diagram below Switch Switch Switch Just assign the low and high key range for each of the four layers with Fade set to zero
100. Good dynamic range Mo Phatt Operation Manual 219 Velocity Curves 120 100 Curve 6 80 60 40 20 0 20 40 60 80 100 120 Played Velocity Shifts velocity values up while compressing the midde range 120 100 Curve 8 80 60 40 20 l 0 20 40 60 80 100 120 Played Velocity Similar to Curve 6 with more emphasis on the middle range 120 100 Curve 10 80 60 40 20 I 0 20 40 60 80 100 120 Played Velocity Extreme dynamic range compression Outputs low values 220 E MU Systems Appendix Velocity Curves 120 gt 5 100 Curve 7 so v _ gt 60 EI 1 2 40 Ai _ 20 0 lee bk 0 20 40 60 80 100 120 Played Velocity Similar to Curve 6 120 gt sl 5 100 Curve 9 so v J gt 60 E d gt 40 o El 20 0 be FAE AR Ti 0 20 40 60 80 100 120 Played Velocity Extreme dynamic range compression 120 gt E 100 S Curve 11 30 v J gt 60 EI J gt 40 o _ 20 0 Ee E E A 0 20 40 60 80 100 120 Played Velocity Extreme dynamic range compres but doesn t output low values N Curve 12 Ki gt Result Velocity an N OS 0 20 40 60 80 100 120 Played Velocity Less severe version
101. IDI channels 1 16 OUTPUTS MIDI B RSUB2L RSUBTL R MAIN L S PDIF COSCO O Q zum Mixer m MIDI In In this setup Mo Phatt is controlled by MIDI messages received at the MIDI input which are routed by the MIDI interface The MIDI interface allows any MIDI controller such as a MIDI keyboard or a computer to control the module MIDI Out The MIDI Out jack transmits program data to a computer or other device Outputs A stereo connection is highly desirable because of the added realism of stereophonic sound Plug stereo headphones into the headphone jack located on the left side of the front panel The Right Main output jack serves as a mono output when the Left Main plug is not plugged in The Left Main output jack is a stereo jack carrying both channels when the Right output jack is empty Mo Phatt Operation Manual 15 Power Up 16 EMU Systems Setup Connection Instructions The power switch is located on the right side of the front panel You can turn on the Mo Phatt and its MIDI controller in any order When power is applied the liquid crystal display will light indicating that Mo Phatt is operating You may have noticed that there is no 110 220 Volt power selector switch on Mo Phatt Mo Phatt automatically switches itself to the proper li
102. K 1 or LINK 2 screen shown below LINK 1 PRESET off Move the cursor to the second line of the display Select the preset you want to link with the preset you selected in step 1 Play the keyboard as you scroll through the various presets to hear the results If you want the link to be a permanent part of the preset be sure to save the preset Otherwise simply change the preset to erase your work gt To Create a Split Keyboard Using Links 1 2 Follow steps 1 through 4 above Press Enter and use the Data Entry Control to advance to the next page VEL 000 127 Set the keyboard range of the linked preset as desired Press Enter and use the Data Entry Control to go to the Key Range page It s one of the first Edit menu pages LT KEY LO FADE HIGH FADE cS 000 68 000 Set the range of the original preset so it fills the remaining keyboard area Save the preset Mo Phatt Operation Manual 167 Programming Tutorial Linking Presets 168 EMU Systems Effects Overview The Effects Sends Effects Mo Phatt has two stereo effects processors When playing presets one at a time the two processors can be programmed as part of the preset When the MIDI Mode is set to multi Mo Phatt uses a global effects assignment Master Effects The diagram below shows how the effects are integrated into the signal path using a parallel effects send return model similar to a mixing console FX Sen
103. MOPHATT LA VOILE URBAN DANCE SYNTH Operation Manual 2000 E MU Systems Inc d b a E MU ENSONIQ All rights reserved FI10721 Rev B E MU World Headquarters Europe Africa Middle East E MU ENSONIQ E MU ENSONIQ P O Box 660015 Suite 6 Adam Ferguson House Scotts Valley CA USA Eskmills Industrial Park 95067 0015 Musselburgh East Lothian Telephone 831 438 1921 Scotland EH21 7PQ Fax 831 438 8612 Tel 44 0 131 653 6556 Internet www emu com Fax 44 0 131 665 0473 The following are registered worldwide trademarks owned and or exclusively licensed by E MU Systems Inc E MU and E MU Systems All other trade marks are the property of their respective holders Important Notice In order to obtain warranty service on your Mo Phatt unit the serial number sticker must be intact and you must have a sales receipt or other proof of purchase If there is no serial number sticker on the Mo Phatt please contact E MU Systems at once This product is covered under one or more of the following U S patents 4 404 529 4 506 579 4 699 038 4 987 600 5 013 105 5 072 645 5 111 727 5 144 676 5 170 367 5 248 845 5 303 309 5 317 104 5 342 990 5 430 244 and foreign patents and or pending patents All other trademarks belong to their respective companies Specifications and features are subject to change without notice Mo Phatt Operation Manual i Table of Contents E MU Systems Table of Contents Intro
104. MU Systems Front Panel Knob Functions Q The Front Panel Knobs can be reprogrammed for each preset and stored in any of the User Presets The functions shown here are the factory programmed settings Appendix This section provides some of the more technical information about Mo Phatt In this appendix you will find information about velocity curves MIDI commands and PatchCord charts The front panel knob functions are standardized for most of the factory presets The typical functions of the controller knobs are described below Match the controller knobs on your MIDI controller to the Realtime Controller Assignments in the Master menu to control these functions FILTER CUTOFF FILTER RES SHAPE IMAGE ATTACK DECAY RLS MOVEMENT RATE WILD 1 WILD 2 WILD 3 WILD 4 ae sr cox pma Filter Cutoff Filter Frequency Filter Res Filter Resonance KT Volume or Filter Envelope Attack Imagine Pitch Glide Chorus Amount Layer Volume Attack uen ts Volume Envelope Attack Rate Decay Release Volume Envelope Decay or Release Rate Movemenrt LFO Amount Rate sine LFO Rate Wild Tees BEATS Busy Non BEATS Filt Env Attack Wild 2 BEATS Variation Non BEATS Filt Env Release Wild 3 rem BEATS Xpose Grp 1 Non BEATS Arp Velocity Wild 4 sis BEATS Xpose Grp 4 Non BEATS Arp Gate Mo Phatt Operation Manual 195 Appendix Presets Presets Pres
105. Master menu screen appears 2 Use the Data Entry Control to select the MIDI mode page Choose multi for the mode MIDI MODE CHANGE multi accepted Mo Phatt Operation Manual 177 Effect B Into Effect A 178 E MU Systems Effects Master Effects 3 Move the cursor to the Multi mode Effects Control page using the Data Entry Control FX MULTIMODE CONTROL use master settings 4 Set the Effect Control channel to use master settings using the Data Entry Control 5 Press the Enter key to save the settings and return to the main screen Using the Effects Channel Settings in Multi Mode In Multi mode the two effects processors can be controlled from the Master Effects settings or they can follow the effects settings of the preset on a special MIDI channel The effect settings on this special channel will be applied to all the other MIDI channels This allows the effects to be changed during a sequence simply by changing the preset on a specified MIDI channel D To Program the Effects by Channel Number in Multi Mode 1 Press the Master menu button The LED illuminates and the Master menu screen appears 2 Use the Data Entry Control to select the MIDI mode page Choose multi for the mode 3 Move the cursor to the Multi mode Effects Control field using the Data Entry Control 4 Set the Effect Control to preset on Channel where is replaced by the actual channel number from 1 through 16 usi
106. Mid Open Hat Crash Crash Ride Cymbal Tambourine Cowbell Vibraslap Lo Bongo High Conga Yeah Slap Hi Hi Gated Beep Lo Scratch Mo Phatt Operation Manual 213 Funky GM 3 Instrument 489 Used in Preset 1092 Note All loops are at 83 bpm in this Instrument 214 E MU Systems Lush Guitar Hit Lush Guitar Hit Lush Guitar Hit Waka Guitar 1 Waka Guitar 2 Brush Tom Acous Lo Kick Wide Hive Kick Acoustic Snare Acous Snare 2 Low Floor Tom Hi Floor Tom Low Tom Mid Tom Hi Mid Tom Hi Tom Chinese Cymbal Ride Bell Splash Cymbal Hi Crash Cym Hi Ride Cym Hi Bongo Hi Bongo Mute Low Conga Hi Timbale Hi Agog Cabasa Short Whistle Long Whistle Guiro Hi Block Lo Block Quica Open Triangle Sleigh Bell Bell Tree Thunder Sheet Funk Sanre LP Snare Drum Groove Acoustic Fill Soft Clave Oh Yeah Vox FX Loop Brass Hit Pad Hit Pad 83 bpm Appendix Example Percussion Maps Bass Fret Rolldown 5 pt Chucka Guitar Acoustic Stick Acoustic Rim Group Clap Tambourine Cowbell Vibraslap Lo Bongo High Conga Low Timbale Agogo Lo Tone Maracas Short Guiro Clave Quica Triangle Mute Shaker Harp Gliss Clap Hi Hat Grit Brushy Snare LoFi Snare Rim Carnival Hit Brass Brass Stab Snare Funky GM One Instrument 487 Note All loops are at 83 bpm in this Instrument Lush Guitar Hit Lush Gui
107. Mo Phatt doit tre plac de fa on ce que sa position n interf re pas avec sa propre ventilation 5 Le Mo Phatt doit tre plac loin de sources de chaleur telles que des radiateurs chemin es fours ou groupies en chaleur 6 Le Mo Phatt doit uniquement tre connect a une alimentation du type d crit dans les instructions d op ration et tel qu indiqu sur l appareil 7 Une attention particuli re doit tre observ e quant aux objets pouvant tomber et aux liquides pouvant tre vers s sur et l int rieur de le Mo Phatt 8 Le Mo Phatt peut tre quip d une fiche secteur polaris e avec une broche plus large que l autre C est une mesure de s curit Si vous ne pouvez pas brancher cette fiche dans une prise ne neutralisez pas cette s curit Contactez plut t un lectricien pour remplacer la prise obsol te 9 Evitez de marcher sur le cordon d alimentation ou de le coincer parti culi rement pr s des prises de courant des boitiers electriques dt du point de sortie de l appareil 10 Le cordon d alimentation de le Mo Phatt doit tre d branch lorsque ce dernier n est pas utilis pendant une longue p riode 11 Cet appareil combin avec un amplificateur des haut parleurs et ou un casque est capable de g n rer des niveaux sonores pouvant occasionner une perte de l ou e permanente Ne travaillez pas trop longtemps un volume trop lev ou m me inconfortabl
108. O 1 Amp Vol LFO 2 Pitch Amp Env Pan Filt Env LFO Rate Aux Env Aux Env Wheel Env Atk Pressure Glide etc etc Each patch has an amount field which determines how much modulation is applied to the destination The modulation amount can be positive or negative Negative values invert the input The amount value range is from 100 to 100 M PATCHCORD AlsVel gt AmpVol LI PATCHCORD Key gt FiltRes Note Flip Flop Footswitches 1 amp 2 remain in their last condition when a new preset is selected Flip Flop Footswitch 3 resets to the Off condition whenever a new preset is selected Edit Menu PatchCords Modulator Polarity You will notice that some of the modulation sources have symbols following their names For example there are three Velocity modulation sources Vel Vel and Vel lt Control fi fe Value 9 63 127 Control Value Applied modulation ADDS to the l Ein a 7 initial value Normal i centers around Zero Use for LFOs Filt Freq 63 0 e 4 lt PP lt modulation SUBTRACTS 127 63 0 from the initial value Modulation Uses only the positive half of the range adding to the current value For example if the filter frequency were set to 100 and you patched Vel to the filter the filter frequency would increase from 100 as velocity was applied Modulation Uses both sides full range and both adding and subtracting from the current value Fo
109. One KIT GM Two KIT GuessWhosBak KIT HappyZ KIT HiverJiver KIT Hot n Steamy KIT KattznJammah KIT KlasicStudio KIT Klippy KIT Lesster KIT MO GM 1 KIT MarchMadness 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 Appendix Riff Listing KIT MarchMadnezZ KIT Mo Dist KIT Music2DrivBy KIT New Beat KIT NuMetal KIT Oh Yeah KIT OnDaStreet KIT Perky KIT Perky2 KIT PhiltaFreak KIT PhiltaFreak2 KIT Relapse KIT Relapse2 KIT ScratchHead KIT Slappy KIT SubwayTunnel KIT The Ultimate KIT ThugitUp KIT TimesSquare KIT U Aint KIT U No KIT Vilper KIT Vilper2 KIT Warp KIT Wide One KIT WideOne2 KIT Woo Kid BTS 8nt Urz BTS AllIMyMomeeS BTS BabyDoll BTS Beat Prophet BTS Becky Boise BTS Can I Talk BTS ClapYoHandZ BTS CreatrLayr BTS CreatrLayr2 BTS DJ GLO Jenkn BTS DialToneZ BTS DirTay drTee BTS DoiTZ BTS Dr Banner BTS FemaleBasher BTS GLO BabieeS BTS Geechee GLO Mo Phatt Operation Manual 211 Riff Listing 212 EMU Systems 265 266 267 268 269 270 271 272 273 274 275 276 BTS GrungeZ BTS HeY BTS Hot n Steam2 BTS Hot n Steamy BTS I Miss U BTS Iced Out BTS ItsLikeDat BTS ItsUAgAIn BTS KattznJammah BTS LaLaZ BTS Last Chance BTS Lily 3 277 278 279 280 281 282 283 284
110. Preset names consists of two parts a 3 letter preset category and a 12 letter preset name Position the cursor under the character location and use the data entry control to change the character The preset category is used in conjunction with the Sound Navigator feature Using the Sound Navigator a category is selected and the presets in that category are listed in alphabetical order Creating categories makes it easier to find specific sounds when you need them For more information on Sound Navigator see Sound Navigator in Chapter 2 Operations PRESET NAME 000 syn VOSIM Voc The keyboard can also be used to select character The charts below show the keyboard character assignments b A a5 NER WE ee k C C D D E F F G G A A B Pitch 2 bank TIEF amp TC 11017 2 0134 5167 8 9 lt gt 1 A B C D E F GI H I 2IKILIMIN O P QIR T IU V 31w x vY z i I la lb 4Alcidie fig hlil j limin Sol pliatrisitiulviwix y 2z 6 gt Octave Four Layer Architecture Selecting Layers Edit Menu Four Layer Architecture Mo Phatt provides a 4 layer instrument structure Each layer is a complete synthesizer voice with 50 filter types over 64 modulation sources
111. ROM presets may be programmed to respond The controls might not conform to the front panel labels depending on the preset You can change the way a preset responds to MIDI A L messages from the Edit menu PatchCords There is an LED next to each of the control knobs which illuminates to indicate that the knob setting has been changed from the value programmed in the preset when Quick Edit mode is enabled If the knob position is returned to the original setting the LED is extinguished If the Knobs MIDI Out parameter in the Master menu see Knobs Riff MIDI Out on page 78 is set to transmit the system sends a MIDI controller message when you turn off the Control knob The MIDI controller message is sent on the current MIDI channel also called the basic channel using the controller number assigned in the Master menu see Real time Controller Assignment on page 75 The knobs only generate a message when you move a knob to a new value The current value jumps to the new value Mo Phatt Operation Manual 27 Basic Operations Front Panel Controller Modes Quick Fdit This mode uses the Controller knobs to Quick Edit the currently selected preset without having to enter the Preset Edit menu This mode is only active when on the Preset Select screen and when Quick Edit is enabled in the Master menu see Knob Preset Quick Edit on page 77 Initial controller values can be stored in every preset W
112. S R SUB2 L OUTPUTS R SUBAL R MAIN L S PDIF N OUT THRU N THRU FEN CA dia ES E 8 To 2 Main Outs 6 Male RCA plug to Mixer Male Phono Plug TEE HAHN EHH Tape In On AMP emie BE b el L re ILI ei Speakers v H e x h Home Stereo System Home Studio System MIDI In Mo Phatt is controlled by MIDI messages received at the MIDI In jack Normally you will connect MIDI Out of a controller such as a MIDI keyboard to Mo Phatt s MIDI In jack Be sure to connect a Footswitch and or Control Pedal to your MIDI keyboard Many of the factory presets use MIDI controllers Outputs In order to reproduce Mo Phatt s wide dynamic range and frequency response use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system A stereo setup is highly desirable because of the added realism of stereophonic sound Headphones can be used if an amplifier and speaker system is not available Plug stereo headphones into the headphone jack on the left side of the front panel Setup Connection Instructions Studio Setup MIDI Controller E MIDI Keyboard Sequencer etc S LS x Mies G Additional MIDI Devices MIDI In A M
113. S HIHIEIEIBIEI S _ _ No bo wn oo nain Sai No NS RSPR S_ N 80 90 901 92 100 100 102 1 nada N N CA E N H 2 In this chart program changes 10 29 have been remapped to new preset numbers All other presets are selected normally Use this function to instruct the Mo Phatt to utilize or ignore incoming MIDI preset changes or Bank Select commands for each channel Use the cursor buttons to select the channel number field then use the Data Entry Control to select a channel number Use the cursor button again to select the On Off field and the Data Entry Control to change the value RECEIVE PROGRAM CHANGE channel 01 on Use these three pages to assign twelve real time control sources Each MIDI Controller is assigned a letter A L The front panel Controller Knobs and twelve MIDI controller numbers share the A L controller routings These screens let you select which MIDI real time controllers numbers will be received from 1 to 31 and from 64 to 119 and which controller numbers will be transmitted over MIDI if the front panel controls are turned The PatchCord routing and amount in the Edit menu determine what effect the controller has on each preset Real time controllers are shown in the PatchCord menu as MIDI A through MIDI L Mo Phatt Operation Manual 75 X Mo Phatt factory presets have certain synth parameters assigned to each controller letter and
114. Set the Low and High Keys so they don t overlap other layers Q You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low FADE HIGH or high key field n the display 000 Fl FADE HIGH FADE 000 C3 000 If two layers do overlap both will play as shown in the next example 118 E MU Systems Edit Menu Defining Layer Parameters D To Stack Layers If the ranges of two or more Layers overlap it is called stacking layers All Layers assigned to a key sound when the key is played This is shown in the following diagram It s very easy to stack layers Simply duplicate the key ranges for any layers you want to stack Mo Phatt Operation Manual 119 Defining the Velocity Crossfade Range 120 EMU Systems Edit Menu Defining Layer Parameters Velocity is a measure of how hard the key is pressed Velocity Range lets you control the volume of the layers using velocity Using this function you can crossfade or cross switch between layers according to how hard you play the keyboard Set the velocity range of the layer by defining the high and low velocity values Values range from 0 off to 127 hardest Le VEL LO FADE HIGH FADE 36 O12 96 O12 The Fade fields define the velocity crossfade range for the currently selected layer The first Fade field defines the Fade In range for the low velocity value The second defines the Fade Out range for the high velocity va
115. X Send Routing field and change the Send 1 4 using the Data Entry Control 3 Locate the MIX OUTPUT screen in the Master menu 4 Set the MIDI channel you are using to use preset Mo Phatt Operation Manual 145 Edit Menu Com mon This section of the Edit menu chapter describes parameters that affect all layers in the preset Preset 4 j Parameters Preset Effects Mo Phatt has two stereo effects processors When playing presets one at a time the two processors can be programmed as part of the preset The diagram below shows how the effects are integrated into the signal path using a parallel effects send return model similar to a mixing console FX Send Amount BA Reverb Delay ae Chorus Flange FX Send Amount Refer to the Effects chapter for additional information and instructions for setting up both the Preset Effects and the Master Effects 146 E MU Systems Edit Menu Preset Effects OUTPUT SECTION amp EFFECTS PROCESSORS Send 1 15 Send 2 10 EDIT MENU Send3 0 Send 4 0 PRESET p Send 2 0 Send 3 20 Send 4 15 S Ch 1 E Seet Ch 2 SEND 2 3 Ch 3 CH J ey Lo m E J A un m i t W wuzmu MASTER MENU a a a ea Ee us et Ta Pac ts et nl The Mix Output setting in the Master Menu determines if the Preset s Mix Output routing will be used This allows the Sends to be pro
116. Yes Active Sensing No No System Reset No No Tune Request No No System Exclusive Yes Yes Sample Dump Standard No No File Dump No No MIDI Tuning Yes Yes Master Volume No Yes Master Balance No No Notation Information No No Turn GM1 System On No No Turn GM2 System On No No Turn GM1 System Off No No Other See Remarks No No NRPNs No No RPN 00 Pitch Bend Sensi No No RPN O1 Chan Fine Tune No No RPN 02 Chan Coar Tune No No RPN 03 Tuning Prog Sel No No RPN 04 Tuning Bank Sel No No RPN 05 Mod Depth Rang No No MIDI Timing amp Sync MIDI Clock No Yes Song Position Pointer No No Song Select No No Start No Yes Continue No No Stop No Yes Appendix MIDI MIDI Information Transmitted Recognized Remarks MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No Extension Capability General MIDI Compat No No Is GM default mode No No DLS compatible No No Import DLS Files No No Export DLS Files No No Import stand MIDI files No No Export stand MIDI files No No NOTES Pan 64 hard left 63 hard right Product ID for Mo Phatt OF 15 MIDI Device Inquiry Responses Family MSB 0x04 Musical Instruments LSB 0x04 ROM Players Member MSB 0x00 P2k Group LSB 0x02 Audity 2000 0x03 Proteus 2000 0x04 B 3 0x05 XL 1 0x06 Virtuoso 2000 0x07 Mo Phatt 0x08 B 3 Turbo 0x09 XL 1
117. Yfeet amb YouPhoned amb PhonedAgain pad OB Layer amb VocodAhhh key PhatttTines bts Luvline 1 bts Luvline 2 bts Luvline 3 key CloudKeys pad Luxury 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Appendix Preset Listing led Glue Tone kit MarchMadnezZ key Tine Fuzzies gtr Voyeur Trax bts Boombaa bts AstralTravel key IntoTheLight gtr Psycho kit 7 HiHatMode key Tine Klav bts Geechee GLO kit WhatUstarted kit BabyDoll bts New WhirlOdr bts Wile U Werk kit U NO bts HeY kit My Main Man bts Can I Talk bts DJ GLO Jenkn clk Clockworx 2 pre HiHatMono 1 prc HiHatMono 2 key Skini Klav prc Bells Mono key HipHopTines1 key HipHopTines2 vox You led Screamer led MonoBrass pad Chasers MW pad LadyPulsar pad MeltingHartz arp Low amp Square vox LetsDance vox Earth Lisa gtr Disturbed bts DaPhattest bts Sunrise key ReBeckTines bts Luv Joe ns Default v1 0 Instrument Listing Appendix Instrument Listing This section lists the raw instruments in the Mo Phatt ROM set Instruments consist of either multisamples or single samples None bas The Deepest bas Hummertime bas WoofaWrekka bas Hella Boom bas Decision 99 bas Acid 1 bas Acid 2 bas Crandle bas Frog Factory bas Talk2MeBaby bas Soulified bas Speakeasy bas Warm
118. amping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping The value range for High Frequency Damping is from 0 through 127 Feedback The Feedback parameter is used when setting B type effects The Chorus and Flange effects have a controllable feedback loop after the delay element Feeding back a small amount of the signal intensifies the effect by creating multiple cancellations or images Higher feedback values increase the amount of the Feedback loop The Feedback value range is from 0 to 127 LFO Rate The LFO Rate parameter is used when setting B type effects Both Chorus and Flange effects use a Low Frequency Oscillator LFO to animate the effect LFO applied to a chorus effect creates the slight changes necessary for a realistic choral effect Applied to a flanger effect the LFO moves the comb filter notches and adds animation to the sound The LFO Rate value range is from 0 to 127 Delay Flanging chorus and echoes are all based on a delay line where the signal is delayed by some time period and then mixed back with the unaltered signal This parameter specifies the how much time passes before you hear the delayed signal On some effects this value cannot be changed In this case the field contains a dash The Delay value range is from Oms to 635ms Effects Effects Programmed in the Preset Effects Effects are normally programmed as part of the preset a
119. ample the sine wave has a smooth rolling shape that changes the pitch smoothly The square waveform changes between two pitches abruptly A sawtooth waveform increases the pitch smoothly then abruptly changes back down The available waveforms are shown below Random Triangle Sawtooth Sine Square 33 Pulse 25 Pulse 16 Pulse 12 Pulse ee Se Pat Fifth Octave c G E a i c C Sine 1 2 Sine 1 3 5 c eg E MAA G Sine Noise Hemi quaver w e Tl Pat Octaves Pat Sus4 trip Octave Octave Pat Neener avaw LFO Synced to 1 4 Note Clock Edit Menu Low Frequency Oscillators LFOs SHAPE SYNC sawtooth key sync Sync The Sync field specifies whether the LFO is synchronized to a key stroke or is Free Running Key Sync starts the LFO wave at the beginning of its cycle each time you press a key on the controller In Free Run mode the LFO wave begins at a random point in its cycle each time you press a key on the controller Rate The Rate field determines the LFO speed in absolute frequency rate values or tempo based note values All values equal to or greater than zero specify absolute frequency values from 0 08 Hz to 18 14 Hz Values less than zero specify tempo based rates If you modulate the rate of a tempo based LFO the rates will jump between the tempo based note values with each PatchCord increment of 1 As an example if the LFO rate was set to 8 1 and you patched the Mod Wheel to con
120. and forth between the two stereo speakers These are delay lines where the signal is tapped off at two unevenly spaced locations When feedback is used multiple complex echoes are produced The fraction in some of the algorithm names i e 1 3 1 4 refers to the time ratio between the taps Basically this a delay line modulated by an LFO but with none of the original signal added in The LFO modulation creates a Doppler shift and a resultant cyclical pitch shift The vibrato created in this manner sounds very different than vibrato created by frequency modulating the sample Distortion uses a technique called soft clipping to create additional harmonics in the signal As the level increases the top of the waveform becomes somewhat squared As the level increases further it transforms into a true square wave ae ae gt Distoron gt Soft clipping gradually squares the edges of the waveform as the amplitude is increased Saving a Preset Q Each time you change a preset parameter the Save Copy button LED illuminates reminding you to save your work Save Copy Menu The Save Copy menu is used to save changes to a preset and to copy data between presets When in Quick Edit mode this menu always defaults to the Save to Preset page of this menu with the cursor on the second line You can use the Data Entry Control to navigate to other pages that support copying information Any time you make a change to
121. aps amp Snp 13 prc Claps amp Snp 14 pre Clave 1 pre Clave 2 pre Clave 3 prc Clave 4 prc Clave 5 prc Clave 6 prc Clave 7 prc Clave 8 prc Clave 9 prc Clave 10 pre Clave 11 pre Clave 12 prc Clave 13 pre Clave 14 pre Clave 15 pre Clave 16 prc Clave 17 prc Tom 1 prc Tom 2 prc Tom 3 prc Tom 4 prc Tom 5 prc Tom 6 prc Tom 7 prc Tom 8 prc Tom 9 prc Tom 10 prc Tom 11 prc Tom 12 prc Tom 13 prc Tom 14 prc Tom 15 prc Tom 16 prc Tom 17 prc Tom 18 prc Tom 19 972 prc Tom 20 973 prc Tom 21 974 prc Tom 22 975 prc Bell 1 976 prc Bell 2 977 prc Bell 3 978 prc Bell 4 979 prc Bell 5 980 prc Bell 6 981 prc Bell 7 982 prc Bell 8 983 prc Bell 9 984 prc Bell 10 985 prc Bell 11 986 prc Bell 12 987 prc Bell 13 988 prc Bell 14 989 prc Bell 15 990 prc Bell 16 991 pre Fill Etc 1 992 prc Fill Etc 2 993 prc Fill Etc 3 994 prc Fill Etc 4 995 prc Fill Etc 5 996 prc Fill Etc 6 997 prc Fill Etc 7 998 prc Fill Etc 8 999 prc Fill Etc 9 1000 prc Fill Etc 10 1001 prc Fill Etc 11 1002 prc Shaker 1 1003 prc Shaker 2 1004 prc Shaker 3 1005 prc Shaker 4 1006 prc Shaker 5 1007 prc Shaker 6 1008 prc Shaker 7 1009 prc Shaker 8 1010 prc Shaker 9 1011 prc Shaker 10 1012 prc Shaker 11 1013 prc Shaker 12 1014 prc Shaker 13 1015 prc Shaker 14 Appendix Instrument Listing 1016 prc Shaker 15 1017 prc Shaker 16 1018 prc Shaker 17 1019 prc Shaker 18 1020 prc Shaker 19 1021 prc Shaker 20 10
122. arameters in real time From the Master Arpeggiator menu set the Mode to Pattern then explore the different patterns There are 300 patterns available MASTER ARPEGGIATOR Pattern 99 Pattern Name Now you re getting the picture This machine is beyond awesome Usi ng a M l DI Not all keyboards or controllers can transmit on multiple MIDI channels at Interface to once If your MIDI controller only transmits on a single MIDI channel there are other ways to use the multi channel arpeggiators A MIDI Ch an neli ze interface such as Mark of the Unicorn s MIDI Time Piece or a MIDI router Data Data on Channels 1 2 3 box will convert data on one channel to any other channel or channels MIDI In MIDI Out MIDLIN MIDI OUT MIDI TU fasse e e o 6 o c o 6 INTER FACE Older Keyboard which only transmits on MIDI Channel 1 Your MIDI Interface may be able to output MIDI data on multiple channels at once 64 EMU Systems Warning Master Menu changes are automatically saved when you exit the menu If the power is turned off before you exit the menu any changes you have made will be lost Master Menu The Master menu contains functions that affect the overall operation of Mo Phatt For example changing the Master Tune parameter changes the tuning of all the presets not just the one currently displayed D To enable the Master menu Press the
123. as no affect on time based rates e Tempo based The Volume Envelope times vary based on the master tempo setting Note values are displayed instead of a number when the time corresponds to an exact note value Tempo based envelopes are useful when using external sequencers and arpeggiators because the envelope rates compress and expand according to the Master Clock set ting keeping the envelopes in sync with the sequence or arpeggio Tempo Based Envelopes M Initial Setting Increase Master Tempo H Decrease Master Tempo Tempo based envelope rates change according to the Master Clock rate Mo Phatt Operation Manual 127 Q See the Programming Basics section of this manual for detailed information about how the Envelopes work G If the Release 2 level is set at a value other than zero the note will continue to sound after the key is released This might be useful for drone effects but the channel won t stop sounding until all channels are used up 128 E MU Systems Edit Menu Defining Layer Parameters Defining the Volume Envelope The Volume Envelope controls the volume of the layer over time The Volume Envelope has six stages to the contour Attack 1 Attack 2 Decay 1 Decay 2 Release 1 and Release 2 When a key is pressed the Envelope goes through the first four stages If you continue to hold down the key the envelope holds at the Decay 2 level When the key is released the envelope continues throu
124. ation the preset location from which you want to copy is not deleted from the original location just copied to the destination location COPY PRESET from 009 pad Dreamer gt To Copy a Preset 1 Select the Preset you want to copy information into Press the Save Copy menu button Scroll to the Copy Preset screen using the data entry control Select Copy Preset from using the Data Entry Control Select the preset you want to copy using the Data Entry Control The ROM Bank Preset Number Bank Number Category and Preset Name fields are all selectable 6 Press the Enter Home button 7 A warning screen appears asking you to confirm once more Press the Enter Home button to copy the selected preset into the current location Copy Layer Save Copy Menu Copying Information The Copy Layer command lets you copy any layer information from one preset into any layer of the current preset location The layer information in the source location the layer location from which you want to copy is not deleted from the original location just copied to the destination location COPY LAYER User 020 Source Preset D To Copy a Layer 1 CP SR SS 4 S Select the Preset and Layer you want to copy information into Press the Save Copy menu button Scroll to the Copy Layer screen using the data entry control Move the cursor to the bottom line on the display Select the preset location using the Data Entry
125. ation is less than the length of the arpeggio You can set the arpeggio to repeat continuously using the Recycle function described below This parameter is only relevant when both the Duration and Recycle parameters are not in the Off state The Post Delay value determines how long the arpeggiator is delayed after the Duration period Please refer to the diagram on page 57 During the post delay period notes are played normally as if the arpeggiator was off After the post delay period has elapsed the arpeggiator either jumps to the beginning of the Pre Delay period or to the beginning of the Duration period depending on the Recycle setting If the arpeggiator is playing an extension when the Duration expires the notes in the extension will continue to sound during the Post Delay and Pre Delay if on On the next pass through the Duration period the extension continues where it left off Post Delay increases the number of possible variations in the beat and allows the recycle loop to be set to an exact measure of time MASTER ARPEGGIATOR Post Delay Arpeggiator Beats Menu Master Arpeggiator Parameters Keys Pressed Vo Sound Arp Plays Notes Sound Pre Delay Duration Post Delay P Wcle on No prey Recycle Recycle enables the pattern or arpeggio to repeat This parameter works together with the Duration and Pre Post Delay parameters to allow the loop to be set to an exact measure of time Th
126. ayers or entire MIDI channels can be routed to any of the four busses The four Effect Sends allow you to get the most out of the two effect processors For example with Effect B set to an echo algorithm you could route one MIDI channel to Send 3 and set the effect amount to 80 Another MIDI channel could be routed to Send 4 with an effect amount of only 5 This is almost like having two different effects The Mix Output function is also useful when sequencing since it lets you route specific MIDI channels and thus sequencer tracks to specific Sub outputs on the back panel where there they can be processed with EQ or other outboard effects 170 EMU Systems Effect Types Effect Parameters A Effect Types Room 1 3 Hall 1 amp 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Effects Effect Types Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1 3 DelayVerb 4 5 Pan DelayVerb 6 9 B Effect Types Chorus 1 5 Doubling Slapback Flange 1 7 Big Chorus Symphonic Ensemble Delay Delay Stereo Delay Stereo 2 Panning Delay Delay Chorus Pan Delay Chorus 1 amp 2 Dual Tap 1 3 Dual Tap 1 4 Vibrato Distortion 1 amp 2 Distorted Flange Distorted
127. bly rattle plaster off the walls Experiment with radical pitch shifting You ll be surprised at the results Chorus G WARNING Since it works by doubling the instruments Chorusing halves the number of notes you can play on Mo Phatt Volume Envelope Programming Tutorial Editing Presets This is an easy one Chorus works by doubling the instruments and detuning them slightly The larger the chorus value the more detuning occurs The Width parameter controls the stereo spread A Width value of 0 reduces the chorus to mono a value of 100 provides the most stereo separation Chorus is useful when you want to fatten up a part quickly and easily D To Chorus a Layer 1 With the cursor on the top line of the display turn the Data Entry Control until you find the Chorus page 2 Use the cursor buttons to advance the cursor to the Chorus field the first field in the bottom line of the display Use the Data Entry Control to turn on chorus Ll CHORUS off 3 Select a Width value based on the amount of detuning you want Smaller numbers mean less detuning larger ones more You can select various amounts of chorusing for each of the instruments just play around with the Chorus and Width parameter until you like what you hear Every sound you hear whether it s a piano note a drum or a bell has a characteristic volume curve or envelope This Volume Envelope shapes the volume of the sound which grows louder
128. c Operations Front Panel Controller Modes The Data Entry Control is a stepped variable control switch used to change parameter values The wheel increments or decrements the current value one unit with each click This control incorporates acceleration which advances the value faster if the Data Entry Control is turned quickly The Real time Controller Knobs serve three purposes 1 Real time control of synthesizer parameters 2 Quick Editing the initial settings of the real time controllers 3 Deep Editing the parameters This section describes each of the three uses The Real time controller knobs provide direct control of the Mo Phatt s synthesizer parameters They are always active when on the Preset Select main screen They can optionally be used to transmit MIDI controller messages to other MIDI devices The Control button left of the knobs changes the function of the real time controller knobs Each time the button is pressed the Control Mode toggles to select one of the three Control Row groups The currently selected Control Row is indicated by the illuminated LED to the right of the button The control knob functions are determined by the selected Control Row The three Control Rows generate MIDI data that can control the preset on the current MIDI channel the channel showing on the Preset and main screen The labels Filter Cutoff Filter Res Shape Image etc printed on these rows show how the factory
129. c Snare 79 573 key Tine Chord 6 617 prc Snare 36 661 prc Snare 80 574 key Tine Chord 7 618 prc Snare 37 662 prc Snare 81 575 key Tine Hit 1 619 prc Snare 38 663 prc Snare 82 Mo Phatt Operation Manual 205 Appendix Instrument Listing Instrument Listing 206 E MU Systems 664 prc Snare 83 708 prc Snare 127 752 kit Electronical 665 prc Snare 84 709 prc Snare 128 753 kit Dub Reggae 666 prc Snare 85 710 prc Snare 129 754 kit DarkBeats 667 prc Snare 86 711 prc Snare 130 755 kit DarkBeats2 668 prc Snare 87 712 prc Snare 131 756 kit LoFi Kit 669 prc Snare 88 713 prc Snare 132 757 kit Nu Metal 670 prc Snare 89 714 prc Snare 133 758 hit All Hits 1 671 prc Snare 90 715 prc Snare 134 759 rom Thru Memory 672 prc Snare 91 716 prc Snare 135 760 rom Vowels 673 prc Snare 92 717 prc Snare 136 761 hit All Hits 2 674 prc Snare 93 718 prc Snare 137 762 kit 1NoHats 675 prc Snare 94 719 prc Snare 138 763 kit 1NoKickSnare 676 prc Snare 95 720 prc Snare 139 764 kit 2NoHats 677 prc Snare 96 721 prc Snare 140 765 kit 2NoKickSnare 678 prc Snare 97 722 prc Snare 141 766 kit 3NoHats 679 prc Snare 98 723 prc Snare 142 767 kit 3NoKickSnare 680 prc Snare 99 724 prc Snare 143 768 kit 4ANoHats 681 prc Snare 100 725 prc Snare 144 769 kit 4NoKickSnare 682 prc Snare 101 726 prc Snare 145 770 kit 5SNoHats 683 prc Snare 102 727 prc Snare 146 771 kit SNoKickSnare 684 prc Snare 103 728 prc Snare
130. controllers A L Pressing the control button adjacent to the row of knobs selects A D E H or I L functions for the knobs The front panel knob A L and incoming MIDI controller messages assigned to that letter both control the same parameter that you select in the PatchCord screen Mo Phatt Operation Manual 109 Bank Select Commands Q When you press the Audition button the Bank Select MSB and LSB are displayed on the top line of the display 110 EMU Systems Programming Basics MIDI Channels amp Real time Controls When the original MIDI specification was developed synthesizers had only 8 to 40 preset locations At that time being able to select up to 128 presets didn t seem like much of a limitation So it was that the original MIDI specification provided for the selection of up to 128 presets Musicians screamed for MORE and so the MIDI specification was later amended to include Bank Select Commands It was decided that Bank Select Commands would use Continuous Controllers 0 and 32 to allow the selection of up to 16 384 banks of 128 presets over two million presets Because Bank Selects are implemented using Continuous Controllers the Bank Selections can be made per channel This is getting better and better For each MIDI channel you can select any of 16 384 banks and then one of the 128 presets in the bank Of course no synthesizer has 16 384 banks yet but hey it s nice to know it s possible for that really
131. created using two tape recorders playing identical recordings By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges the flanging effect was born Mo Phatt Operation Manual 181 Delay Stereo Delay Panning Delay Dual Tap Vibrato Distortion 182 EMU Systems Effects General Effect Descriptions The Mo Phatt flanger is a stereo device consisting of two separate delay lines controlled by a single set of controls A Low Frequency Oscillator LFO varies this initial delay setting changing the frequency of the notches and adding animation to the sound LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay The Feedback control sends some of the delayed signal through the delay line again When feedback is used the comb filter notches are deepened Delay is an effect which can be used for doubling reverb pre delay or echoes Delay Time is variable from 0 635 mS and controls the time between echoes Feedback and determines how long the echoes continue sounding Infinite delay effects are also possible without the risk of runaway Similar to delay except that the delay line outputs a stereo signal from the mono input The two output signals are a few milliseconds apart to create a stereo image The delay times are variable from 0 635 mS A panning delay is similar to the normal delay lines except that the echoes bounce back
132. ctions de Maintenance Ce symbole vous alerte de la pr sence d instructions importantes d op ration et de maintenance dans la notice accompagnant l appareil Ce symbole vous alerte de la pr sence d un voltage non isol dangereux l int rieur de l appareil pouvant tre d une magnitude suffisante pour constituer un risque d electrocution 10 E MU Systems Instructions Concernant les Risques d Incendie d Electrocution ou de Blessures Corporelles ATTENTION Lorsque vous utilisez des appareils lectriques certaines pr cautions l mentaires doivent toujours tre prises incluant les suivantes Ces instructions de d panage sont destin es uniquement aux personnes qualifi es Afin d viter les risques d lectrocution n effectuez que les op ra tions d crites dans ce manuel moins que vous ne soyez qualifi pour cela Faites effectuer toute reparation par une personne qualifi 1 Lisez bien toutes les instructions avant d utiliser le Mo Phatt 2 Afin de r duire les risques de blessures une attention particuli re est n cessaire en la pr sence d enfants en bas ge 3 N utilisez pas le Mo Phatt dans ou pr s d endroits humides par exemple pr s d une baignoire d un lavabo dans les toilettes dans une cave humide sur un bar fr quent en pr sence d un bull dog en rut ou dans une piscine pleine Prot gez cet appareil de tout liquide claboussure ou fuite 4 Le
133. d Amount we Reverb Delay Preset a TE Chorus Flange FX Send Amount On a mixing console you can control the amount of signal each channel Sends to the effect bus This allows each channel to be placed in a slightly different sonic space which creates an airy open sound Mo Phatt uses this basic concept but works in a slightly different manner There are four effects busses Send1 Send4 Each preset or each MIDI channel you determine which can be directed to one of the four busses Each effect processor has four Send Amounts which allow you to set the wet dry mix on each of the four busses going into the effect A setting of 0 is completely dry no effect A setting of 50 contains an equal mix of affected and normal dry signal Mo Phatt Operation Manual 169 Effects Effects Overview The Effects Send is programmed for each layer in the Edit menu These routings can be overruled in the Master menu Mix Output screen by changing the submix setting from preset which uses the preset routing to Send1 Send4 In the diagram below MIDI channel 1 is programmed to obey the preset routing which in this case is Send 1 OUTPUT SECTION amp EFFECTS PROCESSORS PRESET EDIT MENU Send 2 10 Send3 0 Send 3 20 Send 4 15 S Ch 1 E I Ch2 SEND 2 5 Ch 3 MASTER MENU L m elZ el ER w wozmu Individual l
134. d into the current preset Copy Ar peggia tor This function lets you copy the Arpeggiator pattern from any ROM or RAM Pattern preset to any RAM user pattern COPY ARP PAT from PHATT 96 TRANCED D To Copy the Arpeggiator Pattern 1 oP N Press the Save Copy menu button Scroll to the Copy Arp Pat screen using the data entry control Move the cursor to any of the fields on the bottom line on the display Use the Data Entry Control to select the preset you want to copy from Press Enter when you have made your selection Overwrite pattern 00 No Control Press Enter The Arp Pattern is copied into the selected User Pattern Mo Phatt Operation Manual 187 Copy Preset Bank Multisetups 188 E MU Systems Save Copy Menu Multisetups The Copy Preset Bank command lets you copy an entire bank from any ROM or RAM bank location to any RAM user bank This function can be especially useful after installing a new sound SIMM COPY BANK From PHATT 2 To User 1 ROM or RAM Bank No Destination Preset Location Bank No D To Copy a Preset Bank 1 Press the Save Copy menu button 2 Scroll to the Copy Preset bank screen using the data entry control 3 Move the cursor to the From field on the bottom line on the display 4 Use the Data Entry Control to select the preset bank you want to copy from Move the cursor to the To field on the bottom line on the display 6 Use the Data Entry Control
135. de the instrument assigned to the layer the ranges of the layer tuning envelopes filters and patch cords These parameters are defined for each layer on an individual basis based on the currently selected layer See Common Preset Parameters on page 146 for global preset settings The Instrument parameter defines which of the available instrument sounds is played by the current layer ROM SIMM Name LI INSTRUMENT ROM PHATT 0078 bas Booty Q d Instrument Category Instrument Name To select an instrument for the selected layer s move the cursor to the bottom line of the display and change the instrument using the Data Entry Control Sound Navigator Sound Navigator also works to help select Instruments although the category names are predefined When the cursor is on the Instrument Category field turning the Data Entry Control selects different instrument categories The Name Field will change to show the first instrument in each category Move the cursor to the instrument name to select instruments in the selected category LI INSTRUMENT ROM PHATT 0078 bas Booty Q 2 1 Choose Category 2 Scroll through Instruments Selecting Categories of Instruments using Sound Navigator Edit Menu Defining Layer Parameters Def ining Key R ange The Key parameter defines the range on the keyboard used by the current layer The Key range is from C 2 through G8 Middle C I v C 2 C 1 co c1 C2 C3 C4 c5 C6 C7 C8
136. delay period has elapsed the arpeggiator kicks in Once you release all the keys on the controller the pre delay starts over with the next note on In combi nation with the Duration parameter Pre Delay lets you create many more variations in the arpeggio patterns Please refer to the diagram on page 57 You can play the preset normally as long as you don t hold the notes longer than the Pre Delay If you do the arpeggiator starts in When used in conjunction with multiple arpeggiators or BEATS mode Pre Delay allows you to offset the time between the different patterns MASTER ARPEGGIATOR Pre Delay Mo Phatt Operation Manual 55 Arpeggiator Beats Menu Master Arpeggiator Parameters Duration Post Delay 56 EMU Systems This parameter defines how long the arpeggiator plays before stopping The Duration is specified in note values Therefore if an arpeggio were running at a 16th Note Value and the Duration were set to a whole note the arpeg giator would play 16 steps before stopping After the duration has elapsed the arpeggiator remains inactive until the key is released If Duration is set to Off the arpeggio repeats as long as the notes are held Infinite Duration MASTER ARPEGGIATOR Duration Duration can be used to modify the patterns and increase the possible pattern combinations and variations Because this parameter limits the length of arpeggiator play time it can change the arpeggio pattern when the Dur
137. ds such as delay for 2 bars play for 4 bars hold for 2 beats and repeat You can program or download 100 user patterns in addition to the 200 factory patterns The extremely flexible yet easy to use 4 layer synthesizer voices make it easy to build sounds of any kind Layers can be switched or crossfaded using key position velocity real time controllers or any modulation source Mo Phatt also contains 50 different 2nd to 12th order resonant amp modeling Mo Phatt Operation Manual 1 Introduction Overview Q The optional Turbo upgrade adds the following features to your Mo Phatt e 128 voice polyphony e 4 submix analog outputs e 32 MIDI channel operation e 2 additional sound ROM slots e S PDIF stereo digital output Overview 2 EMU Systems filters which are used to shape and modify the waveforms contained in 32 megabytes MB of ROM Sixty four modulation sources include three multistage envelopes and two LFOs per layer as well as full MIDI control over virtually every parameter The digital patch bay with 24 cords per layer and 12 more cords per preset lets you connect modulation sources to 64 destinations in any imaginable way The patch bay contains a set of arithmetic modifiers letting you create complex synthesis models Synth parameters as well as arpeggiator and BEAT tempos can be controlled from Mo Phatt s internal clock or an external MIDI clock Up to 8 LFOs and 12 envelopes can be perfectly synch
138. duction a eege eege eege 1 Product Description anreisen usa 1 OVERVIEW See REINE TE Se ea 2 Important Safety Instructions English 3 Foreign Language Warnings German ssssssssessesseeees 6 Foreign Language Warnings French ken 9 SELUD ar reinste 13 Unpacking sans E R tenants 13 Connection INSTIUCTIONS een 14 Basic SetU EE 14 Studio Setup 0a ana 15 Power Up sisi Bu ebe bal ores dow ee 16 Instant Gratification aenn Le EAEE ETEA 17 NEE Eu We UE 17 Auditioning Pr s ts tege EE 17 Selecting and Quick Editing Presets AA 18 NEI BEE 20 Exploring the Master Arpeggiator nen 22 Multi Channel Arpeggiator nen 23 Basic Operations sun 25 Front Panel ae ee 25 Volume GOntrol 2 Miss nen ENNER IR 25 Master Button e EE ee 25 Edit Button EE TT ER Control Button 25 Audition Button ees 2 nt anna matins 26 Left Right Cursor Buttons ss 26 Save Copy Button 26 Home Enter Button 26 Data Entry Control 22 tai ae nm Annie 27 Table of Contents Front Panel Controller Modes ne 27 Real time Control aniier eg Enge o Sun ie 27 QUICK Edit eier Eeer 28 D p Edit Mode aseisiereie eieiei eigietug deed eg d Ian 28 Main Screen ers ee 30 MIDI Channel Selection eebe deefe ege eet Dee vie 30 Preset Selection e SES 30 Channel Volmerit tirati a a ee 31 Channel Panne nt nn A en 32 Chann
139. dulation Destinations an lei 92 Modulation Pr cess rse n nee een 93 Preset Modulation Processors nn nn 95 Using the Modulation Processors 97 More Examples 2eme 99 Dyriamie Filters ces isn E E 101 What isa Filter iere deed Eege 102 Parametric Filters si meierier eie e Zeg EA tits ett ebu e sen 105 The Z Plane Filter rire ere lagen 106 Signal Flow ennemie ER 107 MIDI Channels amp Real time Controls 0 eee eeeeeeeeeeeseeeeeeeeeeesseeeeees 108 Bank Select Commands ss 110 Stereo MBCOUTDURS 5 unse een 111 Mo Phatt Operation Manual v Table of Contents EE MGI sisariston oerni ieii iS 113 Preset Name kuss 114 Four Layer Architeel re un u unser 115 Selecting Layers 1 0er ragen 115 Defining Layer Parameters ss 116 Selecting an Instrument ss 116 Sound Ne EL ET 116 Defining Key Range see 117 Defining the Velocity Crossfade Range 120 Defining the Real time Crossfade Range 122 Transposing the Instrument eee eecesssececeesseceeeesseeeessseeesessseeeesesaeees 125 TUNING RE 126 Background Transpose vs Coarse Tuning 126 le 126 Volume Envelope ioe cei so ierte E E EEEE EEE EEE iak 127 Selecting the Mode AA 127 Defining the
140. e on No PreDelay option bypasses the predelay period With Recycle turned Off the pattern or arpeggio stops at the end of the Post Delay period MASTER ARPEGGIATOR Recycle on No PreDly Keyboar d Thru When enabled Keyboard Thru merges the notes not arpeggiated with the notes being produced by the arpeggiator This gives the effect of two parts playing at once MASTER ARPEGGIATOR Keyboard Thru Latch With Latch mode On any notes you play remain on until you press them again Latched notes can also be halted by turning Latch off in this screen or by turning off the Arpeggiator for the channel in the main screen MASTER ARPEGGIATOR Latch Mo Phatt Operation Manual 57 Arpeggiator Beats Menu Send MIDI System Exclusive Data Key Range Send MIDI System Exclusive Data Q Send data as you would a regular sequence Sending data in one huge chunk may clog the MIDI input buffer on Mo Phatt 58 E MU Systems Use the Key Range parameter to set the keyboard range for the arpeggiator Notes inside the range will arpeggiate while notes outside the specified range will not arpeggiate Use the Extensions parameters to exceed the upper boundary of the Key Range see the information about Extensions beginning on page 54 MASTER ARPEGGIATOR Key Range Move the cursor under the first key and use the Data Entry Control to define the lowest key to be arpeggiated Move the cursor under the second key value and
141. e In terms of sound frequencies around the cutoff tend to ring with high Q settings If a filter with high Q is slowly swept back and forth various overtones are picked out of the sound and amplified as the resonant peak sweeps over them Bells and gongs are real world examples of sounds which have a high Q Amplitude Frequency Mo Phatt Operation Manual 103 104 EMU Systems Programming Basics Dynamic Filters Another characteristic of a filter is the number of poles it contains Tradi tional synthesizer filters were usually either 2 pole or 4 pole filters The Mo Phatt has selectable 2 4 and 6 pole low pass filters The number of poles in a filter describes the steepness of its slope The more poles the steeper the filter s slope and the stronger the filtering action The tone controls on your home stereo are probably one pole or two pole filters Parametric equalizers are usually either two pole or three pole filters In terms of vintage synthesizers Moog and ARP synthesizers used 4 pole filters Oberheim and E MU synthesizers were famous for their 2 pole filter sound 6 pole Lowpass Amplitude 2 pole Lowpass Frequency Using a filter we have a way to control the harmonic content of a sound As it turns out even a simple low pass filter can simulate the response of many natural sounds For example when a piano string is struck by its hammer there are initially a lot of high frequencies pr
142. e Si vous observez une perte de l audition ou un bourdonnement dans les oreilles consultez un O R L 12 N utilisez que les accessoires sp ecifi es par E mu Systems 13 Cet appareil doit tre examin par un personnel qualifi lorsque Interf rences Radio et T l vision Foreign Language Warnings French Interf rences Radio et T l vision A Le cordon d alimentation a t endommag ou B Des objets sont tomb s ou du liquide a t vers sur a l int rieur de l appareil ou C Le Mo Phatt a t expos la pluie ou D Le Mo Phatt est tomb ou E Le Mo Phatt ne fonctionne pas normalement ou affiche un changement radical de performance 14 Tout service doit tre effectu par un personnel qualifi SAUVEGARDEZ CES INSTRUCTIONS L appareil d crit dans cette notice g n re et utilise une nergie de fr quence radio S il n est pas install et utilis correctement c est a dire en suivant strictement nos instructions il peut occasionner des interf rences avec la r ception d une radio ou d une t l vision Cet appareil a t test et est conforme aux normes de Classe A en accord avec les sp cifications du paragraphe J de la section 15 des lois FCC Ces lois sont d sign es pour fournir une protection raisonnable contre de telles interf rences dans une installation r sidentielle Toutefois il n est pas garanti qu aucune interf rence n apparaisse dans des i
143. e Arp Beats button lighting the LED The Arp Beats screen displays the menu page most recently selected since powering up Mo Phatt The cursor appears below the first character of the screen heading on line one gt To select a new screen Press the Home Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading on the top line of the display Rotate the Data Entry Control to select another screen gt To modify a parameter Press either Cursor button repeatedly or hold down the right cursor button while turning the Data Entry Control until the cursor is below the desired parameter value Rotate the Data Entry Control to change the value gt To access a submenu The Beats Trigger Layout and the Master Arpeggiator screens have submenus which are accessed by pressing the cursor buttons to move the cursor to the lower left corner of the display Select the submenu function using the Data Entry Control gt To save Arpeggiator BEATS parameters Press the Save Copy button and scroll to Save Setup Select a Setup number and press Enter See Saving Multisetups on page 190 gt To return to the main screen Press the Arp Beats button turning off the LED Mo Phatt Operation Manual 35 Arpeggiator Beats Menu SuperBEATS Base Tempo Master Clock To control Riffs using MIDI clock be sure to set Riff Tempo page 47 to use current tempo SuperBEATS 36 E MU Systems
144. e Fine field to shift tuning by 1 64 semitones or 1 56 cents intervals Background Transpose vs Coarse Tuning Transpose works by shifting the keyboard assignment of the Instrument as if you were sliding the keyboard up and down with the Instrument remaining in the same position Coarse Tuning keeps the instrument placement on the keyboard and actually tunes the samples up using a digital process called interpolation Use Course Tuning on drum instru ments to change the pitch while keeping sample placement constant Coarse Tuning can also be useful to slightly change the timbre of the instrument This parameter sets the initial volume and pan position of the current layer These values can be changed using any Real time Controller set up in the PatchCords The value range for the volume is from 96 dB to 10 dB 0 dB is the default setting Routinely turning the volume up to 10 dB is not recommended because it doesn t allow other modulation sources to increase the volume further LI AMPLIFIER Volume 10dB This field determines the initial Pan value for the current layer The value range for Pan is from 64L to O left and 0 to 63R right Pan adjusts the volume into the left and right output channels relative to the Pan setting in the main Preset Select screen see Channel Pan on page 32 So if you for example set the Pan value in the Preset Select screen to 64L and set this Pan value to 63R the actual pan amount wou
145. e creation Mo Phatt contains dozens of special 16 part BEATS Riffs created by some of the best producers in the business BEATS Riffs are normally used in conjunction with a bts preset containing the appropriate percussion mapping but any preset can be selected and used X L E D Beat Markers e The Audition LED flashes off quickly on each downbeat and flashes off for a longer period on the Riff Loop e The Clock LED flashes to mark each quarter note G BEATS BTS Riffs are special 16 part riffs made especially for use with BEATS mode A Riff without the BTS prefix only has Part 1 recorded Arpeggiator Beats Menu SuperBEATS The BEATS channel is selected from the Beats enable screen in the Arp Beats menu Here s how it works Each of the 16 parts is assigned to a keyboard key on the selected Trigger MIDI channel Each part is brought in or out by pressing that key Keys can also be Latched press the key once to turn the part on press it again to turn the part off Other control keys allow you to Mute All Parts Clear All Parts and Start amp Stop the groove The 16 parts are arranged in the following manner Alt Groove 5 Kick2 6 Snare2 7 Hihat2 8 Perc2 Main Groove 1 Kick1 2 Snarel 3 Hihat1 4 Bass Perc Fills 9 Perc3 Fill1 Instr Wild 13 Inst1 Wild1 14 Inst2 Wild2 15 Inst3 Wild3 16 Inst4 Wild4 10 Perc4 Fill2 11 Perc5 Fill3 12 Perc6 Fill4 For each BEATS Riff
146. e from 64 79 Destinations for the footswitch controllers are programmed in the PatchCord section of the Edit menu FOOTSWITCH CONTROLLER 1 DU 2 65 3 66 Tempo Controller Q See Base Tempo Master Clock on page 36 Knob Preset Quick Edit Q Quick Edit does not work while in the Edit menu with Knobs Deep Edit enabled Master Menu MIDI Parameters Following are a few of the standardized MIDI Switch numbers 64 Sustain Switch on off 67 Soft Pedal on off 65 Portamento on off 69 Hold Pedal 2 on off 66 Sostenuto on off This function allows a MIDI controller to change the Base Tempo of the Master Clock The Master Clock is used for the clock divisor PatchCords tempo based envelopes and synced LFOs See Clock Modulation on page 90 You can assign any controller number from 0 31 mono key pressure or the pitch wheel to change the Base Tempo A different controller can be used to change the tempo up or down The Pitch Wheel can be assigned to both the up and down parameters to vary the tempo up and down from a single controller If any other controller is assigned to both the up and down parameters Mo Phatt redefines the center of the controller s range as zero so it acts like a pitch wheel MIDI Controller values are added to the Base Tempo with a range of 64 When the controller is set to off the tempo returns to its original setting This control has no effect
147. e note is played Volume Instrument Z Plane Filter The Z Plane Filter is used to shape the harmonic content of an instrument The filter envelope is commonly used to shape the harmonic content dynamically over time but the filter frequency can be modulated by any source The Q parameter can be modulated only at note on time There are 50 types of filters available See Mo Phatt Filter Types on page 133 for a complete list of the filters Digitally Controlled Amplifier DCA Together with the Volume Envelope the DCA is used to shape the volume contour of a sound The DCA can be controlled by any modulation source Velocity is often used as a modulation source for the DCA so that the harder you play the louder the sound becomes Pan Adjusts the balance of sound to the left and right channels Pan can be modulated by any modulation source Mo Phatt Operation Manual 107 MIDI Channels amp Real time Controls Q The following MIDI controls are automatically routed in Mo Phatt Pitch Wheel Modulation Wheel Old DX7 Aftertouch Pedal Volume Pan Expression 108 EMU Systems pwh 01 03 04 07 10 11 Programming Basics MIDI Channels amp Real time Controls The MIDI real time controllers may seem confusing at first but they are really very simple once you understand them You already know that there are 16 MIDI channels per MIDI cable Each MIDI channel uses three basic types of message
148. e set from 100 to 100 The Preset PatchCord controls are added to the FX Send Amounts set in the Master or Edit menus In other words multiple sources connected to destinations are summed PRESET CORDS gt FXBSende Pedal Modulation Sources Modulation Destinations Off Off PitchWhl Pitch Wheel Effect A Send 1 ModWhl Modulation Wheel Effect A Send 2 Pedal Effect A Send 3 MIDI Volume Controller 7 Effect A Send 4 Effect B Send 1 Effect B Send 2 Effect B Send 3 Effect B Send 4 Preset Lag In MIDI Pan Controller 10 MIDI Expression Controller 11 MIDI A L Footswitch 1 Flip Flop Footswitch 1 Footswitch 2 Preset Lag Amount Flip Flop Footswitch 2 Footswitch 3 Flip Flop Footswitch 3 DC Preset Lag Rate Preset Ramp Rate Arp Resolution Arp Extension Arp Velocity Arp Gate Arp Interval Beats Velocity Group 1 4 Beats Transpose Xpose Group 1 4 Beats Variation Beats Busy Mo Phatt Operation Manual 151 Initial Controller Amount 152 EMU Systems Edit Menu Initial Controller Amount This parameter sets the initial value of MIDI controllers A L when the preset is first selected The front panel Control Knobs can be thought of as front panel MIDI controllers because in the Mo Phatt they are treated just as if they originated from an external MIDI device Refer to the following diagram There are three Initial Controller Amount screens A D E H I L Control Edit Patchcord Destinations
149. e the trigger group lower on the keyboard BEATS TRIGGER OFFSET 000 keys Trigger Keys Beats Trigger Offset slides the entire group of beats triggers up or down the keyboard Each note of a BEATS Riff can have its recorded velocity scaled by a value from 0 to 120 of the recorded velocity or the actual played velocity of the trigger key can be used trigger vel For example if a note s velocity is 80 scaling by 110 will increase the note s velocity to 88 This feature allows you to control the mix of the different parts in advance or on the fly as you play If a part s velocity is set to 0 that part will be removed from the mix Select Part BEATS PART VELOCITY Scaled by trigger vel gt To Set the Velocity for each Part 1 Press the left cursor button to move the cursor under the Part field 2 Select the Part number using the Data Entry Control Parts 1 16 can be selected All parts shown as an A can be edited at once if Edit All Layers is enabled in the Master menu 3 Move the cursor to the bottom line using the cursor keys and adjust the Velocity Scaling percentage using the Data Entry Control 4 Repeat steps 1 through 3 for all the Parts you wish to adjust 5 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Arpeggiator Beats Menu SuperBEATS Beats Part Tr anspose Each Part of a BEAT Riff can be transposed up to 36 semitones
150. easily hear the shape of the envelopes you are creating Programming Basics Envelope Generators An envelope can be described as a contour which is used to shape the sound over time in a pre programmed manner There are three envelope generators per layer and all of them are the rate level type This is how the rate level time based envelopes work When a key is pressed envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate As soon as it reaches this first level it immediately begins the next phase and moves toward the Attack 2 level at the Attack 2 rate As long as the key is held down the envelope continues on through the Decay 1 and Decay 2 stages If the key is still held when the envelope reaches the end of Decay 2 it simply waits there for you to release the key When you release the key the envelope continues into the Release 1 and Release 2 stages stopping at the end of the Release 2 stage Mo Phatt s envelope generators provide great flexibility for programming both complex and simple envelopes level time gt hmm i Sustain Key Key Down Released All three envelope generators have the six stages described above The Volume Envelope generator controls the volume of the voice over time The Filter Envelope generator is a general purpose envelope most often used to control the filter frequency Unlike the Volume Envelope however the Filter Envelope can have a negative lev
151. ebraically with the Channel Pan setting Therefore if the pan setting in the preset were set to 63R moving the Channel Pan setting full left would return the sound to the center position D To Change the Channel Pan 1 Press either cursor key until the cursor is underneath the pan field 2 Rotate the Data Entry Control to select a pan value 64L indicates a hard left pan 63R indicates a hard right pan With a setting of 00 the sound is centered in the stereo field This function controls the arpeggiator for each MIDI channel When the channel arpeggiator mode is set to Off then there is no arpeggiation on that channel regardless of what is set up in the Master Arpeggiator or preset If the channel arpeggiator is On the preset s arpeggiator is used regardless of whether or not it is turned on in the Edit menu This lets you turn on arpeggiation from the main screen If the mode is set to P for preset the preset s arpeggiator settings and on off status is used If the mode is set to M for master the master arpeggiator settings and on off status located in the Arp Beats menu are used See the Arpeggiator Beats Menu on page 35 for more information D To Play the Arpeggiator Quick Start 1 From the main screen press either cursor key repeatedly until the cursor is underneath the arpeggiator field A 2 Rotate the Data Entry Control to select P for preset 3 Press either cursor ke
152. ecay envelope ONLY on the first note played to bring in the sound from another layer Instead of routing the output to the Amp Volume you could just as easily route it to control Pitch LFO Speed or any other destination you can think of Study this patch if you want to learn a few new tricks using the patchcords Initial Setting 96 dB off One Layer Percussion Instrument Z Plane Filter Preset Rate Ramp Perc Amount MIDI H Layer Cords Cord 100 DC Sets initial ramp Fast Positive 100 Decay Knob Inverted value slows ramp as the knob value is increased Ramp Out Cord Inverts Ramp slope downward Amp Vol Initial setting is Off 96dB Ramp cannot overcome this negative bias Perc Amt When this knob is turned up the positive bias on the Amp is restored so that so that the Ramp can now affect Amp Volume Volume Envelope Fast Attack Full Sustain No Release Using the Modulation Processors Programming Basics Preset Modulation Processors Modulation processors are inserted into a modulation routing as shown in the following diagram The modular analog synthesizers of yesteryear were incredibly flexible partly because processing devices could be connected in any order Modulation processors are designed according to this modular concept They can be linked and used in a wide variety of ways limited only by your imagination Consider the following example _
153. eceive 80 program gt preset map 74 programming basics 83 props 226 Q Q 103 134 135 161 162 164 quantized 55 quantizer 94 100 example 99 quarter note marker 26 37 quick edit 28 preset 77 ramp rate 96 random creating presets 190 crossfade 86 crosswitch 123 generator noise and 85 random modulation sources 86 range arpeggiator key 58 extension count 54 key 117 118 keyboard 117 pitchbend 145 velocity 120 rate effect LFO 72 172 glide 132 LFO 139 rate master FXB LFO 72 rate level envelopes 87 real time control of arps 50 real time controller 25 27 108 assignment 75 crossfading 122 mode quick edit and 28 Index real time crossfade 122 receive program change 75 received channel commands MIDI 224 receiving amp recording MIDI SysEx data 81 rectifier 93 release velocity 85 release envelope 159 renaming an arpeggiator pattern 62 repeat arpeggiator pattern 61 pattern 61 resonance 103 134 135 162 164 reverb 171 180 reverb envelope 180 riff assignment 156 beat marker 26 37 controllers 47 listing 210 loop marker 26 37 MIDI out 78 playing 17 26 tempo 47 ROM card identifier 18 routing FXA amp FXB submix 71 72 149 150 modulation 142 output 145 H safety instructions 3 save arp beats 35 save copy button 26 save copy menu 183 saving presets 183 Scarlatti tuning 153 screen main 30 35 65 preset select 30 screen viewing angle 82 selecting a MIDI channel 30 selecting presets
154. edit to another location using the function in the Copy menu See page 187 Refer to the instructions below and the following parameter descriptions to create your own patterns EDIT USER PATTERN O1 DRUMnBASS 1 gt To Select the Pattern to Edit 1 From the Edit User Pattern screen shown above move the cursor to the bottom line and select the pattern you want to edit The Enter LED begins flashing 2 Press the Enter button to confirm that you want to edit the selected pattern The User Pattern Edit page appears PTRN KEY VEL DUR 0 ply Pattern Step Key offset Velocity Duration Repeat number You can set up to 32 steps for each arpeggiator pattern This field selects which step you will be editing from 1 to 32 This parameter defines what happens during the current step The Key parameter can do one of five different operations Following is a description of each of the key functions and how to use them Mo Phatt Operation Manual 59 Arpeggiator Beats Menu Send MIDI System Exclusive Data S IMPORTANT The Gate function in the arpeggiator MUST be set to 100 when using the tie function otherwise the tied note is retriggered instead of extended 60 EMU Systems Key Offset This parameter defines not the actual note of the arpeggiator playback but instead specifies the amount of offset in semitones from the original note played You can set a Key Offset from 48 to 48 for each step For example
155. el Arpeglato resnie ieren a an EEES 32 Sound Ee Ee 33 Preset CateQory E 33 Instrument Category eene Seet 33 Multitimbral Operation E 34 Arpeggiator B ats Menu nns san 35 Base Tempo Master Clock A 36 KI E 36 BEATS Mode 2 2 22 ala eas EE 39 Status air E A 39 Beats Channel BtsCh ss 39 Trigger Channel TrigCh ss 39 BEATS Controllers ees der era 41 Beat Velocity Group 1 4 BtsVelG1 gt BtsVelG4 41 Beat Xpose Group 1 4 BtsXpsG1 gt BtsXpsG4 0 eee ceeteseeeeeeeee 41 Beat Busy BESBUS 22 41 B at Variations tie iii 42 Beat Variation BtsVari ses 42 Beats Trigger TEE 43 1 Bar Trigger Option EN 43 Beats Trigger Offset near 44 Beats Part Velocity se 44 Beats Part Transpose u a nn 45 Beats Part Group u se 46 Master Rift a SEENEN EEN 46 Riff Tempo EE 47 Riff Eo ntrollers 2 0 222er REEE EE EEEE EE ten 47 MIDI Song Start 2 0 en led na Ess 48 Arp Riff MIDI Out u nem Ra IRB Rz 48 ArpegolatorSus seem 49 Arp Re te ET 50 Master Arpeggiator Parameters ccssessssessseseesreeeeeeseseeeeeeeseeeees 50 KT 51 Mode EE 51 Note Valle ege eegenen deed 52 Arpeggiator Pattern Speed 52 Mo Phatt Operation Manual iii Table of Contents iv EMU Systems Pattern EE 52 EE 53 Gate UE 53 Extension Count sus cees nn eme ge 54 Extension Interval 0
156. el value as well as a positive level There is also an Auxiliary Envelope generator which is a general purpose envelope The Auxiliary Envelope is identical to the Filter Envelope and can have negative as well as positive levels You can adjust the time of each stage to create myriad envelope shapes which in turn shape the sound over time e Volume envelopes contour the way the volume of a sound changes over time determining how we perceive that sound For example a bell struck with a hammer is instantly at full volume then slowly dies away A bowed violin sound fades in more slowly and dies away slowly Using Mo Phatt s Volume Envelope you can simulate the dif ferent types of natural instrument volume envelopes by programming them appropriately Mo Phatt Operation Manual 87 Q Only the Filter and Auxiliary Envelopes have the repeating feature 88 EMU Systems Programming Basics Envelope Generators Tempo based Envelopes Tempo based envelopes are based on Time which is controlled by the Master Clock located in the Arp Beats menu The Master Clock rate scales the time of the Tempo based envelope segments The Master Clock can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes Tempo Based Envelopes M Initial Setting Increase Master Tempo B Decrease Master Tempo Envelope Repeat The Envelope Generators can also be made t
157. emoving certain elements of the signal based on the frequency and amplitude The Order of a filter defines the number of filter elements it contains The more elements the more complex the filter Mo Phatt contains 50 different types of E MU s celebrated Z plane filters In addition to the standard Low pass High pass and Band pass filters Mo Phatt contains Swept Octave Equalizers Phasers Flangers Vocal Formant Filters and digital models of classic synthesizer filters In the filter chart below you will notice that the Order of the filters varies from 2 to 12 order Higher order filters have more sections and can produce more complex formants Mo Phatt can produce 64 filters of up to 6th order or 32 filters of 12th order complexity Therefore if you decided to use all Mo Phatt Filter Types LPF PHA HPF FLG BPF VOW EQ SFX Filter Types Low pass filter Phaser High pass filter Flanger Band pass filter Vowel formant EQ boost EQ cut Special Effect Edit Menu Mo Phatt Filter Types 12th order filters Mo Phatt would be limited to 32 voices See page 101 for l FILTER more information about filters Phazer 2 EY This screen allows you to choose the type of filter for the current layer Filter Name Smooth Classic Steeper MegaSweepz EarlyRizer Millennium KlubKlassik BassBox 303 Shallow Deeper Band pass1 Band pass2 ContraBand Swept1 gt loct Swept2 gt 1oct Ord
158. er 02 04 06 12 12 12 12 12 02 04 02 04 06 06 06 Type LPF LPF LPF LPF LPF LPF LPF LPF HPF HPF BPF BPF BPF EQ EQ Description Typical OB type low pass filter with a shal low 12 dB octave slope 4 pole low pass filter the standard filter on classic analog synths 24 dB octave rolloff 6 pole low pass filter which has a steeper slope than a 4 pole low pass filter 36 dB octave rolloff Loud LPF with a hard Q Tweeters beware Classic analog sweeping with hot Q and Lo end Aggressive low pass filter Q gives you a variety of spiky tonal peaks Responsive low pass filter sweep with a wide spectrum of Q sounds Pumped up lows with TB like squelchy Q factor 2 pole high pass filter 12 dB octave slope Classic 4 pole high pass filter Cutoff sweep progressively cuts 4th Order High pass Band pass filter with 6 dB octave rolloff on either side of the passband and Q control Band pass filter with 12 dB octave rolloff on either side of the passband and Q con trol A novel band pass filter where the fre quency peaks and dips midway in the fre quency range Parametric filter with 24 dB of boost or cut and a one octave bandwidth Parametric filter with 24 dB of boost or cut The bandwidth of the filter is two octaves wide at the low end of the audio spectrum gradually changing to one octave wide at the upper end of the spectrum Mo Pha
159. er and bank is the preset Category name followed by the Preset Name D To Change the Preset 1 Place the cursor under the first character in the Preset Number field This is the Home position which is selected instantly when you press the Home Enter button Pressing either of the two cursor buttons repeatedly also gets you there Turn the Data Entry Control knob on the front panel to select a new preset number If you turn the knob slowly the presets advance one number for each click of the knob If you spin the knob quickly the numbers advance much faster more than one number per click Play the keyboard or press the Audition button and listen to the sounds made by your Mo Phatt TURN THE FOUR KNOBS on the front panel and note how they change the sound of each preset Press the button to the left of the controller knobs to change the function of the knobs Don t worry about ruining the sound the values are automatically reset as soon as you select a new preset Mo Phatt Operation Manual 19 Setup Instant Gratification Playing BEATS This function controls the BEATS for the currently selected MIDI channel the default channel is 1 Unlike the Arpeggiators BEATS is only active on one MIDI channel at a time gt To Play BEATS Quick Start 1 Select any preset with the bts prefix 2 Play the keyboard keys in the range shown in the default template below Be sure to try out each key Default Assignment
160. ermines the amount of modulation applied Set this value to 100 LI PATCHCORD FiltEnv gt FiltFreg This setup connects the Filter Envelope Generator to the Filter Cutoff as shown in the following diagram mm Tf u u a 5 Now return to the Filter Envelope Mode screen Set the Mode to time based LI FILTER ENVELOPE Mode time based 6 Advance to the Filter Envelope parameter page LI FILT ENV RATE LEVEL Attackl 50 100 7 Move the cursor underneath the time field and change the value to about 50 Now when you press a key the filter slowly sweeps up Mo Phatt Operation Manual 163 164 EMU Systems Programming Tutorial Editing Presets Ll FILT ENV RATE LEVEL Attackl 50 88 8 Change the attack rate and note the change in the sound 9 Set the envelope parameters as shown in the following table Envelope Phase Level Attack 1 65 Attack 2 100 Decay 1 85 Decay 2 50 Release 1 20 Release 2 0 With the above setup the filter sweeps up then Decays back down to the Decay 2 Level until you release the key Then it sweeps down at the Release rates Play with the envelope parameters for awhile to get a feel for their function If you re having trouble understanding the Envelope Generators please refer to the Programming Basics section in this manual Changing Filter Types Go back to the Filter Type screen shown below and move the cursor down the l
161. esent If the same note is played softer there are fewer high frequencies generated by the string We can simulate this effect by routing keyboard velocity to control the low pass filter The result is expressive natural control over the sound If you use an envelope generator to control the cutoff frequency of a filter the frequency content can be varied dynamically over the course of the note This adds animation to the sound as well as simulates the response of many natural instruments Parametric Filters Programming Basics Dynamic Filters A more complex type of filter is called a parametric filter or Swept EQ A parametric filter allows control over three basic parameters of the filter The three parameters are Bandwidth Frequency and Gain The Bandwidth allows you to select the width of the range of frequencies to be boosted or cut the Frequency defines the center frequency of the bandwidth and the Gain parameter either boosts or cuts the frequencies within the selected band by a specified amount Frequencies not included in the selected band are left unaltered This is different from a band pass filter which attenuates reduces frequencies outside the selected band 18 dB Freq Parametric Filter Amplitude D lt Bandwidth 18 dB Frequency The parametric filter is quite flexible Any range of frequencies can be either amplified or attenuated Several parametric sections are often cascaded in order to
162. essential purpose of any remedy provided herein Some jurisdic tions do not allow the exclusion of implied warranties or conditions or limitations on how long an implied warranty or condition may last so the above limitations may not apply This warranty gives you specific legal rights You may have other rights which vary from jurisdiction to jurisdiction All EMU products are manufactured with the highest standards of quality If you find that your unit does require service it may be done by any autho rized EMU service center If you are unable to locate a service center in your area please contact EMU s Service Department at 831 438 1921 They will either refer you to an authorized service center in your area or ask that you return your unit to the EMU factory Mo Phatt Operation Manual 227 228 EMU Systems Appendix Warranty When returning your unit to the EMU factory you will be issued a Return Merchandise Authorization RMA number Please label all cartons shipping documents and correspondence with this number EMU suggests you carefully and securely pack your unit for return to the factory Do not send the power cord or operation manual Send the unit to E MU Systems Inc 1600 Green Hills Road Scotts Valley CA 95066 You must pre pay shipping charges to EMU EMU will pay return shipping charges You will be responsible for any damage or loss sustained during shipment in any direction 3 99 Index Symbols
163. et Ca tegor ies The Mo Phatt presets are organized in categories according to the types of sound Listed below are the categories and their three letter prefixes amb Ambient arp Arpeggiated bas Basses bpm Synchro sonic clocks brs Brass instrument bts BEATS presets gtr Guitar acoustic or electric hit Short powerful key Keyboard instrument organ kit Drum kit led Leads pad Sustained rich rom Plays thru multiple sfx Sound Effects instruments in ROM str Strings syn Synthesizer harmonically rich vox Vocals 196 EMU Systems Preset Listing User Bank 0 PHATT Bank 0 bts Becky Boise bts The Ultimate bts Iced Out bas SubLevel gtr Wah Getarrs bts MooshooClan key Chords amp Hits pad Spirit Call str GothStrings bts Hot n Steamy bts 8nt Urz kit Hive Jiver syn Plucky bas Slap Pop gtr Sexy Slider pad Cherubs bts I Miss You vox theWatcher key SOOTCaSE 000 led Handwormed sfx WooleyBOB str Sincerely syn Synelead syn Prof Brass gtr HardCore bpm Clockworx 1 gtr General sGtr syn SycoGirL key Klav Synth str MadDramA hit All 1 gtr NyLonArP gtr Pinky Fingaz str Harpo pad Synthetic bas YarsRevenge pad Blades brs SlapdatBrass key VINYL 73 key FAR FG NUGEN syn LadyOrganl pad QuietTime led MonoGrunge SS em SS RS ch sch wh A A Aa Q o Go GO GO CO CO G Go GO MM MM MM MM MM sch sch sch A sZt sch sch NS
164. ewed from above Negative values make the display easier to read from below VIEWING ANGLE 0 Programming Basics This chapter explains how Mo Phatt sounds are constructed and contains important background information on how to create your own custom presets Your initial involvement with Mo Phatt will most likely be using the existing presets and selecting MIDI channels While the factory presets are very good there are some things you will probably want to change eventually perhaps the LFO speed the filter frequency or the attack time You may also want to make your own custom presets using complex modulation routings This module will do far more than you ever imagined and there are whole new classes of sound just waiting to be discovered Each preset can consist of up to four instrument layers Each of the four layers can be placed anywhere on the keyboard and can be crossfaded or switched according to key position velocity or by using a real time control such as a wheel slider pedal LFO or envelope generator A preset can also be linked with up to 2 more presets creating additional layering or splits Mo Phatt has an extensive modulation implementation using two multi wave LFO s Low Frequency Oscillators three multi stage envelope gener ators and the ability to respond to multiple MIDI controllers You can simultaneously route any combination of these control sources to multiple destinations There are
165. f rent Afin de r duire les risques d incendie ou d lectrocution r f rez vous a un personnel de service qualifi et n exposez pas cet appareil la pluie ou l humidit Cet appareil doit tre reli la terre Dans le cas d une malfonction ventuelle la terre fournit un passage de moindre r sistance pour le courant lectrique r duisant ainsi les risques d lectrocution Le Mo Phatt est quip d un cordon muni d un conducteur et d une fiche devant tre branch e dans une prise appropri e et reli e la terre en conformit avec les normes locales Une connexion incorrecte peut r sulter en des risques d lectrocution V rifiez avec un technicien qualifi si vous avez des doutes quant la connexion Ne modifiez pas vous m me le cordon d alimentation livr avec cet appareil s il ne rentre pas dans la prise faites en installer un autre par un technicien qualifi Si le Mo Phatt Model 9111 est install dans un rack utilisez un rack standard ouvert de 48 25cm 1 le Mo Phatt doit tre maintenu propre et sans poussi re Nettoyez le p riodiquement l aide d un chiffon propre et non pelucheux N utilisez pas de solvants ou d autres produits de nettoyage 2 Aucune lubrification et aucun r glage ne sont n cessaires de votre part 3 Pour tout autre service r f rez vous un personnel qualifi Mo Phatt Operation Manual 9 Foreign Language Warnings French Instru
166. f different muscles controlling the shape of the vocal tract When speaking however we don t think of the muscles we just remember how it feels to form the vowels A vowel is really a configuration of many muscles but we consider it a single object In changing from one vowel to another we don t need to consider the frequencies of the resonant peaks You remember the shape of your mouth for each sound and interpolate between them This Z plane filter sweep can be controlled by an envelope generator an LFO modulation wheels or pedals keyboard velocity key pressure and so on In fact any of the modulation sources can control the Z plane filter Because creating the complex filtering is difficult and very time consuming we have created 50 different filters and installed them permanently in ROM for your use You simply select and use the filters in a manner similar to choosing an instrument Because there are so many types of instruments and filters to choose from the number of possible permutations is staggering Signal Flow Programming Basics Signal Flow Going back to the Signal Path diagram for a single channel we can reexamine the complete signal path Z Plane R Instrument Filter Sample Pitch Start Freq Q Filter A Volume Envelope velocity Envelope This is the sampled sound wave The pitch of the instrument can be modulated by any modulation source The sample start point can be changed only at the time th
167. fect used for the A effect The following A Igo rithm effect types are available MASTER FXA ALGORITHM 70 E MU Systems Room 1 A Effect Types N N N A A 8 8 sch N O N o Om F WO ND se ien ka ND zx Room 1 Room 2 Room 3 Hall 1 Hall 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1 DelayVerb 2 DelayVerb 3 DelayVerb 4 Pan DelayVerb 5 Pan DelayVerb 6 DelayVerb 7 DelayVerb 8 DelayVerb 9 Master Menu Master Effects FXA Parameters This page lets you define the parameters of the selected Effects algorithm Use this page to setup the effect decay high frequency damping amount Decay HF Damp g and to route B effects through the A effects See Effect Parameters on FxB gt FxA page 171 for more details FXA DECAY HFDAMP FxB gt FxA DUO 096 DOI FXA Send Amounts These parameters set the effects amounts for each of the four stereo effects busses See Master Effects on page 174 for detailed information FXA SEND AMOUNTS 1 100 2
168. fectively off Group 1 amp 2 are latched and Start Stop amp Clear Parts are on the same trigger so that starting and stopping the sequencer also clears active parts Start Stop amp Clear Parts D O I ran eD OD Si T Trigger Layout 1 Multisetup 59 Appendix Trigger Layouts Tr igger Layou t2 This layout is similar to the basic layout except that the groups and Setup 60 functions are on the left of the main triggers It is setup so that it takes advantage of a 76 key keyboard by starting at EO instead of C1 However it can be shifted up to facilitate use on a 61 key keyboard as well D O I 0 O Di res Fr l Group 2 Part 2 Part 4 Part 7 Part 9 Part 11 Part 14 Part 16 Trigger Layout 2 Multisetup 60 I 11 UN WU l Ee EE E oo 3 mmm EE Lo DH OG GG GG GANGS 260 5 AAAA So VU EL Fr Tr igger Layou t 3 This layout puts all of the direct part triggers consecutively on the white Setup 61 keys Groups and functions are put up on the black keys D Y O Se 2 Nm Ka 5 7 GOO Q Ne S 33533 pst 000 8 585 OOO OU GL E II l II I Trigger Layout 3 Multisetup 61 Mo Phatt Operation Manual 217 Appendix Trigger Layouts Trigger Layout 4 Parts 1 8 on the first 8 white keys 9 16 on the first 8 black keys Groups are Setup 62 on the white keys under parts 14 16 and the Control Functions are on the remaining
169. gan key DX Organ key JX Organ led Full Force syn Brite Brass syn Muted Brass syn Classic 1 syn Classic 2 syn EdgyVeryEdgy syn Tone Wall syn Jungle Lead led Wormy 1 led Wormy 2 led Wormy 3 led H20 syn Wave Cutter syn Rail to Rail key Klavin It key Klav Love key Klav Love b syn Buzz Wave prc All Kicks 1 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 prc All Kicks 2 pre Kicks2 Tuned prc All Snares 1 prc All Snares 2 prc All Snares 3 prc KikSnarePlc1 pre All Hats 1 prc All Hats 2 prc AIl Cymbals pre Rainstick pre Whirlybird pre All Stix prc All Bongos prc AllClaps amp Snp prc All Claves prc All Toms prc All Bells pre All Fills prc All Shakers scr AllScratches prc All Misc sfx ScaryBastard pre Sci Fi Toy 1 prc Sci Fi Toy 2 prc Thumpiano scr Scratch Map scr Scratch Talk scr Rodeo Roper scr ChipmunkRap scr StuttrSteppr scr Whale Backer scr Nother Drop scr Hiccup scr Rotator scr Hard Drop prc Shaker Loop pre St Flexi 1 prc Flexi 2 prc Flexi 3 prc Flexi 4 prc Flexi 5 kit Lily GM1 kit Lily GM2 kit Lily GM3 kit Lily GM4 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516
170. gh the Release stages ending at the Release 2 level LI VOL ENV RATE LEVEL Attack 1 84 100 As soon as the Attack 1 level is reached the Attack 2 phase begins When the Attack 2 Level is reached the Decay 1 phase begins When the key is released the envelope immediately jumps to the Release 1 stage then the Release 2 stage finally ending at the Release 2 level If you have selected the factory mode the Volume Envelope parameter screen looks like the following illustration LI VOL ENV RATE LEVEL Using factory envelope level time gt Key Down Key Released On the Volume Envelope levels can only be set to positive values The value range is from 0 to 100 Chorusing the Layer S WARNING Because it works by doubling instruments Chorusing halves the number of notes you can play Sound Start Offset and Delay Edit Menu Defining Layer Parameters Chorusing thickens the sound by doubling the sound in stereo and then detuning it Every layer with chorus turned on uses twice the polyphony for that layer LI CHORUS off The first field in this screen turns Chorus On or Off and allows you to adjust the amount of detuning 1 to 100 The Width parameter controls the stereo spread 0 reduces the chorus to mono and 100 provides the most stereo separation Sound Start sets where the instrument begins playing when you hit a key Setting the Start Offset amount to 0 plays the sample
171. grammed by either MIDI Channel or by Preset whichever you prefer Mo Phatt Operation Manual 147 Edit Menu FXA Algorithm FXA Algor ithm This screen selects the effect type for Effect Processor A The A effects consist of different reverb types and digital delays Move the cursor to the lower line of the display and select the effect you want FXA ALGORITHM Lg Concert Pan A Effect Types 1 Room 1 23 BBall Court 2 Room 2 24 Gymnasium 3 Room 3 25 Cavern 4 Hall 1 26 Concert 9 5 Hall 2 27 Concert 10 Pan 6 Plate 28 Reverse Gate 7 Delay 29 Gate 2 8 Panning Delay 30 Gate Pan 9 Multitap 1 31 Concert 11 10 Multitap Pan 32 Medium Concert 11 3 Tap 33 Large Concert 12 3 Tap Pan 34 Large Concert Pan 13 Soft Room 35 Canyon 14 Warm Room 36 DelayVerb 1 15 Perfect Room 37 DelayVerb 2 16 Tiled Room 38 DelayVerb 3 17 Hard Plate 39 DelayVerb 4 Pan 18 Warm Hall 40 DelayVerb 5 Pan 19 Spacious Hall 41 DelayVerb 6 20 Bright Hall 42 DelayVerb 7 21 Bright Hall Pan 43 DelayVerb 8 22 Bright Plate 44 DelayVerb 9 148 EMU Systems EX A Parameters FXA Send Amounts FXB Algorithm Edit Menu FXA Parameters The FXA parameters are Decay High Frequency Damping and the FxB to FxA send Decay sets the length of time it takes an effect to fade out HF Damping causes the high frequency energy to fade away more quickly during the reverb decay FxB to FxA controls the amount of the
172. h could be used as the input to the lag which acts to slow down the instantaneous change of the switch The slowly changing output value is then routed using a layer patchcord to crossfade between layers or change the speed of an LFO i Ge ur ag ex footswitch Lag Amount value longer Preset Ramp This processor generates a positive or negative going slope whenever the first key is depressed on the MIDI channel Preset Ramp Preset Ramp iti Negative Rate 1st Note Positive Rate g Played original u value S original Ist Note value UM Played Mo Phatt Operation Manual 95 Real Rocket Science Cord 100 th g j Decay Time Cord MIDI G 100 Preset Cords X The combination of the DC amp Perc Decay Time Cords has the effect of reversing the Percussion Decay Time knob The decay time increases as the knob is turned up 96 E MU Systems Programming Basics Preset Modulation Processors The preset ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed The Ramp Rate polarity or determines if the ramp will be positive or negative going The value of the ramp rate sets the increment Large values produce fast ramps and small values produce slow ramps Multiple inputs can be connected to the ramp rate just like all the other destinations in Mo Phatt The patch below shows an application for the Preset Ramp which generates an adjustable d
173. he modulation source and RTXfade as the desti nation Set the Cord Amount to 100 Repeat step 6 for the remaining three layers Transposing the Instrument Edit Menu Defining Layer Parameters LI PATCHCORD XfdRand gt RTXfade 8 That s it Now set each Layer up the way you want Try radically different instruments filter settings or tunings Or you can make each layer just slightly different for a more natural effect Try adjusting the Fades or overlapping the ranges if you want more than one layer to play at once The Transpose parameter lets you transpose the key of the current layer s Instrument Transpose works by shifting the keyboard position in semitone intervals relative to middle C Use this parameter to transpose different layers apart by semitone intervals For example by transposing one layer by 7 semitones it will track other layers at a perfect fifth interval C 2 C 1 co C1 C2 c3 CA c5 C6 C7 C8 G8 l l l l l l l l l l l TT AAA ADANAN The range of transposition is 36 to 36 semitones LI TRANSPOSE 36 semitones Mo Phatt Operation Manual 125 Tuning Amplifier 126 E MU Systems Edit Menu Defining Layer Parameters The Tuning parameter changes the pitch of the key in semitone and 1 64 semitone intervals LI TUNING Coarse 36 Use the Coarse field to shift the tuning by semitone intervals Use th
174. hen G2 the arpeggiated sequence would consist of E2 C2 G2 then E3 C3 G3 and then E4 C4 G4 The Extension Count values range from 0 through 15 Refer to the following illustration A Bak N 3 6 8 7 9 ae 1 Extend 2 E The Extension Interval specifies the additional intervals played when you press a key For example suppose you played C2 with an Interval of 7 a Major Sth Up mode and an Extension Count of 2 The arpeggio alternates between C2 and G2 The Extension Interval values range from 1 through 16 MASTER ARPEGGIATOR Extension Interval Sync Pre Delay Arpeggiator Beats Menu Master Arpeggiator Parameters The Sync parameter defines when a note is played in relation to when the key is pressed When set to Key Sync the note sounds the instant a key is pressed When set to Quantized the note does not sound until the next occurrence of the selected note value MASTER ARPEGGIATOR Sync key sync The following diagram illustrates how Key Sync and Quantize work Key Note Sounds ce Immediately Quarter Notes Note Doesn t Sound until I I i I i Pe the Next Quarter Note Quarter Notes The Pre Delay value determines how long the arpeggiator is delayed before becoming active after the first note on During the pre delay period notes are played normally as if the arpeggiator was off After the pre
175. hen interacting with the Group Velocity scale control the Busy control ignores group velocity even when it is set to zero enabling and disabling parts as necessary If the Group Velocity is changed after the Busy control it takes control scaling parts as it deems necessary The Busy control does take the Part velocity into account when adding and subtracting parts If a part has a velocity of 0 it is removed from the list of parts that the Busy control adds or subtracts Therefore you can use the Part Velocity control to remove parts you don t want to hear Brings in Parts I A Ns Removes Parts Played Positive controller values bring in new Parts and negative controller values remove Parts that are latched or held In this example the Pitch Wheel is connected to Beat Busy since it outputs negative as well as positive values Beat Variation BtsVari Beat Variation varies which Parts are brought in and out using the Beat Busy control Increasing this control mixes up the order in which Parts are brought in and out thus providing even more permutations to the BEAT Beats Trigger Layout G Save your Beats Trigger Layouts and all other Arp BEATS parameters using the Save Setup function located in the Save Copy menu Arpeggiator Beats Menu SuperBEATS This screen assigns the BEATS triggers to keyboard notes on the BEATS channel For each Part Group and Control Key you can select the following options
176. hen you move a knob with Quick Edit enabled the Initial Controller Value is updated with the knob s new value The knob s LED lights indicating that the preset value has been changed The three Control Rows MIDI A L values are stored in the corresponding Initial Controller Amount parameter in the Edit menu see Initial Controller Amount on page 152 The Save Copy button LED illuminates to remind you that the preset has been edited Quick Edits made to a preset are lost if you select another preset before saving them gt To Quick Edit a Preset Quick Edit mode must 1 Use the Control Knobs to change the sound of the current preset as be enabled in the Master menu desired 2 Press the Save Copy button The display reads Save Preset to 3 Press the right cursor button to select the bottom row 4 Optional Select a new preset location if you don t want to overwrite the current preset or if the current preset is a ROM preset 5 Press the Enter button to save the preset Deep Edit Mode When in the Master or Edit menus you can use the Controller Knobs to edit parameters Using the Controller Knobs is a faster method for entering data but the Data Entry Control offers finer precision gt To Enable Deep Edit Mode 1 Press the Master button and use the Data Entry Control to advance to the Knobs Deep Edit screen as shown in the following illustration KNOBS DEEP EDIT disabled 2 Press eithe
177. highest pitch e Down Held notes arpeggiate continuously from highest to lowest pitch e Up Down Held notes arpeggiate continuously from lowest to highest pitch then from highest to lowest then repeat this cycle e Fwd Assign Held notes arpeggiate continuously in the order in which the keys were pressed e Bkwd Assign Held notes arpeggiate continuously in the reverse order in which the keys were pressed e Fwd Bkwd Held notes arpeggiate continuously in the order in which the keys were pressed then arpeggiate in the reverse order that they were pressed The cycle is then repeated e Random Held notes arpeggiate continuously in a random fashion e Pattern Held notes play the selected pattern see Pattern on page 52 for details Mo Phatt Operation Manual 51 Arpeggiator Beats Menu Master Arpeggiator Parameters Note Value The Note Value determines the duration of each note played This parameter is used in non pattern mode only MASTER ARPEGGIATOR Note Value 1 8 dot Following is a list of possible Note Values and the relative number of clocks used for each Q Note value has no effect Note Value MIDI Clock when the mode is set to Double Whole Note 192 pattern Dotted Whole Note 144 Double Note Triplet 128 Whole Note 96 Dotted Half Note 72 Whole Note Tuplert AA 64 Half Note 3 48 Dotted Quarter Note 36 Half Note Triplet
178. homatic led Transformed brs Caliente hit Tpt Solo led Hoodwormed led Yearning 2 B led ReedOPlenty led AmberVioleta led Stevie Rockz pad Mr Clean sfx Shield sfx Deadly Cycle sfx Reaper vox Atseeyeah pad Pulsar gtr 1ShotElectra brs CarnavalHits brs Carnaval 1 brs Carnaval 2 brs Carnaval 3 brs Carnaval 4 brs Carnaval 5 hit Spicy Brass sfx Worry Pad str Orcha Chord hit DeathStrike 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 hit Sweetness 1 hit Sweetness 2 hit QuirkyDrmBed hit Intro Beat hit Knock U Out hit Blip hit Caprice hit Sax Line gtr Owp Hit hit Bottom 1 hit Bottom 2 hit Nice Under hit Nice Under 2 hit Righteous sfx Cop Tone 1 sfx Cop Tone 2 sfx Beep Tone 1 sfx Beep Tone 2 sfx ComputerBeep sfx Ping Beep hit Key Kord min hit X hit Honk sfx Dial 8 sfx Dial 6 sfx Dial 5 sfx Dial 4 sfx Dial 3 sfx Dial 2 sfx Dial 1 hit Annoy hit Orchit brs Waver Stab brs 40 s Horn sfx Bat hit Bass Note hit Hatthang sfx AmusemntCrwd hit SynChord hit Synthetic hit Padlove hit 8 Bit Fright hit Synth Ditty hit House Chrd hit HornStabber 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 2
179. ic Operations Main Screen The Preset Select screen is Mo Phatt s default screen also called the main screen and is active when you have not selected any of the other button activated menus From this screen you can change or examine the Preset Volume Pan Position and Preset Location for each of the 16 MIDI channels MIDI Channel ROM or RAM Preset Location LU Vld POI A off USER 079 bts Nogognog D To Change the MIDI Channel 1 Press either cursor button until the cursor is underneath the channel number The cursor is the little flashing line underneath one of the parameters in the display 2 Rotate the Data Entry Control to select a MIDI channel 01 16 As the channel number changes the display changes to show the preset volume pan and preset location associated with the displayed channel D To Change the Preset 1 Press either cursor key until the cursor is underneath the preset number The cursor is a little flashing line underneath one of the parameters in the display As you rotate the Data Entry Control the preset number and name changes 2 The displayed preset is assigned to the displayed MIDI channel Presets are arranged into banks of 128 as shown in the diagram at left Bank Number Preset Number Vi27 POI A off USER bts Nogognog Using the screen above as an example the superscripted number 2 in the second line of the display identifies the current bank number Basic Operations Ma
180. if you play a C on the keyboard with the Key Offset amount for the first step set to 1 the first step in the pattern will be C lt Offset Played Offset Note Tie This function extends the duration of notes beyond the values given in the duration field by tying notes together You can tie together any number of consecutive steps ww Step 1 Step 2 Step 3 Rest Instead of playing a note you can define the step as a Rest The Duration parameter specifies the length of the rest Rests can be tied together to form longer rests Skip This command simply removes the step from the pattern The Skip feature makes it easy to remove an unwanted step without rearranging the entire pattern You ll be happy to know that the velocity duration and repeat parameters are remembered if you decide to put the step back later End This command signals the end of the pattern Any steps programmed after the step containing the End command are ignored Arpeggiator Beats Menu Send MIDI System Exclusive Data Veloci ty Each note in the pattern plays using either a preset velocity value from 1 through 127 or using the actual velocity of the played note ply Note Velocity values will not have an effect on the sound unless velocity is programmed to do something in the preset Duration This parameter sets the length of time for the current step defined as a note value based on the Master Clock Temp
181. important performance tool Many presets use this routing with the modulation wheel controlling how much modula tion is applied e Create a tremolo effect by routing the LFO to control the volume LFO gt AmpVolume e Add a bit of animation to the sound by routing the LFO to control the filter Set the PatchCord amount low for a subtle effect The LFOs have five parameters Shape Sync Rate Delay and Variation Mo Phatt Operation Manual 137 LFO Tricks amp Tips e The Random LFO wave is truly random and is different for each voice and layer e The Pattern Pat waveforms will sound the same on different layers and voices e Sine Noise is very useful for simulating trumpet and flute vibrato When routing Hemi quaver to Pitch 38 major scale 38 phrygian scale 76 whole tone scale 38 76 diminished two cords odd amount S H sound Note References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of 38 138 E MU Systems Edit Menu Low Frequency Oscillators LFOs Shape LFO waveforms have different shapes The shape of the waveform deter mines the effect of the LFO LFOs have traditionally been used to add vibrato or repeating movement to a sound These new shapes offer a lot of new programming possibilities If you modulate the pitch of an instrument it s easy to visualize the shape of the waveform For ex
182. in Screen Select banks independently of the of the preset number by locating the cursor on the Bank field and turning the Data Entry Control MIDI BANK SELECT MSB LSB cc00 cc32 00 Bank O 01 Bank 1 02 Bank 2 03 Bank 3 00 Bank O 01 Bank 1 02 Bank 2 03 Bank 3 This chart shows the MSB and LSB numbers needed to select preset banks over MIDI Select a bank then send the program change number Without a bank select command presets are selected from within the current bank Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation to the other channels This is the same parameter as MIDI volume control 7 and changes made over MIDI are shown in the display Volume LU V127 POI R off USER 079 bts Nogognog D To Change the Channel Volume 1 Press either cursor key until the cursor is underneath the volume value 2 Rotate the Data Entry Control to select a volume level The Channel Volume range is 000 127 Mo Phatt Operation Manual 31 Channel Pan Channel Arpeggiator 32 EMU Systems Basic Operations Main Screen Channel Pan sets the stereo position of the selected MIDI channel This control operates like the balance control on your home stereo system Channel Pan is the same parameter as MIDI pan controller 10 and changes made over MIDI are shown in the display Pan Position LU Vi27 Pie A off USER 079 bts Nogognog Note Pan settings in the preset ADD alg
183. in each preset and instead assign the outputs according to MIDI channel For each of the 16 MIDI channels you can select Send 1 4 or Preset When Preset is selected the output assignment defined in the Preset Edit menu is used Mo Phatt Operation Manual 67 Master Menu Defining Master Parameters MIX OUTPUT channel 16 use preset MIX OUTPUT channel 15 Send 1 The Sends function as effect processor inputs effect sends The four Effect Sends allow you to get the most out of the two effect processors For example with Effect B set to an echo algorithm you could route one MIDI channel to Send 3 and set the effect amount to 80 Another MIDI channel could be routed to Send 4 with an effect amount of only 5 This is almost like having two different effects OUTPUT SECTION amp EFFECTS PROCESSORS ae Sele ee eee eee ee te MIDI Channel 1 gt Preset Send 2 10 MIDI Channel 2 Preset MIDI Channel 3 m MIDI Channel A gt Send3 0 Send4 0 Send2 0 TILL Send 3 20 MIDI Channel 6 Send 4 15 MIDI Channel 5 S e E E i Ni 1 D g MIDI Channel 16 2 MIDI CHANNEL 3 N D 3 i e E N 1 D l 4 i E A E Na ee lee ee EE Sd 68 E MU Systems Master Effects Effects Mode Effects Multi Mode Control Master Menu Master Effects The digital effect processors can be programmed as part of the preset us
184. ing the Edit menu so that effects will change along with the preset However there are only two effect processors and so you cannot have a different effect on each preset when in Multi mode The Master Effects settings assign the effect processors globally for all presets to provide a way to use the effects in Multi mode Detailed infor mation is presented in the Effects chapter see Effects on page 169 The FX Mode page enables or bypasses the effects When the FX Mode is set to bypass the effects are turned off on a global scale This includes Effects programmed in the preset FX MODE enabled The routing scheme for the two stereo effects processors provides a lot of versatility When in multi mode you can use master settings which applies the Master menu effects settings to all 16 MIDI channels FX MULTIMODE CONTROL use master settings If you want more control you can use the channel setting which applies the effects settings of the preset on a specified channel to all the other channels Changing the preset on the specified channel changes the effect FX MULTIMODE CONTROL preset on channel 1 If you are in Omni or Poly modes this parameter is disabled and the message in parentheses explains that Mo Phatt is currently in Omni mode FX MULTIMODE CONTROL using Omni mode Mo Phatt Operation Manual 69 Master Menu Master Effects Master FXA This function selects the type of ef
185. iptions of the types of MIDI data that can be transmitted Current Multisetup Transmits all parameters in the Master menu except Tuning Tables Program Preset Map and Viewing Angle Program Preset Map Transmits the MIDI Program gt Preset Map All User Tuning Tables Transmits all 12 user User Tuning Tables Multimode Map Transmits the following parameters e Multimode Basic Channel e Multimode Effects Control Channel e Multimode Tempo Control Channel and for each MIDI Channel e Preset Volume amp Pan e Mix Output e Multimode Channel Enable e Multimode Bank Map e Multimode Receive Program Change G WARNING When transferring SysEx data from one Mo Phatt to another the ID numbers of both units must match Master Menu MIDI Parameters Bank 0 User Presets Transmits all the user defined presets in Bank 0 Bank 1 User Presets Transmits all the user defined presets in Bank 1 Bank 2 User Presets Transmits all the user defined presets in Bank 2 Bank 3 User Presets Transmits all the user defined presets in Bank 3 Any Individual Preset Transmits only the selected preset All User Arp Patterns Transmits all user arpeggiator patterns All User Data Transmits ALL user presets user tuning tables user arp patterns and user multisetups The Enter LED will be flashing Press the Enter button to confirm the operation To receive MIDI data simply send the MIDI data into Mo Phatt from anothe
186. l any of the destinations in the layer Layer Z Plane Filter Start Offset D a DU D N Envelope f 4 A N JL d i t t k Envelope Gen Mod Envelope MIDI Mod Wheel Gen Controls Proc e Note on modulation sources such as key velocity and gate output a single value at note on time Realtime modulation sources such as LFOs envelope generators and modulation wheels output continuously changing values Key Velocity Gate The possible modulation routings are completely flexible as shown in the diagram above Multiple sources can control the same destination or a single source can control multiple destinations Modulation Processors Programming Basics Modulation Processors Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a desti nation Modulation processors let you create patches and do tricks which would not be possible otherwise These modulation processors are indepen dently programmable on each of the four layers Switch Outputs a digital 1 when the input is greater than O gt Switch ES above zero Summing Amp Lets you add several modulation signals together before applying them to a destination This processor can save PatchCords when routing the output to multiple destinations ere Lag Processors Slows down rapid changes in the input signal The output
187. l the cursor is underneath the desired parameter The cursor buttons have an auto repeat feature which advances the cursor when the button is held continuously The cursor can be moved bidirectionally using the Data Entry Control while either cursor select button is held down for example press and hold the right cursor button and turn the Data Entry Control The Save Copy button is used to save or copy presets and to copy data Selected groups of parameters such as PatchCord settings can be copied between Presets and or between Layers using this menu The LED to the right of the button illuminates to indicate that you are in the Save Copy menu The LED also illuminates when any preset parameter has been changed in the Edit menu or if the front panel knobs have been moved with Quick Edit mode enabled The Home Enter button is dual purpose In general this button acts as the Home button For example when in an Edit menu this button snaps the cursor to the page name field of the current screen When viewing the Preset Select screen we also call it the main screen this button snaps the cursor to the preset number field In these instances the LED is not used Some screens and parameter fields use this button as the Enter button In these cases the LED blinks to indicate that the module is waiting for your response to initiate the operation Data Entry Control Front Panel Controller Modes Real time Control Basi
188. lal Press the Arp Beats menu button on the front panel to access the master Arpeggiator menu then use the Data Entry Control to scroll to the screen shown below MASTER ARPEGGIATOR Status Make sure the arpeggiator Status is on Play the keyboard to start arpeggiating Press either cursor key repeatedly to move the cursor below the Status field Turn the Data Entry Control clockwise one click The Mode screen appears MASTER ARPEGGIATOR Mode up Use the cursor keys to move the cursor to the Mode field up down up down forw asgn backw asgn forw backw random pattern Try out the different modes as you play the keyboard Move the cursor back to the lower left position and explore the other parameters The Note Value parameter changes the rate of the arpeggios By the way note value is a divisor based on the Master Clock Tempo Try changing the tempo page 36 but come right back X See the Arpeggiator Chapter for detailed information on creating Patterns Multi Channel Arpeggiator Setup Instant Gratification 9 Let s check out the pattern generator Go back to the Mode screen and set the mode to Pattern 10 Now advance to the Pattern screen shown below and move the cursor to the Pattern Number field the second field from the left MASTER ARPEGGIATOR Pattern 380 Inversions 11 Try the various patterns There are 200 permanent factory patterns and 100 use
189. lay a different arpeggiator on each MIDI channel Arpeggiator settings can be defined as part of the preset using the Arp parameters in the Edit menu or globally in the Arpeggiator menu The preset and master arpeggiators have the same parameters which we define in this chapter The Arp field in the main screen defines which arpeggiator settings will be used M uses the master Arpeggiator settings and on off status as defined in the Arpeggiator menu P uses the preset s arpeggiator settings and on off status as defined in the Edit menu Choosing On uses the preset s arpeggiator settings regardless of whether or not it is turned on in the Edit menu and Off turns off the arpeggiator regardless of the settings and status specified in either menu Arp Settings in the Preset are Used COl Vl27 POO A P USER 0473 arp Sine Drum All arpeggiators share Mo Phatt s master clock and its current setting The master clock can be Mo Phatt s internal clock or an external MIDI clock Although the arpeggiators use the master clock setting the tempo divisor can be unique for each arpeggiator setup Arpeggiator modes include up up down forward assign backward assign forward backward assign and random as well as play Patterns Patterns are pre recorded sequences of notes and rests All key on notes play the pattern For example if you play a chord all the notes in the chord play the pattern in harmony Mo Phat
190. ld be 0 as these two pan parameters are relative to each other Volume Envelope X Factory Mode is useful for Instruments containing multiple drums since each drum can have its own envelope settings If two adjacent segments have the same level in a time based envelope the segment will be skipped Adjacent segments must have different levels for the rate control to work Q See Base Tempo Master Clock on page 36 Edit Menu Defining Layer Parameters An envelope can be described as a contour which is used to shape the sound over time The Volume Envelope controls the volume of the sound in the current layer over time The way the volume of a sound evolves has a profound effect on how we perceive the sound Each instrument has its own Factory preset Volume Envelope setting The Volume Envelope allows you to program your own envelope settings Selecting the Mode The Mode field determines whether the layer will use the instrument s default envelope Factory or use the user programmed Volume Envelope There are three mode options and repeat e Factory Uses the factory preset envelope contained in each instrument If you select the Factory mode the Volume Envelope parameters are disabled and the factory defined settings are used instead Ll VOLUME ENVELOPE Mode factory e Time based Defines the Volume Envelope rates from 0 to 127 approxi mately 1 ms to 160 seconds The Master clock h
191. le Mo Phatt takes over where E MU s legendary Planet Phatt left off with 32 MB of fresh new sounds and lighting fast response time Mo Phatt was designed for performance so make sure to try out all the controller knobs on each preset Mo Phatt contains two user upgradable sound SIMM sockets Need more sounds New sounds can be added as easily as plugging in a new 16MB or 32MB SIMM module Many sets are available now with more coming all the time or you can create your own custom ROMs using E MU s E4 Ultra samplers Mo Phatt contains 512 user presets and can hold literally thousands of factory presets ROM presets are automatically added when sound SIMMs are installed As an example a 32 MB SIMM may contain up to 1024 ROM presets Mo Phatt s Sound Navigator makes it easy to find the exact sound you want It s powerful yet simple to use Mo Phatt contains E MU s new SuperBEATS Mode which is a whole new way to create dynamic original music With SuperBEATS you trigger latch and unlatch synced loops and grooves from your keyboard Simply select a bts preset and you re ready to groove Then use Mo Phatt s performance controls to alter and mutate the rhythm or the sound itself Then there s Mo Phatt s revolutionary Rhythmic Pattern Generator Arpeg giator which can play up to 16 synchronized arpeggiator patterns at once using a different sound for each Patterns can be edited using pattern flow comman
192. llowing you to have a different effect for each This section describes how to program and Prog ramm ed modify Mo Phatt s preset effects in the Preset D To Program the Effects as Part of the Preset 1 Press the Edit button The LED illuminates and the Edit screen appears 2 Use the Data Entry Control to select the FXA Algorithm screen FXA ALGORITHM Lg Concert Pan 3 Select an Effect Do not select the Master Effect setting or the global effects set up in the Master menu will be used instead of the Preset Effect settings 4 Use the Data Entry Control to select the FXA parameter screen FXA DECAY HFDAMP FxB gt FxA 90 127 127 The FxB gt FxA parameter lets you route the B effect through the A effect See Effect B Into Effect A on page 178 5 Set the other effect parameters to your preference Refer to the infor mation in the last section for detailed descriptions of these parameters 6 Use the Data Entry Control to select the FXB Algorithm screen FXB ALGORITHM Distorted Flange 7 Select an Effect Do not select the Master Effect setting or the global effects set up in the Master menu will be used instead of the Preset Effect settings 8 Use the Data Entry Control to select the FXB parameter screen Mo Phatt Operation Manual 173 Effects Master Effects FXB FEEDBK LFORATE DELAY 127 127 635ms 9 Set the other effect parameters to your preference Refer to the infor
193. long as the key is held bring Parts in and out using the Once the BEATS sequencer is started it continues Busy control to run even if no triggers are active e Clear Parts Clears any enabled parts This control provides a quick and easy way to shut off all latched Parts Latch mode has no effect on this key x If Mute is set to 1 bar e Mute Mutes all Parts while held but the Beats sequencer the Part mutes for 1 bar then continues running un mutes e Trig Hold When this key is held all other Trigger Keys behave as if they were in Latch mode Rx Start Stop doesn t clear The BEATS sequencer plays as long as any BEATS triggers are active BEATS latched parts when it stops the Riffs can also be Restarted using a MIDI Song Start command even if the sequencer Any trigger played BEATS channel is not currently selected The Audition LED illuminates after stopping will not only start whenever the BEATS sequencer is running even if no Parts are playing the sequencer and play that trigger s part but also play all previously latched parts Pressing the Audition button or starting a Demo causes the Beats sequencer to stop Pressing the Audition button plays Parts 1 4 amp 16 on bts presets All Arp BEATS parameters are saved with the Multisetup See Restoring Multisetups on page 189 for more information 38 E MU Systems BEATS Mode Q The Basic Channel is the MIDI channel currently displayed in the Main Screen
194. lue Velocity 127 0 Layer 1 Layer 2 Layer 3 Layer 4 Fade Fade Switch 36 96 With soft playing Layer 1 sounds As you play harder Layer 1 gradually fades out and Layer 2 fades in When the keyboard is played hard Layer 3 plays Edit Menu Defining Layer Parameters gt To Set Up a Velocity Crossfade Between Layers Set the velocity fades so that layer 1 fades out with higher key velocity while layer 2 fades in At a velocity of 64 the two sounds are equal volume You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade These parameters vary depending on the sounds 127 Increasing Velocity Layer 1 Layer 2 LO FADE HIGH 000 127 Le VEL LO FADE HIGH 000 127 127 Mo Phatt Operation Manual 121 Defining the Real time Crossfade Range 122 EMU Systems Edit Menu Defining Layer Parameters The Real time Crossfade window lets you control the volume of the four layers using a real time controller such as a front panel knob a pedal or an LFO or Envelope generator The controller is defined by the PatchCord parameter see PatchCords on page 142 The Fade fields define the crossfade range in velocity for the currently selected layer The first Fade field defines the Fade In amount for the low Real time Control value The second defines the Fade Out amount for the high Real time Control value The Fade value
195. m Oo sound through Oh sound to Ah sound at maximum frequency setting Q varies the apparent size of mouth cavity Multi Formant Map Q To velocity Oooh to Eeee formant morph Oui morphing filter Q adds peaks E to Ah formant movement Q accentuates peakiness Aah Uuh vowel with no Q Raise Q for throaty vocals French vowels Ou Est vowel at low Q Recreates a comb filter effect typical of phase shifters Frequency moves position of notches Q varies the depth of the notches Comb filter with slightly different notch frequency moving the frequency of notches Q varies the depth of the notches Phasey movement Try major 6 interval and maximum Q Accentuates harmonics at high Q Try with a sawtooth LFO Filter Envelope Edit Menu Filter Envelope Filter Name Order Type Description FlangerLite 06 FLG Contains three notches Frequency moves frequency and spacing of notches Q increases flanging depth AngelzHairz 12 FLG Smooth sweep flanger Good with vox waves eg 1094 Q 60 DreamWeava 12 FLG Directional Flanger Poles shift down at low Q and up at high Q MeatyGizmo 12 REZ Filter inverts at mid Q DeadRinger 12 REZ Permanent Ringy Q response Many Q variations ZoomPeaks 12 REZ High resonance nasal filter AcidRavage 12 REZ Great analog Q response Wide tonal range Try with a sawtooth LFO BassOMatic 12 REZ Low boost for basslines Q goes to distor
196. m Lautpegel Stellen Sie Geh rverlust oder Ohrenl uten fest wenden Sie sich an einen Ohrenartz Mo Phatt kann mit einem polarisierten Kabelstecker mit ungleichen Stiften ausger stet sein Das geschieht f r Ihre Sicherheit K nnen Sie den Stecker nicht in die Steckdose einf hren ndern Sie nicht den Stecker ab sondern wenden Sie sich an einen Elektriker Das Netzkabel des Mo Phatt bei l ngerem Nichtgebrauch aus der Steckdose ziehen Mo Phatt Operation Manual 7 Foreign Language Warnings German 8 EMU Systems 10 Vermeiden Sie sorgf ltig das Eindringen von Gegenst nden oder Fl ssigkeiten durch die Geh use ffnungen 11 Das Ger t soll durch qualifizierte Serviceleute gewartet werden falls A das Netzkabel besch digt wurde oder B Gegenst nde oder Fl ssigkeit in das Ger t gelangten C das Ger t Regen ausgesetzt war oder D das Ger t nicht normal oder einwandfrei arbeitet oder E das Ger t st rzte oder sein Geh use besch digt wurde 12 Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden DIESE INSTRUKTIONEN AUFBEWAHREN Instructions de S curit Importantes Instructions de Mise la Terre Danger Attention Instructions de Maintenance Foreign Language Warnings French Instructions de S curit Importantes Foreign Language Warnings French Une utilisation dans des pays autres que les U S A peut n cessiter l usage d un cordon d alimentation dif
197. m value pegged in the clockwise position then press the Enter button The display shows Reading Values Done Calibration is complete Mo Phatt Operation Manual 79 MIDI SysEx Packet Delay Send MIDI System Exclusive Data X The Preset Volume and Pan information for all 16 channels is included when the Multi mode Map settings are transmitted or received 80 E MU Systems Master Menu MIDI Parameters Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the Mo Phatt The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overflow causing an error The value range is from 0 through 8000 milliseconds A delay value of zero allows full speed MIDI transfer If you are experiencing data transmission errors try increasing the delay value until the problem disappears MIDI SYSEX PACKET DELAY 300 milliseconds This command transmits MIDI System Exclusive SysEx data to the MIDI Out port of Mo Phatt The MIDI data can be sent to a computer sequencer or to another Mo Phatt When transferring data between two Mo Phatts be sure both units have the same SysEx ID number See MIDI SysEx ID on page 73 to learn how to change the SysEx ID Using the cursor key and the Data Entry Control select the type of MIDI data you want to transmit Following are descr
198. mming Amp Switch Abs Absolute Value Diode Quantize Flip Flop Gain 4x Cord 1 24 Amount Pitch Bend Range Mix Output Edit Menu Pitch Bend Range Specifies the Pitch Wheel range in semitones for the current layer Pitch Wheel is a standard synthesizer control which is transmitted as a MIDI continuous controller message used normally to bend the pitch up and down The PitchBend range is from 0 to 12 semitones or Master A setting of O turns the pitch wheel Off for the current layer The Master setting uses the Pitch Bend range defined in the Master menu LI PITCHBEND RANGE 12 semitones This feature allows you to program the Effect Send as a part of the preset Note that for this feature to work the Mix Output setting in the Master menu MUST be set to Preset on the selected MIDI channel If you want to define output routing by MIDI channel set it up using the Mix Output page in the Master menu See Mix Output on page 67 for more information L MIX OUTPUT Sende gt main FX Send Output Routing Routing The Sends function as effect processor inputs effect sends The Output Routing field shows the true routing of the Sends to the Main output The Output Routing never changes To Control the Mix Output from the Preset 1 Move the cursor until it is underneath the Layer field and change the Layer using the Data Entry Control 2 Move the cursor until it is underneath the F
199. mputing device in accordance with the specifications in Subpart J of Part 15 of the FCC rules These rules are designed to provide reasonable protection against such interference in a residential installation However there is no guarantee that the interference will not occur in a particular installation especially if a rabbit ear TV antenna is used If Mo Phatt does cause interference to radio or television reception you can try to correct the interference by using one or more of the following measures e Turn the television or radio antenna until the interference stops e Move Mo Phatt to one side or the other of the television or radio e Move Mo Phatt farther away from the television or radio e Plug Mo Phatt into an outlet on a different circuit than the television or radio e Consider installing a rooftop antenna with a coaxial lead in between the antenna and television set Mo Phatt Operation Manual 5 Foreign Language Warnings German Wichtige Sicherheitsvorschriften Wichtige Sicherheits vorschriften Erdungsin struktionen Gefahr Vorsicht 6 EMU Systems Foreign Language Warnings German In L ndern ausserhalb den U S A k nnen andere Kabel oder Stecker notwendig werden Zur Verminderung des Risikos von Feuer oder eines elektrischen Schlages bergebe man den Service an qualifizierte Fachleute Das Ger t niemals Regen oder N sse aussetzen Das Ger t muss geerdet sein Bei einem Defek
200. much LFO modulation is applied Another common effect Tremolo is created by controlling the volume of a sound with the LFO LFO gt Volume Mo Phatt Operation Manual 89 Clock Modulation Q Envelopes are triggered on the positive going edge of the clock LFOs are triggered on the negative going edge of the clock Q The tempo of the master clock is set in the Arp Beats menu 90 E MU Systems Programming Basics Clock Modulation You might use the LFOs to add a slight bit of animation to the sound by routing the LFO to control the filter For this effect set the LFO amount low for a subtle effect When a PatchCord amount is a negative value the LFO shape is inverted For example inverting the sawtooth wave produces a wave that increases abruptly then smoothly glides down Negative Amount il y AAA NN Sawtooth Inverted Sawtooth You can use the Master Clock as a modulation source to trigger the Filter or Auxiliary Envelope generators trigger Sample Start synchronize the LFOs or directly as a square wave modulation source The Clock source is available in eight divisions octal whole note quad whole note double whole note whole note half note quarter note eighth note sixteenth note You can use the different rates separately or in conjunction to create complex synchro sonic rhythm patterns You can also use a MIDI Clock as the Master Clock to synchronize to an external MIDI device such as a
201. ne voltage Instant Gratification Playing Demo Sequences Auditioning Presets Setup Instant Gratification This section presents step by step instructions for the most fundamental operations to get you up and making sounds quickly Mo Phatt has several factory demonstration sequences that let you hear what this incredible machine can do The actual number of demo sequences depends on which ROM sounds sets are installed You can play these demo sequences by accessing the Demo Sequence page DEMO SEQUENCES Ph Phatling gt To Play a Demo Sequence 1 Press and hold the Master and Edit buttons at the same time to enter the Demo Sequence page The screen shown above appears 2 Select a sequence using the data entry control The Enter LED will be flashing 3 Press the Enter button to begin playing the selected sequence The screen shown below appears PLAYING Phatling Press ENTER to stop 4 Press the Enter button again to stop playing the sequence 5 When a demo sequence plays to the end the next demo will automati cally begin playing The screen will display the new demo name 6 With the sequence stopped press either the Master Edit or Arp Beats button to Exit the demo sequence mode The front panel audition button allows you to hear any preset in Mo Phatt without even hooking up a MIDI keyboard When the Audition button is pressed the LED next to the button will illuminate and a short Riff
202. nes the length of a note the Gate Time sets the percentage of the Note Value time played This can have a dramatic effect on the sound depending on how the envelope generators are programmed MASTER ARPEGGIATOR Gate With a Gate Time setting of 100 the note is held on until the next note starts The envelope generators never advance to the Release stages With a Gate Time setting of 50 the note is released halfway through the note cycle and the envelope generators proceed to their release stages until the next note occurs Refer to the following illustration Selected Note Value 8th notes 16th notes etc of Gate Time 100 kyon time key on 0 77 time key on 50 time 25 Mo Phatt Operation Manual 53 Arpeggiator Beats Menu Master Arpeggiator Parameters Extension Count Extension Interval 54 EMU Systems The Extension Count parameter specifies how many times the Extension Interval is carried out With an Extension Count of 0 the arpeggio plays only the notes pressed With an Extension Count of 1 the arpeggio plays the notes pressed then plays the same notes in the same order trans posed by the Extension Interval amount The cycle is then repeated MASTER ARPEGGIATOR Extension Count For example with the Extension Interval set to 12 an octave and an Extension Count of 2 and with the Arpeggiator Mode set to Fwd Assign if you played E2 then C2 t
203. ng the Data Entry Control 5 Press Enter to save the settings and return to the main screen The output of effects processor B can be routed into effects processor A This connects the effects in series instead of their normal parallel configu ration Two effects connected in series sound very different than the same two effects in parallel For example a chorus patched through reverb can turn a bland string section into a lush wall of sound The B gt A amount can also be controlled for even more flexibility gt To Send the Output of Effect B through Effect A In this example 100 of Effect B will be sent into Effect A 1 Access the FXA parameter screen in either the Master or Edit menus that contains the FXB gt FXA parameter Effects Master Effects FXA DECAY HFDAMP FxB gt FxA 127 127 127 Set this amount to 127 Press the cursor button to return the cursor to the top line in the display Use the Data Entry Control to select the FXA submix routing parameter screen FXA SEND AMOUNTS 1 10 2 20 3 30 U 40 Press the cursor buttons to advance the cursor to the Main field Set the Main send amount to any amount other than zero Press the cursor button again to return the cursor to the FXA title Use the Data Entry Control to advance to the FXB Algorithm page Select an effect Main Send 50 Advance to the FXB submix routing page and set the Main FXB send percentage to ze
204. nstallations particu li res et plus sp cialement lorsqu une antenne de t l vision en oreilles de lapin est utilis e Si le Mo Phatt occasionne des interf rences vous pouvez essayer de les corriger en utilisant une ou plusieurs des mesures suivantes e Tournez l antenne de la t l ou de la radio jusqu ce que les inter f rences disparaissent D placez le Mo Phatt d un c t ou de l autre de la t l ou de la radio Eloignez le Mo Phatt de la t l ou de la radio Branchez le Mo Phatt sur une prise diff rente que la t l ou la radio Installez une antenne sur le toit munie d une connexion coaxiale entre elle et le poste de t l vision Mo Phatt Operation Manual 11 Declaration of Conformity Interf rences Radio et T l vision Manufacturer Declaration of Conformity E MU Ensoniq 1600 Green Hills Road Scotts Valley CA 95067 0015 USA We hereby declare that the equipment listed herein conforms to the harmonized standards of the following European Commission Directives 89 336 EEC and 72 23 EEC Trade Name Audio Sampler Emulator System Model Number Proteus 1000 CR Under 89 336 EEC as amended by 92 31 EEC and 72 23 EEC In accordance with EN 55103 1 1996 Emission Environments E1 E2 E3 In accordance with EN 55103 2 1996 Immunity Environments E1 E2 E3 Test information is contained in a report by Atlas Compliance and Engineering dated November 15 1999 Report No 9
205. nt such as a lead synthesizer by preventing more than one note from sounding at once There are eight different solo modes provided Try setting up different layers with different solo mode and glide rates or combine solo mode with polyphonic playing modes LI SOLO MODE synth low The Solo modes are Multiple Trigger Last note priority No key up action Retriggers envelopes and samples when a key is pressed Melody last Last note priority No key up action First solo note Envelopes start at Attack segment from zero Samples start at the beginning If previous note is releasing Envelopes start at Attack segment but from current level Samples start at the beginning When playing Legato Envelopes continue from current segment and level Samples start at the loop or the beginning if unlooped Melody low Same as Melody last but with low note priority Newly played keys which are higher than the lowest solo key held do not sound Melody high Same as Melody last but with high note priority Newly played keys which are lower than the highest solo key held do not sound Synth last Similar to Melody last but this mode has key up action When you release the currently sounding solo key while holding other keys down the highest held solo key sounds in a Legato fashion Assign Group Edit Menu Assign Group Synth low Same as Synth last but with low note priority When you release the currently
206. o The selectable note durations are described below 1 32 32nd Note 1 2t Half Note Triplet 1 16t 16th Note Triplet 1 4d Dotted Quarter Note 1 32d Dotted 32nd Note 1 2 Half Note 1 16 16th Note 1 1d Dotted Whole Note 1 8t 8th Note Triplet 1 1t Whole Note Triplet 1 16d Dotted 16th Note 1 2d Dotted Half Note 1 8 8th Note 1 1 Whole Note 1 4t Quarter Note Triplet 2 1t Double Whole Note 1 8d Dotted Eighth Note Triplet 1 4 Quarter Note 2 1 Double Whole Note Repea t Each step can be played from 1 to 32 times A repeat setting of 1 indicates the step will be played one time not repeated one time or played twice gt To Edit a User Pattern 1 The first field in the Edit User Pattern field defines the pattern s step number Start with the pattern Step 01 2 Define the Key Offset Velocity Duration and Repeat values 3 Repeat steps 1 and 2 until you have setup the desired number of steps in the pattern 4 Set the Key Offset to End on the last step in the pattern Mo Phatt Operation Manual 61 Arpeggiator Beats Menu Send MIDI System Exclusive Data User Pattern Name The User Pattern Name page lets you enter a name for any User Arpeggiator Pattern PTRN KEY VEL DUR RPT SOI 0 ply 1 8 d gt To Name a User Pattern 1 From the Pattern Edit screen shown above position the cursor under the PTRN field 2 Turn the Data Entry Control clockwise The following screen appears USER PATTERN NAME 00
207. o repeat When the envelope repeat function is On the Attack 1 amp 2 and Decay 1 amp 2 stages will continue to repeat as long as the key is held As soon as the key is released the envelope continues through its normal Release stages 1 amp 2 Key Down Key Released The diagram above show how the looping envelopes work When the key is pressed the envelope goes through its regular Attack 1 Attack 2 Decay 1 and Decay 2 stages In non looping mode the envelope would hold at the end of the Decay 2 stage until the key was released In looping mode however it jumps back to the Attack 1 stage and repeats the first four stages It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage Low Frequency Oscillators LFOs LFO Tricks amp Tips e The Random LFO wave is truly random and is different for each voice and layer e The Pattern Pat waveforms will sound the same on different layers and voices e Sine Noise is very useful for simulating trumpet and flute vibrato When routing Hemi quaver to Pitch 38 major scale 38 phrygian scale 76 whole tone scale 38 76 diminished two cords odd amount S H sound Note References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of 38 Q Try combining the Pattern LFOs or controlling the amount of one with ano
208. o turn the volume up and down in a repeating fashion Positive modulation adds to the initial amount Negative modulation subtracts from the initial amount Summing Nodes All the modulation inputs on Mo Phatt are summing nodes This means that you can connect as many modulation sources as you want to an input such as Pitch or AmpVol Modulation sources are simply added algebra ically connecting two knobs one set to 100 and the other set to 100 yields a net value of zero Modulation Sources X Tip Try routing Key Glide to Filter Frequency if you want the filter to smoothly follow pitch in solo mode Routing Key Glide to Pan creates another interesting effect Programming Basics Modulation Sources Modulation sources include Envelope Generators Performance Controllers and Low Frequency Oscillators In the previous example an envelope generator was routed to automatically turn the volume control as programmed by the envelope or a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion The following is a list of the modulation sources used in Mo Phatt Keyboard Key Which key is pressed Key Velocity How fast the key is pressed Release Velocity How fast the key is released Gate High if the key is pressed low when the key is released Key Glide A smoothly changing control source based on the Glide Rate and the interval between the last two notes played Pi
209. of Curve 11 120 Appendix PatchCord Amount Chart ki Curve 13 gt N Result Velocity Ki 0 20 40 60 80 100 120 Played Velocity Extreme expansion of velocity range Patch Co rd The following chart shows the PatchCord Amount settings in order to get semitone intervals when modulation sources are connected to pitch Amount Chart R Semitone PatchCord Semitone PatchCord Amount Amount 1 3 21 66 2 6 22 69 3 approx 9 23 approx 72 5 4 approx 12 24 approx 76 5 16 25 79 6 19 26 82 7 22 27 88 8 25 28 91 9 28 29 approx 95 10 approx 31 30 98 11 35 31 12 38 32 13 41 33 14 44 34 15 47 35 16 50 36 17 approx 53 37 18 57 38 19 60 39 20 63 40 Mo Phatt Operation Manual 221 MIDI 222 EMU Systems MIDI Implementation Chart Appendix MIDI MIDI Information Transmitted Recognized Remarks MIDI Channels 1 16 Note Numbers 0 127 Program Change 0 127 Bank Select Response No Yes MSB LSB Modes Omni Mode 1 No Yes Mono Mode 2 No Yes Poly Mode 3 No Yes Mode 4 Y N No No Multi Mode 5 No Yes Note On Velocity No Yes Note Off Velocity No No Channel Aftertouch No Yes Poly Key Aftertouch No No Pitch Bend No
210. on for the crossfade and set the Cord Amount to 127 LI PATCHCORD MidiA gt RTXfade Play the keyboard while adjusting the real time controller Go back to the Real time Crossfade screens to fine tune the crossfade if necessary Decreasing the fade size will narrow the region where both layers are sounding gt To Randomly Cross Switch Between Four Layers In certain situations you may want to switch between several layers randomly Crossfade Random is a modulation source specifically designed to handle this situation Unlike the other random sources Crossfade Random generates one random number for all layers each time a key is pressed To set up a four layer Cross Switch simply assign each of the four layers to a different Real time Crossfade range then assign XfdRnd to RTXfade in the PatchCords for each layer Realtime Control Value l l Ess Layer 2 Layer 3 Layer 4 Switch Switch Switch Mo Phatt Operation Manual 123 124 EMU Systems Edit Menu Defining Layer Parameters Press the Edit button to access the Edit menu Go to the Instrument screen and select Instruments for Layers 1 through 4 Press Enter then use the Data Entry Control to advance to the Real time Crossfade page HIGH FADE 031 000 Define the High and Low range of each Layer as shown above Press Home Enter and use the Data Entry Control to advance to the PatchCord page Select Layer 1 Select XfdRnd as t
211. orial Editing Presets Cutoff Frequency 100 KE 29 Output of Filter 360 gt i a 40 lt 20 40 80 160 360 720 14402880 Frequency 3 Open the filter back up to 255 then move the cursor to the Q field 4 Set the Q to 10 then move the cursor back under the Freq value As you change the frequency notice that the sound now has a sharp nasal quality A high Q boosts or amplifies the frequencies at the cutoff frequency Fc 5 Reset the cutoff frequency to the lowest setting 0 08Hz and the Q to 00 Adding the Filter Envelope Now let s modulate the Filter Frequency with the Filter Envelope The Filter Envelope is a device that can automatically change the filter frequency during the course of the note Before we define the Filter Envelope we need to patch the Filter Envelope to the Filter Frequency gt To Setup the Filter Envelope 1 Go to the PatchCord screen LI PATCHCORD RisVel gt AmpVol 2 Move the cursor below the first field in the bottom line of the display This is the Source field Use the Data Entry Control to change the Source to FiltEnv as shown in the following illustration 3 Advance the cursor to the next field This is the Destination field Use the Data Entry Control to change the destination to FiltFreq 162 EMU Systems Programming Tutorial Editing Presets 4 Move the cursor to the last field in the line This is the Amount field The Amount field det
212. out arp beats 48 pan control 10 32 poly mode 73 real time controllers 108 receive program change 75 received channel commands 224 receiving sysex data 81 recording sysex data 81 send sysex data 81 song start 48 58 standardized controller numbers 76 sync 48 sysex data sending 80 sysex packet delay 80 transmit knob 78 MIDI sysex send receive 81 minimoog solo mode 131 mix output 145 170 mod wheel 85 mode arpeggiator 51 arpeggiator latch 57 control 25 controller 27 deep edit 78 effect bypass 176 factory 160 filter envelope 163 latch 57 MIDI 73 169 mono 224 multi 73 169 224 non transpose 130 omni 73 176 224 poly 73 176 224 quick edit amp real time controller 28 real time controllers only 27 solo 130 time based 163 modulation amplitude 84 Mo Phatt Operation Manual 233 Index 234 E MU Systems clock 91 destinations 92 note on 92 polarity 143 processors 93 97 random 86 routing 142 sources 85 86 sources amp destinations 144 wheel 76 modulation definition 84 mono aftertouch 85 mono A l assign group 131 mono mode 224 morph filter 106 multi channel arp 23 multi mode 73 169 224 control effects 176 effects control 69 multimode map send receive 80 multiple arpeggiators 63 multiple trigger solo mode 130 multisetup saving 190 send receive 80 multitimbral operation 34 mute beats 37 naming a user pattern 62 naming preset 114 noise amp random generators 85 non transpose mode 130
213. ower line of the display Change the filter type while playing the keyboard There are 50 different filter types U FILTER Aah Ay Eeh These filters are extremely powerful and have been carefully crafted to offer maximum flexibility and musical control You may want to change the Envelope PatchCord Amount Q and or the Filter Frequency to get the right sound for each filter and instrument These three controls coupled with the Filter Envelope are perhaps the most important controls on any synthesizer Take the time to learn how they interact with each other and you will be able to create sounds beyond imagination Practice Modulating Programming Tutorial Editing Presets Envelope Repeat The Envelope Generator can also be made to repeat When the envelope repeat function is On the Attack 1 amp 2 and Decay 1 amp 2 stages will continue to repeat as long as the key is held D To Make the Filter Envelope Repeat 1 Go to the Filter Envelope Mode screen shown below 2 Move the cursor to the Mode field Ll FILTER ENVELOPE Mode time based 3 Turn the data entry control clockwise The Mode field will change to Repeat as shown below Ll FILTER ENVELOPE Repeat on 4 Move the cursor to the on off field and turn Envelope Repeat On 5 Play a key on the keyboard You should now hear the envelope repeating 6 Go back to the envelope parameter page and adjust the Attack 1 amp 2 and Decay 1 amp 2 parameters The
214. own custom sounds and contains step by step instructions to help you get started In order to get the most from this chapter we recommend you actually try each example Have fun One of the easiest ways to make a new preset is to edit an existing preset This is also an excellent way of becoming familiar with Mo Phatt If you don t like what you hear simply select a new preset then Mo Phatt reverts to the original sound Changes are not permanent until you Save them see Saving a Preset on page 183 Let s experiment and modify a few parameters of an existing preset Well start with functions that have an obvious effect on the sound Instrument Select Tuning and Chorus Changing the instrument is the easiest and most dramatic way to modify an existing preset D To Change the Instrument for the Current Layer 1 Choose any cool preset then press the Edit button 2 Scroll through the Edit menu until you come to the Instrument page LI INSTRUMENT ROM PHATT 0307 bas Fat Sun 3 Move the cursor down to the bottom line using a Cursor button 4 Use the Data Entry Control to change the instrument This changes the instrument for the current layer in this case it s L1 5 Play the keyboard as you scroll through the various instruments Mo Phatt Operation Manual 157 Changing the Tuning of an Instrument 158 EMU Systems Programming Tutorial Editing Presets D To Change the Instrument for any Layer in
215. p Sct MW str Nightmare syn SoftStuff kit 10HiHatMode str MistyStrng pad StringLayer pad HiQ Skwarez amb PeakinHard pre Kix 1 pre Kix 2 prc Snares 1 prc Snares 2 prc Snares 3 prc Hats 1 prc Hats 2 prc Cymbals prc CongasBongos prc ClapsnSnaps prc Toms prc Bells prc Claves amb LiquidBatz prc ShakeHerz amb DeathLaughs pre Misc led I Saw Worms Mo Phatt Operation Manual 197 Preset Listing 198 E MU Systems User Bank 1 PHATT Bank 1 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 oan Oo hen A FP Aa Q OO Go GO CO GG G OO MM NN NN MM ON ON ON ON sch sch A sch sch sch eh ek sch z N 9 8 amp D z NS ae S ND S N HP amp D bts TEMPLATE syn Auto Doom vox Zeldas Fault pad Darth Works key Harp Klav key Tine Split syn VoxRoller prc Rainstick pre WhirlyBird prc Fills prc Shakers prc Scratches pre SciFi Toy 1 pre SciFi Toy 2 amb PlezLemmeGo gtr Gener El hit All 2 prc Thumb Piano prc Per Oct prc PerOctLink gtr NylonFantasy brs Crunchy bts Play Cousin bas SubVocoder bts ShakitZ bts Girl Watcher kit TribeOMatic bas Standin str Ballad Harp hit DroppinOff key CityGiggin brs Philta brs Biggg gtr WackaParty83 gtr WackaParty2 gtr Wacka 96 gtr Wacka 11
216. qual the sum of PatchCords connected to the Lag in destination The summing amp is located before the lag processor as shown in the following illustration Sum Node D D Lag 0 sum Preset Modulation Processors X Preset Modulation Processors start working as soon as the preset is selected The Layer Modulation Processors take effect only when a key is pressed Programming Basics Preset Modulation Processors There are also two Preset Level modulation processors located in the Preset Patchcords screen of the Edit menu It is important to understand that although the preset processors originate at the Preset Level PatchCords their output is used in the Layer PatchCords Preset Lag Like the Layer Lag processors described on page 93 the Preset Lag slows down rapid changes in the input signal The output lags behind the input at a pre programmed rate Unlike the layer level lag processors the preset lag takes effect as soon as the preset is selected In contrast the layer level lag processors begin acting only after a keyboard key has been depressed The Preset Lag also has a Lag Amount input which controls the lag time Positive lag amounts increase the lag time A MIDI controller front panel knob is commonly used to control lag amount The preset lag can be used to spin up and spin down an LFO which controls some other effect perhaps left right panning pitch or the filter A MIDI footswitc
217. r Cursor key to move the cursor to the bottom line in the display 3 Use the Data Entry Control to change the value to enabled 4 Press the Master menu button to exit the Master menu When you enter any of the Edit menus 1 The four Controller Knobs are used for editing 2 All the Controller LEDs are off 3 All the Control Row LEDS are off 28 E MU Systems Basic Operations Front Panel Controller Modes When you turn a knob the field value jumps to the current knob value You can still use the Data Entry Control for editing by moving the cursor to the desired field U KEY LQ FADE HIGH FADE C 2 To move through menus horizontally use the Data Entry Control the page s title field is the default cursor position To move through menus vertically preset layers press the left cursor to get to the layer field then change layers with the Data Entry Control e Use the Data Entry Control to move through menus horizontally or layers vertically e Use the Controller Knobs to change parameter values within each page Mo Phatt Operation Manual 29 Main Screen MIDI Channel Selection Q The channel number shown in the main screen is the basic MIDI channel when in Omni or Poly modes Preset Selection Contents 128 RAM Presets 128 RAM Presets 128 RAM Presets 128 RAM Presets 128 ROM Presets 128 ROM Presets 128 ROM Presets Depending on ROM sets installed 30 E MU Systems Bas
218. r Mo Phatt or from a computer sequencer SEND MIDI SYSEX DATA bank 1 user presets gt To Record MIDI SysEx Data into a Sequencer 1 Setup the sequencer to receive system exclusive data 2 Place the sequencer into record mode then Send MIDI Data gt To Receive MIDI SysEx Data from a Sequencer Simply play back the sequence containing the SysEx data into Mo Phatt Mo Phatt Operation Manual 81 User Key Tuning d The user key tuning can be used to tune individual percussion instruments Screen Viewing Angle 82 EMU Systems Master Menu MIDI Parameters User Key Tuning lets you create and modify 12 user definable tuning tables The initial frequency of every key can be individually tuned facilitating the creation of alternate or microtonal scales Using the cursor keys and the Data Entry Control select the user table number the key name the coarse tuning and the fine tuning The key name is variable from C 2 to G8 Coarse Tuning is variable from 0 to 127 semitones The fine tuning is variable from 00 to 63 in increments of 1 64 of a semitone approx 1 56 cents For each preset the specific tuning table is selected in the Edit menu USER KEY TUNING Table 1 Key Cl Crs 036 Fine 00 This function changes the viewing angle of the display so that you can read it easily from either above or below the unit The angle is adjustable from 7 to 8 Positive values will make the display easier to read when vi
219. r example if the filter frequency were set to 100 and you patched Vel to the filter the filter frequency would decrease from 100 with key velocities of 63 or less and increase from 100 with key velocities of 64 and above Therefore with medium velocity the Filter frequency is approximately where you set it at 100 An LFO works the same way on the positive half of the cycle it increases the initial amount and on the negative half of the cycle it decreases the initial amount With a modulation source a value of 64 equals 0 lt Modulation Uses only the negative half of the range subtracting from the current value For example if the Amplifier Volume were set to 3 dB and you patched Vel lt to AmpVol the volume would be at 3 dB only when maximum key velocity were applied Lower key velocities would scale back the volume In general lt modulation is the proper choice when modulating Volume Mo Phatt Operation Manual 143 144 EMU Systems Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the Mo Phatt Modulation Sources Off Key Velocity lt RisVel Release Velocity Gate Pressure PitchWhl Pitch Wheel ModWhl Modulation Wheel Pedal MIDI A L PLagOut Preset Lag Out PRampOut Preset Ramp Out FootSw1 3 Foot Switch 1 3 FootFF Flip Flop Foot Switch 1 3 MIDI Volume Controller 7 MIDI Pan Controller 10
220. r locations to store the patterns you create Each pattern can have up to 32 notes Mo Phatt can run up to 16 arpeggiators at once Even two or three patterns at once can create a complex groove or a dynamic landscape of sound Even if you don t think you like arpeggiators you owe it to yourself to give these a try They re a great source of new song ideas Here s one way to access this ultra powerful feature There is one arpeg giator for each MIDI channel In order to arpeggiate on multiple channels you ll need a controller that can output multiple MIDI channels at once MIDI In MIDI Out 0000090 OHO oO Er OO DOE mmm Master Keyboard transmitting on MIDI channels 1 2 3 Connect a multi channel controller to Mo Phatt to unleash its true potential Mo Phatt Operation Manual 23 X Don t forget that you can adjust the volume and pan position for each channel Sometimes a simple volume change will bring out hidden rhythms and patterns 24 E MU Systems 6 7 Setup Instant Gratification Set up your MIDI keyboard so that it outputs the entire keyboard range on MIDI channels 1 2 and 3 This procedure varies with the type of keyboard you own Put Mo Phatt into Multi mode This is located on the MIDI Mode page in the Master menu From the main screen turn the arpeggiator on
221. rc Snare 8 633 prc Snare 52 546 prc Kick 53 590 prc Snare 9 634 prc Snare 53 547 prc Kick 54 591 prc Snare 10 635 prc Snare 54 548 prc Kick 55 592 prc Snare 11 636 prc Snare 55 549 prc Kick 56 593 prc Snare 12 637 prc Snare 56 550 prc Kick 57 594 prc Snare 13 638 prc Snare 57 551 prc Kick 58 595 prc Snare 14 639 prc Snare 58 552 prc Kick 59 596 prc Snare 15 640 prc Snare 59 553 prc Kick 60 597 prc Snare 16 641 prc Snare 60 554 prc Kick 61 598 prc Snare 17 642 prc Snare 61 555 prc Kick 62 599 prc Snare 18 643 prc Snare 62 556 prc Kick 63 600 prc Snare 19 644 prc Snare 63 557 prc Kick 64 601 prc Snare 20 645 prc Snare 64 558 prc Kick 65 602 prc Snare 21 646 prc Snare 65 559 prc Kick 66 603 prc Snare 22 647 prc Snare 66 560 prc Kick 67 604 prc Snare 23 648 prc Snare 67 561 prc Kick 68 605 prc Snare 24 649 prc Snare 68 562 prc Kick 69 606 prc Snare 25 650 prc Snare 69 563 prc Kick 70 607 prc Snare 26 651 prc Snare 70 564 prc Kick 71 608 prc Snare 27 652 prc Snare 71 565 prc Kick 72 609 prc Snare 28 653 prc Snare 72 566 prc Kick 73 610 prc Snare 29 654 prc Snare 73 567 prc Kick 74 611 prc Snare 30 655 prc Snare 74 568 key Tine Chord 1 612 prc Snare 31 656 prc Snare 75 569 key Tine Chord 2 613 prc Snare 32 657 prc Snare 76 570 key Tine Chord 3 614 prc Snare 33 658 prc Snare 77 571 key Tine Chord 4 615 prc Snare 34 659 prc Snare 78 572 key Tine Chord 5 616 prc Snare 35 660 pr
222. re klanger ss isseteiess cakeszs aan nenn RlBiignrann gen 181 Mo Phatt Operation Manual vii Table of Contents viii E MU Systems Delay ansehen an 182 Stereo Delay eege Sege EE 182 Panning RE 182 Dual BEN 182 Vibrato EE 182 DIstortion eege EEN 182 Save Copy MGI E 183 Saving a Present 183 Copying Information ee 184 CODYNPTESET is A ES S EEA 184 Copy kayet eebe RR nr 185 Copy Patch Cords eieiei esrin ns Geen 186 Copy Preset PatchCords AA 186 Copy Arpeggiator Settings sus 187 Copy Arpeggiator Pattern sisi 187 Copy Preset Bank miam nen naar 188 lte EE 188 Restoring MUItIS tU DS 4 nu sense Ee 189 Multisetup Names him nina 189 Saving Multisetups unse sten 190 Create Random Preset uuuusessnnnesssnnessnnnnneennnnnnnensnnnensnnnaneennnnnnnennnne 190 Gopy Wser B nk to kl sha u0 4ee nn gettetateeannnsnne 191 Rename Flash SM ee 192 Duplicate Flash u See ege Siet degen dd ett eseu 193 ADEME Mes eeg 195 Front Panel Knob Functions sets enter 195 Presets una arena 196 PresetiGateGones nun hasse sims 196 Preset Lising E 197 e ire al le e EE 201 PRESETS LING ee ee 210 Example Percussion Maps elite si 213 Trigger Layouts aussen 216 Velocity EHNEN eeE 219 PatchCord Amount Chart anne 221 Al KE 222 Technical SH CICAUB NS ive souseran ade aaa 225 Ge 226 EEN Eeer 227 MAER ee 229 Product Description Introduction Congratulations on your purchase of the Mo Phatt 64 Voice Urban Dance Modu
223. reset Bank Preset Preset Cursor Number Number Category Name The first four banks are USER locations that can be overwritten and used to store your own presets The presets that come stored in the USER presets are duplicated in banks 0 3 of the Mo Phatt ROM bank so feel free to overwrite them with your own presets You won t be losing anything The ROM Card identifier is shown in the top right of the display The preset is identified in the bottom line of the main screen the screen that appears when you first power up the unit 18 EMU Systems X You can select presets from the Preset Number Bank Number Preset Category or Preset Name fields Setup Instant Gratification Each bank of 128 presets is identified by a superscripted Bank Number to the right of the preset number The bank numbers reset to 0 at the start of each ROM card you have installed So with the Mo Phatt ROM installed the USER banks will go from 0 3 then start over from 0 3 for the Mo Phatt ROM banks Bank Organization USER BankO 128 Presets USER Bank1 128 Presets USER Bank 2 128 Presets USER Bank 3 128 Presets PHATT BankO 128 Presets PHATT Bank1 128 Presets PHATT Bank 2 128 Presets The User Banks PHATT Bank3 128 Presets are duplicated in the PHATT ROM banks The four User Banks can hold 512 custom presets Feel free to overwrite these since the factory user presets are duplicated in nonvolatile ROM To the right of the preset numb
224. ribes how to unpack and setup the hardware The next chapters provide step by step instructions for the most common and widely used features of Mo Phatt This section also defines each of the parameters and provides information on how to use them The complete operation manual is provided to you in pdf format on CD ROM The CD ROM contains pdf files for both Mac and PC as well as the complete MIDI SysEx specification and a software downloading tool which allows you to retrieve the latest software and new features from the world wide web Grounding Instructions Danger Caution Important Safety Instructions Use in countries other than the U S A may require the use of a different line cord or attachment plug or both To reduce the risk of fire or electric shock refer all servicing to qualified service personnel Do not expose this product to rain or moisture There are no user serviceable parts or adjust ments inside the unit This product must be grounded If it should malfunction or break down grounding provides a path of least resistance for electric current reducing the risk of electric shock This product is equipped with a cord having an equipment grounding conductor and a grounding plug The plug must be plugged into an appropriate outlet properly installed and grounded in accordance with all local codes and ordinances Improper connection of the equipment s grounding conductor can result in the risk of electric shock
225. ro Play the keyboard and you should hear the B Effect running through Effect A This patch is shown below Effect B Main Send ae gt Effect A Mo Phatt Operation Manual 179 General Effect Descriptions Reverb 180 EMU Systems Effects General Effect Descriptions Reverberation is a simulation of a natural space such as a room or hall The reverb algorithms in Mo Phatt simulate various halls rooms and reverber ation plates In addition there are several other reverb effects such as Gated Reverbs Multi Tap early reflections Delay and Panning effects There are two adjustable parameters on the reverb effects Decay Time and High Frequency Damping Decay time defines the time it takes for the reflected sound from the room to decay or die away The diagram below shows a generalized reverberation envelope Pre Reflex Reverb Delay Cluster AMPLITUDE TIME Decay Time After an initial pre delay period the echoes from the closest walls or ceiling are heard These first echoes or the early reflection cluster vary greatly depending on the type of room Roughly 20 milliseconds after the early reflection cluster the actual reverberation begins and decays according to the time set by the Decay Time parameter High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Damping parameter allows you adjust the amount of high frequency damping and thus
226. ronized at different rates This is an extremely powerful synthesizer Four front panel real time controllers give you control over 12 user selectable parameters The real time knobs can adjust multiple parameters at once allowing complex levels of control For example one knob can simultaneously turn up filter cutoff while detuning one sample and adjusting the release time of the volume envelope Virtually every synth parameter in Mo Phatt is controllable using the real time knobs or by any internal or external control source Once you have created your preset you can add richness to your sound using Mo Phatt s 24 bit stereo effects You can choose a different effects setup for each preset from over 60 algorithms Mo Phatt s effects section is actually two separate effects processors with control over each wet dry mix level on four effects sends Effects Processor A contains primarily ambiance algorithms like reverb and delays while effects processor B contains primarily spectral algorithms such as chorus flange phase distortion and delay Effects can be linked to each preset or used globally to further enhance your sound Other features include multiple solo voice assignment and performance modes for expressive control 12 user definable alternate tunings and of course an extensive MIDI implementation This is the Getting Started Manual for setting up and playing Mo Phatt The first part of the manual desc
227. ry and Filter Envelope retriggering using a slider or footswitch e Retrigger LFOs or Envelopes using noise or other LFOs to create random or semi random effects e Alter the LFO waveform by modulating the rate of a triggered LFO e Route multiple clocks with different divisors to the same destination such as pitch to create complex patterns Hint Adjust the PatchCord Amounts Eighth Note Quarter Note GERT Lo Adding these two clocks together in equal amounts produces a stairstep waveform Note 8th bo Note Quarter Note Adding multiple clocks with unequal amounts produces complex repeating patterns Mo Phatt Operation Manual 91 Modulation Destinations Q All the modulation destinations are summing nodes This means that you can connect as many modulation sources as you want toa destination Modulation sources are simply added algebraically connecting two sources one with a value of 100 and the other with a value of 100 yields a net value of zero 92 EMU Systems Programming Basics Modulation Destinations The PatchCords section of the Edit menu is where you connect sources to destinations Each PatchCord has an amount associated with it which controls how much modulation is applied LI PATCHCORD ModUhl gt RTXfade The PatchCords screen above and the diagram below show how modulation sources are connected to destinations The modulation sources can contro
228. s note on off preset changes and continuous controller messages Your MIDI keyboard in addition to telling Mo Phatt which note was played can also send real time control information which simply means control occurring in real time or live You may be using a MIDI device other than a keyboard but for simplicity s sake we ll presume that you are using a keyboard Real time control sources include such things as pitch wheels or levers modulation wheels or levers control pedals and aftertouch and are used to add more expression or control Your MIDI keyboard sends out real time controller information on separate continuous controller numbers There is a set of 32 continuous controller numbers for each MIDI channel Some of the controllers such as the modulation wheel volume and pan have standardized numbers For example volume is usually sent on continuous controller 7 Your keyboard may have other real time controls such as a control pedal or data sliders which can also be programmed to control the Mo Phatt MIDI Channel 1 Note On Off Program Change Continuous Controllers MIDI Channel 2 Note On Off Program Change Continuous Controllers MIDI Channel 3 Note On Off Program Change Continuous Controllers MIDI Channel 16 Note On Off Program Change Continuous Controllers Any MIDI controller can be routed to any modulation destination First yo
229. s slightly different Kirnberger Another well temperament developed by Johann Philipp Kirnberger where no pitch is more than 12 cents off from equal temperament Scarlatti A variant of Meantone tuning which was used from the 15th to 18th centuries Repeating Octave Middle C octave is repeated up and down the keyboard Link with a preset in equal temperament to form unusual inversion up and down the keyboard User 1 12 Define your own tuning tables Master menu Refer to User Key Tuning on page 82 in the Master Menu chapter for instructions on how to define your own Keyboard Tunings Mo Phatt Operation Manual 153 Q Mo Phatt implements the MIDI Tuning Dump protocol which allows you to create tuning tables on your personal computer and download them via MIDI There are several computer applications available on the internet which let you create and download tuning tables via MIDI 154 EMU Systems Edit Menu Keyboard Tuning The Just C Tuning Tables Well Tempered and Just were standard keyboard tunings up until the 20th century when the current equal tempered scale became prevalent In an equal tempered scale the octave is equally divided into 12 parts In Just or Well Tempered scales the 12 notes are separately tuned to produce pure chords However in Just tunings you are limited to playing certain chords and if you play the wrong chord it may sound very BAD Mo Phatt allows you to modulate between ke
230. s Add parts to whatever parts are triggered e Negative values Remove parts that are triggered Mo Phatt Operation Manual 41 Arpeggiator Beats Menu SuperBEATS X A PatchCord amount of 50 is enough to drive Beat Busy to the maximum setting Bidirectional Mod Wheel Set Mod Wheel to BtsBusy with a Cord amount of 100 then add a DC bias to BtsBusy with a Cord amount of 50 Wheel now adds or subtracts Busyness X Cool Tip Connecting Key Pressure to Beat Busy at 50 increases BEAT complexity the harder you press 42 EMU Systems Suppose the pitch wheel which can output both positive and negative values were connected to Beat Busy and four Key Triggers are down As the pitch wheel is moved from center to fully up the remaining parts will be enabled until the pitch wheel is fully up and all parts are playing Moving the pitch wheel from center to fully down the four triggered parts are sequentially removed until at the most negative position of the wheel no parts are playing The Busy control acts on the BEATS condition whenever the control is changed Playing more triggers without changing the Busy control simply adds them until the Busy control is changed again at which point it will possibly add or subtract parts as needed The interaction between the Busy control Triggers Part Velocity and Group Velocity can get complicated but works according to this rule WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER W
231. s to select only one of the three Control Rows The currently selected Control Row is indicated by one of the three LEDs to the right of the row s label Mo Phatt Operation Manual 25 Audition Button X L E D Beat Markers e The Audition LED flashes off quickly on each downbeat and flashes off for a longer period on the Riff Loop e The Clock LED flashes to mark each quarter note Left Right Cursor Buttons Save Copy Button Home Enter Button 26 E MU Systems Basic Operations Front Panel The Audition button allows you to hear any preset without hooking up a MIDI keyboard When the Audition button is pressed the LED next to the button will illuminate and a short Riff programmed as part of the preset will play The Riff is latched on and plays continuously until the button is pressed again Presets can be changed while Audition is latched on See Bank Select Commands on page 110 for more information on selecting banks via MIDI The top line of the display changes to show the MIDI Bank Select controller values needed to select the preset being auditioned This handy feature lets you know the exact Bank and Preset number to enter into your sequencer MSB LSB Bank MSB 013 LSB 3 bts Down Lou PHATT Preset 082 These buttons move the cursor to the next parameter on the display The cursor is a little flashing line underneath one of the parameters in the display Press either cursor button unti
232. sind nicht notwendig Bei weiteren Servicefragen wende man sich an eine qualifizierte Service stelle Diese Gebrauchsanweisungen sind nur f r qualifizierte Techniker beabsichtigt Um die Gefahr eines elektrischen Schlages zu vermeiden sollen Sie keine Arbeit unternehmen die nicht in diesen Instruktionen vorgeschrieben ist Wenden Sie Sich bei weiteren Servicefragen an eine qualifizierte Servicestelle INSTRUKTIONEN BETR FEUERRISIKO ELEKTROSCHOCK ODER VERLETZUNG VON PERSONEN WARNUNG Beim Einsatz elektrischer Ger te sollten folgende Vorsichtsmassregeln stets beachtet werden 1 2 Lesen Sie vor dem Einschalten des Mo Phatt alle Instruktionen Zur Vermeidung von Verletzungsrisiken m ssen Kinder bei einge schaltetem Mo Phatt sorgf ltig berwacht werden Mo Phatt nicht in der N he von Wasser in Betrieb nehmen z B in der N he von Badewannen Waschsch sseln auf nassen Gestellen oder am Swimmingpool Mo Phatt stets so aufstellen dass seine Bel ftung nicht beeintr chtigt wird Mo Phatt nicht in der N he von Hitze aufstellen wie Heizk rper offenem Feuer fen oder von Back fen Mo Phatt ausschliesslich mit einem Netzger t gem ss Bedienungsanle itung und Ger temarkierung verwenden Dieses Ger t kann bei Verwendung von Kopfh rern und Verst rkern hohe Lautpegel erzeugen welche zu bleibenden Geh rsch den f hren Arbeiten Sie nicht w hrend l ngerer Zeit mit voller Lautst rke oder hohe
233. sounding solo key while holding other keys down the lowest held solo key sounds in a Legato fashion MiniMoog Synth high Same as Synth last but with high note priority When you release the currently sounding solo key while holding other keys down the highest held solo key sounds in a Legato fashion Fingered Glide Same as Synth last except that Glide is disabled when playing Staccato enabled when playing Legato Use the Assign Group parameter to assign a certain number of channels to each layer By assigning all voices in the preset to assign groups important parts are protected from being stolen by more recently played keys Or you can assign a voice such as an open high hat to a mono channel so it is cancelled by a closed high hat on the same mono channel Layers rotate within their assigned bin of channels not interfering with other bins LI ASSIGN GROUP poly all The modes are Poly All Notes are played polyphonically with dynamic channel assignment using all 64 channels Poly 16 A B Two bins of 16 channels each Notes are played polyphoni cally with dynamic channel assignment using no more than 16 channels Poly 8 A D Four bins of 8 channels each Notes are played polyphonically with dynamic channel assignment using no more than 8 channels each Poly 4 A D Four bins of 4 channels each Notes are played polyphonically with dynamic channel assignment using no more than 4 channels each
234. speed of the modulation oscillator for flange and chorus effects Delay sets the length of the delay line This affects the time between echoes or the tone of flange effects FXB FEEDBK LFORATE DELAY 032 003 200ms These parameters set the effects amounts for the four stereo effects busses FXB SEND AMOUNTS 1 100 2 50 3 10 U 0 Preset Patchcords x To crossfade between effects 1 Set FXA Send 1 to 100 2 Set FXB Send 1 to 0 3 Set FX Cord 1 to FXA Send 1 at 100 4 Set FX Cord 2 to FXB Send 1 at 100 Increasing the controller amount will crossfade from FXA to FXB Edit Menu Preset Patchcords Preset PatchCords give you real time control of global parameters The effect processors are a powerful synthesis tool and this feature lets you control and use them in exciting new ways For example you can dynami cally adjust the effects mix during a sequence or live performance There are many exciting performance possibilities using Preset PatchCords to control BEATs and Arpeggiator parameters The front panel knobs Wild 1 4 are usually connected to Arp and BEATs parameters in factory presets marked arp or bts Likewise Pitch and Mod wheels are often routed to Beats Busy and Beats Variation in factory presets marked bts Be sure to try out these controls There are 12 Preset PatchCords per preset with a source a destination and an amount control The amount can b
235. ss A high pass filter removes the low frequency components from the sound letting only the high frequencies pass See Mo Phatt Filter Types on page 133 for a complete list of Mo Phatt s filters and their descriptions In preparation for the next tutorial select a preset from the bas category 1 Go to the Instrument screen Edit menu and scroll through the instru ments until you find one with a harmonically rich sound Since filters work by removing or accentuating certain frequencies we want to make sure that we have a lot of frequencies to start with 1 Advance to the Filter Type screen using the Data Entry Control Select the Classic 4th order filter LI FILTER Ord Type Classic u LPF 2 Go to the Filter Frequency and Q screen Position the cursor in the Freq field as shown in the following illustration U FILTER Freq 255 The Frequency parameter determines the filter cutoff frequency or the frequency the filter uses as the highest frequency allowed to pass If you play the keyboard now you should hear the raw Looped Perc 1 sound Slowly decrease the filter cutoff frequency value as you play the keyboard The sound gets more and more dull as you remove more and more high frequencies from the sound At some point the sound completely disappears You have filtered out everything The chart on the following page illustrates what you just did Mo Phatt Operation Manual 161 Programming Tut
236. ssed A diagram of the patch is shown below The patch is very straightforward except for the DC offset which was added to bring the pitch down into tune Sometimes you have to fix a problem but using the mod processors there s usually a way around it to achieve the desired result Number Size LFO i H u ben anizer ante gene ti You can start to see some of the possibilities and there are many Whenever you find yourself wishing for some esoteric type of control take a minute to think and see if there is a way to achieve the desired result using the modulation processors Dynamic Filters Programming Basics Modulation Processors The block diagram of the Mo Phatt s signal path is shown below Z Plane Filter Pitch Glide Glide Retrigger Start Offset To understand how a filter works we need to understand what makes up a sound wave A sine wave is the simplest form of sound wave Any waveform except a sine wave can be analyzed as a mix of sine waves at specific frequencies and amplitudes IN eel Any waveform can be analyzed as a mixture of sine waves One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other Each vertical line of the chart represents one sine wave at a specific amplitude and frequency 100 Amplitude 3 8 N 40 80 160 360 720 1440 2880 Frequency Mo Phatt Operation Manual 101 What is a Filter 102 EMU S
237. t DH gor I Seng E Ss E z EE A D Lo ne lt e Mo Phatt Operation Manual 45 Arpeggiator Beats Menu SuperBEATS Beats Part Group G All Parts assigned to a Group will stop playing when the Group key is triggered then untriggered even if the individual Parts in the Group are latched Master Riff 46 EMU Systems This screen is where you assign Parts to one of the four Groups By grouping you can play multiple parts with a single key A part can bein one and only one group or in no groups Select Part Pl BEATS PART GROUP Group 2 To Assign a Part to a Group 1 2 Press the left cursor button to move the cursor under the Part field Select the Part number using the Data Entry Control Parts 1 16 can be selected All parts shown as an A can be edited at once if Edit All Layers is enabled in the Master menu Move the cursor to the bottom line using the cursor keys and select the Group 1 4 or none using the Data Entry Control Repeat steps 1 through 3 for all the Parts you wish to assign Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading The Master Riff is selected from this screen The Master Riff is used when Master M is selected for BEATS in Beats mode enable screen MASTER RIFF Plays TranzAmbient 1 D To Assign the Master Riff 1 Use the cursor buttons to move the cursor to the lower line of the display
238. t FxA 174 LFO rate 72 mode 69 176 mode bypass 176 multi mode control 69 176 panning delay 182 patchcords 151 preset 146 173 processor 169 programmed in the preset 146 173 reverb 180 send amounts 169 sends 68 169 slapback 181 stereo delay 182 submix routing A 71 149 150 type A 70 148 171 172 type B 72 149 171 172 vibrato 182 enabling MIDI channels 74 enter button 26 Index envelope attack 128 137 144 auxiliary 137 decay 159 filter 135 162 163 165 generator 85 87 mode factory 160 mode filter 163 release 159 repeating 88 reverberation 180 volume 127 128 159 160 envelope generator example 104 equal temperment tuning 153 errors data transmission 80 expression controller 224 extension count 54 interval 54 F factory envelope mode 160 factory patterns arpeggiator 52 Fe 135 161 feedback 172 effect 182 feedback FXB 72 fills beats 37 filter 2 pole 104 4 pole 104 6 pole 104 bandpass 103 133 changing type 164 comb 134 172 definition 102 dynamic 101 envelope 87 135 162 163 envelope attack 164 envelope generator 135 165 envelope mode 163 frequency 135 144 161 high pass 102 161 low pass 102 mode 163 morph 106 notch 103 overview 161 parametric 105 pole 104 Q 135 161 162 swept EQ 105 troubleshooting 166 tutorial 101 type 161 164 type changing 164 Z plane 106 107 132 fine tuning 126 158 Mo Phatt Operation Manual 231 Index 232 EMU Systems
239. t contains 200 factory patterns and 100 user definable patterns Mo Phatt Operation Manual 49 Arpeggiator Beats Menu Master Arpeggiator Parameters Arp Controllers Master Arpeggiator Parameters 50 E MU Systems The Arpeggiators can be controlled using the front panel real time controllers or external MIDI continuous controllers Controllers are patched to Arps via the Preset PatchCords located in the Edit menu See Preset Patchcords on page 151 The following Preset PatchCord destinations control the Arpeggiators Arpeggiator Resolution ArpRes This control changes the Arpeggiator Note Value which defines the length of the notes when playing arpeggiated chords It adds to the note value set in the Arpeggiator Note Value screen See Note Value on page 52 Arpeggiator Extension ArpExt This control changes the Arpeggiator Extension Count It adds to the extension count programmed in the Arpeggiator Note Value screen See Extension Count on page 54 Arpeggiator Velocity ArpVel This control changes the Arpeggiator Velocity Value It scales the velocity value set in the Arpeggiator Note Value screen See Velocity on page 53 Arpeggiator Gate ArpGate This control changes the Arpeggiator Gate Time It adds to the gate time set in the Arpeggiator Gate Time screen See Gate Time on page 53 Arpeggiator Interval Arpintvl This control modulates the Arpeggiator Extension Interval It adds to the
240. t oder Ausfall bietet Erdung dem elektrischen Strom den Weg des geringsten Widerstandes und reduziert das Risiko eines Schlages Dieses Ger t ist mit einem geerdeten Kabel und Stecker ausger stet Der Stecker muss in eine passende einwandfrei montierte und geerdete Steckdose in bereinstimmung mit den rtlichen Vorschriften eingef hrt werden Unvorschriftsgem sser Anschluss des Ger tes kann zum Risiko eines elektrischen Schlages f hren Im Zweifelsfalle ber die ordnungsgem sse Erdung soll ein qualifizierter Elektriker oder eine Serviecestelle beigezogen werden ndern Sie den mitgelieferten Stecker nicht Sollte er nicht in die Steckdose passen soll die einwandfreie Installation durch einen qualifi zierten Techniker erfolgen Wird der Mo Phatt Modell Nummer 9111 in einem Rackgestell montiert muss ein offener 19 Zollrahmen verwendet werden Unterhaltsin struktionen f r anwender Vorsicht Dieses Symbol weist den Anwender auf wichtige Gebrauchs und Service Vorschriften in den beilieg enden Drucksachen Dieses Symbol verweist auf nicht isolierte Stromspan nungen im Ger te Innern welche zu einem elektrischen Schlag f hren k nnten Foreign Language Warnings German Unterhaltsinstruktionen f r anwender Mo Phatt soll sauber und staubfrei gehalten werden Das Ger t mit einem sauberen und s urefreien Tuch periodisch abreiben Keine L sungs oder Reinigungsmittel anwenden Schmieren und Justieren
241. t to half or twice the current tempo TEMPO OFFSET use current tempo x 2 A Riff is a short pre recorded musical phrase which can be anything from a single note to a full 16 track sequence as in the BEATS bts Riffs This function allows you to assign a Riff to a Preset The Preset Riff will be used when the front panel Audition button is pressed or when BEATS mode is set either to On or Omni in the main preset selection screen The Riffs themselves cannot be modified AUDITION SELECTION Plays KEY MiddleC When constructing multilayer sounds it is often useful to turn off one or more of the layers so you can hear what you re doing This feature allows you to temporarily solo individual layers or listen to them in any combi nation This screen differs from the other Edit screens in that it is NOT saved with the preset The values reset each time you exit the Edit menu Solo is activated by setting any layer to On On the layer is being Soloed Any layers set to On will play and any layers set to Off will be muted If all layers are set to Off then Solo mode ends and all layers play normally When you exit the Edit menu all layers play normally PLAY SOLO LAYERS 1 off d off 3 off U off Editing Presets Changing the Instrument Programming Tutorial There is so much you can do with the Mo Phatt it s impossible to describe it all This chapter is will give you some ideas for programming your
242. tar Hit Lush Guitar Hit Waka Guitar 1 Waka Guitar 2 Brush Tom Acous Lo Kick Kick amp Hat Acoustic Rim Acous Snare 2 Lo Floor Tom Lo Mid Tom Mid Tom Mid Hi Tom Hi Tom Higher Tom Chinese Cymbal Splash Cymbal Flange Cymbal Hi Crash Cym Hi Ride Cym Hi Bongo Hi Bongo Mute Low Conga Hi Timbale Hi Agog Cabasa Short Whistle Samba Whistle Guiro Hi Block Lo Block Quica Open Triangle Sleigh Bell Bell Tree Kick Drum Reggae Timbale Drum Bed Reverse Rhythm Chu Chu Surface Noise Ay Yi Vox Rev Suspence Vocoder Ray Gun Intro Beat Appendix Example Percussion Maps Drum Scratch Wah Guitar Side Stick Lo Bongo High Conga Low Timbale Agogo Lo Tone Maracas Short Quica Triangle Mute Shaker Loop Finger Snaps Kick Drum 2 Whirlybird Sci Fi Toy Suspense Weird Loop Bass Loop Mo Phatt Operation Manual 215 Trigger Layouts Trigger Layout 1 Setup 59 216 EMU Systems Appendix Trigger Layouts BEATS trigger layouts are saved when you save a Multisetup Multisetups 59 62 contain four different BEATS Trigger layouts for you to check out You may want to design your own trigger layout and when you do be sure to save it in one of the Multisetup locations Note that none of these are write protected like the factory multisetup They are initialized with these layouts but you are free to overwrite them at will Parts 1 8 are set to C ef
243. tch and Mod Wheels Synthesizer pitch bend and modulation wheels Keyboard Pressure mono aftertouch Key Pressure applied after the key is initially pressed Pedal A continuously variable pedal controller Miscellaneous Controllers A L Any type of MIDI continuous controller data Low Frequency Oscillators 2 per layer Generate repeating waves Envelope Generators 3 per layer Generate a programmable contour which changes over time when a key is pressed Noise amp Random Generators Generate spectrums of noise and random signals Footswitches Change a parameter when the switch is pressed Clock Divisor The master clock can be divided and used as a modulation source Mo Phatt Operation Manual 85 Programming Basics Modulation PatchCords Random Sources Random modulation sources can be used when you want the timbre of the sound to be animated in a random or non consistent manner e Key Random 1 amp 2 generate different random values for each layer which do not change during the note e The White amp Pink Noise Generators produce varying random values Both white and pink noise sources are low frequency noise designed for control purposes Either noise source can be filtered even more by passing it through a lag processor e The Crossfade Random function generates the same random value for all layers in a preset This source is designed to be used for cross fading and cross switching layers although
244. ted dangerous 11 This product in combination with an amplifier and headphones and voltage within the product s speakers may be capable of producing sound levels that could cause enclosure that may be of permanent hearing loss Do not operate for a long period of time at a sufficient magnitude to high volume level or at a level that is uncomfortable If you experience constitute a risk of electric any hearing loss or ringing in the ears consult an audiologist shock to persons 12 Only use attachments and accessories specified by E mu Systems 13 The Mo Phatt should be serviced by qualified service personnel when 4 E MU Systems Radio and Television Interference Important Safety Instructions Radio and Television Interference The power supply cord has been damaged or Objects have fallen or liquid has been spilled into the unit or The unit has been exposed to rain or The unit has been dropped or the enclosure damaged or AO The Mo Phatt does not operate normally or exhibits a marked change in performance 14 All servicing should be referred to qualified service personnel Save These Instructions The equipment described in this manual generates and uses radio frequency energy If it is not installed and used properly that is in strict accordance with our instructions it may cause interference with radio and television reception This equipment has been tested and complies with the limits for a Class B co
245. that can output multiple MIDI channels at once 1 Set up your MIDI keyboard so that it outputs the entire keyboard on MIDI channels 1 and 2 This procedure varies with the type of keyboard you own Refer to the owner s manual that came with your keyboard for instructions 2 Put Mo Phatt into Multi mode This is located in the Master menu MIDI Mode page 3 On the main screen turn the arpeggiator on for MIDI channels 1 and 2 We re only using two channels for now to keep it simple Select a different preset for each MIDI channel while you re at it LU Vi27 POO Hon PHATT 0472 arp Sine Drum 4 Start playing You should be hearing two arpeggiators playing at once Mo Phatt Operation Manual 63 Arpeggiator Beats Menu Using a MIDI Interface to Channelize Data Try experimenting with presets and settings For example Change presets on one or both of the MIDI channels you are using 1 amp 2 Since each factory preset has different arpeggiator settings changing the preset not only changes the sound but the arpeggiator settings as well Press the Control button on the front panel to select I L the LED in the third row is illuminated Adjust the front panel control knobs These knobs usually control the arpeggiator on presets with the arp prefix Try changing one of the channel s arpeggiator setting to M instead of on Now press the Arpeggiator Menu button and adjust the arpeggiator p
246. the effect by creating multiple images of the sound as it recirculates again and again All the choruses are true stereo using two separate delay lines controlled by a single set of controls The delay times are slightly different for each channel and the LFO phase is inverted on one channel to help contribute to the overall chorus effect The LFO Rate and Depth settings are critical to achieving a realistic effect with faster LFO rates generally requiring less LFO amount and vice versa When a copy of a sound delayed by about 26 milliseconds is added back to the original two audio images are perceived by your brain When the delayed image is slightly varied or modulated the illusion of two voices is created Slapback is a single short echo in the range of 50 60 milliseconds A sound delayed by this length of time is perceived as a discrete and separate image which is useful for a thickening effect or as a pre delay for reverb simulating a hard reflective surface such a gymnasium wall A flanger consists of a short audio delay line whose output is mixed together with the original signal Mixing the delayed and original signals results in multiple frequency cancellations called a comb filter Since the flanger is a type of filter it works best with harmonically rich sounds AMPLITUDE dB FREQUENCY log This is the frequency response of a Comb Filter Flanging was originally
247. the Preset 6 Move the cursor back up to the first field in the first line the layer 7 Use the Data Entry Control to select the layer you want Le INSTRUMENT ROM PHATT 0050 org Dance 8 Repeat steps 3 and 4 for each selected layer Find an instrument that sounds good when combined with the previous instruments selected With all these great instruments to work with you really can t go wrong Now let s play with the tuning Tuning the selected layer of the preset changes the pitch of the key on the controller If the numbers are OO it means that the instruments are tuned to concert pitch A 440 Hz The Coarse tuning value represents whole semitone intervals The Fine tuning value shifts the pitch in 1 64 semitones or 1 56 cents D To Tune the Instrument of the Current Layer 1 Scroll through the Edit menu until you come to the Tuning page LI TUNING Coarse 36 2 Move the cursor to the Coarse field using the cursor button 3 Set the value to 12 to shift the pitch up a whole octave To shift the pitch in smaller units than a semitone use the Fine field Try tuning one of the instruments to a perfect fifth above the other by setting the Coarse value to 7 Tuning an instrument far out of its normal range completely changes the character of the sound For example if you tune a bass guitar up 2 octaves it s going to sound rather petite On the other hand if you tune it down 2 octaves you can proba
248. ther or combining them with the clock divisors Programming Basics Low Frequency Oscillators LFOs A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate The Mo Phatt has two multi wave LFOs for each channel The LFO waveforms are shown in the following illustration Random Triangle Sawtooth Sine Square 33 Pulse 25 Pulse 16 Pulse 12 Pulse A UE Pat Fifth Octave Pat Sus4 trip c G ee SE c c Sine 1 2 Sine 1 3 5 c E MAM G Sine Noise Hemi quaver N A By examining the diagram of the LFO waveforms you can see how an LFO affects a modulation destination The shape of the waveform determines the result Suppose we are modulating the pitch of an instrument The sine wave looks smooth and changes the pitch smoothly The square wave changes abruptly and abruptly changes from one pitch to another The sawtooth wave increases smoothly then changes back abruptly The sound s pitch follows the same course Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves Pat Octaves Octave Octave Pat Neener Like the Auxiliary Envelope LFOs can be routed to control any real time function such as Pitch Filter Panning or Volume A common use for the LFO is to control the pitch of the sound LFO gt Pitch This effect is called vibrato and is an important performance effect Many presets use this routing with the modulation wheel controlling how
249. tion at the maximum level LucifersQ 12 REZ Violent mid Q filter Take care with Q values 40 90 ToothComb 12 REZ Highly resonant harmonic peaks shift in unison Try mid Q EarBender 12 WAH Midway between wah amp vowel Strong mid boost Nasty at high Q settings FuzziFace 12 DST Nasty clipped distortion Q functions as mid frequency tone control BlissBatz 06 SFX Bat phaser from the Emulator 4 KlangKling 12 SFX Ringing Flange filter Q tunes the ring frequency Filter Parameters The Freq and Q parameters control various elements of the filter depending on the type of filter used See the table in the Filter Types section for details about what the Freq and Q fields control in each filter LI FILTER Freq 255 The Filter Envelope is normally used to control the filter frequency and has six stages Unlike the Volume Envelope the Filter Envelope must be patched to the Filter Frequency using a PatchCord In this respect it can be thought of as a general purpose envelope generator which is normally patched to control the filter The Filter Envelope Levels can be negative as well as positive Mo Phatt Operation Manual 135 Edit Menu Filter Envelope There are three mode options e Time based Defines the Filter Envelope rates from 0 to 127 approxi mately 1 ms to 160 seconds The Master clock has no affect on time based rates U FILT ENV RATE LEVEL Attack 1 84 100 NS See Base Tempo e Tempo based The
250. to Display al CNSA Headphone Realtime Audition Arp Beats Save Home Data Jack Control Knobs Button Button Copy Enter Entry Front Panel Volume Control Master Button Edit Button Control Button The Mo Phatt front panel contains an LCD screen nine buttons and four real time controllers Functions are grouped logically and the controls are arranged for ease of use Precisely because Mo Phatt is so simple to use you might be tempted to skip this section If you just can t help yourself at least read the Real time Controller information beginning page 27 There are several power user features in the interface which make programming even easier and we wouldn t want you to miss them This control is the master volume control for all audio outputs The Volume Control does not affect any editing or user interface operations For maximum dynamic range turn this knob all the way up and control the volume from your mixer or amplifier The Master menu contains parameters that affect the entire machine not just certain presets An illuminated LED to the right of the button indicates that you are in the Master menu Use the Edit menu when you want to create or modify a preset An illumi nated LED to the right of the button indicates that you are in the Edit menu The Control button is used to change the function of the Controller knobs see the next section Each time you press the Control button the Control Mode toggle
251. to select the User preset bank you want to copy into o 7 Press the Enter Home button to overwrite the bank A Multisetup is a group of parameters that you might associate with a particular sequence or song It is like a snapshot of the current MIDI channel configuration of the module There are 64 setups numbered 0 63 All Multisetups are user programmable A Multisetup includes ALL the following parameters e Preset Volume Pan Arp Beats assignments for each of the 16 MIDI channels e Multisetup Name e ALL Arp BEATS Menu Parameters e ALL Master Menu Parameters except e MIDI Program Change gt Preset map e User Key Tuning Tables Save Copy Menu Multisetups Restor ing Mo Phatt contains 64 Multisetup locations These are all User locations Multisetu ps which you can use to store your own Multisetups Multisetups can also be restored using a MIDI Bank Select command Select cc00 80 cc32 00 dec then send a Program Change command corresponding to the Multisetup you wish to select RESTORE MULTISETUP 003 Jazz Encounter gt To Restore Select a Multisetup 1 From the Save Copy menu scroll to the Restore Multisetup screen using the data entry control The menu page most recently selected since powering up Mo Phatt will be displayed The cursor appears below the first character of the screen heading on line one 2 Press either cursor button to move the cursor to the bottom line of the screen
252. trol rate with a PatchCord amount of 1 turning the Mod Wheel to maximum would change the LFO rate to 4 1d Refer to the chart below IU em RATE DELAY VAR 0 08Hz 60 020 Tempo based Rates Display based on Master Clock Tempo octal whole note 8 1 dotted quad whole note 4 1d octal whole note triplet 8 1t quad whole note 4 1 dotted double whole note 2 1d quad whole note triplet 4 1t double whole note 2 1 dotted whole note 1 1d Mo Phatt Operation Manual 139 140 E MU Systems Edit Menu Low Frequency Oscillators LFOs Tempo based Rates Display based on Master Clock Tempo double note triplet 2 1t whole note 1 1 dotted half note 1 24 whole note triplet 1 1t half note 1 2 dotted quarter note 1 4d half note triplet 1 2t quarter note 1 4 dotted 8th note 1 8d quarter note triplet 1 4t 8th note 1 8 dotted 16th note 1 16d 8th note triplet 1 8t 16th note 1 16 dotted 32nd note 1 32d 16th note triplet 1 16t 32nd Note 1 32 Delay The Delay parameter defines the amount of time between hitting a key on the controller and the onset of the LFO modulation Delay can be used to simulate an effect often used by acoustic instrument players where the vibrato is brought in only after the initial note pitch is established The following illustration demonstrates how delay works time Delay
253. trol source WW MA Leg Lag S RE Filter gt Processor Cutoff Cord Cord Lag Smooths Smooth Pink Noise Random Function The Quantizer can generate interesting whole tone scales when envelope generators or LFOs are routed to the input The quantizer turns a smoothly changing input signal into a series of steps By routing the output of the quantizer to Pitch and adjusting the PatchCord amounts you can control both the number of steps and the pitch interval of each step Number Size of of Steps Steps AVA a e Cord Cord The input PatchCord amount controls how many steps will be generated With a sawtooth wave LFO feeding the input and the PatchCord amount set to 100 sixteen steps are generated The output PatchCord amount controls the size or interval of the steps Try setting up the following patch exactly as shown below using your favorite preset as a starting point Im SHAPE SYNC sawtooth key sync IU em RATE DELAY VAR 0 35Hz 000 000 Mo Phatt Operation Manual 99 E d The 4x Amp can be used to get more steps or increase the interval of the Quantizer Rx Experiment with this patch by connecting other sources and destinations to the Quantizer 100 E MU Systems Programming Basics Preset Modulation Processors LI PATCHCORD LFOI gt Quantize LI PATCHCORD Quantize gt Pitch LI PATCHCORD DC gt Pitch This patch generates an ascending arpeggio every time a key is pre
254. tt Operation Manual 133 134 EMU Systems Filter Name Swept3 gt loct DJAlkaline AceOfBass TB OrNot TB BolandBass BassTracer RogueHertz RazorBlades RadioCraze AahAyEeh Ooh To Aah MultiQVox Ooh To Eee TalkingHedz Eeh To Aah UbuOrator DeepBouche PhazeShift1 PhazeShift2 FreakShifta CruzPusher Order 06 12 12 12 12 12 12 12 12 06 06 12 12 12 12 12 12 06 06 12 12 Type EQ EQ EQ EQ EQ EQ EQ EQ VOW VOW VOW VOW VOW VOW VOW VOW PHA PHA PHA PHA Edit Menu Mo Phatt Filter Types Description Parametric filter with 24 dB of boost or cut The bandwidth of the filter is three octaves wide at the low end of the audio spectrum gradually changing to one octave wide at the upper end of the spectrum Band accentuating filter Q shifts ring frequency Bass boost to bass cut morph Great Bassline Processor Constant bass boost with mid tone Q control Low Q boosts bass Try sawtooth or square waveform with Q set to 115 Bass with mid range boost and smooth Q Sweep cutoff with Q at 127 Cuts a series of frequency bands Q selects different bands Band limited for a cheap radio like EQ Vowel formant filter which sweeps from Ah sound through Ay sound to Ee sound at maximum frequency setting Q varies the apparent size of the mouth cav ity Vowel formant filter which sweeps fro
255. tups This utility allows you to duplicate Flash SIMMs using Mo Phatt Both Sound and Preset data is copied when a Flash SIMM is duplicated A factory sound SIMM cannot be copied using this utility WARNING dangerous voltages are exposed inside Mo Phatt Make sure power is completely disconnected from Mo Phatt before removing the top panel Replace the top panel before restoring power to the unit The two sound SIMM sockets in Mo Phatt are marked O and 1 These are located behind the controller knobs on the circuit board The Flash SIMM you want to copy MUST be placed into SIMM Socket 0 The destination Flash SIMM must be placed in SIMM socket 1 Gell DUPLICATE SLOT O FLASH Start Make sure the two Flash SIMM are located in the required Mo Phatt SIMM sockets Press the Save Copy menu button Rotate the Data Entry Control to select the Duplicate Flash SIMM screen shown above Move the cursor to the bottom line and press Enter The following screen appears and the Enter LED will be flashing Press ENTER to overwrite the Flash SIMM in Slot 1 Press Enter again to confirm or any other button to abort The following screen appears and the SIMM is copied DUPLICATING SLOT O gt SLOTI Takes about 5 minutes When Mo Phatt has finished duplicating the SIMM turn power off remove the copied SIMM then reboot That s it Mo Phatt Operation Manual 193 Save Copy Menu Multisetups 194 E
256. ty Please read this warranty as it gives you specific legal rights This product is warranted to the original consumer purchaser to be free of all defects in workmanship and materials for a period of one 1 year from the date of such purchase from an authorized EMU dealer provided that a the Warranty Registration Card is filled out and returned to EMU within 14 days of the purchase date and b the EMU service center is provided a copy of the consumer purchaser s sales receipt Specifically but without limitation EMU does not provide warranty service for e Damages due to improper or inadequate maintenance accident abuse misuse alteration unauthorized repairs tampering or failure to follow normal operating procedures as outlined in the owner s manual e Deterioration or damage of the cabinet e Damages occurring during any shipment of the unit e Any unit which has been modified by anyone other than EMU No other express or implied warranty is made and EMU specifically disclaims any implied warranty of merchantability satisfactory quality and fitness for a particular purpose EMU s liability under warranty is limited to repair or replacement of the unit or refund at EMU s option In no event will EMU be liable for loss of revenue or savings loss of time interruption of use or any other consequential indirect incidental special or exemplary damages The foregoing will apply notwithstanding the failure of
257. u Funk kit Relapse kit HardStep rom Play Thru hit Sweeit hit Knock U Out hit Nice Under hit Splash str Suspence key Growl Drop key HarpsiFlange str HybridSweep key Kool Kord key Org Roll key Perk Organ str Synth String key Horror Glide brs Caliente brs Trump Slide led FantasyWormz bts SpaceBoyZ led Yearning led Reeder led Violetta led Stevie sfx Mr Clean sfx Shield 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Appendix Preset Listing sfx Syclear sfx Reaper vox Ahyeeyah pad Pulsar hit Carney Hits hit Brazit 1 hit Brazit 2 hit Brazit 3 hit Brazit 4 hit Brazit 5 hit Spizy pad Worry str Orchestsyn syn Grinder syn Weeperr amb Seascape sfx Wet Trippy syn Two Step syn Prosync kit Mo Dist kit Slappy kit DarkFlower kit Funk 4 Life kit Perky kit Crunch kit Klippy kit GM Two kit SubwayTunnel kit ClasikStudio kit ScratchHead kit FiltrSKRATCH kit Vilper kit DubltUp kit NewBeat kit CornaSto sfx BlowinUp1MW pre ScratchMatic kit Construction kit NuMetal bas Cube Bass bas Iggio Basso syn Objections Mo Phatt Operation Manual 199 Preset Listing 200 E MU Systems User Bank 3 PHATT Bank 3 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67
258. u have other devices connected to the same MIDI line and do not want the Mo Phatt unit to respond to the MIDI channels reserved for the other devices MIDI ENABLE channel 01 On Because the MIDI Enable function only makes sense if you are in Multi mode Mo Phatt disables this feature when in Omni or Poly mode In Multi MIDI ENABLE Mode channel 16 On In Omni MIDI ENABLE Mode P using Omni mode You can also remap incoming MIDI program changes to a different numbered preset This is a handy feature when your master keyboard cannot send a bank change or you want to reorder preset numbers Any preset can be mapped to any incoming MIDI program change number For example you could set up the Program gt Preset map to call up preset 12 whenever Mo Phatt receives MIDI program change 26 The four fields shown below are editable MIDI PROG CHNG gt PRESET 000 User 000 Incoming Program ROM Bank Program No Bank No Change in Bank 0 X Programs and presets are the same thing Preset is E MU term for MIDI Program Receive Program Change Real time Controller Assignment Master Menu MIDI Parameters VW N ur S IS alee fs lalate 5 6 7 8 9 05 06 07 09 perke DANAA gd Ma ed OT Program JESESEZESEN o ws 1 or zl 10 44 gt E so farla Selected Program 40 5 43 ad w N ajala fafs ww W Iw w N w N N H SI
259. u have to know which controller numbers your keyboard transmits Most modern MIDI keyboards let you select a controller number for each control on the keyboard For example it may let you select a number from 0 31 for the data slider The realtime controller numbers that the keyboard transmits must match the numbers Mo Phatt is receiving otherwise nothing will happen when you move the controls Suppose you wanted to send the four data sliders on your master keyboard Mo Phatt can handle 12 MIDI controllers A L of your choosing MIDI A L are simply names for the internal connections that link external MIDI continuous controllers to the PatchCord section of Mo Phatt There are two parts to the connection First MIDI controller numbers are assigned to the letters A L in the Master menu Next the letters A L are connected to synthesizer control parameters in the PatchCord section of the Edit menu The PatchCord Amount scales the amount of each controller by a positive or negative value Programming Basics MIDI Channels amp Real time Controls The factory presets have the MIDI A L controls connected to standard synthesizer functions marked on the front panel By choosing any four of the 12 standard functions the four sliders on your keyboard will work the same on every preset The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 21 24 Control Slider 1 Slider 2
260. user presets The number of ROM presets is determined by the sound SIMMs installed 6th Order 50 different types 2 polyphonic analog outputs 20 bit AY DACs 4 dB 1000 Ohms 32 MB expandable to 64 MB 16 bit linear data 24 bit internal processing 44 1 kHz gt 92 dB gt 90 dB 20 Hz 20 kHz 2 1 dB lt 0 02 1kHz sine wave A weighting lt 0 05 Phase Coherent 1 at 1 kHz 15 Watts 90VAC 260VAC at 50Hz 60Hz H 1 75 inches W 19 inches L 8 5 inches 6 lb 14 oz 3 1 Kg Mo Phatt Operation Manual 225 Sounds Fred Zimmerman G LOW O r m Ron E Beck Sam Ward Janis Chaff n Mark Blasquez St Regis Brothers Props Presets G LOW O r m Alex Strudley Andrew Schlesinger Janis Chaff n Ed Dickie Beats amp Audition Riffs Ron E Beck Fred Zimmerman G LOW O r m Sam Ward Janis Chaff n Alex Strudley Mark Coleman Sean Wilhelmsen Demo Sequences Appendix Lisa Flores Gina Wermuth Dan Becker Kat Ouono Tim Landis Michael VonStruble GimmeDat Friday Nite BONE REQ Ron E Beck East Meets West Jenkinz Boyz FredZ Joint Special Thanks Fast te tien Sam Ward E EE dore G LOW O r m Be SE Fred Zimmerman Ben Conrad and the Folks at Wide Hive E mu Engineering and SQA Tim Swartz Executive Producer Janis Chaffin 226 EMU Systems Props Warranty Warranty Warranty Restrictions How To Obtain Warranty Service Appendix Warran
261. x Output routing in the preset to the desired output for each layer Yes you can send each layer to a different send if you want Edit LI MIX OUTPUT Menu Send 2 By sending different amounts of presets to the effects subtle or striking effects can be achieved using the two effect processors This feature allows you to get the most out of two effects since you can have eight different mixes For more information refer to the diagram on the following page or See Mix Output on page 67 Mo Phatt Operation Manual 111 Programming Basics Stereo Mix Outputs OUTPUT SECTION amp EFFECTS PROCESSORS Send 2 10 EDIT MENU Send3 0 Send4 0 PRESET Send2 0 Send 3 20 he Sa EE See Send 4 15 S Ch 1 E Ch2 ISEND 2 p Ch3 MASTER MENU un Z WE w wuzmu EE The Mix Output screen in the Master menu assigns each MIDI channel to a Send 1 4 or to Preset The Mix Output screen in the Edit menu is ONLY used if the Master Mix Output is set to Preset Otherwise the Edit menu Mix Output settings are ignored 112 EMU Systems Q While the Edit menu is activated all incoming MIDI preset changes on the selected channel are ignored G If there is no A option in the Layer field you must enable the Edit All Layers function in the Master Menu Edit Menu The Edit Menu contains four
262. y repeatedly until the cursor is underneath the Preset Category field and select arp using the data entry control 4 Press the right cursor button to move it to the Preset Name field 5 Play notes or chords on the keyboard Change presets as desired to audition the various patterns and presets Sound Navigator Preset Category Instrument Category Basic Operations Sound Navigator Sound Navigator allows you to search through preset and instrument categories to find the type of sound you re looking for Each preset and instrument has a name and a three letter preset category You can create your own categories in order to group favorite presets The preset category is assigned in the Edit menu Preset Name Instrument categories are fixed When you want to find presets in a particular category you simply change the category field in the main screen then move the cursor to the preset name field to scroll through all the presets in the selected category When the cursor is on the Preset Category field turning the Data Entry Control selects different preset categories The Name Field will change to show the first preset in each category LU Vi27 POO Hot USER 064 bas Basingie Preset Category Preset Name D To Change the Preset Category 1 Press either cursor key repeatedly until the cursor is underneath the preset category field 2 Rotate the Data Entry Control to select one of the preset categories Preset
263. y the sound is perceived For example you can make bowed pianos or backward gongs The diagrams to the left show the characteristic volume envelopes of a few common sounds In preparation for this experiment choose almost any of the standard organ presets which continues to sustain when the key is held down Go to the Instrument page and set it to None on all layers except Layer 1 Now you re ready to play with the Volume Envelope To Setup the Volume Envelope 1 Go to the Volume Envelope mode screen and set the Volume Envelope mode to time based LI VOLUME ENVELOPE Mode time based 2 Now move on to the next screen to set the Volume Envelope parameters LI VOL ENV TIME LEVEL Attack 1 50 100 3 Increase the Attack 1 time value and play a note The attack controls the time it takes for the sound to reach the Attack level when a key is pressed and held Working with Filters Programming Tutorial Editing Presets 4 Move the cursor to the first field in the bottom line and use the cursor buttons to advance to the Release pages 5 Increase the Release 1 and 2 times Note the effect as you release the key on the controller The Release stages controls the time it takes for the sound to die away when a note is released The filters make it possible to remove certain components of the sound A low pass filter removes the high frequency components or put another way it lets the low frequencies pa
264. you copy the preset patchcord settings from one preset location into the current preset location The preset information in the source location the preset location from which you want to copy is not deleted from the original location just copied to the destination location COPY PRESET CORDS 020 Source Preset D To Copy a Preset PatchCord Select the Preset you want to copy information into Press the Save Copy menu button Scroll to the Copy Preset Cords screen using the data entry control Move the cursor to the bottom line on the display Select the preset containing the information you want to copy e o Pon Press the Enter Home button Save Copy Menu Copying Information Copy Ar peggia tor This function lets you copy the Arpeggiator settings from any ROM or RAM Settings preset location into the current RAM User preset COPY ARP SET from PHATT 0520 syn Syn Chaos D To Copy the Arpeggiator Settings 1 92 FY R From the main display select the User Preset you want to copy the Arp setting into Press the Save Copy menu button Scroll to the Copy Arp Set screen using the data entry control Move the cursor to any of the fields on the bottom line on the display Use the Data Entry Control to select the preset you want to copy from Press Enter when you have made your selection The Enter LED is flashing indicating that Mo Phatt is waiting for your response 7 The Arp Settings are copie
265. you have 2 Grooves 4 Fills which correspond to the four parts of the Main and Alternate groove and 4 Instrument parts By adding and removing parts you control the complexity of the groove Each part can also be scaled by Key Velocity allowing you to fade parts in and out if velocity is routed to volume as you play or can be Transposed over a six octave range Each part can be assigned to any one of four Groups which allow multiple parts to be triggered from a single key The chart below shows the default assignment of each Part the 4 Groups and the Control Keys shown in bold These assignments can be modified to suit your personal preference Mo Phatt Operation Manual 37 Arpeggiator Beats Menu SuperBEATS Q Trigger layouts are saved with the Multisetup See So CO Trigger Layouts on page 216 Default Assignment M Q o to examine several other factory f BEAT Tri z 2 BEATS trigger layouts o riggers N LL iL O m a er TE E L T SES Fy co Lee Ve Oss aa Iaa UV I I l I I 1 I l I Alt Groove Main Groove 1ttttt ttt ttt io R S Se 2 2025 0 ERATE ET eY Sos oe 8 PELD vy ZYYUSE c OU d y E GG l U Rx Starting BEATS mode e Start Stop Trigger Starts the beat sequencer from the beginning of with the Start Stop key allows the sequence When latched pressing once starts you to start the sequencer and pressing again stops When unlatched the rolling silently Then you can sequence runs as
266. ys by providing you 12 user tuning tables Tuning tables can be changed as you play using a program change create several presets with the same sound and different tuning tables by MIDI SysEx command using a programmable MIDI footswitch or other device or using a continuous controller link 2 presets and crossfade between them using a controller The Just C2 Just C min Just C3 Tuning Tables These new tuning tables take the concept of just intonation a step beyond previous E mu products Fully explaining the mysteries of just intonation is beyond the scope of this manual but the subject is covered exhaustively in Hermann Helmholtz s On the Sensations of Tone available at most libraries and bookstores The new tables are called Just C2 Just C3 and Just C Minor Try playing in the key of C Cm using each table You ll quickly discover both the wonders and the frustrations of just intonation In Just C for example you ll find that the chords C Em F G and Am sound beautiful If you hold one of these chords you ll hear no beating After playing for a few minutes switch back to Equal Temperament for a rude awakening At this point you might wonder why anyone would use Equal Temper ament to begin with For the answer to that question play a D Dmi or Bb chord The intervallic ratios that make the C amp G chords sound so pure make the D chord sound horribly out of tune That s why we had to include Just C3 In this tuning
267. ystems Programming Basics Dynamic Filters Most sounds are complex waves containing many sine waves of various amplitudes and frequencies A filter is a device which allows us to remove certain components of a sound depending on its frequency For example a low pass filter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram 100 Amplitude gt Q N Cutoff Frequency lt Output of Filter 40 80 Frequency Low Pass Filter 160 360 720 1440 2880 A filter that lets only the high frequencies pass is called a high pass filter as illustrated in the following diagram Amplitude 40 80 Initial Frequency E 160 360 720 1440 2880 Frequency gt Filter Output High Pass Filter Programming Basics Dynamic Filters A filter which only lets a certain band of frequencies pass is called a band pass filter Center Frequency 100 lt gt 80 Filter Ge Output 60 Band Pass Filter Bn lt 20 40 80 160 360 720 1440 2880 Frequency A notch filter is just the opposite of a band pass filter and is used to eliminate a narrow band of frequencies Another control found on traditional filters is called Q or resonance A lowpass filter with a high Q emphasizes the frequencies around the cutoff frequency The following chart shows how different amounts of Q affect the low pass filter respons

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